EXAMPLE OF CHALK AlTD STIPPLE £-NGRAVlNG 
 
THE 
 
 PRINT COLLECTOR 
 
 AN INTRODUCTION TO THE KNOWLEDGE 
 
 NECESSARY FOR FORMING 
 
 A COLLECTION OF ANCIENT PRINTS. 
 By J. MABERLY. 
 
 WITH AN APPENDIX CONTAINING 
 
 Fielding's Treatise on the Practice of Engraving. 
 
 EDITED 
 WITH NOTES, AND A BIBLIOGRAPHY OF ENGRAVING, 
 
 BY 
 
 ROBERT HOE, Jr. 
 
 NEW YORK 
 DODD, MEAD & COMPANY 
 
 188c;, 
 
Copyright, 1879, ^Y 
 DoDD, Mead & Company. 
 
ILLUSTRATIONS. 
 
 Pace 
 
 Marks and Monograms. Three Plates, 5 
 
 Two Original Wood Blocks, by Thomas Bewick — one a pastoral scene, the 
 
 other a subject from Sommerville's Poem of the " The Chase," . . 38 
 
 Tools Used in Engraving and Etching, 204 
 
CONTENTS. 
 
 PAGE 
 
 Introduction TO THE First American Edition i 
 
 CHAPTER I. 
 
 Of collecting in general, and of print-collecting in particular — Proper motive 
 for collecting — Circumstances operating to influence choice of department — 
 Advantages of print-collecting, as compared with other subjects, such as pic- 
 tures, statues, coins and medals, gems, drawings — And this with reference to 
 the several points of expense, space, preservation, portability, ascertainment 
 of quality and of genuineness, price, pleasure derivable and communicable — 
 Copy of picture substituted for original — Deception practised by Michael 
 Angelo — Paduan coins — Mr. Payne Knight and Pistrucci — Deceptions in 
 prints always detectable — Hudson and Benjamin Wilson — Universal popu- 
 larity of prints, and its causes — Frequent unpleasant results of this — For- 
 bearance towards ignorance — Fall of Phaeton — Incredulity towards antiqua- 
 ries — Cofhn and hair of Edward IV. — Pleasure of antiquarian pursuits — Em- 
 peror Maximilian and Albert Diirer — The St. Eustachius 7 
 
 CHAPTER II. 
 
 On classification of prints — Proper meaning of term " engraving" — Term " print" 
 defined — Engraving on wood — Metal — Modes of working — Burin — Etching 
 — Dry point — Mezzotinto — Dotting — Stippling — Aquatinta — Lithography — 
 Painters' etchings — Schools — Engravers after their own designs — Chronology 
 — The art not regularly progressive — Meaning of the term "invention of 
 engraving" — Classification of artists' works among themselves — By dates — 
 By subjects — Frequency of same subject — Madonna and Child — Extent or 
 limit of collection , 19 
 
CONTENTS. 
 
 CHAPTER III. 
 
 PAGE 
 
 On the selection of specimens— Early impression — Good impression — Retouch- 
 ing—Cross-hatching — Proof impression — Muller and Rittner — Deceptive 
 practices — States — Monograms — Address — Burr — Wood-blocks, number of 
 impressions from — Papillon — Judgment of impression — Van Leyden — Mur- 
 der of the Innocents, by Marc Antonio — Rolling-press — Shake — Double 
 printing — Impurities in paper — Hair — Air bladder — India paper — Condition 
 — Margin — False margin — Soils — "Fond Sale" — Laying down — Cleaning — 
 Repairing — Washing — Copies — Bartsch — Peintre-Graveur — Counterproof — 
 Copy of Rembrandt's Mill 32 
 
 CHAPTER IV. 
 
 Of prices of prints — Deficiency of data — Prices not governed by intrinsic excel- 
 lence — Fancy of the day — Hollar — Rembrandt — Symptoms of improvement 
 m public taste— Printsellers — Priced catalogues — Their limited utility — Pro- 
 prietors' marks — Auction — Commission — Scarcity of choice ancient prints — 
 Country order — Exchanging — Illustrated books — British portraits — Anec- 
 dotes of auction-room — Highest price at auction — Impression of niello, by 
 Finiguerra — Zani's discovery of one — Progress in value of important prints — 
 Instanced in the Hundred Guilder and other prints — Unfinished impression 
 — Deficient part drawn in — Price of prints in the time of ancient artists — 
 Follies — Rembrandt's Little Dog — National repositories — Records of pro- 
 prietorship — Embezzlement — Proprietors' marks 5 1 
 
 CHAPTER V. 
 
 Of the extent or limit of a collection — Artists' whole works — Free subjects — 
 Rarity — Unique — Presque unique — Variations forming states — Sample of in 
 Rembrandt — Carried to an extreme — Imaginary variation — Sale catalogues — 
 Ridiculous errors in— Line to draw — Gold-weigher — White face — Collection 
 of states gr 
 
 CHAPTER VI. 
 
 Of the care and keeping of prints — Mounting — Edging — Cornering and other 
 protections — Bound folios — Solanders — Portfolios — Frame and glass — Speci- 
 mens exposee at the Bibliotheque Royal — Suggestion to British Museum — 
 Handling — Exhibiting — Light— Cleaning prints 104- 
 
CONTENTS. VU 
 
 CHAPTER VII. 
 
 FAGK 
 
 On the mode of commencing collector — Extent of expense — Chronology — Sub- 
 jects — Different manners and processes — Skeleton of collection — Books — 
 Dictionaries of Strutt and Bryan — Heinecken's Idee g6nerale — Schools — 
 Gilpin on prints — Misjudgment and want of taste— Formation of list of 
 important artists — Italian school — Its character — Notice of the chief engrav- 
 ers of this school — Era of separation between ancient and modern schools — 
 Wood engravings — Chiaroscuro — Nielli — Invention of copper-plate engraving 
 — The German school — Block printing — Stereotype — Characteristics of the 
 early German school — Notices of the principal engravers of this school — 
 Flemish and Dutch school — Notices of the principal engravers in it — French 
 school — Notices of its principal engravers — Same in English school — Extent 
 of cost of collection — General advice Ii6 
 
 CHAPTER VIII. 
 
 The old and new systems — Probability of ancient prints maintaining their value 
 — Their intrinsic excellence — Scarcity — National collections — Security against 
 rivalry— Advance in the art — Competency of modern engravers — Ancient and 
 modern systems contrasted — Landseer's lectures — Alderman Boydell — Print 
 publishers — Modern system of producing a plate — Assistance — Drawing — 
 Proofs — Retouching — False proofs — Reputation — Lucas van Leyden — An- 
 cient system detailed — Expense of getting up a publication — Copyright of 
 painter — Projects for encouragement of art — Alliance of art with commercial 
 speculation — Hopelessness of remedy 149 
 
 CHAPTER IX. 
 
 Of books on engraving — Deceptive titles — Tracts embodied in larger works — 
 Books treating on engraving incidentally only — Earliest sale catalogues — 
 Catalogue of the Rigal collection — Lithography — Electro-tint — Names of 
 some books treating exclusively on prints and engraving 168 
 
 Catalogues of the works of individual engravers 193 
 
vm CONTENTS. 
 
 APPENDIX. 
 
 PAGB 
 
 Treating of the practice of the art of engraving, with the various modes of opera- 
 tion, under the following different divisions, viz. ; Etching, Soft-ground Etch- 
 ing, Line Engraving, Aquatint, Mezzotinto, Chalk and Stipple, Wood Engrav- 
 ing, and Lithography 201 
 
 Catalogue of Durer's engravings on copper and ETcraNGS 259 
 
 Catalogue of Durer's wood engravings = 265 
 
 Table of the whole etched works of Rembrandt 269 
 
 Bibliography 283 
 
 Index 313 
 
INTRODUCTION 
 
 TO THE 
 
 FIRST AMERICAN EDITION. 
 
 The study of art needs no apology. Man may sometimes 
 acquire too much power,' or too much money, for his own advan- 
 tage or for the good of his fellow-men, but true art is like true 
 religion — the more it is cultivated the richer are the heart and mind 
 of its possessor. Should it not beget wisdom, it will increase 
 knowledge ; and these, if not twin brothers, are very closely 
 related. 
 
 There are good and bad systems of religion, as there are true 
 and false forms of art, and a consideration of this analogy might be 
 followed up with profit, to the edification of some people, and to 
 the incredulity and disapprobation of others. 
 
 In this new country, where for the last one hundred years 
 utility has been the predominant idea, I have often wondered why 
 the poetic mind of the age has not created a goddess of Utility, to 
 whom we might render homage similar to that paid in the olden 
 time at the shrines of the goddesses of Wisdom, Beauty, and Riches. 
 
 We know that art in its highest forms is capable of inspiring the 
 purest of religious sentiment, but this is only a portion of what it has 
 done for the world in the past, and is capable of doing for us 
 now. In all real art there is something which the lowliest person 
 may partake of and enjoy ; just as art may be found, and does exist, 
 in the lowliest and simplest forms and detail. 
 
2 INTRODUCTION. 
 
 To many minds works which do not lead to some lofty flight of 
 imagination, or appeal to the highest moral intelligence, are not 
 works of art, and such persons know of no medium between this 
 and the dead level of mere utility. Again, there are those who 
 think there is no art unless it be found allied to beauty. To them 
 beauty, pure and simple, is art. The truth is that both imagination 
 and beauty are elements of art, but what I maintain is that art — 
 pure and true art — is found in works which may include neither the 
 one nor the other of these attributes. The art of engraving is one 
 in which they are seldom found united. In fact, many of the best 
 prints are perhaps remarkable more for technical skill and clever- 
 ness than for ideality or beauty. This may be said of much of 
 Diirer's work, but the more we study it, the more we become con- 
 vinced of the presence in his etchings of the mind and hand of a 
 great master. 
 
 A just appreciation of art, in its most comprehensive significa- 
 tion, or even in special departments, is not given to every one ; 
 much less do those possessing this appreciation recognize it in the 
 same forms. A great deal of this diversity is owing to circum- 
 scribed knowledge, or to a lack of cultivation, as well as to the 
 varied constitution of men's minds. 
 
 The object of Mr. Maberly's little book upon prints, a new 
 edition of which now seems to be called for, was not only to 
 record the pleasure he had derived from the study and collection 
 of etchings and engravings, but to communicate such knowledge 
 to others, as might lead an appreciative reader through the same 
 pleasant paths of art he himself had trodden. Although many more 
 complete and elaborate books have since been written upon this 
 subject, there are none which treat of it in so genial, concise, and 
 acceptable a manner. It has therefore been thought desirable to 
 reprint it in its integrity, adding only such notes as may make it 
 more useful to the American reader. The original English edition 
 has become very scarce, and consequently unduly expensive. 
 
INTRODUCTION. 3 
 
 The republication of this volume ten years ago would have 
 proved a poor investment for the bookseller on this side of the At- 
 lantic, and it would probably have remained unsold in his ware- 
 room ; but there is, at the present time, so great a demand in the 
 United States for trustworthy information upon this and kindred 
 subjects, that it will no doubt be warmly welcomed. 
 
 There are now in our principal cities importers of and dealers 
 in prints, in whose shops examples of the best etchings and en- 
 gravings, both ancient and modern, may be had and examined, so 
 that students and collectors need not go abroad to obtain what 
 they may be tempted by this book to possess. 
 
 I desire to add a few words in conclusion upon the subject of 
 collecting prints, although what I have to say may be found in a 
 different form in Maberly's work, and is already known to many of 
 its readers. 
 
 There are few productions of art in which one is more likely to 
 be deceived than in prints. There are so many copies, so many 
 retouched plates, some of which have been handed down for two or 
 three hundred years, such as Rembrandt's and VanOstade's copper- 
 plates, for example, that a great deal of skill and judgment is 
 requisite to detect the late impressions taken from them. The 
 faculty to be developed in the collector is of so subtle a nature as 
 to be defined with difficulty. The foundation lies in an accurate 
 technical knowledge, the acquirement of which is a difficult matter 
 to an amateur, and there are very few writers upon this subject 
 who impart the desired information with sufficient clearness. 
 
 One of the best works in English is a small volume by T. H. 
 Fielding, entitled " The Art of Engraving, with the Various Modes 
 of Operation," published in London in 1844. 
 
 In the preface the author says that his treatise has been " ar- 
 ranged with a view of serving the professor as well as the amateur. 
 It is in the form of an instruction book. Each branch of the arts of 
 etching and engraving is taken up separately. The reader is told 
 
4 INTRODUCTION. 
 
 what tools and materials to select, and how to use them to accom- 
 plish the results to be obtained, thus giving, in perhaps the clearest 
 form possible, a theoretical and practical knowledge. Fielding's 
 book in the original edition is scarce, and seldom occurs for sale. 
 The major part of it is incorporated in the form of an appendix 
 to the present volume. It would be difificult, in the small space 
 available, to give the desired information in a more satisfactory- 
 manner. If any apology is necessary for reprinting rather than 
 rewriting this department of the subject, it must be borne in 
 mind that the object of the present volume is simply to give to 
 the amateur the information he seeks, not so much in a new as in a 
 more accessible form. 
 
 To a technical knowledge of the arts of etching and engraving 
 the amateur should unite special powers of discrimination. With 
 some persons the latter seem almost intuitive, but proficiency is, in 
 all cases, the result of close observation and experience. Both 
 mind and eye must be trained, not only by precept but by 
 practice. The judgment employed in determining the artistic 
 status of a work, whether it be an engraving, or any other object of 
 art, is not based upon qualities which may be calculated or measured 
 by fixed rules, but upon that subtle perception which either accepts 
 or rejects it as an original work by the master's hand. This is, of 
 course, the power every collector should strive to acquire. 
 
 No book, no matter how well it may be written, will give to 
 the student or collector the knowledge he must derive only from 
 the actual inspection and study of the prints themselves. 
 
 I once overheard a lady in a French print shop, after listening 
 to discussions upon the questions of originality and priority of im- 
 pressions of various etchings, ask the proprietor to give her some 
 rules or instructions by which she could know genuine works from 
 copies, and the good from the inferior impressions. After a mo- 
 ment's pause, and a characteristic shrug of the shoulders, the reply 
 was, " Madam, I am very sorry, but it is impossible ; I do not know 
 
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INTRODUCTION. 5 
 
 how to do it." The only way for that lady to obtain the power 
 she coveted was first to gain some knowledge of the theory of 
 etching and engraving, and follow it by a careful comparative study 
 of examples of the different masters, aided always by such good 
 counsels as are available. If the love of the subject be in her, the 
 light of discrimination will dawn at last, and may be cultivated to 
 any extent. It is true, as before intimated, that there are persons 
 to whom this power never comes ; perhaps for the same reason 
 that some people, although earnestly laboring to succeed, never 
 can be clear on the question of colors, or others distinguish one 
 tune from another in music. However, all may gather prints 
 through the aid of friends or experts, but the true pleasure of col- 
 lecting will be wanting, for it arises from the personal exercise of 
 those discriminating faculties referred to, followed naturally by a 
 proportionate appreciation and enjoyment of the specimens so 
 gathered together. 
 
 At the end of this edition will be found a short account of some 
 of the principal etchers and engravers who have risen to eminence 
 since Mr. Maberly's book was written, also several tabular lists of 
 the works of the principal artists of the past, with references to the 
 descriptions of them given in the catalogues raisomies of Adam 
 Bartsch, Wilson, Blanc and others. 
 
 An effort has been made by the publishers to render this 
 new edition, in form and typographical excellence, acceptable to 
 American amateurs, to whom the book is heartily commended, 
 and also inscribed, by 
 
 The Editor. 
 
CHAPTER I. 
 
 OF COLLECTING IN GENERAL, AND OF PRINT- COLLECTING IN 
 PARTICULAR. 
 
 There is a strong and very general propensity in human 
 nature to be perpetually acquiring and appropriating. This inclina- 
 tion is frequently found to be in active operation, though with no 
 other object than the temporary pleasure derived from its indul- 
 gence. When the gratification ceases here, and has no better 
 ground than the vanity of possessing that which another has not, 
 and when no satisfaction is looked for from subsequent enjoyment 
 of the article acquired, the pursuit degenerates into an irrational 
 craving, is no better than the yearning of a child for a new toy, 
 and very deservedly becomes obnoxious to that ridicule which the 
 vulgar are too apt to attach, in general, to the profession of an an- 
 tiquary or collector. But when a higher and more worthy purpose 
 is held in view ; when the acquisition is made with reference to a 
 permanent real pleasure to be thereafter derived from the enjoy- 
 
8 THE PRINT COLLECTOR, 
 
 ment of its object, on account of its intrinsic beauty or use, then is 
 the collecting of works of nature or of art, in any of their various 
 departments, a most pleasurable and rational pursuit. 
 
 In deciding upon a department in which to form a collection, 
 every man follows his own taste ; but there are circumstances which 
 must, in general cases, more or less control this. It is fortunate, 
 therefore, when the taste happens to tend towards a class which 
 has more of these in its favor, and fewer opposed to it ; and a 
 man whose taste is general, and not already pre-engaged, will nat- 
 urally be led to commence with a consideration of these circum- 
 stances, and prudently form his predilection so as to secure as 
 many of them as he can in his favor. Upon enumerating the cir- 
 cumstances here referred to, and which, when once mentioned, will 
 appear sufHciently obvious, it will perhaps be found that of all the 
 different departments in the whole range of art or of nature (but 
 we will at this time confine ourselves to works of art only) which a 
 person can select, in which to form a collection, the preferable pur- 
 suit, in all these essential respects, is the collecting of prints. 
 
 The circumstances which are meant to be alluded to are these : 
 Firstly — The amount of expense which it may be necessary to 
 
 incur. 
 Secondly — The space necessary to be allotted for containing the 
 
 collection. 
 Thirdly — The ease or difficulty of preserving the articles when 
 
 acquired. 
 Fourthly — The portability, or facility of removal from place to 
 
 place. 
 Fifthly — The susceptibility of the articles to just appreciation 
 
 with respect to quality and price. 
 Sixthly — Their susceptibility to appreciation with respect to 
 
 genuineness. 
 Seventhly — The pleasure or utility derivable from the collection 
 
7'JIE PRINT COLLECTOR. 9 
 
 in individual enjoyment, or in imparting this pleasure or 
 utility to others ; and this latter must partly depend on 
 Eighthly — The popularity of the subject-matter of the collec- 
 tion, and the greater or less facility of displaying it. 
 
 If now, with reference to these several heads, we compare prints 
 with the various other descriptions of works of art which form sub- 
 jects for collections, it will appear that in almost every item the 
 former will be found to have the advantage. As to the articles of 
 greater cost and greater bulk, pictures, statues, marbles, compari- 
 son on any of the first four heads above enumerated is unnecessary. 
 One first-class picture would purchase every purchasable print that 
 it is desirable to possess.* A suite of apartments is necessary in 
 one case for a hundredth part of the number for which, in the 
 other, one small cabinet would be sufificient. Pictures, statues, 
 marbles, must stand exposed to all the sweepings and dustings of 
 the rooms and furniture, the smoke of chimneys, and the alternate 
 damps and dryness of the atmosphere ; and they must remain as 
 fixtures, immovable but with assistance and with much trouble 
 and derangement. Coins and medals, engraved gems, antiquities, 
 and other articles of vertu, may each compete with prints, some in 
 one, some in another of the advantages claimed for the latter, but 
 none of them in all. 
 
 With respect to the fifth head of distinction, the ascertainment 
 of value, the subject of price will be noticed hereafter ; meantime 
 sufifice it to call to recollection this single consideration, namely, 
 
 * Unfortunately this statement, as an argument in favor of print collecting, is not 
 altogether true at the present day, for the prices of the finest impressions of the best 
 engravings and etchings have increased far out of proportion to the prices of paintings, 
 and it is not an uncommon occurrence to find hundreds of pounds paid at an auction 
 for a single print which in Mr. Maberly's daj' would have brought but a few guineas. 
 These values are not fictitious, but the result of an increasing demand for prints and 
 of their scarcity, consequent upon their wider dispersion throughout the world. 
 
lO THE PRINT COLLECTOR. 
 
 that every picture, or marble, or gem, is unique, and has therefore 
 no fellow wherewith to make direct comparison, and thus estimate 
 the value ; whereas, of prints, there are, generally speaking, many 
 of the same, and there will always be, except in some instances 
 which are too rare to affect the observation, other prints from the 
 same plate, of the same quality, in the same state, which can be 
 referred to whereby to fix very distinctly what the proper price 
 should be, an advantage which cannot be had where the article is 
 unique. 
 
 But the sixth head is the essential point on which every other 
 subject of collection lies, with respect to prints, at a prodigious dis- 
 advantage, and that is the comparative certainty, in the case of 
 prints, of ascertaining the genuineness of the article, contrasted 
 with the impossibility, in every one of the other departments, of 
 having that entire and gratifying satisfaction which arises from the 
 full assurance that every article is undoubtedly what it professes to 
 be.* Where is there a collection of pictures, or of marbles, gems, 
 medals, coins, or curiosities, or any articles indeed of vertu, unless 
 it be prints, the proprietor of which, if he be at all sensitive on 
 such a matter, can receive the visit of a stranger connoisseur of 
 acknowledged judgment, without some feeling of apprehension that 
 a doubt may be suggested here, and a suspicion insinuated there, 
 tending to put the possessor out of conceit with some one or other 
 of his favorite specimens ? This anxious misgiving must arise on 
 every similar occasion, and be ever operating as a serious drawback 
 to the gratification which a collector hopes, and is entitled, to 
 enjoy from the exhibition of his stores. Where is the picture, or 
 
 * Thirty years ago, owing to the smaller prices of prints, there was not as now the 
 same inducement to dealers to "doctor up" imperfect impressions and manufacture 
 false proofs. As intimated in the introduction to this edition, one constantly meets 
 with what may be called spurious impressions of engravings in which the letterings 
 have been altered or erased to make them pass with the uninitated for what they are 
 not. 
 
THE VRIN'r COLLECTOR. II 
 
 how often is a picture seen, of which artists and connoisseurs will 
 be unanimous in opinion that it is a genuine work of the master, 
 and if so, that it is pure as it came from his easel ; that it is not 
 damaged, or mended, or painted over, or worked upon, or injured 
 by injudicious cleaning or varnishing ? Stories are told of artists, 
 more ingenious than honest, who have so skilfully copied a picture, 
 to which they have been allowed access for the purposes of study, 
 that they have ventured to substitute their copy for the original, 
 and have succeeded in the bold attempt, and carried the latter 
 away in exchange. In like manner, though not to the same extent, 
 because the subjects are of rarer occurrence, doubts are frequently 
 entertainable of the authenticity of a statue or like ancient work ; 
 and even as early as the age of Michael Angelo, a daring artist 
 ventured to trifle with the cognoscenti of his day, producing as 
 antique a fragment of a work of his own, purposely mutilated, and 
 of which he had concealed the remainder, and having enjoyed the 
 admiration bestowed on his deception, produced the evidence 
 which he had reserved for the purpose of proving the inadequacy 
 of connoisseurship to protect itself from imposition. 
 
 Coins and medals are perhaps better known and discerned than 
 they used to be, but there is abundance of testimony that the most 
 intelligent are liable to be deceived. There are many coins, now 
 admitted to be forgeries, which heretofore passed as ancient and 
 genuine, and were classed and described in the catalogues of the 
 most esteemed writers ; and no wonder that this was so, for in the 
 €arly part and middle of the sixteenth century some of the best 
 artists of Italy employed the most consummate skill in executing 
 coins in imitation of the antique, and for the express purpose of 
 passing them off as such, which they had no difficulty in doing, and 
 the word Paduan became a synonyme for a forgery. Even at the 
 present day, a diversity of opinion, among good judges, on the 
 genuineness of a coin submitted to inspection, is by no means an 
 unusual occurrence, and Galli, Becher, and Cavino are not always 
 
12 THE PRINT COLLECTOR. 
 
 with certainty detectable. There has now lately been busy in 
 different parts of England a dealer in spurious coins, pretended to 
 be ancient, and he has created such notoriety by the success of his 
 impositions, that the respectable dealers in coins and medals in 
 London have published and circulated his portrait, in order to cau- 
 tion the unwary. 
 
 As to engraved gems, whether a readiness of ascertaining the 
 genuineness of the article be among the advantages which the col- 
 lector of these antiquities can claim, may be judged from the single 
 anecdote, which all who take interest in these matters may remem- 
 ber, that Mr. Payne Knight, a most experienced and acute con- 
 noisseur, showed to the artist Pistrucci an ancient gem which he 
 had bought at a great price, and which the artist immediately rec- 
 ognized as the workmanship of his own hand. Of other articles of 
 vertu, the generality have no very sure means of recognition, and a 
 certain disposition to incredulity is ever found to prevail among 
 visitors of such collections, and which, however unjust, is certainly 
 unpleasant to the exhibitor. 
 
 To prints nothing of this sort attaches. True it is, that of 
 nearly all important prints of ancient masters there exist copies, 
 deceptive copies as they are admitted to be ; and there are re- 
 touched plates, and repaired impressions, but these matters will be 
 further alluded to hereafter ; meantime, let it suffice to observe 
 that though these do exist, they do not prevail in the same manner 
 or degree as in the other departments, nor so as ever to create one 
 moment's apprehension in the mind of a judicious collector that 
 he has in his portfolio a single print which is other than what he 
 believes it to be. 
 
 Certainly, ignorance is ever liable to be deceived, especially 
 when accompanied by conceit and self-confidence. Hudson, the 
 portrait painter, the master of Sir Joshua, was so fortunate as to 
 obtain a fine impression of the very rare etching by Rembrandt, 
 called the coach landscape. On occasion of this acquisition, he 
 
THE PRINT COLLECTOR. 13 
 
 gave a supper to his amateur friends, at which to display his pur- 
 chase. Benjamin Wilson, his brother painter, who had a good 
 judgment in this branch of art, and knew that Hudson had very lit- 
 tle, though affecting great enthusiasm for it, amused himself at his 
 expense. He etched a plate in the style of Rembrandt, and sent 
 an impression to Paris, and circulated a report at home that there 
 had been discovered in France a print, by Rembrandt, hitherto un- 
 known, and apparently a companion to the coach landscape ; that 
 money had been offered for it for the king's collection, but the 
 proprietor meant to bring it to England for sale. Hudson here- 
 upon, to anticipate his English friends, hasted over to Paris, and 
 bought the print. On his return he collected all his amateur 
 friends in London to a second supper, given specially for the pur- 
 pose of receiving their congratulations, and which he received ac- 
 cordingly. Very shortly after this, the whole of the same party, and 
 Hudson with them, were invited to a supper at Wilson's. When 
 all were introduced to the supper-table, every plate was found 
 turned down, and on the guests lifting them, behold under every 
 one appeared an impression of the unhappy companion of the 
 coach landscape, and under Hudson's plate lay the money that he 
 had paid to Wilson's confederate in Paris for the purchase. 
 
 The circumstances embraced in the seventh and eighth heads 
 may be considered together, for the pleasure or utility derivable 
 from a collection depends much upon imparting it, and this again 
 depends much on the ability or inclination of the party to whom it 
 is proffered, to enjoy and appreciate it. All persons are pleased 
 with prints, they are not altogether caviare to the multitude ; less 
 initiation is necessary for the appreciation of their excellences. To 
 duly admire and enjoy a fine picture, especially of any of the Ital- 
 ian schools, a regular professional education is almost essential. 
 To enjoy a gallery of painting, or statuary, we must walk about it, 
 and we must have daylight ; but a portfolio of prints may be laid 
 on the table, and give variety to the amusement of a winter's 
 
14 THE PRINT COLLECTOR. 
 
 night, when variety of occupation is most in requisition, and all the 
 circle, as they sit, may participate in the enjoyment. 
 
 Drawings are the only things which may be supposed to com- 
 pete with prints in these points of popularity and facility of exhibi- [cngia 
 tion and inspection, and with modern water-color drawings this 
 may be the case ; but all drawings, and more especially those by 
 ancient masters, require as much, or perhaps even more than pic- 
 tures, a regular professional education ; and even if this were other- 
 wise, still the disadvantages attach to drawings of a larger expendi- 
 ture and the uncertainty of genuineness. The preservation of 
 them is also more difificult, as the colors are apt to fade or change 
 by various circumstances ; either by exclusion, for instance, from 
 air or from light, or by too constant exposure to light or air ; and 
 they are, by reason of the sensitiveness of color, much more readily 
 and seriously affected by the slightest approach of damp. 
 
 Of coins and medals, which also may be enjoyed round a tea- 
 table, the collector, who opens his cabinet, attracts the few, if any 
 such happen to be present, who take an interest in this specific 
 study. He attracts the attention also, for his Syracusan medal- 
 lions, and Grecian kings, and Italian medals, of another few, who, 
 though ignorant of the science, may be amateurs of fine art ; but 
 he fails in his attempt to excite any interest in the generality of a 
 mixed company : and if none of such initiated as alluded to be 
 present, he opens his cabinet in vain. 
 
 The same observation will apply in a nearly equal degree to a 
 collection of gems : their casts in plaster, uniform in color, exqui- 
 site in delicacy, neat and new-looking, each in its golden border, 
 would, in the eye of the many, outvie the originals. But the print- 
 folio has charms, in one or other of its varieties, for all classes, old 
 and young, gentle and simple, learned and ignorant. 
 
 The universal popularity of prints is, indeed, readily accounted 
 for ; they possess qualities calculated to allure all tastes. To the 
 lover of art they present faithful translations of the works of the 
 
THE PRINT COLLECTOR. 1$ 
 
 great painters of all ages and countries, works dispersed over the 
 whole civilized world, and never to be seen, but by a comparatively 
 few individuals, except through the medium of the sister art of 
 engraving ; they present portraits of the illustrious and remarkable 
 persons of all times and all nations, of all professions and pursuits ; 
 they embody and realize the great and interesting events of his- 
 tory, and give substance and form to the imaginations of poetry 
 and romance ; they present the scenery of far distant countries, 
 the cities of the world, the habits, ceremonies, and features of all 
 the inhabitants of the earth, nay, they are the only medium, in- 
 deed, of presenting to the eye the representation of every object of 
 art or nature which words are inadequate to describe. 
 
 In some of these observations, however, on the general utility 
 of prints, we refer to other classes than those which find their way 
 into the portfolio of collectors, for these are such as are estimable 
 as works of art, with little or no reference to other objects or quali- 
 ties. It is well observed by Mr. Wilson, in the preface to his 
 " Catalogue Raisonnee of the Select Collection of Engravings of an 
 Amateur," that it has been too much the custom in this country 
 to consider engraving more with reference to its utility than with 
 regard to its higher qualities, as it has been chiefly encouraged in 
 the decoration of books and the illustration of scientific and me- 
 chanical treatises. 
 
 To return, then, to our proper subject : the collector must be 
 warned to prepare himself for certain unpleasant inconveniences 
 which will arise out of this very quality of the popularity of the ob- 
 jects of his pursuit. He will soon discover that though all may be 
 amused, there are but few who judiciously admire ; and he must 
 not expect, while a whole company crowd round his portfolio, that 
 his finest specimens will be in any degree appreciated, and, except 
 on special occasions, when he may have reason to think that they 
 will be so, he will grow reluctant to display them. Nevertheless, 
 he should not be too jealous of the intrusion of the uninitiated, but 
 
1 6 THE PRINT COLLECTOR. 
 
 endeavor to possess himself of sufificient magnanimity to suppress 
 that contemptuous sort of feehng which his brethren are sometimes 
 too apt to entertain with respect to all who have not a kindred 
 taste ; he should bear in mind that there are many who, though 
 ignorant, are desirous to learn ; many who have good natural taste, 
 though untutored and undisciplined ; and he will find pleasure in 
 discerning indications of these qualities, and will, on such occa- 
 sions, hazard a display of his divine things, even at the risk of hear- 
 ing his gods blasphemed. 
 
 It must be confessed, indeed, that the temperament of an 
 exhibitor is sometimes put severely to the test : remarks will now 
 and then be made which are not at all germane to those feelings 
 which the contemplation of the work displayed is calculated prop- 
 erly to excite. When a print, which has been previously pro- 
 claimed to be of importance, is produced before an assembly of un- 
 initiated, the first secret feeling is, generally, disappointment, and 
 the first observable effect a solemn pause of decorous silence ; but 
 presently an observation is hazarded, in a low tone, which awfully 
 discloses the total insensibility of the speaker to any one quality 
 for which the work is admirable. ' ' What can it be ?' ' said a 
 young lady, after contemplating a fine print of the Fall of Phaeton. 
 "Do look, mamma; what is it?" The old lady looked atten- 
 tively. " Really, my dear, I do not know Avhat it is ; but it seems 
 to be a sad accident." Gentle reader, if when you have become a 
 collector, and are exhibiting the large " Descent from the Cross" 
 by Rembrandt, and are expecting exclamations of admiration at 
 the wonderful flood of light which is streaming in bright beams 
 from heaven, blazing on the wood of the cross, and on the fur cap, 
 back, and arms of the man who is leaning over it, do not sink into 
 the earth, if, instead of any such burst, you hear uttered in a whis- 
 per, " Do look at that man on the ladder ; what a great patch he 
 has got on his trousers !" Endeavor also to reconcile yourself to 
 the very general, but sickening phrase, " They have made ;" 
 
THE PRINT COLLECTOR. 17 
 
 " How large they have made the men in the boats," — as if a fine 
 ])icturc or print were hke a piece of machinery, manufactured by 
 such a one " and Co.," which, by the v/ay, with respect to prints 
 of the present day, is an idea in some measure reaHzed ; of which 
 more hereafter. Neither lose all patience, if, when you display 
 your "John Sylvius," your spectators, without noticing the por- 
 trait, immediately begin spelling, with great industry, the words 
 around and underneath, puzzling out the Latin for the ladies ; or 
 if the only exclamation be, "bless me, how like Mr. Dash !" 
 
 Even these disheartening shocks are less terrible than the smile 
 of incredulity, so often ill concealed, when an antiquary produces 
 to view something, which no one chooses to believe to be what it 
 professes to be, and is. Incredulity is often very undeserved. A 
 friend of ours has a genuine curiosity, which we have frequently 
 seen him exhibit, and then, for one that reverenced, there were ten 
 that smiled. It is a small portion of the hair of Edward the 
 Fourth, King of England. Our friend, when a boy, was present 
 with Mr. Emlyn, the architect, at the time of the discovery by the 
 latter, in St. George's Chapel, at Windsor, of the tomb of this 
 king, in the year 1789, as described fully in the publications of the 
 Antiquarian Society, " Vetusta Monumenta,'' vol. iii. pi. 7 and 8. 
 He then and there made this rape of the lock, and wrapped it in a 
 piece of newspaper, which also he preserves, as it bears the stain of 
 the liquid in which the king's body was found immersed. So diffi- 
 cult is it to obtain credit for the genuineness of an article of un- 
 common or unexpected occurrence ; and the conclusion is, that 
 that line of collecting is the best to take up, in which there is least 
 vantage ground for scepticism to chill enthusiasm. 
 
 But to return. There is one quality which has not yet been 
 referred to, which is common to all collections of ancient art, 
 namely, their antiquity ; antiquity considered simply as such, and 
 on its own account. In some cases this single quality forms the 
 only value. It is not easy to analyze the pleasure which is afforded 
 
1 8 THE PRINT COLLECTOR. 
 
 by the contemplation of objects of this description, and yet there 
 are very few persons who do not feel a gratification and interest in 
 such things. It may fairly be doubted whether a lock of hair of 
 any present reigning sovereign would interest so generally as this 
 of old King Edward, or even whether a few gray hairs from the 
 venerable head of the first man in Europe could prevail in this 
 respect against a few, if he could have spared any, from the head of 
 Julius Caesar, or, indeed, of any noble Roman of them all. A col- 
 lection of prints has, in a very considerable degree, this quality of 
 antiquity : there are many of as early an era as that of the English 
 king just mentioned. Such prints are calculated to produce, there- 
 fore, independent of their interest as works of genius, this pleasure 
 arising from the contemplation of antiquity simply as such ; and if 
 this species of gratification do not often come into account, it is for 
 no other reason than because it is lost, like a planet in daylight, 
 immersed in the greater and more specific gratification arising from 
 the contemplation of a work of art. 
 
 It may not occur to the mind when one is examining an ancient 
 print, but, if it do occur, it excites much additional interest, that 
 we are now seeing, handling, and admiring the same identical thing 
 which was seen, handled, and admired by our ancestors, or at least 
 the ancestors of our generation, several centuries ago. I hold in 
 my hand, perhaps, at this moment, the same print, certainly the 
 same virtually, but possibly the same identical piece of paper, that 
 Marc Antonio held in his hand when he submitted his "Adam 
 and Eve" to the approbation of his patron, Raffaelle. I am at this 
 moment looking, perhaps, at the same print, certainly the same vir- 
 tually, but possibly the same identical piece of paper, the same 
 identical impression it may be, of "The Conversion of St. Eus- 
 tachius," by Albert Diirer, which the Emperor Maximilian gazed 
 at with admiration and delight, and which called from him the 
 order that the copper-plate should be filled with gold, anxious, ere 
 its beauties should become faded, to enshrine the wonderful work 
 for evermore. 
 
CHAPTER II. 
 
 OF CLASSIFICATION. 
 
 Having determined that the department, in which to become 
 collector, shall be that of prints, the next consideration will be the 
 subject matter of the proposed collection, and this with reference 
 to its intended extent and nature. In order to this, it may be well 
 to take a brief general view of the whole of the extensive material 
 of which collections may be composed, or from which they may be 
 selected ; and to consider, also, classification, or the manner in 
 which this large and miscellaneous matter may be divided, or, in- 
 deed, arranges itself into great classes, and thence into minor sub- 
 divisions. In entering upon this subject, we must request the 
 reader to pardon a few details, which are introduced for the use of 
 those only, if such there may be, who are, as yet, totally ignorant 
 of the subject treated of, and now, for the first time, introduced to 
 it. 
 
 There are various descriptions of prints, various modes of art by 
 
20 THE PRINT COLLECTOR. 
 
 which prints are produced ; popularly, all are called by the general 
 term, "engravings." This word, however, as applied to a print, 
 is not correct ; the more proper term is, "a print." A print is an 
 impression taken in ink, or other colored fluid, upon paper, vellum, 
 satin, or other suitable material, from an engraving made upon 
 some hard substance. The substances used for this purpose are 
 wood and metal, the metal being generally, and until our own time 
 almost universally, copper, though sometimes, but rarely, iron or 
 steel, which have been again introduced of late years. The engrav- 
 ing, therefore, is not the print, but is that which produces the 
 print. But it is waste of time to debate upon the propriety of a 
 term, especially when public usage, the sole arbiter of all language, 
 has chosen to adopt it. Nevertheless, precision of terms is always 
 of value as knowledge, though it may be pedantic in practice. 
 
 Of engraving upon wood there is one method only, but there 
 are several different species of engraving upon metal. All the 
 modes of engraving upon metal are, however, alike in that one 
 respect in which all differ from engraving on wood ; the latter is a 
 work in cameo, the former in intaglio. On metal, the design is 
 produced by cutting, scratching, or corroding the material ; on 
 wood, the operation is precisely the reverse, the design being cut 
 in relief, the rest of the surface being lowered. The impression, 
 in the latter case, is taken by inking the projections which form the 
 design ; in the former case it is taken by filling the incisions with 
 ink, wiping clean the rest of the plate. 
 
 The executing of the incisions on the metal is performed in sev- 
 eral ways ; the mode of working, to which the term " engraving" 
 may be, and is, more peculiarly, applied, is by means of a tool 
 called a burin, which has a lozenge-shaped point, and ploughs up 
 the copper, by the pressure of the artist's hand, in the direction 
 required by his design. Another mode is called "etching." In 
 this the metal is covered with a varnish, or " ground," as it is tech- 
 nically termed ; the design is then traced with a needle, which cuts 
 
■J'JIF. J'A'/NT COLLECTOR. 21 
 
 through the varnish in its progress, and leaves bare the metal 
 throughout the line which it describes ; after this, aqua fortis is 
 poured on the plate, and suffered to lie ; this eats into all the parts 
 where the copper has been bared and exposed, but is prevented 
 from eating into any other part by the ground laid on for the pur- 
 pose. Another mode is by the dry point, which consists in scratch- 
 ing the design on bare metal, with a needle similar to that used for 
 etching. The latest invention is what is called " mezzotinto." 
 The process here is to rake and scratch the copper plate all over 
 in every direction, covering it with incisions so close and so 
 crossed, that if an impression in ink were taken from the plate in 
 this state, it would present a sheet of total black ; after this, the 
 depth of dark is lowered by burnishing the plate down in parts re- 
 quired to be light, and so more and more, producing intermediate 
 tints and absolute lights, till the design comes out in all its proper 
 gradations of shadow. There are other modes, such as dotting or 
 stippling, performed with a punch and mallet ; aqua tinta, by 
 which the effect of bistre, or Indian ink, is attempted to be given ; 
 but as nothing excellent has hitherto been produced, except by one 
 or other of the methods before detailed, no further notice need 
 here be taken of any others. The modern art called lithography 
 need not be noticed in a work treating on engraving, because it is 
 not engraving, does not proceed on similar principles, nor has any- 
 thing in common with it, except that it is a means of multiplying 
 impressions on paper, but by a totally different process. It is a 
 chemical process. The design is drawn, on prepared stone, with a 
 crayon of a peculiar composition, of a nature to receive and retain 
 printing ink when applied to it, the stone being of a nature to repel 
 the ink and take no stain from it. 
 
 Prints are met with, executed some by one, some by another, 
 of the several methods before mentioned, to the exclusion of all 
 the rest ; but most usually two or more of the different modes are 
 united, and, in modern times, all the methods are occasionally em- 
 
22 THE PRINT COLLECTOR. 
 
 ployed in one and the same plate.* It is not easy, in all cases, by 
 examination of an impression, to distinguish, with certainty, from 
 one another, the different practices which may have been adopted 
 in the several parts. Prints which are impressions from plates on 
 which etching has been the sole or chief mode of working, are by 
 artists, amateurs, and dealers generally called " etchings," in con- 
 tradistinction to " engravings," which latter term they apply to 
 impressions from plates executed wholly or chiefly with the burin. 
 This distinction is more than in name, or than at first appears, and 
 forms an important class. The prints which are thus called " etch- 
 ings" will generally be found to be original designs of the engrav- 
 ers, and in many cases struck off at once, and exhibiting all the 
 spirit of original first thoughts, and all the freedom for which the 
 playful facility of the etching needle gives opportunity and scope. 
 On the other hand, the prints to which the word " engraving" is 
 applied will generally be found to be translations (" copies" is 
 neither the word nor the thing), " translations" of works originally 
 executed in painting, and now transferred to the copper by the 
 
 * The art of photography was discovered in 1802, and brought in practice about 
 1S4S. It might perhaps be more accurately described as a process for copying, which 
 it does rather than reproduce. Its subsequent development has led to various devices 
 by which remarkable fac-similes of prints are made. These are known as helio- 
 gravures, heliotypes, autotypes, photo-lithographs, etc. In some cases the photographs 
 are printed upon metals, such as zinc, and in others upon prepared plates of hard 
 glutinous substances, resembling gelatine. These impressions or transfers are eaten 
 into the surface by chemicals, and printed copies in ink are taken from them in the 
 same manner as from an etched copper plate or lithographic stone. As the materials 
 composing these plates are generally very perishable, only a limited number of clear 
 and perfect impressions can be taken before the wear becomes apparent. The col- 
 lector, however, is not likely to be deceived into accepting this class of prints as orig- 
 inal ; but as the very finest copies of the genuine prints are usually selected for repro- 
 duction, they are extremely valuable for reference and comparison. 
 
 The art of lithography has also been revived and has increased to an extraordinary 
 extent. Some of the best modern French artists do not disdain to use the crayon 
 and the pen to trace their original conceptions upon the lithographer's stone. 
 
THE PRINT COLLECTOR. 23 
 
 laborious and mechanical skill of the patient worker with the burin. 
 An engraving thus limited in its meaning may be considered to 
 personate the art in her full attire of ceremony and state. The 
 etching shows art at her ease, art in dishabille, perhaps, but never a 
 slattern ; only throwing off much of the restraint and stiffness to 
 which she is, on high days, subjected. There are a few beautiful 
 little etchings by Rembrandt, which appear as if fancifully scrib- 
 bled at a moment of idle leisure ; we see heads and faces, and little 
 figures in different directions, from the same piece of copper, with- 
 out any relative connection or design, all playfulness and ease, yet 
 admirable in execution and expression. 
 
 It will be perceived that, in the different methods of working 
 which have been enumerated, we have, to a certain extent, a classi- 
 fication formed to our hand ; we have, first, wood engravings ; 
 next, copper-plate engravings ; then, etchings, " painter's etch- 
 ings"* they are generally called ; and, lastly, mezzotinto ; and this 
 is a classification which some collectors do adopt, confining their 
 pursuits to one or other of these classes, or extending it to all, as 
 their inclinations or means may determine them. 
 
 But it will be better to look further into the mass of materials 
 before us. We find, then, prints executed in the various ways be- 
 fore mentioned, as well singly as in combination. We find these 
 various modes of art practised, not in our country only, but in 
 
 * The terra " painter's etching" is not always clearly apprehended. It is used in 
 contradistinction to the etching or engraving executed after a design or picture by 
 some other artist. A painter's etching is an original production throughout — that is, 
 the first conception of the subject, the composition, delineation, and mechanical 
 execution, were all the work of the one artist, as in the case of Rembrandt, whose 
 prints are entirely the product of his own mind and hand. He even carried this to the 
 extent of taking the impressions from a press in his own house, probably in many 
 instances doing this personally. He thus realized to the fullest extent Mr. Ruskin's 
 theory that an artist, and even an author, should be the publisher of his own works, for 
 Rembrandt also sold his etchings without the aid of the merchant. This perhaps 
 would not be as practicable now as at that time. 
 
24 THE PRINT COLLECTOR. 
 
 various parts of the continent of Europe ; and we find each nation 
 or country showing some express mannerism, or pecuHarity of 
 style, distinguishing its works from the performances of others. 
 We find that prints are still in existence, by artists who lived nearly 
 four centuries ago ; and that a vast variety of specimens remain, 
 also, of artists who have lived, in succession, at all intervening 
 periods, from that early time to the present. We find that, of 
 these generations of artists, some have left original works, of which 
 themselves were the designers ; others have merely been the 
 copiers or translators of the designs of others, but produced noth- 
 ing of their own invention. We find varieties, also, in the subject 
 matter of these various engravers ; we find that some have con- 
 fined themselves, wholly or chiefly, to portraits ; others to land- 
 scapes ; others to historical subjects ; others to fancy pieces ; 
 others to rural scenes, cattle, etc. ; others to domestic incidents ; 
 others to the amusements or business of rustic life ; others to bat- 
 tles and combats ; others to marine affairs ; others to still life ; 
 others to natural history. Here, then, is not only great opportu- 
 nity and choice of classification, but occasion, and, indeed, neces- 
 sity for it, and, accordingly, it is found to be adopted, in one way 
 or another, in all collections, great or small ; in small collections in 
 some very simple method ; but, in large ones, according to a more 
 complex plan ; some of the numerous classes, which may be de- 
 vised, forming subdivisions within the more general ones. It will 
 be sufficient to notice the more prominent and general methods of 
 classification ; subordinate modes will suggest themselves if they 
 should be needed. 
 
 The first classification that may be mentioned is that into 
 schools. By this is meant the arranging of prints according to the 
 countries in which the artists who produced them were born, or 
 educated, or practised. Thus we have the Italian school, the Ger- 
 man, the Dutch, Flemish, French, English schools. In extensive 
 collections, this is generally the first leading grand division ; other 
 
THE PRINT COLLECTOR. 25 
 
 classes forming subdivisions within it, and these, perhaps, branch- 
 ing into further sub-arrangements. Minor collectors frequently 
 confine themselves to some one or more of these several schools, to 
 the exclusion of the rest. In the sister art of painting, the school 
 of Italy is divided into several ; we have the Lombard school, the 
 Florentine, the Venetian, the Roman, and others ; but this is 
 rarely the case with their engravers. 
 
 This arrangement into schools necessarily calls attention, not 
 only to the names of artists, but to their birthplaces and resi- 
 dences ; and hence occurs a further very natural classification, 
 namely, that of placing together all works of the same artist, how- 
 ever various the subjects he may have treated, and thus forming a 
 collection of the whole, or a certain portion, of the productions of 
 any one or more engravers. Where the larger system of classifica- 
 tion into schools is adopted, this will, very properly, form a subdi- 
 vision merely of that larger class, and in all extensive collections 
 it invariably does so ; but in lesser collections it may form, of 
 itself, the primary classification ; and such collections may be con- 
 fined to one or a few artists at pleasure, to the exclusion of all oth- 
 ers ; and this is, by no means, an uncommon practice. 
 
 There is a variety, which may be noticed, of this mode of 
 arrangement ; and that is, the classing by artists, as already consid- 
 ered ; but with respect to engravings, properly so called, placing 
 them, not according to the artists who engraved them, but accord- 
 ing to the painters from whose pictures the engravings are made. 
 Thus, one collector will amass all prints, no matter by whom 
 executed, or at what period, after pictures by Raffaelle ; another, 
 after pictures by Rubens ; another, Sir Joshua Reynolds. As 
 engraving is an imitative art, of which painting is the original 
 which it seeks to imitate, or rather, and to speak more correctly, as 
 these two arts bear, to one another, the same relation that an origi- 
 nal poem, or other literary composition, bears to a translation of 
 the same into another language, the principle of arrangement now 
 
26 THE PRINT COLLECTOR. 
 
 under notice will be adopted by every collector who considers 
 engraving as a mere auxiliary to painting. But others may, per- 
 haps, be of opinion that this mode does some injustice to the repu- 
 tation of engravers, for that, in a collection of works in this their 
 department of art, the names of the practisers in that art ought, in 
 fairness, to be the prominent index of reference ; but when the 
 arrangement is at last described, it is the name of the painter only 
 that is brought into notice ; and, on being shown such a collection, 
 we hear of Raffaelle, Rubens, Vandyke, and Correggio again and 
 again , but we hear not, or at best only in subordination, if at all, 
 the names of Marc Antonio, Bolswert, Vorsterman, or Strange, 
 although these latter were, in the line in which they practised, 
 equal to their brother artists in every appropriate excellence of 
 their respective arts ; and although, but for the labors of these 
 engravers, the painters, their originals, could never introduce a 
 memento of their works into our portfolios. By this system, jus- 
 tice can then alone be done to the engraver, when the painter, or 
 at least designer and engraver, are one and the same, which is 
 sometimes the case. There are several engraved prints which are 
 believed to have had no originals on the easel. Most, if not all, of 
 the works on copper and wood of Albert Durer were executed by 
 himself, the former engraved with the burin, the latter drawn, 
 though probably not carved, on the block by his own hand, from 
 his own designs ; and it is believed that he did not always make a 
 picture of the subject first. Strutt observes, very truly, that the 
 prints of this artist, and also those of Rembrandt and Salvator 
 Rosa, are such exact counterparts of their paintings, that they be- 
 come the rivals of them. 
 
 These observations suggest a further subdivision, or depart- 
 ment, in classification, namely, the ranging together the works of 
 all artists who have been their own engravers. At the head of 
 these may, perhaps, be placed Martin Schoen, the artist who has 
 the reputation of being the earliest copper-plate engraver whose 
 
TIIK PRINT COLLECTOR. 27 
 
 name can be ascertained with any certainty. Other very early art- 
 ists would follow, especially Albert Diirer ; and this department 
 would include such artists as Goltzius, Callot, Delia Bella, and our 
 own Hogarth, not to mention the more important artist, Rem- 
 brandt, and those who frequently form a class by themselves, under 
 the name of the Dutch etchers, Berghcm, Du Jardin, Ostade, &c. 
 
 Another method of arrangement is the chronological ; it cannot 
 be properly called classification, for, where it is made the leading 
 system, it rather confounds all classification. It ranges all artists 
 according to the era in which they flourished ; it may, or may not 
 be, made simultaneous with a classification into schools ; in a large 
 collection it is certainly advisable to arrange first in schools, and 
 then each school chronologically within itself ; and even, in a small 
 collection, it may be preferable to adopt the arrangement in 
 schools, for it gives the advantage of being able to watch the com- 
 parative contemporary progress of the art in different countries, 
 and to mark the difference between works of art, produced in 
 different nations, at the same epoch. 
 
 By the chronological arrangement is displayed the progress of 
 the art from its infancy to the latest day, and it has semblance, 
 therefore, of being a more scientific, interesting, natural, and 
 rational mode of arrangement than any other, and, perhaps, some 
 persons may so esteem it ; but, practically, it is not so satisfactory 
 as the principle on which it proceeds would encourage one to ex- 
 pect. The progress of the steam-engine may be traced, and shown 
 in models, and drawings, and sections, from its earliest notion, 
 through stages of gradual successive improvement, to its latest state 
 of perfection ; and the same may be said of many other produc- 
 tions of science or art. But the art of engraving was of such rapid 
 growth, that it had, in fact, no nonage. The art of design began 
 by tracing her lover's shade, in chalk, upon the wall ; but the art of 
 engraving stamped at once his perfect resemblance in full propor- 
 tion, and almost full rotundity of light and shadow. Some of 
 
28 THE PRINT COLLECTOR. 
 
 nearly the earliest productions of the graver remain, in some quali- 
 ties at least, unsurpassed to the present day. Speaking of Marc 
 Antonio and his contemporaries, engravers who flourished more 
 than three centuries ago, M. Millin observes that there has not, in 
 all subsequent time to the present day, appeared one single artist 
 who has handled the burin with so much intelligence in the design, 
 and so much precision of outline ; and (he might have added, as in- 
 deed he meant) who has shown such scientific knowledge of the art 
 of drawing. Nor is this more than what, upon consideration, 
 might have been anticipated ; it could scarcely be considered a new 
 art at the period when we date its origin. It is, in fact, among the 
 most ancient of arts, and what we call the invention of engraving 
 was no more than the application of it to a new purpose. 
 
 The art, whose beginning we date from the middle of the 
 fifteenth century, should, in strictness, be designated, not the art 
 of engraving, but the art of taking, from engraved plates of metal, 
 impressions on paper, or other suitable substance. The successors 
 of Tubal Cain had already, from time immemorial, been expert to 
 admiration in the ornamental intaglio work of the goldsmith, of 
 most exquisite design and workmanship ; and the perfection of art 
 of this sort, so soon as it stamped its impression on the wet paper, 
 stamped the image of itself ; the perfection of the art which was 
 thus proclaimed as its offspring. Like Minerva, bursting from the 
 head of Jove, it was but the bringing to light a talent which had 
 already arrived at maturity, but lay undivulged.* The progress 
 
 * The art of engraving upon metal plates was undoubtedly practised many centuries 
 before the Christian era. Among its earliest forms of which we have examples are 
 the bits of bronze work executed by the ancient Egyptians, In 1876-7 we had, in the 
 Castellani Collection, exhibited at the Metropolitan Museum of Art in New York, 
 some exquisite examples of Greek and Greco-Roman engraving upon copper, dating 
 back perhaps three or four centuries before the Christian era. Those who saw this 
 collection will not have forgotten the beautiful caskets covered with incised work of 
 the most graceful designs. These caskets were discovered in ancient tombs in Italy, 
 and in them were found the appliances of the toilet either used or to be used by the 
 
TlfF. PRI^T COLLECTOR. 29 
 
 since made consists chiefly in the invention of new modes, such as 
 etching and mezzotinto, and their combination with the original 
 mode by the burin alone, and also in the later inventions of 
 mechanical modes of performing things which were theretofore per- 
 formed by the unassisted hand of the early professors. There is 
 not, therefore, traceable a progressive advance in excellence, from 
 infant efforts to a mature perfection, which, indeed, would be most 
 pleasing to witness, and would, perhaps, if it existed, give a decided 
 preference to the chronological system of arrangement over all 
 others. This leads to the observation that it would be very desira- 
 ble, if it were practicable, to arrange, in chronological order, the 
 works of each individual artist, because of the great interest which 
 there would be in watching his progress from pupilage to his best 
 style ; but it is only some few artists who have dated their works, 
 and these only occasionally. Indeed, it must be confessed that, 
 comparing with one another, prints of the same artist, bearing 
 
 ladies at whose sepulchres they had been deposited. Perhaps the most lovely of the 
 engraved subjects were upon the backs of the metal mirrors, and representing scenes 
 in the life of Venus and kindred subjects. As one examined them it seemed as 
 though the idea of repeating them by means of impression upon some softer sub- 
 stance must have occurred to the authors. It was not, however, so far as we have any 
 existing evidences, until the secret of making paper had been discovered that this was 
 practised. As soon as this medium of reproducing designs was available, the inven- 
 tion of the art of engraving, as now recognized, was made. Previous to this no satis- 
 factory substance was found which could properly receive the impressions and retain 
 them with any permanency. 
 
 For tenacity, good quality, and durability, the paper made in the fifteenth and 
 sixteenth centuries has not been surpassed. The ancient Egyptian papyrus was 
 manifestly unsuitable for receiving or retaining impressions. Such paper as may have 
 been made later by Asiatic nations does not seem to have found its way to Europe. 
 Vellum was the only substance known in the thirteenth century capable of receiving 
 and retaining a printed impression, but the difficulty found in its use, owing to its 
 unevenness and the extreme skill required in its manipulation, together with its sus- 
 ceptibility to become distorted through the influence of moisture or heat, when exposed 
 in single sheets, probably prevented its extensive use by the printer of engravings. 
 
30 THE PRINT COLLECTOR. 
 
 different and distant dates, it by no means appears that the best 
 works were executed last, or that the degree of excellence corre- 
 sponds with the march of time. Some have shown very precocious 
 talent, such as Jerome Wierinx, who executed, at the early age of 
 twelve years, a most accurate and admirable copy of an engraving 
 by Albert Diirer. The print by Lucas van Leyden, of " Sergius 
 killed by Mahomet," was executed at the age of fourteen. 
 
 It may be going too far into detail to speak of the mode of 
 arranging, among themselves, the works of each individual artist ; 
 yet, with those whose prints are voluminous, this point will require 
 the attention of the collector. Where dates do not occur suffi- 
 ciently frequent to allow of a chronological arrangement, the usual 
 practice is, and this practice indeed is often adopted in preference 
 to any other, to class by subjects ; placing all portraits together, 
 all scriptural subjects together, all landscapes together, and so of 
 the rest, and placing the scriptural subjects according to historical 
 chronology. The mention of this interior arrangement suggests a 
 question, which may perhaps arise, also, in the mind of the reader, 
 how far it might be advisable, or not, to adopt this mode of classi- 
 fication by subject only, as the general or primary arrangement of 
 all prints whatever. One advantage would certainly attend such a 
 system ; it would better enable the exhibitor of a collection to con- 
 sult the fancy of a mixed assembly, whom he might wish to amuse 
 with a portfolio ; he might inquire of one or another whether they 
 would prefer to see landscapes, or portraits, or figures, or what 
 else. But, beyond this, no advantage appears to arise, and this 
 single one is counterbalanced by inconveniences. Several artists. 
 Hollar, for instance, and Rembrandt, would be scattered about 
 through every folio, not to mention the sameness which would be 
 felt for want of variation of subject. This sameness is indeed suffi- 
 ciently irksome when this plan of arrangement is adopted with the 
 works of even one artist. A whole series of one subject, and that 
 so hackneyed a subject as to be incapable of much, if any, variety, 
 
THE PRINT COLLECTOR. 3 1 
 
 occurs in tedious succession, and has been found, indeed, to 
 amount to a decided objection to thus classing prints. In Albert 
 Diirer's works, for instance, the subject of the " Madonna and 
 Child" occurs upwards of twenty times. Although, therefore, the 
 works of individual artists are generally, and indeed almost invaria- 
 bly, arranged with reference to subject only, such a mode has never 
 been resorted to for general classification. 
 
 By the observations which have been made, the young collector 
 will perceive that he has considerable option as to the line in which 
 he may choose to collect, that he can, if he please, with perfect 
 propriety, confine his pursuit within very moderate limits, and yet 
 become possessed of a very reputable collection, within the class 
 which he may choose to elect ; and there is many a collector, with 
 a high reputation as such, who, nevertheless, has never touched 
 above two or three, or it may be only one, of the divisions into 
 which the great mass of materials are, as has been seen, capable of 
 being divided. Thus, one collector may enjoy a reputation on 
 account of his Dutch etchings, or even his Rembrandts alone ; 
 another, on account of his early Italian, or even his Marc Antonios 
 alone ; another, on account of portraits, whether his British or his 
 foreign portraits ; another may be eminent for his early German, 
 his Martin Schoens, Van Mecklens, and that class. The divisions 
 and sub-divisions that have been enumerated, and others that may 
 suggest themselves, are capable of having changes rung among 
 them so as to afford great variety of choice, and, whatever plan be 
 adopted at the offset, it may always be extended by the addition 
 of some congruous class ; and a collector will find that he may thus 
 proceed, and indeed the difificulty is to resist the temptation to 
 proceed, till he attain the utmost limit that his means will afford, 
 and, if these be ample, the utmost limit to which the most extensive 
 collection can be carried, or, which is the great advantage of com- 
 mencing with a system, he may, at any time, stop short of further 
 extending his plan, content to occupy himself in making complete 
 the class which has been his choice of pursuit. 
 
1>^% 
 
 € ^ 
 
 CHAPTER III. 
 
 OF THE SELECTION OF SPECIMENS. 
 
 It is not meant that the title of this chapter should infer that 
 advice is about to be offered, at this time, as to the selecting, from 
 the works of any given master, the best or most characteristic 
 specimens of his merit, skill, and manner. As yet, our young col- 
 lector is not supposed to have decided upon the class, even, in which 
 he would commence ; much less, then, can it be foreseen who the 
 artists may prove to be from whose works he would select speci- 
 mens. By selection of specimens is meant, on the present occa- 
 sion, that which, if speaking of usual articles offered for sale in a 
 shop, might be called the choosing and picking out the best of the 
 sort, one well-made and perfect. Specimens of the works of 
 engravers ought, invariably, to have certain perfections, and to be 
 free from certain imperfections ; and these we now proceed to con- 
 sider. 
 
 Every print, admitted into a collection, ought to have three quali- 
 
THE PRIXT COLLECTOR. H 
 
 iications. It should be, first, an early impression ; secondly, a good 
 impression ; and, thirdly, in good condition. An early impression 
 and a good impression are by no means convertible terms ; a good 
 impression, indeed, cannot be other than an early impression, but it 
 does not always follow that, because an impression is an early one, 
 it is therefore a good one. The importance of earliness of impres- 
 sion will be perceived, when the effect is considered which results 
 from taking off many prints from a plate ; the continual rubbing of 
 the workman's hands, in wiping the plate on every occasion of tak- 
 ing off an impression, very soon rounds the sharp edges of the 
 engraving, and, by degrees, wears down the surface ; the more deli- 
 cate parts become faint and fainter, and at length broken and al- 
 most obliterated ; the stronger-worked parts become confused, the 
 intersecting lines breaking into one another, and impressions now- 
 taken from the plate are massy and clouded, and deficient in dis- 
 tinctness and gradation of shade. If the plate be reduced to this 
 state before the demand of the public for the print be satisfied, the 
 artist sets to work to repair, or, as it is technically called, " re- 
 touch" the plate ; he goes over the most worn parts, or, perhaps, 
 the whole of it, with the tool, restoring and strengthening the orig- 
 inal, and sometimes inserting additional work in the way of 
 "cross-hatchings," a technical term, implying lines drawn across 
 former lines, or otherwise, to produce, as he imagines, a better 
 effect. This retouching is sometimes done by the original artist, 
 and sometimes by other artists, into whose hands the plate may 
 have got ; and there are plates which have passed from hand to 
 liand, from generation to generation, retouched as often as reworn ; 
 plates executed two, or even three, hundred years ago, do exist at 
 the present day. By this retouching, when first performed, and 
 that by a judicious and able hand, a worn plate is made to produce 
 impressions, that, to an inexperienced eye, may be mistaken for 
 early prints from the plate in its original state ; and, indeed, in 
 many cases, a careful examination, by a practised judge, is neces- 
 
34 THE PRINT COLLECTOR. 
 
 saiy to detect retouchings, and the experience which is required for 
 this is not to be taught by precept. 
 
 With respect, however, to the very earliest impressions taken 
 from the plate, there are, in most cases, certain decided character- 
 istics which may be relied upon, with more or less confidence, as 
 guarantees of earliness of impression ; and a print, possessing 
 these, ever bears a higher proportionate price, by reason of this ad- 
 vantage, or of the supposed superiority evidenced by it. It has 
 ever been the custom of engravers, from time to time, as they pro- 
 ceed with their work, to take off an impression, that they may bet- 
 ter see their progress ; and when their engraving approaches 
 towards final completion, or becomes quite finished, all but the 
 addition of the name or mark of the artist, or of the publisher, or 
 of an inscription perhaps, such as, if a portrait, the name of the 
 person represented, they generally take off a few impressions, in 
 order that themselves and their friends may judge of the effect of 
 the work, and whether or no it be capable of any alteration or im- 
 provement. The impressions, thus taken off for proving the per- 
 fection of the work, are called, from the object of taking them, 
 " proofs," and such a print bears on the face of it, therefore, evi- 
 dence of earliness of impression. This is the meaning of the dis- 
 tinction which, in modern days, one is accustomed to see made, in 
 every advertisement of every new print published, of " proof before 
 letters," " open letter proof," and then " plain prints," and these 
 variations and others, such as " India-paper proof," bear gradation 
 of price, according to the assumed or promised earliness of the im- 
 pression. It is, perhaps, to be regretted that a practice, which was 
 originally resorted to for no other purpose than the honest satisfac- 
 tion of the artist's anxiety for his fair reputation, should have 
 degenerated into a means of traffic ; the number of proofs of differ- 
 ent kinds is no longer confined to the very few necessary to be 
 taken for satisfying the original intent, implied in the term, or for 
 presentation copies to the artist's friends or patrons, but is regu- 
 
TJIE PKJXT COLLECTOR. 35 
 
 latcd solely by what the expectation may be of the public demand, 
 with reference also, but not always due reference, to what the plate 
 will bear. 
 
 When Ferdinand Miiller, at Dresden, brought home to his em- 
 ployer, Rittner, the publisher, the first proof of his beautiful 
 engraving of the " Madonna di S. Sisto," the mercantile man 
 shook his head, and told the artist that he must go over the whole 
 of the plate again, and retouch it throughout, for that such deli- 
 cate work would not throw off a sufficient number of impressions to 
 answer the trade purposes ; Muller's remonstrances were in vain, 
 and he was compelled to rework his plate : at every touch he felt 
 that he was sacrificing genius to gain ; he completed the labor im- 
 posed upon him, but did not live to see a print taken off ; he sunk 
 under the dispiriting task, fell a victim to the vexation, and died 
 broken-hearted, on the very day, as happened, on which the first 
 proof impression of the retouched plate was rolled off at Paris. 
 
 The same mercenary, or at least mercantile, spirit, which rules 
 all the world's transactions at the present day, has induced dishon- 
 est people to resort, occasionally, to practices, by which the young 
 collector is deprived, in the case of modern prints, of the criterion 
 of earliness of impression, which has just been mentioned as availa- 
 ble, with respect to prints from copper-plates no longer in exist- 
 ence. Instances have occurred of popular plates, after being pretty 
 well worn out, getting into the hands of persons who have not only 
 retouched them, but have rubbed down and obliterated the inscrip- 
 tion, or avoided printing it, by interposing a slip of paper, or by 
 some like expedient, and have issued impressions of the plate in 
 this state as original proofs. 
 
 But, leaving this unpleasant subject, let us return to the notice 
 of the ancient, and very natural and intelligible, resort of the zeal- 
 ous desire of perfection, which influenced the artist of old, who, 
 considering his chief meed to be reputation rather than hire, took, 
 as has been observed, a few, and but a few, impressions before 
 
3^ THE PRINT COLLECTOR. 
 
 finally dismissing his copper from his hand. These are still called 
 by the name of " proofs," but more generally " first states ;" and, 
 where the artist may have taken impressions of his work at differ- 
 ent times, as he proceeded to the finish, and which is not uncom- 
 mon, there appear, not first states only, but second states, and 
 third states, and even more. Thus a first state may be that in 
 which the subject is only sketched in a little more than outline ; a 
 second state may be that in which all the shadows are in, and the 
 print apparently finished ; a third state may be where the engraver 
 has deepened some shadows by additional work ; or the same state, 
 or further states, may have the distinction of some little alteration, 
 or of the name or monogram of the artist, or an inscription, or (if 
 one print of a series) a number in the corner, or the name of a pub- 
 lisher. 
 
 Sometimes, and, indeed, generally in early periods of the art, 
 the artist was his own publisher, and no name of publisher appears 
 on the print but his own name only or monogram. Of monograms 
 mention will again be incidentally made hereafter ; the word signi- 
 fies a fanciful device or initial letter, invented or chosen by the 
 engraver, by which to designate his performances, instead of in- 
 scribing on them his name at length. Sometimes, however, and 
 especially in later times, the artist is not himself the publisher, but 
 deputes that office to another, or perhaps works for, and under, his 
 publisher, who is the principal personage. It has happened, also, 
 not unfrequently, that, after the first demand of the public is satis- 
 fied, and the print has required retouching, the artist, or first pub- 
 lisher, has disposed of the plate to one who becomes a second pub- 
 lisher, and he, after a while, to a third, each of whom, in succes- 
 sion, has added, or rather substituted, his own name, or, as it is 
 technically called, "address." From these circumstances there 
 arises another criterion of comparatively early impression, and deal- 
 ers and collectors speak of a print as being " before any address," 
 or with the "first address," Hence, also, it arises that the 
 
TJIK PRINT COLLECTOR. 37 
 
 retouch is not always clone by the engraver himself, but by some 
 other hand into whose possession the plate has fallen, for many of 
 the publishers of former times were themselves also artists. The 
 names of the re-publishers have their respective grades of estima- 
 tion : some there are who are observed not to have been in the 
 habit of taking to a plate, or subscribing their address to it, unless 
 while it continued in a fair state ; others are found to have been in 
 the practice of taking to such plates only as were to be had cheap, 
 from being impaired beyond the power of yielding further tolerable 
 impressions. Thus a " Vanderenden" impression implies a respect- 
 able state of the plate, while, to have the address of "Antonio 
 Salamanca" or " Thomassin," creates the idea that the impression 
 spoken of is, probably, of very middling degree. 
 
 One class of engravings there is, wherein the great characteristic 
 of early impression is the greater or less appearance of what is 
 called "burr," This term applies principally, if not solely, to 
 plates in which the dry point has been much employed. This in- 
 strument being a point merely without any clean-cutting edge, the 
 effect of it is to raise, in its operation of ploughing through the 
 copper, a rough, wiry edge on either side of the line which it 
 describes. This may be readily smoothed away ; but if impres- 
 sions be taken from the plate without this having been done, they 
 have a peculiar appearance : the lines, instead of being cleanly de- 
 fined and distinct the one from the other, appear furred, something 
 like what is produced by attempting to draw strong lines with writ- 
 ing-ink on damp paper ; and a soft, rich velvety effect is given, 
 which is especially remarkable in the lines terminating or crossing 
 the broad lights. By continuing to take impressions from the plate, 
 the rough edge soon wears down, the burr grows less and less as 
 this takes place, and, finally, disappears altogether ; and the prints 
 taken in this state will be found to have lost much of their richness 
 of effect. What the precise state of the plate may be, from which 
 the true lover of art, for itself, would prefer to select an impression. 
 
38 THE PRINT COLLECTOR. 
 
 is not here the question. He would, perhaps, not select the very- 
 earliest impressions, for, in some prints, the burr so predominates 
 in these as to form patches of black, and often obscure the design ; 
 but he will probably rather wait till the plate is so far worked, as 
 that there still remains sufficient burr to give a rich fulness to the 
 effect, but, at the same time, not so much as to be an imperfection 
 rather than a beauty. Be this as it may, we must, meantime, be 
 content to be ruled by the canon of criticism ; and here, unques- 
 tionably, the sole and peremptory rule is, that the more suffused or 
 suffocated with burr the impression is, the higher is its estima- 
 tion. 
 
 Prints from engravings on wood afford frequently undeniable 
 evidence of lateness of impression, by interruptions appearing in 
 the lines of the work, occasioned by the relief work on the block 
 having been broken away in parts, or indented, or otherwise 
 injured, by the operation of printing, or by accident. Until these 
 imperfections occur, the difference between early and late impres- 
 sions of an engraved block is, by no means, so striking as in cop- 
 per-plate engraving. Some of the blocks of Albert Diirer's prints 
 still exist ; and Mr. Ottley, in his " Inquiry into the Origin and 
 early History of Engraving," has published impressions from these 
 old blocks taken at this day, and which, from the improved method 
 of printing, show as well, if not better, in all parts where they are 
 sound, than the old impressions. Wooden blocks are capable of 
 throwing off a prodigious number of impressions. When Papillon 
 published his work on wood-engraving, he borrowed, for the illus- 
 tration of it, blocks which he had long before engraved for different 
 customers. He assures us that one of these borrowed blocks had 
 then already, when he began to use it for that publication, given 
 off four hundred and fifty-six thousand impressions. It is difficult 
 to give credit to this and similar assertions of Papillon, because the 
 number stated is so vastly beyond what it is possible to conceive the 
 public demand to have been ; but he is speaking of head and tail 
 
From the Original Bewick Blocks. 
 
THE PRINT COLLECTOR. 39 
 
 pieces, used as printers' ornaments throughout all their publica- 
 tions.* 
 
 It is clear, from what has been said, that there do exist means, 
 to a certain extent, of judging of earliness of impression in the case 
 of ancient prints of which different states exist, or which admit of 
 
 * At the date of the original publication of Mr. Maberly's book (1844), what might be 
 styled the modern school of wood engraving had only reached its earliest stages of de- 
 velopment. The wood blocks by the old masters, and after their designs, were executed 
 in a bold and coarse manner. The lines were heavy, the shadows massive, and the work 
 was strictly in keeping with the material upon which it was wrought. Early in the 
 present century a revival in wood engraving commenced ; for one hundred years pre- 
 vious very little had been done. Thomas Bewick, who flourished from about 1775 to 
 1S18, was among the pioneers of the new era. His works show in their execution the 
 influence of the German and French masters, but he added a peculiar refinement and 
 subtlety of treatment more in keeping with the age in which he lived, and gave his 
 works a touch of sentiment and individuality alike charming and original. Some of 
 his engravings may be taken as models upon which it would be difficult to improve in 
 any age. After him came a host of imitators and engravers, some of whom have 
 attained to great technical skill. The methods of treatment have become more and 
 more elaborate, until it is impossible to conceive of a greater delicacy of lines, even 
 upon copper or steel. Of course the finer the cutting the less ability the wood block 
 has to resist injury or the wear incident to printing from it. In order to preserve this 
 delicacy, the process of stereotyping was employed. This consists in taking moulds of 
 the wood blocks in fine prepared clay, and then casting from them in type-metal 
 (composed mainly of lead) plates which are very exact copies of the wood blocks, and 
 capable of working off a great number of impressions before wearing out. 
 
 A still later and very ingenious invention consists in taking wax moulds of the wood 
 blocks, and depositing upon their surface, by means of the galvanic battery, a thin 
 shell or film of copper ; this is in turn " backed" or filled in with type-metal to give 
 the necessary solidity, and from the surface of the copper an almost endless number 
 of impressions may be had before it becomes entirely useless. The most delicate lines 
 possible, and which would quickly become broken in the wood, can be reproduced by 
 this process. These mechanical facilities naturally encourage a tendency to elabora- 
 tion in the engraver's work ; but observation will convince any one that this is a 
 quality equally as available for hiding the artistic weakness of the engraver as for 
 displaying his superior technical skill. A sound judgment will prefer the bold suggest- 
 ive lines of the old masters in wood engraving to most of these labored productions. 
 
40 THE PRINT COLLECTOR. 
 
 the quality of burr which has been spoken of ; but, beyond the as- 
 sistance thus afforded, earliness of impression is to be judged of by 
 experience only. This experience may be considered of two sorts, 
 specific and general. By the former is meant the habit of seeing 
 other prints from the same plate, and thus being able to draw a 
 comparison, by directly laying print by print, side by side, where 
 opportunity offers, and, where it does not, by carrying in the recol- 
 lection prints before seen from the same plate ; and this latter help, 
 to be of any real assistance, requires an eye much habituated to 
 compare, appreciate, and class impressions. That which may be 
 termed general experience is of a more scientific and artist-like 
 description. A person having such will generally be able to detect, 
 from inspection of the print, though he had never seen an impres- 
 sion before, in what manner the plate, from which it has been im- 
 pressed, is engraven ; that is to say, whether it be engraved in a 
 strong manner ; or, if an etching deeply bitten, so as to be capable 
 of throwing off many good impressions ; or, whether it be engraved 
 in a slight style, so that even an early impression shall appear faint, 
 and liable to be mistaken, by an unpracticed eye, for an impression 
 from a worn plate. 
 
 Lucas van Leyden engraved with so light a hand, that it is very 
 rare to meet with an impression, from any plate of his, that does 
 not show like what, in the generality of prints, would be pronounced 
 a late impression. On the other hand, some plates are so strongly 
 engraved, that, unless in instances where they happen to have 
 escaped destruction until modern times, all the impressions met with 
 are, more or less, respectable. There are several copper-plates, 
 engraved two, or even three, centuries ago, that have been preserved 
 to our own time ; but an impression taken from these, at the pres- 
 ent day, is— quantum mutatis ! By the side of an impression, 
 drawn from the plate in its prime, it shows like the shade of Hector, 
 disembodied in a dream, compared with the substantial body of the 
 hero^ in the vigor of his earthly existence. 
 
THE PRINT COIJ.KCTOR. \\ 
 
 This is exemplified, to name one instance out of many, by that 
 beautiful work by Marc /Vntonio, " The Murder of the Innocents," 
 after Raffaelle, a copper-plate engraved about three hundred and 
 thirty years ago. The perfection of the drawing, in this perform- 
 ance, has ever occasioned it to be highly esteemed by artists. With 
 them, the composition, the design, and the drawing are the objects 
 sought ; and as these are, more or less, independent of goodness of 
 impression, that quality is of less consideration. To supply, there- 
 fore, the requisitions of students in art, this old plate has been, from 
 time to time, repaired and retouched as often as wanted ; and not 
 only are prints taken from it at the present day, but it is said to be 
 actually let out, by the hour, at Rome, to such as wish to take im- 
 pressions from it. 
 
 It has been already observed, that earliness of impression and 
 goodness of impression are not convertible terms. It happens oc- 
 casionally that prints, which are, unquestionably, early impressions, 
 are, nevertheless, not good impressions. This may arise from any 
 one or other of various accidents ; from their being printed on paper 
 of bad quahty, or with ink of bad color or consistency ; or from 
 some failure, fault, or accident in the printing. At the beginning 
 of the art, there was, probably, no rolling-press, or, if there were, 
 it was not worked with such precision and certainty as it is in mod- 
 ern days. 
 
 It is not ascertained when, or in what country, the rolling-press 
 was invented. There exist impressions taken in old times from the 
 same plate, some of which appear to be printed by the press, and 
 others by hand, that is, by laying the paper on the plate, and rolling 
 or rubbing the back of it ; and this is the mode in which, at this 
 day, wood-engravers generally take their first proofs. There are in- 
 stances of the same artist employing both methods ; hence it hap- 
 pens, that of some few ancient prints there are, what may be called, 
 two editions. Examples of this occur in the works of Nicoletto de 
 Modena, Antonio da Brescia, and Andrea Mantegna. 
 
42 THE PRINT COLLECTOR. 
 
 Sometimes a print appears with what is called a " shake," which 
 is occasioned by any accidental movement of the paper during the 
 operation of printing, and which produces a sort of doubling in 
 every part. This appearance of doubling may be occasioned by the 
 imperfection of the rolling-press, or the imperfect skill of the 
 printer, or from one or other of these imperfections having made 
 it necessary to pass the plate through the press twice. Sometimes 
 the pressure has acted unequally, printing stronger in some parts 
 than in others ; sometimes the workman has neglected to wipe the 
 copper sufificiently, or with proper caution. 
 
 A crease or fold in the paper is also of common occurrence ; 
 and, still more common, little unevennesses, occasioned by specks 
 of dust, straw, or other extraneous matter, becoming accidentally 
 bedded in the substance of the paper at the time of its manufacture. 
 If a hair happen to be in the paper, it often comes away in the 
 printing, and, having intercepted the ink, leaves white the place 
 where it lay, in the shape of a curved or irregular, wriggling line. 
 Sometimes white specks appear ; these are, probably, occasioned 
 by small globules of air getting confined under the ink on the inking 
 of the plate, and which, by the warmth communicated by the 
 chafing-dish, explode, and blow off the ink which confined them. 
 When these white lines or specks happen in a mass of dark shadow, 
 they attract the eye, and are very unpleasant ; and it is a common 
 and unobjectionable practice to touch them with color, as near the 
 tint of the ink as may be. The well-printing was considered by 
 the old engravers to be of such importance, that many of them were 
 themselves the printers. Rembrandt is known to have had a 
 rolling-press in his own house, and there is reason to believe this 
 was a common practice, and, among more ancient artists, was prob- 
 ably universal. The quality of the paper, even when the best of 
 the sort is used, very frequently makes considerable difference in 
 the effect of a print. Many artists, Rembrandt especially, were in 
 the habit of taking their early proofs on what is called India paper. 
 
THE PA'/jVT collector. 43 
 
 It was, probably, manufactured in China. It is a paper of a thick 
 substance, but of very fine silky texture, and of a warm color ; it 
 seems to have the quality of imbibing the ink much better than 
 paper of any other description, and in most instances, but not with- 
 out exceptions, impressions taken upon it have certainly a very de- 
 cided advantage. It has the further very valuable peculiarity of not 
 being subject to mildew. 
 
 Next to impression is to be regarded the condition of the print. 
 The generality of ancient prints are found to be wholly, or in great 
 measure, denuded of their margin. This is so usual, that the cir- 
 cumstance of having any margin left, though but an eighth of an 
 inch, enhances the value of the print. No one would venture to 
 subject himself to be charged with what connoisseurs and dealers 
 would consider such Gothic barbarity as the cutting off or diminish- 
 ing an iota of margin of any print, even of a modern print, of im- 
 portance, while in the portfolio, even though the margin be some 
 inches wide ; but the margin, if any be left, of an ancient print, is 
 a sanctuary : it is measured, when spoken of in catalogues, by 
 lines, or tenths of an inch ; and a genuine collector would as soon 
 think of cutting a print in half as of depriving it of a hair's breadth 
 of its remainder of margin. So important is this possession of 
 margin, that it is not unusual to find a false margin substituted 
 where a print has been close shaven. This is done by ingeniously 
 inlaying the print in a sheet of paper of corresponding color, text- 
 ure, and substance. This is often very adroitly performed ; the 
 very imprint is imitated of the sunken line formed by the edges of 
 the copper, under the heavy pressure of the rolling-press, and a 
 nice examination is sometimes necessary to detect the imposition. 
 
 There are, nevertheless, persons who venture to set at defiance 
 the canon of the law-givers of vertu, and boldly declare that the 
 appearance of a print is actually improved by being shorn close, 
 and mounted, as the custom is, on a sheet of stiff paper ; and, 
 certainly, there must once have been a whole people of col- 
 
44 THE PRINT COLLECTOR. 
 
 lectors, who came to the determination that this was so, and acted 
 upon it with unflinching constancy, leaving us the effect, now so uni- 
 versally appearing, of their unsparing shears. Whether the practice 
 was prevalent elsewhere may be a question, but we are obliged to 
 confess that we know that the English collectors, of half a century 
 back, were in the habit of cutting down all their prints to within the 
 plate mark. After all, it still remains a fair question, as matter of 
 taste, whether, considered in itself, the cutting off a margin be so 
 barbarous as now esteemed, or whether it do not enable the print to 
 be set off to better advantage ? 
 
 Another important matter is to be careful that the print be free 
 from the effect of accident. It should be seen that it is clear from 
 grease-spot, droppings of wax, finger-marks of oil or varnish, which 
 often occur where the impression happens to have formed subject of 
 study for a painter in oil, and from other stain or soil. 
 
 It may, perhaps, be thought superfluous to notice such things as 
 these, because they may be supposed to be sufificiently obvious to 
 every purchaser, so that he cannot need to be cautioned to avoid 
 them. But this is not quite so ; unless actually looked for they may 
 often escape notice. Amid the general admiration of the print, the 
 interest created by the subject, the attention to its more important 
 qualities, and, sometimes, the eagerness to obtain possession, little 
 soils and imperfections may fail to attract the eye, especially if ex- 
 pedients have been resorted to to conceal them ; and it is well, 
 therefore, to impress on the young collector the necessity of having 
 his attention ever awake to this point. 
 
 It must be observed, however, though this may, perhaps, startle 
 the reader, that an appearance of dirtiness is not always objection- 
 able, but the contrary. There is occasionally a smearing on a print, 
 which is a characteristic of an early impression. This is what is 
 called by the French " fond sale." It is occasioned by the engrav- 
 ing having been made on a copper-plate imperfectly burnished, or, 
 perhaps, not at all. In the course of working off impressions the 
 
THE PR/A'T COI.I.EC'rOR. 45 
 
 plate gets smoothed down ; but, meanwhile, the rougher surface of 
 the copper retains thin portions of the ink, which print off with the 
 rest, and show like a dirty wash or smearing. Rembrandt's Mill, 
 his large unfinished St. Jerome, and many others that might be 
 named, afford instances of this, the earliest impressions being the 
 dirtiest. 
 
 A print is always considered depreciated by being what is called 
 " laid down ;" that is, by having a piece of paper pasted at the 
 back, as if by way of strengthening it. The first idea suggested by 
 this is, that there were certain damages which rendered this neces- 
 sary, and a rigorous examination, against the light, takes place to 
 ascertain the place and extent of these. Whether there be any such 
 or not, or whether the laying down has been from mere want of 
 judgment or over-care, which maybe the case, still the circumstance 
 is considered sufficient to authorize suspicion, .and all suspicion 
 tends to depreciation of value. 
 
 To have been cleaned or repaired, is another circumstance that 
 prejudices a print in the eye of a collector. The cleaning of a print 
 is sometimes performed by chemical means, and where these are 
 resorted to, great experience, judgment, and care are necessary in 
 the operation ; and, however nicely it may be performed, yet, if 
 there has been much to do, the experienced eye will perceive, from 
 the general appearance, tone, and color, that the print has been 
 submitted to this process. It generally roughens the surface of the 
 paper, and gives it a sort of impoverished or sickly appearance,* and,' 
 although it is said not to injure the print, yet, unless it be done so 
 as to escape detection or suspicion, it certainly does injure the print ; 
 for even admitting, which, however, cannot be admitted, that it 
 
 * In order to overcome the rough appearance occasioned by cleaning, the prints are 
 often pressed with a hot flat-iron ; an objectionable process even when conducted with 
 care and judgment, as it gives an unnatural smoothness to the surface, and an undue 
 lustre to the ink. It is best to avoid as much as possible the possession of prints 
 which have been restored or cleaned. 
 
46 THE PRINT COLLECTOR. 
 
 may do no actual detriment to it as a work of art, yet it does de- 
 preciate it as an article of marketable value. 
 
 Very great, nay, wonderful, ingenuity, has at times been exer- 
 cised in repairing prints. If part of the surface, for instance, has 
 been abraded, or even a piece of the print torn away, there are art- 
 ists, if such they can be called, who contrive to supply, with pen 
 and ink, the defective parts, imitating the color of the printing ink 
 and the line of the graver with such accuracy, that a magnifying- 
 glass is frequently required to detect the imposition ; detected, how- 
 ever, it ever must be, if sufficient scrutiny be exercised. 
 
 Another artiiice to be guarded against, in the selection of a 
 specimen of engraving, is washing over with Indian ink or color. 
 This is a practice often adopted with middling or pretty good im- 
 pressions of fine prints. When judiciously and well performed, it 
 has the effect of making the impression appear stronger and fuller. 
 Although, to an eye of little experience or insufficient judgment, the 
 print may appear improved by this operation, still the proprietor of 
 it must feel that he has not the satisfaction of possessing the work 
 in the same state in which it came from the hand of the engraver. 
 This washing is sometimes employed to imitate the burr which has 
 been spoken of. 
 
 Another practice is to improve effect by the application of print- 
 er's ink. A certain Frenchman has obtained great, but not very 
 enviable, celebrity, by his method of making faint impressions ap- 
 pear like strong ones, by actually going over every line of the print 
 with a hair pencil and color, strengthening, in due proportion, 
 every part. We have often thought that it would be a curious 
 speculation for gentlemen fond of statistical calculations, to estimate 
 what proportion of the skill and industry of mankind is employed 
 for honest, and what for dishonest purposes. 
 
 But all these tricks are unable to endure the ordeal of an atten- 
 tive examination by an experienced connoisseur, and a print, vamped 
 up in any manner, is at once cast aside by a careful collector, for it 
 
T]IE PRINT COLLECTOR. 47 
 
 is not possible to know, without an expense of much time and pains, 
 how many or how great imperfections or defects may be concealed 
 under the false face given ; and where once trickery is disclosed, 
 suspicion may warrantably be indulged to any extent. 
 
 In enumerating the points to be attended to in the selection of 
 specimens, there is one matter which has not been adverted to, 
 because it is to be assumed, but which may, however, be briefly 
 mentioned ; namely, that the print be an impression taken from the 
 original plate, engraved by the master whose work it professes to be, 
 and not from any plate engraved in imitation of it. Such impres- 
 sions are called, as they strictly are, copies ; and these are some- 
 times so ingeniously executed, that much experience is necessary to 
 distinguish them from the originals, unless opportunity be given of 
 direct comparison the one with the other. 
 
 There is a book, which will be further noticed hereafter, the 
 " Peintre-Graveur," by Bartsch, in which the author has, for the 
 benefit of future collectors, given the result of a most laborious ex- 
 amination of all the prints by the artists of whose works he treats, 
 with the copies which exist of them ; all of which copies he enu- 
 merates and describes ; and he has taken the pains to compare, 
 minutely and accurately, every line of the original with every line of 
 the copy, and has noted down the deviations so far as is suf^cient 
 to discover, and proclaim some characteristic token of recognition 
 and detection. In many cases, the difference detected and thus 
 proclaimed is so exceedingly slight as not to be discernible, even 
 when pointed out, unless by a very sharp sight or with a glass. He 
 has not only noted these down, but has also, in his book, given 
 prints on an enlarged scale of the parts wherein the variation is, 
 showing precisely in what it consists. 
 
 Copies of two examples, from these plates of Bartsch, are given. 
 The first of the three little weathercocks is an accurate enlarged 
 copy of a small vane that surmounts a building, in a print by Albert 
 Diirer, called " the Nativity ;" and the other two show, on an en- 
 
1>^% 
 
 <a 
 
 48 T//£ PRINT COLLECTOR. 
 
 larged scale also, the variation made, in this feature, in two different 
 copies of this print. The size of the plate is about seven inches by 
 five. It is full of minute work ; the little weathercock is, in dimen- 
 sion, scarcely one twentieth of an inch square, so that the variation, 
 shown in the enlarged copy, is, in the original, 
 scarcely perceptible, except with a magnify- 
 ing-glass. The other specimen in the vignette 
 is one of the talons of the left fore-paw of the 
 lion in the print, also by Albert Diirer, of 
 " St. Jerome in the room," a print nearly ten 
 inches high by more than seven wide, and en- 
 tirely filled with almost microscopic tooling. Here, again, the va- 
 riation, pointed out by the enlarged copy, is, in the original, 
 hardly discernible by an average unassisted sight.* 
 
 * An examination of the paper is often of great assistance in judging of the genu- 
 ineness of prints. For this reason it is always well to mount them " Volant" — that is, 
 slightly pasted or hinged at one edge, so that the backs may be readily scrutinized. 
 In the fifteenth and early part of the sixteenth centuries it was the custom of paper- 
 makers to water-mark each sheet with various devices, such as figures of a globe, 
 a hand, animals, etc., in outline. The same idea was adopted by the printers, who 
 placed at the commencement and end of their books printed devices to distinguish the 
 productions of their press. 
 
 The paper made three or four hundred years ago was quite equal, and in some 
 respects better, than that made at the present time. It is very hard and smooth, and 
 almost indestructible through any ordinary usage. The Low Countries were especially 
 famous for its manufacture, and seem to have sold it everywhere throughout Northern 
 Europe. Most of that used by the early German and Italian engravers is very thin 
 and tough — so thin sometimes that the ink seems to have struck through, causing the 
 impression to be quite apparent from the back. This is a desirable characteristic of 
 many old Italian prints. The old paper has been imitated very closely in late times, 
 but it will be found easier to distinguish the counterfeits in the paper than to tell the 
 original print from the clever copy. Therefore it is important to know as much about 
 the former as possible. The water-marks, so called, are found on the paper used by 
 Diirer and other artists of his time, and were made by laying the design in wire upon 
 the mould in which the paper was made. The wire caused the formation of thin lines 
 over it, and when the sheet is held to the light the patterns are readily perceived. 
 
THE rRIN-r COr.lJ-'.CTOK. 49 
 
 The distinguishing marks, which have been thus recorded be- 
 tween original prints and the most accurate copies of them, are 
 L;cnerally borne in mind and pointed out by dealers and collectors ; 
 but, after all, they are not very frequently resorted to as of practical 
 use, because there are very few copies but which, after some experi- 
 ence, are readily known from their originals by their general ap- 
 pearance, independent of their specific tokens. Besides copies, we 
 may just mention another thing, which we certainly have known, 
 though very rarely, to be sold and bought as a genuine print : we 
 mean counter-proofs. This term implies an impression, taken, not 
 from the copper-plate, but from a print already taken from it. It 
 is effected by laying, on a fine strong impression, immediately that 
 it comes from the press, a fair sheet of wet paper, and passing both 
 between the rollers. The first original impression now acts, in a 
 degree, the part of the copper, throwing off, on the plain paper, its 
 superfluous ink, and giving an impression of itself, which con- 
 sequently shows the reverse way, and, as may well be supposed, is 
 much fainter than a print taken from the copper, and this is called 
 a "counter-proof." A person who knows the print cannot be 
 deceived by this, because of the reversing, all that is on the right 
 hand in the original print being on the left hand in this counter- 
 proof, and vice versa ; but an inexperienced collector, and to whom 
 the print is unknown, may certainly be deceived by it. 
 
 We cannot close a chapter, in which ingenious copies of fine 
 
 This may have been a method of copyright adopted by the manufacturers. In Diirer's 
 prints the head of a bull is frequently found, but not in all of them, owing to the cut- 
 ting up of the sheets to suit the various sized plates. It is desirable to find the mark 
 of the paper in one of this master's works. In any case, if the paper be genuine it is 
 presumptive evidence that the impressions upon it must be genuine. 
 
 For further information upon the subject of papers and water-marks, the reader is 
 referred to the " Principia Typographica, " a work by Mr. S. Leigh Sotheby, in three 
 volumes folio, and published in London in 1858. The third volume is exclusively 
 devoted to this department, and contains a vast number of fac-similes of old water- 
 marks, collected with great care and research. 
 
go THE PRINT COLLECTOR. 
 
 works have been alluded to, without noticing a specimen of modern 
 talent in this department. Great interest and well-merited admira- 
 tion have been recently excited by an etching, executed by a young 
 lady amateur, but not published. It is highly creditable to her 
 taste and talent, being so excellent a copy of " Rembrandt's Mill," 
 that none but skilful judges are able to distinguish it from the 
 original. 
 
CHAPTER IV. 
 
 OF PRICES OF PRINTS. 
 
 The next matter requiring attention is the value of the print, or 
 the price to which a collector should limit his bidding at an auction, 
 or consent to pay in a shop. Pity it is that the elegant pursuits of 
 the intellect cannot be indulged without the necessity of being con- 
 taminated with the mercenary consideration of pounds, shillings, 
 and pence. But so it is ; all prudent persons will confine their in- 
 dulgences within the sure compass of their means, and will take 
 pains to ascertain at how low a rate an object may be attainable, 
 and by what mode it may be obtained at the lowest price ; and 
 even he whose superfluities make it of little importance whether he 
 gives less or more for that on which he has set his mind, is still un- 
 willing to allow himself to fall under the imputation of having been 
 duped, or as being deficient in the knowledge and prudence which 
 is implied in the having made purchases at fair prices. 
 
 In the generality of marketable articles, there are certain prin- 
 
52 THE PRINT COLLECTOR. 
 
 ciples which govern the price, and afford correct criterions to the 
 purchaser by which to judge of the value. In a pair of shoes or a 
 portfolio, we have, for data, the worth of the material, the leather 
 or the pasteboard ; we can estimate the value of the time and labor 
 employed, and the reasonable percentage profit to the seller ; and 
 these combined give, with sufficient accuracy, the price which the 
 purchaser ought to pay. The like assistances are extended to any 
 manufacture, and even to the manufacture, (begging pardon of 
 literature and the arts for using such a term as applied to them), 
 even to the manufacture of the publications of the day, whether of 
 art or letters. 
 
 The publisher employs a painter to paint a subject ; he pays 
 him a specific agreed sum for his work, or he pays a specific agreed 
 sum for a picture already painted, or for the privilege of engraving 
 and publishing such a picture ; he then makes his agreement with 
 the engraver ; the price is governed by the time and labor which 
 must be necessarily occupied in the work ; that time and labor 
 bearing a price proportionate to the reputation of the artist : the 
 cost of printing and of paper, the allowance to the trade, the profit 
 to himself, all form items capable of exact calculation ; and the prob- 
 able extent of the public demand may also be judged of by such 
 as are conversant, by experience, with the public taste. The proper 
 price at which the print should be charged comes out from the re- 
 sult of these combined calculations, with a certainty and accuracy 
 which admits not of much deviation, because every other publisher 
 is competent to estimate the thing, and to judge how far the pubH- 
 cation price is just or excessive. 
 
 Independent, however, of all this, the very circumstance of 
 having a known publication price is, at all times, a criterion ; and, 
 when connected with the knowledge of circumstances attaching to 
 the print, the popularity of it, or the reverse, and the quantity of 
 impressions taken, is a full and sufficient guide. But, with respect 
 to the works of by-gone artists of by-gone times, no such data exist, 
 
TIJE PRINT COLLECTOR. 53 
 
 no such criterion is afforded. Tlie price varies, from time to time, 
 and is, from time to time, fixed by other circumstances than such 
 as govern in the other case : namely, by the fashion of the day ; 
 by the fancy that may be prevalent for the works of this or that 
 artist ; by the comparative rarity, or abundance, of his works in 
 general, or of this or that work in particular ; and the intrinsic ex- 
 cellence, or want of merit, ever ought, and, we trust, with judicious 
 collectors, ever will be, a make-weight ; though it cannot be con- 
 cealed that this, which is entitled to be the most important item in 
 the estimate, has frequently been the least considered. 
 
 One would hope, and indeed expect, that the artists whose 
 works are of the acknowledged greatest excellence would always be 
 in the greatest repute ; and there is, perhaps, ground to flatter 
 ourselves that we are approaching towards a better system, in this 
 respect, than has heretofore prevailed. But this has not been the 
 case in times past. There has generally been some one ancient 
 artist, or some two or three among ancient artists, who have been 
 the favorite of the period ; and that without any good reason 
 assignable or discoverable, unless, indeed, the accidental circum- 
 stance of some one collector, with a deep purse, and not always a 
 commensurate taste, happening to take a fancy to some given en- 
 graver, and buying ravenously all works by his hand that might be 
 brought to the hammer, and thus naturally raising the price. In a 
 rising market all are buyers ; the demand for all the works of this 
 one artist increases, and possibly without any respect to any intrin- 
 sic excellence in himself, or any comparative excellence among his 
 different works, or to other governing principle, other than the 
 more or less frequent occurrence of such or such a print in the 
 market. 
 
 This, for instance, was, some years ago, the case with Hollar. 
 Nothing was heard of but "■ a Hollar." Now, Hollar is an artist of 
 the seventeenth century, ranking in the English school from having 
 chiefly practised in this country ; of very superlative mechanical 
 
54 THE PRINT COLLECTOR. 
 
 skill ; a most faithful delineator of what was placed before him ; 
 but that is all. He displays none of the higher qualities of the art, 
 invention, imagination, composition, chiaroscuro, effect. At the 
 present day, the works of Rembrandt stand the prime favorite of 
 collectors. There has never, indeed, been a time when this artist 
 was not highly prized ; he has endured while others have passed 
 away. Although these men are long since deaf to praise and dis- 
 praise, yet it is still invidious to compare one with another, because 
 each may have his patron among present collectors, and we would 
 not willingly offend predilections. But no one, who is unshackled 
 by prepossessions, can well refuse to concur in the opinion that a 
 rage for the works of Rembrandt is more to the credit of the taste 
 of the age, than a rage for the works of Hollar, or any such en- 
 graver. 
 
 Although there are extraneous circumstances that have contri- 
 buted to raise the Rembrandt market, such, especially, as the 
 determination evinced, by certain great collectors in the native 
 country of that artist, to acquire the finest of his productions at any 
 price ; yet, when, coupled with this popularity of Rembrandt, we 
 iind sought after, with almost equal avidity, other first-rate original 
 artists of the same school, Ostade, Berghem, Du Jardin ; and, beyond 
 these, a more scientific, and, heretofore, less understood and more 
 neglected class, the greatest engravers of the Italian school. Marc 
 Antonio, and his scholars, most of whom are most able and excel- 
 lent, not in the mechanical part of the art merely, but in its higher 
 qualities ; attractive by the science displayed, rather than by beau- 
 ties congenial to popular taste ; we cannot but hope that the era is 
 arriving when intrinsic excellence shall become the object of acqui- 
 sition, and that much of what has been the reproach of collectors, 
 as well in this as in other departments, will be discountenanced, 
 and made to yield to a more reasonable judgment. 
 
 But, to return. Wanting all legitimate data by which a purchaser 
 might inform himself whereabouts he ought to fix the Hmit to his 
 
THE PRINT COLLECTOR. 55 
 
 bidding for a print which he desires to possess, what criterion re- 
 mains, it may be asked, whereby the young collector may be guided ? 
 There is, in truth, no criterion but experience, and this he has not ; 
 and, therefore, he has no resource but in a reliance on the good 
 faith of competent advisers. He must, at present, rest on this ; he 
 must, until he can obtain experience for himself, purchase or beg 
 the fruit of the experience which others have acquired ; he must, 
 indeed, use this resource, not only in the article of price, but also, 
 until experienced in other matters, in all the other essential articles ; 
 in the distinguishing an original from a copy, in judging of the 
 earliness of impression, the goodness of impression, the freedom 
 from reparation, cleaning, washing. 
 
 And here it is due to the dealers in ancient prints, of whom 
 there are not in all London above half a dozen, to say that, gener- 
 ally speaking, a young collector, having no competent private friend 
 to resort to, may rely on their honorable dealing ; and it will be his 
 most prudent plan, instead of assuming to judge for himself, in 
 which case he is sure speedily to betray his ignorance, to at once 
 declare his incompetence, and his intention to rely on the print- 
 seller ; and he will find, as we think, that his confidence will not be 
 abused. It must not be concealed that the experience requisite to 
 enable an aspirant to go alone is very considerable, and, indeed, 
 there are few persons, even among old collectors, who venture, in 
 all cases, to act wholly on their own judgment. 
 
 With respect to price, which is the immediate subject before us, 
 it is customary for amateurs and for dealers to preserve the cata- 
 logues of all important sales of prints that take place by auction, with 
 notices of the price which each print fetched. To the inexperienced 
 it may appear that a stock of catalogues thus marked would be, in 
 great measure, equivalent to personal experience, and form a suf- 
 ficient guide for even a mere novice, as in the parallel case of book 
 catalogues, to venture unassisted into the shop or the auction-room. 
 But this is very far from being the case ; such marked catalogues 
 
56 THE PRINT COLLECTOR. 
 
 are, indeed, of some, though but limited, utiHty to those who 
 already have experience, but are of no use whatever, in a general 
 way, to those who have not. There is one use, and one only, which 
 it is obvious may be, now and then, made of them, and that is, 
 when any given print, brought under the hammer to-day, is declared 
 and known to be the same identical impression that was sold, at 
 such a time, in such a collection. A reference to the priced cata- 
 logue of that sale shows what price this same impression then 
 brought, and thus affords a criterion by which any one, who knows 
 no more than whether the market has risen or fallen since, may 
 tolerably judge for himself what sum he may venture to bid. 
 
 With this sole exception, the priced catalogue is of little or no 
 value, and certainly of none, unless to such as can read with the 
 eye of old experience. They are of utility in the mass, as indicat- 
 ing, generally, the rise or fall in the market of the prints at large of 
 any given artist, or of any given school or class ; but, as regarding 
 any single individual specimen, the assistance they afford is at best 
 very limited and uncertain. This will readily become apparent by 
 bringing to recollection the various circumstances that combine to 
 fix the true value of any given print ; the qualities, namely, that 
 have been before enumerated ; earliness of impression, goodness of 
 impression, and condition ; and to which must, on this occasion, be 
 added comparative rarity, together with another circumstance of a 
 certain importance, and which may be called pedigree, and consists 
 in the marks that may appear on the print, of its having passed 
 through the hands of collectors of eminence. This matter will be 
 again adverted to ; suf^ce it, at present, to observe, by Avay of ex- 
 planation, that collectors were formerly, and indeed are at pres- 
 ent, in the practice of setting on their prints their name, or initials, 
 or other marks of proprietorship. The circumstance of any such 
 mark appearing on a print can, indeed, be stated in a catalogue ; 
 but it is of little value unless in connection with other qualities, 
 which the catalogue cannot give. 
 
THE PRINT COLLECTOR. 57 
 
 Again, it might be supposed that a series of catalogues, and a 
 comparison of them, one with another, might afford a tolerable 
 guide on the point of comparative rarity ; and that any person con- 
 sulting them might see for himself whether such or such a print 
 were of constant occurrence, or but rare appearance. But neither 
 will this resort be very available. It is not often that a collection 
 is brought to sale which professes to contain, or which displays, a 
 determination in the proprietor to acquire the complete works of 
 any master. There may, therefore, be several prints of no impor- 
 tance, which he may not have troubled himself to seek, and, not 
 having met with to his liking, may not have cared to obtain ; while, 
 at the same time, he will probably have made a point of obtaining 
 all which are of most importance, and especially of most rarity. 
 To come, therefore, to the conclusion that, because, in such a col- 
 lection, such a print is wanting, it must needs be rare, might be 
 very erroneous. 
 
 There is, then, apart from experience, no means of ascertaining 
 this quality of rarity, except in cases where publications exist pro- 
 fessedly giving information on the subject, other than by the notices 
 to this effect in auctioneers' catalogues, which are very deceptive 
 guides : or, by assuming that the print has this quality, by reason 
 of the high price it may have brought. But we have already ob- 
 served that many other considerations, besides rarity, enter into 
 the ascertainment of price, and combine to regulate it ; and, if the 
 inexperienced be thus at fault in the one quality of rarity, he must 
 be greatly more so on the other points which affect price, since 
 these are not to be estimated, except by actual comparison of one 
 print with another. Rarity although indeed a comparative qual- 
 ity, is not such a one as requires personal inspection or ocular com- 
 parison with any other ; on the contrary, such inspection gives no 
 information on this point, the precise degree of rarity may be told 
 in words. But, be a print as rare as it may, it may still, notwith- 
 standing this one quality, be worth little or nothing, and that solely 
 
58 THE PRINT COLLECTOR. 
 
 by reason of circumstances, of which no notice is taken in the cata- 
 logue, or can be with sufficient accuracy. It may be a worn-out 
 impression, or a bad impression, or washed, or damaged, stained, 
 mended ; as to all which, the catalogue would be prudently silent. 
 In looking over priced catalogues, one perpetually finds prints 
 that, for anything that appears in the catalogue, ought to sell for 
 ten or twenty pounds, set down as having been sold for as many 
 shillings ; and we infer, and rightly, that there was some defect 
 that the catalogue could not, or would not, give intimation of. If 
 the young collector, having intent to purchase a print which he sees 
 in an advertised sale, consult his marked catalogues, thinking to 
 ascertain the average price of this print, he may, perhaps, find the 
 price of the several impressions varying as much as has been said ; 
 some, perhaps, selling for no more shillings than others bring 
 pounds. He will be perplexed, and at a loss, and inclined to throw- 
 aside his hoped assistants in despair and disgust ; and this will con- 
 tinue to be a riddle to him, until he shall have discovered the vast dif- 
 ference of value between a first-rate impression and a poor one, and 
 the infinite gradations of estimation at which the same print may be 
 set, according to its goodness of impression, state, and condition. 
 In fine, he must attain a knowledge of these qualities of prints, 
 and an ability to judge of them, as well as experience of their value 
 in all their gradations, before he venture to buy, on his own judg- 
 ment, anything of much importance ; and, unless he be content to 
 place himself in the hands of others, he will do well to forbear at- 
 tempting to add such to his collection until he has made such prog- 
 ress in collecting as shall have furnished him with the necessary 
 experience. 
 
 It is a common habit of collectors to attend the auction sales of 
 prints ; but there is a certain temptation in a sale-room, and a cer- 
 tain excitement which stimulates that temptation, which make it 
 absolutely dangerous for any one, who is not of the most phlegmatic 
 disposition, or who has not been made callous by long practice, or 
 
THE PKrXT COLLECTOR. 59 
 
 become apathetic by the years rolled over his head, to indulge his 
 curiosity or idle away an hour in this amusing occupation. Old 
 collectors are aware of this, and, though they may attend, they are 
 not very frequently seen to bid. It will often happen, indeed, that 
 there is nothing to tempt them ; but, if otherwise, their most usual 
 course is to commission a print-dealer to bid for them. A careful 
 inspection of the lots worthy of attention takes place on the pre- 
 vious view-day, and a deliberate consultation then determines for 
 what lots to bid, and up to what price. 
 
 Now, this prudent course of procedure implies two things, 
 which the young collector may convert into maxims of much prac- 
 tical use. It implies, first, that the experienced collector thinks it 
 wise to ascertain beforehand what he really wants, and to bid for 
 nothing that he does not want ; and, next, that he considers it 
 necessary to take precaution against being excited, by the feverish 
 atmosphere of a sale-room, to bid, for what he does want, a higher 
 sum than calm consideration would justify. 
 
 Armed with a determination to adhere to these two maxims, 
 our tyro may, with safety, amuse himself with attending sales, and 
 we rather advise it, for he may derive improvement from the prac- 
 tice. Generally speaking, he may readily discover who the sitters 
 are around the table ; he will find them to be, for the most part, 
 men of the first judgment and greatest experience in their line as 
 dealers or collectors ; he will soon perceive that the same faces, 
 and rarely any others, make their appearance again and again ; he 
 will, perhaps, court a sort of acquaintance with some of these per- 
 sons, and, at any rate, he will hear their remarks as the lots are 
 handed round, and may gradually, and almost imperceptibly, ac- 
 quire much information from observations dropped in his hearing ; 
 he will also acquire a practice of eye, and hence improvement in 
 his taste, by the constant passing under his view of fine specimens 
 of art. 
 
 Some of these observations respecting auctions tend to enforce 
 
6o THE PRINT COLLECTOR. 
 
 the prudence of determining, at the outset, upon one given line of 
 collecting, to the exclusion of all others ; and, we will add, that the 
 narrower this line is the better, for it can, at any time, be extended 
 or widened, when acquired experience makes safe its enlargement. 
 
 If, on the other hand, the young collector decline to pursue 
 any system, or confine himself to any department exclusively, and 
 begin by eagerly making miscellaneous purchases, purposing to ar- 
 range all so soon as he shall become possessed of an indiscriminate 
 number sufficient to make arrangement necessary ; if he trust him- 
 self to bid at sales, because a pretty print is selling for a few shil- 
 lings, or a large lot of prints, that cannot but be cheap, as he 
 thinks, at the money ; or, if he drop in at shops without knowing 
 what to ask for, and allow himself to be tempted, or, rather make 
 temptation for himself, by looking through any folios that may 
 happen to lie on the counter, he will assuredly find, at his year's 
 end, or so soon after as the scales fall from his eyes, that he has got 
 together a multitude of prints, falling under almost every conceiv- 
 able class, and so dispersed among all as to amount to very little in 
 any one, and certainly not making anything like a desirable collec- 
 tion of any description ; and the probability is, that, in all this as- 
 semblage, there will be nothing really good. 
 
 Ancient prints, of much esteem, are rarely to be met w'ith for- 
 tuitously ; they must be specifically sought for ; they do not fre- 
 quently appear in a shop window, nor do they often remain any 
 great length of time in a print-seller's hands. A dealer knows the 
 different lines which his customers have selected ; knows, pretty 
 accurately, what they have got, and what they want. Whenever, 
 therefore, an important print happens to fall into a dealer's hands, 
 he can pretty well judge who will be his customer for it ; he at once 
 sends it to this person, or invites him to come and see it ; and he 
 will, if possible, reserve it for him, and will certainly not seek to sell 
 it, but keep it out of public sight until his customer has had the 
 refusal of it. 
 
THE J'Kf.VT COLLECTOR. 6l 
 
 It often occurs, at a public sale, that a lar^je number of prints 
 is huddled toijcther in one lot, none of them having been thought 
 of sufficient value singly to ensure a bidding. It will sometimes 
 happen, by the inadvertence or ignorance of the auctioneer or cata- 
 logue-maker, that some one rare print will have slipped, unobserved, 
 into such a lot ; and if a print-dealer espy this, he will buy the 
 whole lot for the sake of this one print alone. The rarity will im- 
 mediately be placed in the arranged folio, or dispatched to its an- 
 ticipated destination ; while all the rest of the lot go into the mass 
 of miscellaneous rubbish, with which every dealer becomes, now 
 and then, by such means as these, encumbered ; and a chance cus- 
 tomer, w^ho merely wants to collect prints, but knows not what, 
 and only requires to be tempted, is regarded as a god-send ; and he 
 may assure himself that, on such occasions, he may acquire great 
 accessions to his collection of what he will consider prodigious 
 bargains. 
 
 To a person not accustomed to the business of collecting ancient 
 prints, it may appear a very easy matter for a man, with plenty of 
 money in his pocket, to at once possess himself of all that he may 
 desire to have. Money, it is said, can purchase anything, but this 
 must be with one limitation, namely, that this " anything" is to be 
 purchased. In almost all the departments that have been spoken 
 of, of ancient prints, there are many that may be readily met with ; 
 others that may also be readily met with, but not readily with the 
 necessary qualifications as to state and condition ; others there are 
 of rare occurrence so unfrequently coming into the market that a 
 print-dealer, to whom an order may be given to procure an impres- 
 sion, may be employed for years in seeking, before an opportunity 
 be afforded of obtaining it ; and, beyond this, there are others of 
 which but two or three, or, it may be, one impression, is known to 
 exist. 
 
 We have sometimes been amused with the sight of an order re- 
 ceived by a London print-seller, from some ignorant innocent in the 
 
62 THE PRINT COLLECTOR. 
 
 country, who had suddenly taken a fancy to collect prints, desiring 
 to have sent down to him, immediately, a number of engravings, 
 according to a list enclosed, this list comprising a selection of the 
 very rarest prints known — those, in short, which are so rare as to 
 have been the subject of special description in some book or cata- 
 logue which the would-be customer happens to have met with or 
 been studying. The print-seller must smooth his answer as best he 
 may, aware himself that it would be scarce possible, during a whole 
 life, to make up the collection required ; and as to some of the 
 specimens, not at all.* 
 
 * A genuine collector is in reality a species of angler. Wittingly or not, he belongs 
 to the brotherhood of good old Isaac Walton. Like him, he will have to arm himself 
 with patience and watch and wait for the choice game he is in pursuit of, while the 
 interims are filled with opportunities for study and contemplative enjoyment. A con- 
 stant lookout will have to be kept for the choice specimens, and he must know where 
 to go for them, and when to strike to secure them. One can no more form a fine 
 collection of prints without thought, industry, and experience, than the angler can 
 succeed without a corresponding degree of skill and patience. For ten years past a 
 vast number of choice engravings and etchings have been brought to the United States, 
 but the taste of the community is not yet sufficiently formed, so that market values are 
 fixed, or uniformly sustained, as they are in Europe. Thus far no really good collec- 
 tions have found their way into our auction-rooms. The best specimens offered for sale 
 in this way have been line engravings, but the prices realized are so spasmodic as to 
 give no standards for value. Therefore we have to depend upon the regular dealers, 
 but the time is not far distant when a riper appreciation will warrant the dispersion of 
 our accumulations under the hammer. London is the great centre, not only of Great 
 Britain, but of Europe, for the sale of art collections, and there the business is con- 
 fined almost entirely to two great auction firms, viz.: Messrs. Christie, Manson & 
 Woods, and Messrs. Sotheby, Wilkinson & Hodge. In France the sales take place 
 almost exclusively at the Rue Druout, and occasionally some are held in Leipsig and 
 in Holland ; but the larger proportion go to London, and the buyers congregate 
 there from all parts of the world. 
 
 In England the system of cataloguing has been developed almost into an exact sci- 
 ence. Accomplished experts are employed, and the perfections, defects, and status 
 of each piece chronicled in the catalogues with precision. As a rule, the state 
 ments can be depended upon, and the buyer, as well as the seller, has a guar- 
 antee against imposition. If a piece is not found as represented, it may always 
 
THE PRINT COLLKCTOR. 63 
 
 It is customary with collectors to seek to improve their j)ort- 
 folios, not by additions only, but by exchanges. On meeting, at 
 any time, with a better impression of a print of which he already 
 
 be returned to the auctioneers after the sale ; but, as Mr. Maberly justly remarks, 
 auctions are, after all the precautions which may be taken, more or less uncertain ; and 
 while the buyer on this side of the water may run a comparatively small risk in pur- 
 chasing in this way, he will do well to place his commissions, with limitation as to 
 prices, in the hands of a competent agent, if possible, in London. An auctioneer who 
 disposes of all kinds of artistic property cannot be expected to be learned in every 
 department ; therefore in Paris it is customary to have at such sales an expert, who 
 is generally a dealer and represents the interests of the owner, and whose business it is 
 to aid the auctioneer and give such information as may be required, to prevent, if pos- 
 sible, valuable objects being sacrificed through the oversight or ignorance of the buyers. 
 These experts have usually some reputation at stake, hence there is more care not to 
 misrepresent with the view of entrapping the unwary. More fine prints are probably 
 disposed of at the auction-rooms of Sotheby, Wilkinson & Hodge, in London, than 
 in any other one place in the world, and the collector will do well to commission his 
 purchases to be made there. Catalogues of many of the important sales are now sent 
 to New York sufficiently in advance so that orders may be sent out in time, and the 
 most trustworthy print-sellers here are glad to execute them at a moderate commission. 
 
 With all due respect for the generality of auctioneers, it is no doubt better in the 
 long run to do the bidding through some trustworthy dealer ; for the man with the ham- 
 mer is only human, and, through the frequent attendance of the enthusiastic collector, 
 is enabled to learn his weak points and play upon them to the detriment of his pocket. 
 
 The dealers abroad sometimes form a " ring," and buy in concert, afterwards divid- 
 ing what they get among themselves. In this way they avoid one another's competition, 
 and it is a good plan to have for an agent one who would not be excluded from such a 
 possible combination. As an instance of what may Sometimes be done by this not very 
 honorable arrangement, a few years since a copy of the first folio of Shakespeare's 
 plays was sold at an auction in London, and in the absence of any other competition 
 knocked down for between twenty and thirty pounds to a ring of some half a dozen 
 booksellers. This ring resold it to the highest bidder among themselves, who in his 
 turn represented two of their number, for fifty pounds. The proceeds were divided 
 equally. One of the two took it for double this amount, paying his associate his pro- 
 portion of the profit, and disposed of it finally to a private buyer at a still larger 
 advance. To any one, however, who has attended and watched auction sales, these 
 tricks of the trade are known to be rarely successful, especially where the collections 
 to be dispersed are important enough to attract public attention. 
 
64 THE PRINT COLLECTOR. 
 
 has an indifferent impression, or a print in better condition than 
 one which he has in poor condition, he will exchange, parting with 
 the one, and buying the other ; and it is customary with the dealers 
 to take back any print, purchased of them, at the price which had 
 been paid for it, on the customer taking, at the price now marked, 
 the better specimen in exchange. This custom answers the object 
 of both parties. Generally speaking, ancient prints rise in price, 
 for reasons which will be adverted to hereafter. The print-seller, 
 therefore, obtains the returned print at the old price, and the col- 
 lector pays no more for his new acquisition than the fair price of 
 the day. It has, moreover, this advantage to the print-seller : it 
 encourages the collector to purchase, since the hesitation which he 
 might feel at buying anything of an inferior description is removed 
 by the assurance that, whenever opportunity arises, he may, with- 
 out loss, amend it. 
 
 There will, however, be exceptions to this, arising from circum- 
 stances to which all markets are subject, especially fashion of the 
 day. A whole class may possibly degenerate in value, instead of 
 improving, by reason of some changes in public fancy. This oc- 
 curred a few years ago in the large class of British portraits. A 
 fancy for collecting these arose from the Rev. James Grainger's 
 "Biographical History of England," published in 1775. Horace 
 Walpole observes, in one of his letters: "We have at present a 
 rage for prints of English portraits ; lately I assisted a clergyman 
 in compiling a catalogue of them. Since this publication, scarce 
 heads in books, not worth threepence, will sell for five guineas." 
 
 This led to a practice of illustrating printed books, and many 
 persons set about collecting the engraved portraits of every indi- 
 vidual named or referred to in some given work which they had re- 
 solved to illustrate — a history of London, a Grainger, a Clarendon, 
 etc. The price of this class of prints became, in consequence, 
 higher and higher ; and, as the fancy ceased or the rage cooled, 
 they gradually subsided again, so that at this day many a print of 
 
THE PRIXT (.01. LECTOR. 6$ 
 
 this class may be had for twenty shilliiiL^s that would heretofore 
 have cost three or four pounds. 
 
 It should be recollected, however, that the great majority of 
 this class of prints are, so far as regards the English school at least, 
 most wretched performances as works of art, not worthy of the 
 name. If the works of Faithorne, Hollar, Passe, Houbraken, and 
 one or two others, be excepted, the rest are, as specimens of art, 
 actually valueless. These, therefore, in truth, never had real value ; 
 nothing but a conventional value ; scarcely the value derived from 
 historical interest, for very many of them are but imaginary por- 
 traits, and few bear any evidence of being the actual resemblance 
 of the person professed to be portrayed. 
 
 The circumstance, which has been referred to, of the difificulty 
 of obtaining certain prints, and the variations in the degree of per- 
 fection, in earliness of impression, and in excellence of condition, 
 conspire to assist in enhancing the pleasure of the pursuit. A cer- 
 tain proportion of a collection, in any given class, is obtained with 
 comparative readiness ; after this, the acquisitions come at intervals 
 only, the progress towards completion becomes slower and slower, 
 the interest is kept alive by the constantly watching for opportuni- 
 ties of amendment, and of the addition of rarities. Purchases being 
 few and far between, the expense, if considered as spread over the 
 period, is but small ; and the pursuit, pleasing as it is, may be 
 made the occupation of all the leisure of a long life. 
 
 Before dismissing the subject of the present chapter, we will 
 mention a few facts, which may be called records of the auction- 
 room, and which will serve to illustrate some of the observations 
 made in the preceding pages. They are also interesting in them- 
 selves, as showing, on the one hand, the increased and increasing 
 estimation, in the mind of the public, of works of real merit, indi- 
 cating, as it is hoped, not only improvement in the general taste, 
 but also a more extensive diffusion of the love of the finest art ; 
 and, on the other hand, showing, unfortunately, that with the wheat 
 
66 THE PRINT COLLECTOR. 
 
 will still grow the tares ; that folly is ever, more or less, an ingredi- 
 ent in all human pursuits ; and that the ridicule, of which we spoke 
 at the offset, to which a collector is frequently obnoxious, will never 
 be disappointed in its search for a subject to point at. 
 
 The highest price which any single print has produced, at a 
 public sale in England, and probably anywhere else, is three hun- 
 dred guineas. This was in the year 1824, at the sale of Sir Mark 
 Sykes's collection. The print was an impression of a work in niello, 
 by Maso Finiguerra ; the subject is the Madonna and Child, in- 
 throned, and surrounded with angels and saints. The late Mr. 
 Young Ottley, afterwards the curator of the prints in the British 
 Museum, met with this print, accidentally, at Rome, where he pur- 
 chased it for a mere trifle. On his return to England, he sold it to 
 this eminent collector for about seventy pounds. 
 
 Maso Finiguerra, be it remembered, is reputed to have been the 
 original inventor of the art of taking impressions on paper from 
 metal plates, a short account of which invention will be found in a 
 future page ; the first inventor, in other words, of what is popularly, 
 though incorrectly, called the art of engraving. A work by his 
 hand is therefore of the greatest interest. Until the year 1797, it 
 was not known that any impression of an engraving by him existed ; 
 but, in that year, one was discovered by Zani, in the collection of 
 the National Institute at Paris, and a most interesting account of 
 this discovery, and the joy of the old gentleman on the occasion, is 
 given by himself in his history of the origin and progress of engrav- 
 ing, noticed hereafter under the title of " Materiali per servire," etc. 
 
 The little print of which we are speaking is supposed to have 
 been printed not later than the year 1445, and is, therefore, exceed- 
 ingly valuable, even if regarded as an object of antiquity merely, 
 and a specimen of the very earliest infancy of the art. It was, 
 moreover, at the time of its sale, considered to be unique, another 
 circumstance which added greatly to its value. However, more 
 than one other impression has been discovered since. 
 
THE PRINT COLLECTOR. 67 
 
 But it is not only for these secondary qualities of antiquity and 
 rarity that this little print is estimable ; it has, in itself, great in- 
 trinsic beauty. The figures, of which there are no less than thirty, 
 in a space of little more than four inches in height by three inches 
 wide, are drawn with great correctness and purity of style, judi- 
 ciously varied in their attitudes, and so skilfully disposed that it 
 would be difficult to point out any composition of that age in which 
 fulness and perspicuity are so happily united. It also evinces the 
 greatest delicacy of hand in the use of the burin. 
 
 The increase in public estimation of the value of the very finest 
 examples of the art, and from which, it is hoped, may be inferred 
 an increase of the public interest in such things, is exemplified in 
 one of the most justly-admired plates of that wonderful artist, 
 Rembrandt van Rhyn. 
 
 The print, representing our Saviour healing the sick, is more 
 generally known by the title of " The Hundred Guilder," from the 
 circumstance of its having, in the lifetime of the artist, been sold 
 for that sum, or about eight guineas of our money. After some 
 impressions were taken off from the plate, Rembrandt added a few 
 cross-hatchings in one part, and thus occasioned the distinction, 
 now become of great importance, of a first and second state of 
 the plate. Of the first state, that, namely, without this additional 
 shadowing, eight impressions, and no more, are known to exist. 
 
 In 1809, at the sale of the collection of Mr. Hibbert, one of 
 these first states, on India paper, sold for 41/. 9^-. 6d. It remained 
 with Mn Esdaile, the purchaser, from that time until the sale of 
 that gentleman's collection in 1840, when, being again brought 
 under the hammer, it was purchased for a gentleman who had then 
 lately commenced collecting, at 231/., and this was considered by 
 no means a high price. Indeed, with regard to a print of this class, 
 it is difficult to say what price is too high, for the bidder is buying 
 great rarity, combined with great excellence. 
 
 Of the eight first states known to exist, five are removed out of 
 
68 THE PRINT COLLECTOR. 
 
 the market ; have taken the veil, at it were ; have retired out of 
 this world of vicissitude, and are locked up in places whence is no 
 deliverance ; two being in the British Museum, one in the Imperial 
 Library at Vienna, one in the Royal Collection at Amsterdam, and 
 one in the Royal Library at Paris. Of the remaining three, one is 
 in the possession of Baron Verstalk, another of an English noble- 
 man, and the third is in the collection of the gentleman just referred 
 to as the purchaser of Mr, Esdaile's impression/ 
 
 But, independent of rarity, this print is inestimable as a work of 
 art. It is a specimen of the inimitable artist's ability in copper, 
 which, of itself alone, well justifies the remark that has been made, 
 that Rembrandt's etchings are the rivals of his pictures ; and it is 
 gratifying to know that it is not mere rarity that raises this print 
 to so high a value, but that the intrinsic excellence and beauty of 
 it has also its part in the enhancement. This is shown by the cir- 
 cumstance that the Hundred Guilder is even, in the after state, a 
 print of very high price. At Mr. Pole Carew's sale, in 1835, a fine 
 impression of this print, in this its second state, was bought, for an 
 eminent titled collector, for 163/. i6s. 
 
 An impression from this plate, as finished, is occasionally seen 
 which approaches very near, and is, perhaps, quite equal in effect, 
 to these rare first states ; and indeed this may well be the case, for 
 
 ^ The highest price paid for any one print at public auction up to the present 
 time was at the sale of Sir Charles Price's collection, dispersed in London in 
 February, 1867, when one of the eight known copies in the first state of the 
 plate of Rembrandt's Hundred Guilder Piece (Christ Healing the Sick), and 
 printed upon India paper, was sold to Mr. Palmer for ^1180. This was the 
 print referred to in the text as having belonged to Baron Verstalk. In 1868, after 
 Mr. Palmer's death, it again appeared in Sotheby's auction rooms, and at his 
 sale brought ^iioo, becoming the property of Mr. Dutuit, of Lyons, France, where 
 it now forms part of his superb collection. This identical print was originally pur- 
 chased of Rembrandt himself by J. P. Zomers. It passed from him to Signer Zanetti 
 of Venice. At the beginning of the present century it was bought by Baron Denon ; 
 then it came into the possession of Mr. Wilson, and afterward went to Baron Verstalk. 
 
THE PRIX r COLLECTOR. Ocj 
 
 no one will pretend to believe that there can be any perceptible 
 difference, ccstcris paribus, between the last proof impression and 
 the first impression after proofs. And again, although the first 
 states are generally on India paper, many connoisseurs are of opin- 
 ion that the Hundred Guilder is a print which shows better on plain 
 paper. Like most of Rembrandt's etchings, the tone is kept so 
 low that the still further lowering, produced by the tint of India 
 paper, impairs, rather than improves, the effect. For such beauty 
 and such perfection of art as are displayed in this exquisite print, 
 or, we might almost say, picture, a collector of real taste will not 
 consider any price too high which he can afford to pay.' 
 
 The portrait of " Advocate Tolling," by Rembrandt, is another 
 
 ' It is unfortunately more desirable now than ever before that the collector should 
 have a knowledge of the mercantile value of the prints he wishes to possess. The 
 keenest desire for their acquisition is not often found in the proprietor of the longest 
 purse, and a very long purse is now requisite if choice examples of the best masters 
 are wanted. In fact, the necessary expenditure often assumes proportions suggestive 
 of an investment, and most people cannot afford to entirely divest their minds of this, 
 artistically speaking, unworthy association. It is not uncommon to find collections 
 dispersed in Europe under the auctioneer's hammer, fetching from twenty-five to fifty 
 thousand dollars, and these are often not large collections either. If we look into this 
 matter from a strictly financial point of view, it will be found that for the last seventy- 
 five years the prices cf fine prints, although slightly fluctuating at times, have steadily 
 advanced. In this respect they will compare favorably with investments in stocks, 
 bonds, real estates, or perhaps any securities in which money is ordinarily placed. It 
 is true they yield no percentage of money interest from year to year, but they seem to 
 have carried this with them. This is evidenced by the facts. At the same time it 
 ivould be manifestly unwise for any one who does not esteem these works of art for 
 their ow^n sake, to commence their purchase as a simple matter of investment. 
 
 The cause of the rise in the values of good prints is evident enough. There is a 
 limit to the supply. There can be no more Rembrandts and no more Diirers or Marc 
 Antonios. There may be other great masters, but their works can no more supersede 
 these than Rembrandt resembled or superseded Durer. The incredulous have 
 thought, and will continue to predict, that the prices such objects command will fall, 
 but as long as the paper upon which they are printed lasts, and time spares the bril- 
 liancy of the impression, they must continue to advance and find a ready market in 
 
7° THE PRINT COLLECTOR. 
 
 print of very great rarity, but of such merit, also, as to save our 
 being driven to the conclusion that rarity is the sole or chief occa- 
 sion of its high value ; and it is trusted, therefore, that the advance 
 of its price, in modern times, is a proof of a more adequate appreci- 
 ation by the public of the beauties which it displays. 
 
 At the sale of Mr. Hibbert's collection, in 1809, Mr. Pole Carew 
 bought an impression of this print at 56/. 14.?. ; at the sale of Mr. 
 Pole Carew's collection, in 1835, this same impression was pur- 
 chased, for Baron Verstalk, for 220/. There is an exceeding fine 
 
 the centres of European civilization. There are, of course, changes in fashion ; at 
 times one master and then another will be in the ascendant in popular estimation, but 
 the advance will be found to have been, so to speak, " along the whole line." 
 
 Upon reviewing the mercantile history of prints, we do not find, after all that may- 
 be asserted, that they are more affected by the changes occurring in the world than any 
 other form of property, and there is one thing in their favor — when communities or 
 individuals shift their positions they are as readily shifted with them. 
 
 In 1799 a collection of engravings formed by Mr. Daniel Daulby, an enthusiastic 
 collector, especially of the works of Rembrandt, was sold under the hammer in Liver- 
 pool. This was probably the most valuable and important assemblage of prints by 
 this artist hitherto formed in Great Britain. After the sale of the first portion of Mr. 
 Daulby's collection, comprising a large number of engravings by various artists, 
 among which examples by Marc Antonio, ten or twelve in the lot, were knocked down 
 at the rate of a couple of shillings each, the whole collection of Rembrandt, embracing 
 about five hundred prints, mostly in the earliest and rarest states, were disposed of 
 together for ;^6oo, and bought by Colnaghi of London. This printseller appears to 
 have kept the collection intact, and caused it to be resold in detail the following year 
 by Christie, in London, when it brought a total of £bi,%, sterling. 
 
 It is interesting to note the prices obtained. The landscape of the Coach brought 
 the highest price of any one piece, viz., ^21. i. Among others, at correspondingly 
 low prices, the Hundred Guilder Piece (a remarkably fine impression) brought ;,^I2. i. 6; 
 Our Lord before Pilate (first state, with burr), ;,^ 2. 2.; The Descent from the Cross 
 (first state), £a,. 4. ; The Three Trees (extremely fine), £2. 14 ; Cottage with White 
 Pales (first state), ;^4. 18. ; Burgomaster Six (a remarkable impression), £\o. 10. ; 
 The Banker or Gold-weigher (first finished state), ^8. 12 ; Great Jewish Bride (first 
 state and almost unique), ;^5. 15. 6. 
 
 Among the Diirers, an Adam and Eve, "a beautiful impression," was sold for 
 £i,. 40, and others at proportionate prices. 
 
yy/A PRINT COLLECTOR. 71 
 
 impression of this print, and in fine condition, in the British 
 Museum, and the value, at this time, is considered to be above 300/. 
 
 Again, a first state of a portrait, by this same artist, of " Cop- 
 penol," a writing-master, in not very good condition, was pur- 
 chased, in 1835, by Baron Verstalk, for three hundred guineas, 
 although a not inferior impression of the same state, and in very 
 fine condition, had been sold, in 1798, for 59/. 15^. 
 
 Another print by Rembrandt, a landscape, in which the charac- 
 teristic of the first state is that a tower, which is in the background, 
 is surmounted with a spire, fetched, at the sale of Mr. Barnard's 
 collection, in 1798, three guineas only ; but, partaking of the gen- 
 eral rising into better estimation of fine prints, the same impression 
 sold at M. Robert Dumesnil's sale, in 1836, for 54/. \2s. 
 
 The portrait, by Rembrandt, called " The Little Coppenol," in 
 its first state, and on India paper, sold, at Mr. Barnard's sale, in 
 1798, for five guineas ; but at the sale of Sir Thomas Baring's col- 
 lection, in 183 1, it was bought by an amateur, well known as having 
 printed a catalogue of his very choice collection, for 91/. Js.^ 
 
 ' An account of the prices paid at auction for some of the finest etchings and en- 
 gravings, during the last few years, may interest the reader. One of the most notable 
 collections disposed of was that formed by Hugh Howard, in the early part of the 
 eighteenth century, and sold at Sotheby's rooms in London in December, 1873. It was 
 especially rich in examples of the early Italian school, and notably in the works of 
 Marc Antonio. The second portion of the same collection, sold in November, 1S74, 
 comprised many etchings by Rembrandt. In the two sales there were about 2100 lots, 
 which realized a total of nearly $40,000. 
 
 The following are some of the prices paid : 
 
 St. John the Baptist, by Giulio Campagnola (early impression and very fine), £,'L3'i. 
 
 Portrait of Titian, by Agostino Caracci (first state), ;!^I9. 
 
 Albert Diircr's Adam and Eve, ^59. 
 
 St. Genevieve, by Dtirer, £1'^. 
 
 The Melancholy, by Diirer, ;^40. 
 
 The Angels of the Sistine Chapel, by Giorgio Ghisi, brilliant state, before the plates 
 were cleaned and before the address (set of six plates), ;^8o. 
 
 By Lucas Van Leyden : The Temptation of Adam (beautiful impression), £iZ ; 
 
72 THE PRINT COLLECTOR. 
 
 Hitherto, the instances brought of the higher value set by the 
 pubHc, of late years, on fine engravings, have been drawn from the 
 prints of one great artist only. But other eminent engravers have 
 also felt the effect of the improvement of the general taste, and of 
 the spread of general interest ; and it is gratifying to be able to ad- 
 duce examples of this in the works of an artist of a severer school, 
 and whose excellence is not of a description to be well appreciated 
 by the many. We might notice several prints of the fine Italian 
 
 Lot and his Daughters (brilliant impression in matchless condition), ;^i6i ; The Virgin 
 with Infant Christ seated in a landscape, £t<^ ; Mars and Venus, ^36. 
 
 The Flagellation, by Andrea Mantegna, ^16. 16. 
 
 Hercules fighting the Serpent, by Mantegna, ^30. 10. 
 
 The Battles of Sea-gods (two plates), ;^i8. 
 
 St. Anthony standing, by Israel von Meckenen, £\2. 12. 
 
 By Marc Antonio Raimondi : Adam and Eve (early impression before retouch), ^6g ; 
 The Expulsion, £\i ; Massacre of the Innocents (fine but slightly cut at the bottom), 
 ;f 77 ; The Madonna lamenting over the dead body of Christ, ^^38 ; The Last Supper, 
 ;^I05 ; Mary and Martha ascending the steps of the Temple, ;^3i. 10 ; The Madonna 
 seated on the clouds, /'loS ; Christ seated on the clouds, ;^59 ; Cupid with three chil- 
 dren, ^60 ; Apollo and Hyacinthus (slightly repaired), £z'i> ; Portrait of Pietro Aretino 
 after Titian (brilliant proof before the monogram), a rare print, of which one other only 
 is known in the same state, £l%0. 
 
 By Benedetto Montagna : An Oriental, seated, with landscape background, ^51. 
 
 By Antonio PoUajnolo : The Battle of the Giants, ^16. 
 
 By the Master of the Monogram P. P. : An unknown allegorical subject, called by 
 Bartsch " La Puissance de I'Amour," ^^91. 
 
 By Prince Rupert : The Great Executioner (second state), ;^5i. 
 
 By Rembrandt van Ryn : The Three Trees (brilliant impression), ^67. 10; Triumph 
 of Mordecai (very fine), £21 ; Portrait of Rembrandt leaning on a stone sill (second 
 state), £0,^ ; The Presentation, ^26 ; Christ Preaching, called The Little Tomb, ^66 ; 
 Christ Healing the Sick (second state), ;^io6 ; Christ before Pilate (first state), ;i^25i ; 
 The Crucifixion (first state), £"2.^ ; The same (third state), £ti ; St. Jerome sitting be- 
 fore the trunk of an old tree, ^^37 ; St. Jerome reading (an unfinished plate), ;^43 ; 
 Woman with an Arrow (second state), £10. 10 ; View of Amsterdam (brilliant impres- 
 sion), ;^28 ; The Three Trees, another copy (very fine), ;^S2 ; A Landscape with a 
 Vista, ^£'28. 10 ; An Arched Landscape with a flock of sheep (third state), ^29. 10 ; The 
 Gold-weigher's Field, £":,t ; Janus Silvius (first state), £-^1. ; The Great Jewish Bride 
 (fourth state), £'^0,. 10. 
 
THE PRINT COLLECTOR. 73 
 
 artists which have thus risen in estimation, but one shall suffice. 
 The prints, by Marc Antonio, of the three " Angles of Farnesina," 
 which brought 98/. 14$-. at the sale of Sir Mark Sykes's collection, in 
 1824, had been purchased by that gentleman, about ten years be- 
 fore, at the Morley sale, for 16/. 
 
 Like instances may be noted in the works of an artist of great 
 merit in his way, but of another description, and one who has al- 
 ways been popular. The portrait of " Algernon, Earl of Northum- 
 berland," by Hollar, was bought by Mr. Townley, at the sale of 
 Mr. Barnard's collection, in 1798, for four guineas ; when the same 
 impression was offered to the public, at Mr. Townley's sale, in 
 181 8, it was purchased, for the Royal Collection, for 25/. 10^. 
 
 Hollar's portrait of the " Duke of Norfolk under an Arch" was 
 purchased, for Sir Mark Sykes, at the sale of Sir James Winter 
 Lake's collection, in 1808, for 32/. iij'. ; but, when the same im- 
 pression came again into the market, on the sale of Sir Mark Sykes's 
 collection, in 1824, it brought 63/. Again, at the same sale of Sir 
 James Winter Lake's prints, in 1808, two unfinished portraits of 
 " Lady Shirley," by Hollar, were sold, respectively, for seventeen 
 guineas and ten guineas ; at Mr. Townley's sale, ten years after- 
 wards, they brought 43/. \s. each. 
 
 Sometimes an impression will acquire an extra value by reason 
 of some peculiarity in it rendering it of singular interest, such as 
 when, on an unfinished print, the unfinished part has been sketched 
 in by the artist himself, his hand being recognized, or so considered 
 to be, in his work. What satisfactory assurance there may be of 
 this is another matter. Such a specimen, if well authenticated, is 
 certainly a curiosity, and valuable in that respect ; and, beyond 
 this, has such an interest, as affords a very reasonable and just 
 ground for enhancement of price. We say, if well authenticated, 
 for it is obvious that, in every instance of this sort, there must be 
 more or less room for the same scepticism, which so generally at- 
 taches to pictures and drawings. There is often a strong disposition 
 
74 THE PRINT COLLECTOR. 
 
 to claim, for a print, an adventitious value of this description, where 
 there is little or no probability of its being due, and no just ground 
 to attribute it. 
 
 We have known more than one instance of a collector pur- 
 chasing, at an auction, a very rare, fine, and high-priced print, and 
 afterwards discovering, on a more minute examination than he had 
 before submitted it to, that its effect had been heightened, in parts, 
 by a wash of Indian ink or other color. In such a case, the only 
 resource of the unlucky purchaser is to persuade himself, and, which 
 is more difficult, to prevail on others to believe, that the washing 
 was performed by the hand of the artist himself, either the engraver 
 or the painter ; and, if he be so fortunate as to succeed in this, he 
 converts into an advantage what would else have been a disparage- 
 ment.' 
 
 ' Sale at Sotheby's, 1878, of the Cambridge University Duplicates, Etchings by 
 Rembrandt : 
 
 Spanish Gipsy (slightly torn on the corners), ^^56. 
 
 An Allegorical Piece, probably the demolition of the Statue of the Duke of Alva, 
 
 Woman sitting before a Dutch Stove (third state), £2%. 
 
 The Three Trees, ^60. 
 
 Landscape, with house and large tree by it (a small print), ;^45. 
 
 The Sportsman, ^36. 
 
 Peasant carrying milk-pails (second state), from P. Mariette's collection, ;^6o. 
 
 Gold-weigher's Field, ^56. 
 
 Portrait of Ephraim Bonus (second state), £i\o. 
 
 A Copse and Paling, with studies of two heads and a house seen from behind, rare 
 and very few known, possibly one of but four or five, ^305. 
 
 Sale at Sotheby's, London, 1872. Mezzotints after Sir Joshua Reynolds : Mrs. Ab- 
 ington, eng'* by Watson, proof, £'2'i ; Duchess of Lancaster, eng<^ by Dixon, proof, 
 £12 ; Mrs. Carrac, by Smith (fine impression), ^30 ; Lady Louisa Manners, by Green, 
 proof, ^42 ; Marchioness of Salisbury, by Green, proof, ^^30. 10 ; Mrs. Stanhope, by 
 J. R. Smith, proof, ;^3g. 
 
 Sale, Sotheby's, 1871. 
 
 By Diirer : Virgin seated by the wall of a house, ;i^20. 10 ; St. Jerome in Cell, £2'}>- 
 10; Rape of Amymone, £\i. 5; Shield of Arms with the Cock, ^23. 10; Virgin 
 crowned by two Angels, £\Z- 
 
THE PRINT COLLECTOR. 75 
 
 Ahead of Rembrandt, b>- himself (No. 8 of Daulby's Catalogue), 
 having the body dra\vt\ in, by the engraver, in black chalk, was 
 bought, for the late Duke of Buckingham, at Mr. Ilibbert's sale, in 
 1809, for 5/. At the sale of his grace's collection, in 1824, a cele- 
 brated English collector was the purchaser of it, at 53/. \\s. On 
 the breaking up of the latter gentleman's cabinet, in 1841, this 
 print was one, among many, which were selected for the British 
 Museum, and it was priced at 105/. 
 
 A comparison of these modern prices with the prices which the 
 same works fetched in the lifetimes of the artists, would be matter 
 of curiosity merely ; all circumstances being so different, as to 
 make any such reference valueless in other respects ; but where any 
 record does happen to exist of the original price, it is interesting 
 and amusing to note the difference. Thus, it has been already ob- 
 served, that Rembrandt's print of " Christ Healing the Sick" sold, 
 in his time, for about eight guineas of our present money. 
 
 But, to go back to a much earlier date, we have information of 
 what Albert Diirer was himself able to obtain for his engravings, as 
 he published them. For his print of Adam and Eve, and it may 
 Avell be assumed that it was an early, fine impression, and, being 
 new, in best condition, and with all its original margin, he received, 
 in the year 1520, as he himself informs us, four stivers, a sum equal 
 to about eighteenpence of our present money. The set of sixteen 
 prints, called " The Little Passion," sold for a sum equal to two 
 shillings and threepence of our money ; and the sets of his large 
 woodcuts, " The Apocalypse, " " The Great Passion," and "The 
 
 Sale at Sotheby's, London, 1877. Mezzotints after Reynolds : 
 Duchess of Devonshire, proof by Green, ^88 ; Duchess of Rutland, by Green, 
 ^40. 10. 
 
 Sale at Sotheby's, London, 1872. Mezzotints after Sir Joshua Reynolds : Mrs. 
 Abington, eng* by Watson, proof, £2^ ; Duchess of Lancaster, eng* by Dixon, 
 proof, £22 ; Mrs. Carrac, by Smith, £y:) ; Lady Louisa Manners, by Green, proof, 
 .:^42 ; Marchioness of Salisbury, by Green, proof, ^30. 10 ; Mrs. Stanhope, by J. R. 
 Smith, proof, £z<i- 
 
76 THE PRINT COLLECTOR. 
 
 Life of the Madonna," produced him six shillings each set. " The 
 Eulenspeigel" of Lucas Van Leyden, now a very rare print, and 
 worth, perhaps, when fine and in good state, about 50/., was 
 bought by Albert Diirer, at Brussels, for a stiver, or fourpence 
 halfpenny of our money. 
 
 But it is time that we now proceed to advert to the other obser- 
 vation which we proposed to evidence and illustrate. It is melan- 
 choly to contemplate folly, but it is amusing also, because absurdity 
 is generally laughable. 
 
 The same great artist, so often mentioned, Rembrandt, executed 
 an etching of a little dog lying asleep. It would seem that, on some 
 occasion, a sleeping dog accidentally attracted his notice, and that 
 he took a sudden fancy to immortalize the little animal in the atti- 
 tude of the moment. He hastily snatched up the first piece of cop- 
 per at hand, with ground ready laid, without regard to fitness of 
 size or shape ; and, as it happened to be greatly larger than was 
 necessary, he scratched his subject in the left-hand corner of the 
 plate, working in that part only. When he proceeded to take an 
 impression, he chanced to take a piece of paper of more than suf- 
 ficient size to contain his work, but of less size than the whole cop- 
 per, the result of which was, that, in the print, no plate mark ap- 
 pears — that is, no mark of the edge of the copper, except on the top 
 and right hand. Afterwards, Rembrandt cut from the large plate 
 the small square corner on which he made his etching, and from 
 this now reduced plate the subsequent impressions were taken. 
 The work itself has no great attraction ; it is imperfectly bit, and 
 very feeble in effect. It is not quite three inches and a quarter 
 long by one inch and a half wide ; and a good impression, in good 
 condition, is adequately valued at about twenty or thirty shillings. 
 But, whether fortunately or unfortunately, there does happen to 
 exist one, and, as is believed, only one, impression, taken from the 
 copper-plate before it was cut, and this measures nearly four inches 
 and a quarter long by two inches and a half wide. This impres- 
 
THE PRINT COLLECTOR. 11 
 
 sionwas in the collection of Mr. Ilibbcrt, which was sold by auction 
 in 1809.' 
 
 Whether it was that, at this period, when, as we have seen, pub- 
 lic taste was so far in its infancy, or confined to so few, that the 
 Hundred Guilder was allowed to pass for one sixth of its present 
 value, public folly was also in a comparative state of infancy ; or 
 whether it was that the peculiarity of this impression of this little 
 print had not yet attracted its full share of notice ; certain it is, that 
 the sum it sold for, at Mr. Hibbert's sale, was only thirty shillings. 
 The purchaser was M. Claussin, himself an artist, a great admirer 
 and copyist of Rembrandt, and the author of a catalogue of his en- 
 gravings. M. Claussin sold the print, at a small advance of price, 
 to a London dealer of great celebrity ; of him the late Duke of 
 Buckingham purchased it for 61. At the sale of his grace's collec- 
 tion, in 1834, connoisseurs began to awaken to the hitherto inade- 
 
 ' A four days' sale at Sotheby's, London, December, 1878. 
 
 Portrait of Mrs. Robinson, engraved in mezzotint by J. R. Smith, after G. Romney 
 (not a proof), ^32. 10. 
 
 By Albrecht Diirer : The Passion of Christ (16 plates, even set), ;^42 ; Madonna 
 Crowned, ;^ 16. 5 ; Conversion of St. Hubert (very fine), ^43. 10 ; St. Jerome in his 
 chamber writing (in perfect preservation), ^41 ; Melancholia (very fine early impres- 
 sion), ;^48 ; Man with glory on his head, and holding a pair of scales, ;i^44 ; An Es- 
 cutcheon, bearing a skull (brilliant impression), ^58 ; Portrait of Erasmus seated, 
 ^26. 10. 
 
 By Lucas van Leyden : Return of the Prodigal Son (very fine), £'2.\\ Magdalen re- 
 turning to the Pleasures of the World (very fine), ^90 ; Portrait of the Emperor Maxi- 
 milian (brilliant impression), £ 100. 
 
 By Israel Van Meckelen : Christ disputing with the Doctors, ;^i8. 15 ; Virgin and 
 St. Anne with Infant Jesus (fine early impression), ;i^35. 
 
 By Rembrandt: Angel appearing to the Shepherds (third state), £2b; " The Hundred 
 Guilder Piece," or Christ Healing the Sick, ;^ 80 ; St. Jerome with the Lion (second 
 state), £36 ; View of Amsterdam, ^21 ; Landscape with a Vista (third state), ;iC20. 10 ; 
 Landscape, with tower in ruins (fourth state), £3$- 10 I Portrait of Ephraim Bonus 
 (fine, second state), £67 ; Portrait of Cappenol, a large plate (fourth state), ^39. 
 
 By Martin Schongauer : Adoration of the Magi (fine early impression), ^^35. 10 ; 
 Flight into Egypt, ;^35. 10. 
 
78 THE PRINT COLLECTOR. 
 
 quately acknowledged merits of the " little dog," or rather of the 
 superfluous abundance of blank paper bordering him on two points 
 of the compass ; and the fortunate purchaser at that sale was con- 
 tent to pay for this trumpery print 6i/. Nor did he act unwisely, 
 for it is understood that he shortly after received an offer from a 
 Dutch collector of, first, one hundred guineas ; then, 150/. ; and, 
 at last, this genuine descendant of the ancient Tulipians desired the 
 proprietor to name his own price, and he would give it. 
 
 But what genuine collector, with due enthusiasm for his pursuit, 
 would consent to part with such a print at any price whatever I 
 The happy possessor resisted all pecuniary temptation, and retained 
 his " little dog" until he disposed of his whole collection ; when, 
 among a number of more truly valuable prints, selected from his 
 portfolios, and bought for the British Museum, this curiosity, so to 
 call it, passed to that national repository, at the price of 120/.; and 
 the present worthy curator of the print-room will show to his vis- 
 itors a twenty-shilling print on one hundred and nineteen pounds' 
 worth of blank paper, all in the space of three or four inches. 
 
 It may be advisable to say a word here in explanation of our ir- 
 reverent style of speaking on this subject. There may, or may not, 
 be justness in designating, as we have ventured to do, the paying a 
 very large sum for an article of small intrinsic value, but high 
 priced, by reason of its rarity or absolute singularity, and of that 
 only, as a species of folly. We do, unquestionably, consider it to 
 be so in an individual whose professed pursuit is the collecting of 
 works of art as such ; but it is otherwise where the pursuit is of a 
 more general nature, as is the case with a national museum. This 
 seeks to possess, not only what is excellent, but also what, though 
 devoid of intrinsic excellence, is, nevertheless, rare and curious. 
 Such an article, therefore, as we have been noticing, comes, with 
 full propriety, within the legitimate objects of a public national es- 
 tablishment, and such a place is indeed the proper deposit for it ; 
 and it is a subject of congratulation to the British Museum that it 
 
 I 
 
THE VRINT COLLECTOR. 79 
 
 possesses the unique " little do^s" and, we cannot forbear to add, a 
 subject of congratulation to the pubhc that it is removed from 
 affording opportunity of further competition/ 
 
 There is an etching, also by Rembrandt, of four small subjects 
 which were executed for illustrations to a book, and, accordingly, 
 go by the name of " Four Prints for a Spanish Book." They are 
 prints of no attraction or great merit ; they were all four engraved 
 on one large piece of copper, and, after some alterations had been 
 made, the copper was cut into four pieces, by which each became a 
 separate plate. Meantime, however, a few impressions of the ear- 
 lier state were taken off from the uncut plate, and these necessarily 
 showed all the four prints on one sheet of paper. These sheets 
 were, in like manner, cut into four, for the obvious purpose of being 
 sewed or bound up into their respective places in the book. 
 
 It happened that some very few of these whole sheets were left 
 entire. Such a sheet, with all the four prints on it, and before the 
 alteration above alluded to, appeared in the sale catalogue of Mv. 
 Hibbert's collection, in 1809, and brought the fair and sufficient 
 price, estimated by common-sense, of i/. 'js. The purchaser was 
 the Duke of Buckingham. By the time the Duke's collection came 
 to the hammer, which was in 1834, the eyes of collectors had be- 
 come open to the value of rarities of this description, and this sheet 
 of four little prints was knocked down at 57/. 135"., the purchaser 
 being the collector, whose purchase of the " little dog" has been 
 
 ' Baron Marochetti's Sale at Sotheby's, London, in March, 1868. A very rich col- 
 lection, containing many of Marc Antonio Raimondi's best works. The catalogue 
 contained 6S7 lots, which realized a total oi ^-z^do. 
 
 Dance of Cupids, by Domenico Campagnola, £s^- 
 
 By Marc Antonio Raimondi : Adam and Eve in Paradise, £'^z'^ ; Massacre of the 
 Innocents, £:itO\ Virgin with Body of Saviour, £^\ ; St. Cecilia, ^51 ; Triumph of 
 Titus, p^52 ; Two Fauns carrying a child in a basket, ^^56 ; Apollo, Minerva, and the 
 Muses, the set, ;i^45 ; Man with two Trumpets, ;i^48. 
 
 By Israel Van Mecklen : The Dance of Herodias brought;:^ 24. 
 
 By Schongauer : The Wise and Foolish Virgins, ^52. 10. 
 
8o THE PRINT COLLECTOR. 
 
 noted as having proved so advantageous. From this purchaser the 
 print passed to the British Museum, that national establishment 
 being happy to obtain the curiosity at the price of one hundred 
 guineas. Good impressions, in good condition, of these prints, 
 when occurring separately in their usual state, which they often do, 
 sell at from fifteen to twenty shillings.' 
 
 We will indulge in only one more of these anecdotes of fancy. 
 There are some exceedingly beautiful and delicate etchings, by 
 Berghem, of goats and sheep. They form two sets of eight prints 
 each ; one goes by the name of " The Man's Book," and the other 
 of " The Woman's Book," from the circumstance of the first print 
 of the set representing, the one a male, the other a female, peasant. 
 It happened that Berghem etched six of these prints on one plate of 
 copper (a similar case to Rembrandt's four prints for a Spanish 
 book), and he afterwards cut the copper in pieces, making each 
 print a separate plate. He then etched more plates, extending the 
 sets to eight prints each, as above related. By good luck or bad, 
 one impression exists, taken from the uncut copper, with all the 
 
 ' The sale of the collection of Sir John Stuart Hippisley, at Sotheby's, in 1868, com- 
 prised 357 lots, which brought a total of over ;^ 3000. 
 
 By Rembrandt, etchings : The Hundred Guilder Piece, brilliant impression of the 
 second state, ;[^I24 ; A View of Omval, £20, ; The Three Trees, landscape, ;^83 ; Por- 
 trait of John Asselyn (with margin), ^^105 ; Ephraim Bonus (second state), ;^38 ; The 
 Great Jewish Bride (first state), ;^I40. 
 
 By Diirer : Virgin seated in a landscape (very fine and with margin), ^^45 ; St. 
 Hubert, £,\t. 15 ; The Knight of Death, £<^ii,. 
 
 The Duchess Buccleuch, with her child, proof, by Watson, after Reynolds, ^^45. 
 
 Lady Bampfylde, by the same, £"}>']. 
 
 Lady Cavendish, by Green, ^'32. 
 
 Duchess of Devonshire, by Green, a proof, ;i^6o. 
 
 By Marc Antonio Raimondi : Adam and Eve in Paradise, ;^240 ; Massacre of the 
 Innocents, ^47. 10 ; Saviour seated on the clouds, ,,f 192 ; Dance of Cupids, after Ra- 
 phael, ^149 ; Judgment of Paris, ditto, ^94 ; The Bacchanalian Frieze, ^160 ; Mars, 
 Venus, and Cupid, after Montagna, ^f 83 ; Philosophy, after Raphael, £^0 ; The Bath- 
 ers, after Michael Angelo, £^0. 
 
rilE PRIXT COLLECTOR. 8l 
 
 six prints upon it. One only ! a unique impression ! and therefore, 
 in the estimation of determined collectors of all that is singular, 
 invaluable. M. Claussin bought it, at the sale of Mr, Annesley's 
 collection, in 1809, for 12/. \^s. It afterwards came into the pos- 
 session of an eminent collector, a large portion of whose collection 
 was afterwards purchased by the British Museum, to which insti- 
 tution this print was sold for 120/.; and the opinion of persons 
 conversant with these matters is, that if it were now again in 
 the market, it would, at this day, bring more than double that 
 sum,' 
 
 To have belonged to any noted collection, and to have stood 
 the ordeal of a public sale, and to have gone through the general 
 and rigid examination implied in that ordeal, and to have then 
 fetched a high price, and to be registered accordingly in the preserved 
 marked catalogues which memorialize these sales, is, ever after, a 
 passport and recommendation to an impression thus circumstanced ; 
 it gains for it a reputation and a station. In coteries of connois- 
 seurs and dealers, it is generally known which is the best or rarest 
 impression of each of the most important ancient prints, and in 
 whose cabinet it is ; and as the print descends from hand to hand, 
 its reputation descends with it, and brings into notoriety and esteem 
 whatever collection it may happen to adorn. 
 
 * We do not think it a good plan for the collector to set out with the intention of 
 obtaining rarities or rare states of impressions. Sometimes the impressions are better 
 and clearer after a number have been worked from the plate. In old times the ama- 
 teurs generally did not consider the earliest ones the best. They seemed to have cared 
 less for these conditions than that they should be clear, perfect impressions, the ink 
 evenly distributed, and each line well brought out. They did not esteem the muddy 
 appearance, caused by the plates not being quite cleaned from the acid, which may 
 have spread around the lines, any advantage, as it was not intended by the artist to 
 be there. One has to pay for these peculiarities or accidents, which they sometimes 
 were, because, perhaps, such examples are scarce. We would rather strive to select 
 clear, brilliant impressions in good condition, leaving the rarities, which commend 
 themselves especially as such, until the very last. 
 
82 THE PRINT COLLECTOR. 
 
 It has already been observed that many collectors have been in 
 the habit of setting on their prints marks of proprietorship, either 
 names at length, initials, ciphers, or monograms. These served, 
 and continue to serve, to assist, and indeed bear evidence to the 
 pedigree, if we may so call it, of all prints that have passed through 
 the hands of these marking proprietors. 
 
 A print is a thing easily purloined ; there are some of very high 
 value which are, nevertheless, so small that they might lie in the 
 crown of a hat, or even in the palm of the hand. Public collections 
 are generally accessible to strangers, on very slight credentials ; 
 several portfolios are often open at the same time in different parts 
 of the room, and the eye of the superintendent cannot be on all. 
 The idea, therefore, of marking prints in a sufificient manner to iden- 
 tify them if stolen, would suggest itself as precautionary, but the 
 necessity of it has, unfortunately, been shown by the fact of em- 
 bezzlements having been actually made to a considerable amount. 
 Such an instance occurred in the British Museum some years ago. 
 A well-known caricaturist and publisher was detected in purloining 
 to a great extent, and he had the effrontery to stamp, upon the sto- 
 len prints, a monogram which he adopted as his own mark of pro- 
 prietorship. 
 
 Private collections are not so liable to this sort of depredation, 
 since they are seldom left accessible, unless to persons whose char- 
 acters are known to be sufficient security. To these there is no 
 danger, unless from wholesale robbery, which danger, in the case 
 of articles which do not show their value, and would be difficult of 
 disposal, is of small amount. It can hardly be supposed, therefore, 
 that it was apprehension of theft alone which induced collectors to 
 set a mark upon every print that came into their possession. The 
 practice, it is feared, arose as frequently from vanity as from any 
 better source. Of these marks, some are in manuscript, others im- 
 pressed with a metal stamp, others with a wooden block ; some ap- 
 pear modestly, and in that place only where marks ought to he 
 
THE PRINT COLLECTOR. 85 
 
 used, if they must be used at all, namely, on the back of the print, 
 but others appear on the face, and often in a conspicuous part. 
 
 This barbarous custom has disfigured very many fine and rare 
 prints, and it is impossible that any collector who so practised it 
 could have had any true feeling for the objects of his pursuit. The 
 very eminent collector, Sir Jacob Astlcy, whose collection was sold 
 in 1760, stamped mercilessly his cinquefoil ermine full in the most 
 conspicuous part of the face of his prints. Mr. Hibbert is another 
 great collector who impressed his monogram on the face of the 
 print, but he had the comparatively good taste and modesty to 
 plant it as near as he could to one of the lower corners. 
 
 If these barbarities were perpetrated from a vanity of sending 
 down to posterity the name of the collector, in company with the 
 immortality of the engraver, the object has not always succeeded. 
 The majority of these defacers have met the fate intended for the 
 man in ancient story, who aimed at posthumous notoriety by means 
 not much more flagitious, and they have been disappointed by the 
 obliteration of their name from the memory of mankind. They 
 who have most effectually secured to themselves the immortality 
 aimed at by this practice, are such as adopted the habit of writing 
 their names at full length on the back of their prints, and some- 
 times, but very rarely, on the face of them, of which, however, 
 Pierre Mariette affords, perhaps, the only instance.* 
 
 This person was an eminent collector and dealer about the mid- 
 dle of the seventeenth century : he was accustomed, whenever he 
 
 ' The practice of stamping monograms and marks upon prints, or writing either 
 upon the backs or faces of them, is one which cannot be too much deprecated. In 
 most cases it appears to be instigated by a desire for notoriety, but the persons 
 seeking immortality by this means should not complain if they find themselves placed 
 on a par with those who, with the same object in view, write and carve their names 
 on Virgil's tomb, the Pyramids, and church spires, or pencil them upon the walls 
 and ceilings of Shakespeare's house. They may also be classed with those who inscribe 
 their names in full with ink on the title-pages of books. It is an act of vandalism. 
 There is not one among thousands who commit it whose mark or name is not a detri- 
 
«4 THE PRINT COLLECTOR, 
 
 happened to become possessed of an impression of more than ordi- 
 nary beauty, to write his name at full length, and a date, on the face 
 of the print ; and although this is certainly a disfigurement, yet 
 such is Pierre Mariette's reputation for judgment that to be thus 
 disfigured is no disparagement to a print, but the contrary. 
 
 Of names written on prints at full length, those which are more 
 frequently met with are as follows : " D. Abegg ;" " Edward 
 Astley ;" " Dom. Artaria ;" " Robert Balmanno ;" " John Bar- 
 nard," who frequently, however, uses his initials only ; " W. Bayn- 
 tim ;" Bermann, a printseller at Vienna, signing " Sig"" Bermann 
 m*^ d'estP^ Vienne ;" " H. Blake ;" " T. A. Boerner ;" " Joseph 
 Camesina ;" "John Chalon ;" "William Cole;" " S. Copley;" 
 " Couverlet ;" " T. Dodd," who sometimes uses initials only; 
 " H. W. Diamond ;" " Franck ;" " Rich*^ Ford," who sometimes 
 uses initials only; " F, Gawet ;" "Harding;" " Karthstone ;" 
 "CI. Aug. Mariette;" " D. J. Mariette ;" "P. Mariette ;" 
 " J. Mariette ;" " Nandy ;" Naudet, a printseller at Paris, signing 
 "Chez Naudet M*^ Destampes au Louvre;" "Arthur Pond;" 
 "Chris. Raveley;" " Ch. Ransky ;" "P. Remy ;" " S. W. Rey- 
 nolds ;" " F. Rechberger," which signature designates the collec- 
 tion of the Count de Fries, of which Rechberger was the curator ; 
 " Jan Six," a burgomaster of Amsterdam, not the patron of Rem- 
 brandt, but a burgomaster of the same name, whose collection of 
 prints was sold about seventy years ago ; " Edw'^ Skegg ;" " N. 
 Smith ;" " G. Storck," who generally adds the words " a Milano ;" 
 Terry, a printseller at Brussels, signing " L pe Terry;" " De 
 Valois ;" and " W. F. Zincke." 
 
 ment, and even in the case of this one its desirability is questionable. Nothing is 
 easier than to counterfeit the marks, and it is probable that a large proportion of the 
 prints bearing Mariette's name have it in counterfeit. 
 
 As the collector's marks exist in such numbers, and are often quoted, it is neces- 
 sary to take them into consideration in order to detect the counterfeits ; for there 
 is no denying the fact that a name like that of Mariette's, when genuine, is a sort of 
 passport to an engraving as an object of merchandise. 
 
THE PRINT COLLECTOR. 85 
 
 Of initials, ciphers, or monograms, used by collectors as marks 
 of proprietorship, three plates will be found at the end of this 
 chapter. Nearly all of these are fac-similes, copied from the mono- 
 grams themselves ; but, in some few instances, we have been 
 obliged to rely on a copy obtained elsewhere, without having our- 
 selves seen the original. Such of these proprietors' marks as we 
 are enabled to appropriate are numbered in correspondence with a 
 list which we give of the persons to whom they are known, or con- 
 sidered to belong. Such as have no numbers attached to them we 
 cannot at present identify. In turning over large collections of 
 ancient prints, many more of these proprietary marks might no 
 doubt be found ; and, by a little research, many of those, which we 
 are content to class as anonymous, might, probably, be appropriated. 
 But it has not been our purpose to attempt a perfect collection ; 
 we will, nevertheless, mention, in addition, several that have been 
 observed by us and noted from time to time, but of which we have 
 not the means of giving fac-similes or representations. 
 
 A cross, of the form which heralds call " patee, " appears occa- 
 sionally on an ancient print. This is believed to denote that the 
 print came from the collection of Leo the Tenth, or of the Bishop 
 of Arezzo. 
 
 A lion, rampant, within an oval cartouch, is considered to desig- 
 nate the collection of Prince Rupert. 
 
 The prints belonging to King Charles the First were marked 
 with a star of eight long points ; those of Count Caylus with a star 
 of five long points ; and several other varieties appear of the star as 
 a monogram. 
 
 A human eye is the monogram of Hone, a portrait painter. 
 
 Arthur Pond, though he was generally content with his initials, 
 or name at length, is said to have used also a circle with serpentine 
 radii. 
 
 Constantine Jennings stamped his prints with a demi-grififin, 
 being his crest. 
 
S6 THE PRINT COLLECTOR. 
 
 Noblemen generally added coronets to their devices. 
 
 Of initial letters, used as marks of proprietorship, we may no- 
 tice the following, beyond what are figured in our plates : 
 
 The letters B. W. signify Benjamin West, formerly President 
 of the Royal Academy. 
 
 The Roman capital D, surmounted with a coronet, designates 
 the Duke of Devonshire. 
 
 G. R., in Roman capitals, Gerald Reyntz, a Dutch collector of 
 the time of King Charles the First. 
 
 The letter L, in italic capital, within a triangle, Le Roy. 
 
 A cipher of double L, in italic capitals, the second L the reverse 
 way, and the whole within a circle, L'Empereur. 
 
 A cipher of three letters T, printed in gold, John Talman, 
 
 The letters W. O., William Young Ottley, late keeper of the 
 prints in the British Museum. 
 
 The letter X, or two letters C joined back to back, denotes the 
 collection of Lord Clive. 
 
 R. D., in very small Roman capitals, within a small oval, length- 
 ways, the whole printed in blank, Robert Dumesnil. 
 
 A Roman capital C, with a hyphen drawn across it, signifies the 
 Crozat collection. 
 
 A Roman capital G, stamped blank, Mr. Gevers. 
 
 The Roman capital S, twining round a staff, surmounted with a 
 star, Lord Spencer. 
 
 The Roman capitals V. H., Van Haaken, or Hawkins, Hud- 
 son's drapery painter. 
 
 The Roman capital W, stamped in blank, Mr. White, print- 
 seller. 
 
 There occur, also, the following initials, which we are at present 
 at a loss to appropriate : 
 
 C. G., surmounted with a coronet, the whole within a circle, 
 the letters and coronet being white, and the ground within the 
 circle black. 
 
THE PRINT COLLECTOR. 87 
 
 The initials E. B., in italics. 
 
 The single letter L, in italic character. 
 
 Open letters V. C, in Roman capitals. 
 
 The Roman capital D, stamped in blank. 
 
 The Roman capitals R. W. ; also S. G. ; also S. G. B. ; also M. W. 
 
 Prints from the Dijonval collection are characterized by a back 
 edging, pasted along each of the four sides. 
 
 The prints in the collection of the Count de Fries were mounted 
 upon paper of a peculiar color and texture, and which is now gen- 
 erally known as the De Fries paper. 
 
 John Talman was accustomed to put a border of burnished gold 
 round his prints or their mounting paper. The late Duke of Buck- 
 ingham also, occasionally, bordered his prints with an edging of 
 gold paper. 
 
 J. Gulstone numbered each of his prints at the back, as No. 
 6341 ; and he generally added the price at which he valued it. 
 
 The British Museum have now two marks in use. On their 
 large modern prints appear the Royal Arms under the words 
 "British Museum," the whole within an oval ; their other prints, 
 of recent acquisition, are stamped with a crown, having above it the 
 word "British," and below it "Museum." Formerly the prints 
 in this national collection were stamped with a blank die, in the 
 form of an oval belt, having on it the words " British Museum ;" 
 and in the central space formed by the belt appeared, in manu- 
 script, initials designating the collection whence the print came, as 
 C. M. C, for Cracherode ; H. S., for Sir Hans Sloane ; W. F., for 
 Faulkner. A specific distinct mark was used for Mr. Payne 
 Knight's collection, being a small oval with the words " British 
 Museum" within it, and between them the initials R. P. K. The 
 present mode of designating the collections from which prints are 
 acquired is shown in our third plate, in the instance of the Sheep- 
 shanks' collection. 
 
 By means of these marks of proprietorship, the transmission of 
 an identical impression may, sometimes, be traced for a considera- 
 
88 THE PRINT COLLECTOR. 
 
 ble period of time. A fine impression, on India paper, perhaps the 
 finest in existence, of the first state of Rembrandt's print of Christ 
 presented to the People, always called, but improperly, ' ' Our Lord 
 before Pilate," now in a private collection to which we have had 
 access, has upon it records of proprietorship for nearly a century. 
 At the back is the autograph of Pierre Remy, with the date, 1749 ; 
 in front is the mark of Sir Jacob Astley, whose collection was sold 
 in 1760 ; next appears the monogram of Sir Joshua Reynolds, who 
 died in 1792 ; from Sir Joshua this print passed to the late Duke 
 of Buckingham ; at the breaking up of his grace's collection, in 
 1834, the property was transferred to a distinguished collector, who 
 has been more than once alluded to in these pages ; and from him, 
 in 1841, it came, through a printseller, into the hands of the pres- 
 ent possessor. 
 
 It is certainly a very interesting thing to trace the transmission 
 of a fine print in this manner, and, therefore, one can hardly regret 
 the past usage which enables us to do this ; nor can we, for pos- 
 terity's sake, desire that it should be wholly discontinued. But it 
 is hoped that, as collectors acquire better taste and feeling, they 
 will abandon the practice of stamping their prints with any mark, 
 and be content with recording their proprietorship in manuscript 
 only, and that in small and slight character, and at the back, and 
 never on the face of the print ; and to confine even this to the 
 margin, if margin there be. 
 
 Names of collectors, or others, whose monograms, initials, or 
 ciphers are represented in the accompanying plates : 
 
 No. 
 
 3. Lord Aylesford. 
 
 4. — Bainbridge. 
 
 5. John Barnard, who frequent- 
 ly also wrote his name at 
 
 No. 
 
 1. — Allen. 
 
 2. Sir Jacob Astley, or, rather, 
 the Astley family, for there 
 were several successive collec- 
 tors of this name and house. 
 
 full length. 
 
THE PKINT COLLECTOR. 
 
 89 
 
 /• 
 8. 
 
 9- 
 10. 
 
 II. 
 12. 
 
 13- 
 
 14. 
 
 15- 
 
 16. 
 
 17- 
 18. 
 19. 
 20. 
 21. 
 22. 
 
 23- 
 24. 
 
 25- 
 
 26. 
 27. 
 
 28. 
 29. 
 
 A number has been attached 
 to this cipher by mistake : 
 it is unknown. 
 — Becker, of Dresden. 
 Alexander Beugo. 
 John Binmer, 
 
 Marianne Bovi, engraver 
 and print publisher. 
 The Rev. W. J. Bree. 
 The Earl of Cholmondeley. 
 Thomas Clutterbuck. 
 Rev. Clayton Mordaunt 
 Cracherode. 
 
 Deighton, printseller and 
 caricaturist : there were two 
 of the name. 
 Baron Vivant Denon. 
 Captain Donnadieu. 
 Etienne Durand. 
 William Edwards. 
 William Esdaile. 
 G. Franck. 
 Peter Goodeson. 
 George Hibbert. 
 Edward Holmes. 
 Richard Hudson. 
 Sir Thomas Lawrence. 
 Prosper Henry Lanckrink, 
 page to King Charles the 
 First. 
 
 Sir Peter Lely. 
 Frangois Mariette. 
 
 No. 
 30. 
 31. 
 32. 
 
 33- 
 34- 
 
 35. 
 36. 
 17- 
 38. 
 39- 
 40. 
 41. 
 42. 
 
 R. Moore. 
 Thomas Phillips. 
 Arthur Pond ; who some- 
 times also wrote his name 
 at length, and to whom is 
 also attributed a monogram 
 of a circle with serpentine 
 radii. 
 
 Sir Joshua Reynolds. 
 Jonathan Richardson, the 
 father. 
 
 William Richardson. 
 William Roscoe. 
 Michael Rysbrach, statuary. 
 Edward Scriven. 
 Sir Hans Sloane. 
 Sir John St. Aubin. 
 Sir Mark Masterman Sykes. 
 Doctor Peter Sylvester. 
 These letters occur also 
 without the star, and open 
 on a black ground. 
 
 — Thornton. 
 R. Udney. 
 
 Collins, miniature painter. 
 Christian Josi. 
 
 — Rogers. 
 
 — Flink, of Rotterdam. 
 Von Putten. 
 
 Thomas Howard, Earl of 
 
 Arundel. 
 
 Dr. Peart. 
 
90 
 
 THE PRINT COLLECTOR. 
 
 No. 
 
 52. Nicolini Haym, musician. 
 
 53. Thomas Hudson, portrait 
 painter. 
 
 54. Thomas Dodd. 
 
 55. William Baillie, commission- 
 er of stamps, engraver. 
 
 56. — Thane, who also wrote 
 his name at length, but in 
 the reverse order of the let- 
 ters, " Enaht." 
 
 No. 
 
 57. Charolois. 
 
 58. J. P. Zoames, a friend of 
 Rembrandt. 
 
 59. Pierre Remy, who also wrote 
 his name at full length. 
 
 60. This is the mark used by the 
 British Museum to desig- 
 nate the prints that came 
 from the collection of Mr. 
 Sheepshanks. 
 
CHAPTER V. 
 
 OF THE EXTENT OR LIMIT OF A COLLECTION. 
 
 The few observations that suggest themselves, with respect to 
 the extent to which a collection should, under circumstances, be 
 carried, might have been introduced, with apparently more pro- 
 priety, at the time when we were treating of classification ; but 
 they have been postponed to the present place, because they rather 
 require to be preceded by the remarks that have now been made 
 on subjects much affecting the inquiry. 
 
 It is not meant to discuss the question of extent of collection in 
 the general ; for this will, of course, always depend on the dispo- 
 sition of the collector, or the amount of his means. The occupier 
 of a palace, the curators of a public museum, may, and, in the lat- 
 ter case, perhaps ought to endeavor to collect all the works of all 
 artists, and in all their states, and, as hereditary succession in the 
 one case, and permanency of establishment in the other, removes 
 the narrow limit which, among humbler individuals, restricts the 
 collector to what can be accomplished within the period of a single 
 
92 THE PRINT COLLECTOR. 
 
 life, this may, in process of time, perhaps, be nearly effected ; nearly, 
 not fully ; because if the only known impression of a print, there- 
 fore called unique, be locked up in one public institution, it must 
 ever, while that institution endures, remain among the desiderata 
 of every other ; and, to this extent, all others will be imperfect. 
 
 But we will confine our observations to such as may be applica- 
 ble to those persons only to whom they are meant to be addressed 
 — persons, namely, of the usual average means, opportunities and 
 desires ; and, indeed, it is but on one point that any remarks are 
 necessary. 
 
 To any one who collects extensively, and, more especially, to 
 any one who, not so collecting, selects one or more masters as the 
 object of his choice, meaning to confine himself to them, the ques- 
 tion will, very soon, be forced upon him, whether or no he should 
 make a point to extend his collection to the entire works of any 
 favorite master, and whether to all the varieties of states of his dif- 
 ferent prints. As the principal prints are obtained, and as more 
 and more accumulate, and the collection begins to deserve a repu- 
 tation, there may arise a very strong temptation to make the collec- 
 tion perfect. An ambition is created to rank, among brother col- 
 lectors, as pre-eminent above all others, for the excellence and com- 
 pleteness of his specimens, of some one favored engraver ; and the 
 truth must be admitted that in many cases such pre-eminence is 
 not to be attained, but by an accumulation which a person of rea- 
 sonable judgment, and uninitiated in the mysteries of collecting, 
 will probably consider by no means worthy of its cost, or, indeed, 
 desirable to possess. 
 
 Divesting one's self of the enthusiasm, or vanity, which leads to 
 this temptation, and considering the subject according to the dic- 
 tates of common-sense, there certainly appear several reasons 
 against yielding to it. 
 
 Firstly, there are very few artists all of whose works are worthy 
 of their hand. 
 
THE PRINT COLLECTOR. 93 
 
 Secondly, there occur, occasionally, in the works of the finest 
 engravers, prints that are highly objectionable op. account of the 
 indelicacy of their subject, or the gross manner of treating it ; some, 
 indeed, wholly inadmissible into a portfolio, which is ever left 
 accessible. Such are, technically, called " free subjects." 
 
 Thirdly, there are some one or more prints, of nearly every 
 important master, which are of very moderate value when estimated 
 on the score of their intrinsic merit or beauty, and yet which bear 
 an exceedingly high price, by reason of the single accidental quality 
 of being very rare ; and these would certainly not be worth possess- 
 ing at any thing like the sum which they fetch, whenever they do 
 happen to make their appearance, were it not for the fancy of mak- 
 ing the collection complete. 
 
 Fourthly, this degree of rarity is sometimes extreme. Besides 
 prints which are unique, as already noticed, there are others of so 
 rare occurrence as to have obtained the adjunct of ' ' presque unique. ' ' 
 Of the artists to whose works these belong, it is either alto- 
 gether or nearly impossible to form a complete collection, and 
 where once a deficiency is admitted in that whose excellence is sup- 
 posed to consist in its completeness, the deficiency may as well be 
 extended to two or several as to one. 
 
 Lastly arises the perplexing question, whether to draw any and 
 what line respecting " states." Should or should not a collector 
 determine to possess himself, as far as he possibly can, of the same 
 print in each of its different "states"? This, we venture to an- 
 swer, must depend much upon the object which the individual has 
 in view. If his ambition be to be recognized, in the coterie of 
 connoisseurship, as a professed collector of such or such a master, 
 he must certainly do this at whatever cost of pocket, and. we were 
 about to say, of taste and rational judgment ; but if he can refrain 
 from aiming at this distinction, and if he resolve to stand free and 
 uninfluenced by any motives but those of discretion and common- 
 sense, he will, perhaps, endeavor to mark out a line by which to 
 limit his collection in this respect. 
 
94 THE PRINT COLLECTOR. 
 
 This question of states we will again return to, after first advert- 
 ing to another subject more easily disposed of. Public and other 
 extensive collections generally aspire to contain not only an im- 
 pression of every print by every engraver, and that in every state 
 of the plate, but also all copies that have been made of his prints. 
 Private collectors sometimes follow this example, even where their 
 pursuit is by no means general, but confined to perhaps a few or 
 even one voluminous artist. A national collection being intended, 
 not for private gratification, but for general public utility, it is 
 proper that it should be well calculated for every purpose to which it 
 can be made available. One essential purpose is that of study ; and 
 it is, therefore, important that such a collection should possess means 
 of teaching the art of discriminating original works from copies, 
 and of enabling those who consult it to become familiar with both, 
 to acquire knowledge of the distinctive characteristics, and to gain 
 every instruction in this particular that experience can afford. 
 Copies, generally speaking, appear to have been made with intent 
 so to rival their originals as to be mistaken for them ; they are 
 transcripts, line by line, so perseveringly accurate as to require, as 
 we have already had occasion to notice, a minute investigation to 
 detect a distinctive variation ; they are wonderful examples of me- 
 chanical skill and imperturbable patience, but nothing more ; and 
 it is not easily conceivable, therefore, what utility, advantage, or 
 gratification can be derivable to a private collector from possessing 
 such copies of any prints, the undoubted originals of which are al- 
 ready in his portfolio. 
 
 The case, however, is very different when so eminent an en- 
 graver as Marc Antonio takes a fancy to copy a work of so eminent 
 an engraver as Albert Diirer. A totally different process is now 
 observable. On comparing any one of these copies with its origi- 
 nal, it will be seen that, although an admirable imitation is pro- 
 duced of the effect of the print, yet, so far from this being ob- 
 tained by an accurate, labored, unfeeling transcript, line by line, 
 
THE PRINT COLLECTOR. 95 
 
 there will not be found throughout the copy one single line that is 
 the just transcript of any line in the original. It is the effect that 
 is copied, and not the means which produce it. From the rich 
 abundance of his own intellect and feeling, such a copyist can com- 
 mand, and he prefers to employ, means of his own. In such in- 
 stances as these it is most interesting to see in what manner or to 
 what degree one great mind has treated or entered into the con- 
 ception of another. It is curious to observe in what way the clas- 
 sic genius of the Italian has fitted to himself the Gothic habiliments 
 of the German. 
 
 With the exception of the two great artists just named, there 
 are few, if any, of great celebrity, who have copied, the one from 
 the other, in this intellectual and original manner. An indul- 
 gence, therefore, in copies, so far as they can conduce to any ra- 
 tional gratification, need add but a very few prints to the portfolio. 
 
 To return to the subject of states. The question respecting 
 these will occur in the works of many engravers, but in none so 
 much as in the very popular and important artist, Rembrandt ; 
 and we will illustrate what further observations remain to be made 
 on this part of our subject by reference to the etchings by this 
 master. 
 
 Not content with taking one or two impressions from his plate, 
 as his work approached completion, according to the general prac- 
 tice of engravers, Rembrandt would begin to do this in a very 
 early stage — sometimes before the subject was half finished, or, 
 perhaps, scarcely sketched, and he would take, not one or two im- 
 pressions only, but several. He would then work on, and after a 
 while take a few more proofs ; and he would often take fresh 
 proofs after making, and because he had made, some very slight, 
 trifling alteration or addition, of no importance or value whatever. 
 
 Rembrandt had the rather uncommon good fortune of acquiring 
 great repute in his own day ; and his patrons and admirers were 
 fond of seeing his progress, and became desirous of possessing 
 
96 THE PRINT COLLECTOR. 
 
 proofs thus taken from time to time as his work proceeded. The 
 tradition is that the artist availed himself, rather unworthily, of this 
 patronage, and made alterations for the mere sake of multiplying 
 varieties, and for which he had immediate customers, although 
 these alterations were frequently, as may well be imagined, no im- 
 provement of his work, but rather detrimental to it. Possibly his 
 employment in such matters as these, and which he found so profit- 
 able, might be the occasion of a circumstance that we have greatly 
 to lament — namely, that he has left many a promising etching in 
 a more or less unfinished state. 
 
 So numerous are the samples of this practice in this master 
 that the acquirement of an exact knowledge of all these advance- 
 ments, variations, and further finishings of Rembrandt's plates is 
 an important portion of the education of a collector. Of some of 
 this artist's plates there are seven, eight, or even more " states ;" 
 and the nature and amount of the variations may best be judged of 
 by transcribing from a printed catalogue of his works a specimen 
 of some one print thus circumstanced. We will take, then, the por- 
 trait of Rembrandt himself, represented as sitting at a table in the 
 act of drawing. The catalogue referred to describes the print, and 
 then proceeds thus : 
 
 " Of this print there are ten impressions. 
 
 " The first is extremely rare, and is a mere slight etching, with- 
 out effect. 
 
 " The second is more worked upon, and the features are better 
 defined. 
 
 *' Third impression. It is much more worked upon in the face, 
 which is now very spirited and full of life. The bust is covered 
 with burr, but the rest is of a gray tone, and the plate is quite un- 
 even at the top, towards the left ; the hands and sleeves are white. 
 This is the finest state of the plate, and is of great rarity. 
 
 " Fourth impression. In this the plate is cut even ; the whole 
 of the subject is worked up to a beautiful velvet-like tone, but 
 
7'//A' PRINT COLLECTOR. 97 
 
 some of the animation of the countenance is gone ; the hands and 
 the sleeve are still white. 
 
 " Fifth impression. This is yet more finished ; the hands and 
 the sleeve are still white, but the name and date appear in the 
 scroll. 
 
 " Sixth impression. This is more shaded in the scroll and the 
 window-sill ; the left hand is shadowed with a slight single stroke. 
 The print, in this state, is harmonious and beautiful. 
 
 " Seventh impression. This differs considerably from the pre- 
 ceding ; the right hand is shaded with a slight single stroke, but 
 the cuff remains white. The desk he is drawing on is more shaded, 
 and so is his dress, on the front of which, to the left, strong lines, 
 full of burr, are drawn horizontally from left to right ; the name 
 and date also have some burr. 
 
 " Eighth impression. In this a landscape is seen through the 
 window ; the cuff is covered with very fine linen, and the left hand 
 crossed with lines equally minute ; the window-sill and the scroll 
 are much more shaded. 
 
 " Ninth impression. The head is retouched, but very skilfully ; 
 the dress has strong lines, filled with burr, on the right of the 
 bust ; the desk is almost covered with shading, as also the back 
 of the book, under the desk, so as to appear like one large volume ; 
 the scroll is so much in shadow as to render the name and date in- 
 distinct. 
 
 " Tenth impression. This is wholly retouched, and the char- 
 acter of the head altered." 
 
 The anxiety to detect every trifling variation has been carried 
 to such an extreme that while some persons affect to be continu- 
 ally discovering still further states than hitherto noticed, others, 
 both collectors and dealers, confess that they are scarce able to fol- 
 low those which are already catalogued. There are, indeed, sev- 
 eral of the slightly varying states which are not easily recogniza- 
 ble ; and it is believed that some of the variations, which connois- 
 
pS THE PRINT COLLECTOR. 
 
 seurs pretend to point out, are but imaginary, or, at any rate, con- 
 sist in nothing more than a difference of appearance, occasioned by 
 the use of more or less ink, or other accidental circumstance in the 
 printing. It is actually asserted that states are described which 
 no one is conscious of having ever seen, and which perhaps never 
 existed ; the account of such is modestly prefaced with the phrase, 
 " There is ' said to be ' a state in which," etc. 
 
 It is not difficult to imagine how an ingenious and warm fancy 
 may arrive at these inventions. For example : in the print by 
 Rembrandt called " The Flight into Egypt, in the style of El- 
 sheimer, " an ass's head, and the outlines of his two forelegs, which 
 are intended to be obliterated, are nevertheless still clearly dis- 
 cernible among the bushes and on the ground, about an inch for- 
 warder in the plate than where the substituted and finished figure 
 of the animal now appears. Here, then, is a tempting opportu- 
 nity. It is but fancying that that which it is probable might have 
 existed does actually exist ; and we may imagine the amateur 
 world enlightened by some enthusiastic detector of variations, with 
 some such account as the following : " There is said to be a state 
 of this print, and which is supposed to be unique, in which Joseph, 
 the Madonna, and the ass, are nearer to the centre of the plate by 
 a full inch than in the subsequent impressions." 
 
 Our readers will not misunderstand us as saying that any one 
 has yet ventured to assert that there is such a state of this print as 
 here supposed ; we merely mean to observe that, though no such 
 print exist, or at least has ever been heard of, yet we should not 
 be surprised to see such a one ceremoniously described in some 
 ingenious enthusiast's new edition of a descriptive catalogue of the 
 Prints of Rembrandt. 
 
 In all cases where more than one state of a print is known, sale 
 catalogues, if properly constructed, take care to notice the " state " 
 of each print offered for sale, and, in important instances, describe 
 the characteristic distinctions. As the descriptions given are often 
 
THE PRINT COLLECTOR. 99 
 
 taken from foreign catalogues or works, and as the compilers of our 
 catalogues arc not always good linguists, the public are occasion- 
 ally amused with laughable errors, arising from this imperfect 
 knowledge of the original language. 
 
 Thus, for instance, there is a portrait by Rembrandt called 
 " The Young Haaring, " in which is introduced in the second state 
 a curtain-rod across a window, which is behind the figure. The 
 French catalogue of Mr. Robert Dumesnil's collection, describing 
 this state of this print, properly designates it as " La planche en- 
 tifere, avec le tringle a la fen6tre." The English catalogue of the 
 sale of this collection, in April, 1836, enters the lot thus : " Lot 
 256, Young Haaring, second state, the plate being entire, with the 
 triangle at the window !" 
 
 In the large print, by Rembrandt, of " Ecce Homo," always, 
 but improperly, called " Christ before Pilate," one of the marked 
 distinctions of the early state is the position of the lower part of 
 the drapery of one of the figures, with respect to the belt which is 
 buckled round his waist, sustaining his sword. This print in this 
 early state formed Lot 82 in the sale just referred to. The French 
 description of this characteristic of early state runs thus : " Le bas 
 de la veste de cette figure depasse le ceinturon de son epee, " which 
 our English translator, in Mr. Phillips' catalogue, renders thus r 
 " The bottom part of the dress of this figure goes beyond the 
 sword of the centurion /" 
 
 In Rees' Cyclopaedia the writer of the excellently composed ar- 
 ticle, "German School of Engraving," in noticing the principal 
 prints by Albert Diirer, has evidently taken his catalogue from 
 some French authority, where he found " The Prodigal Son" de- 
 scribed, as might be expected, " L' Enfant Prodigue." Not being 
 himself conversant with the works of Albert Diirer, nor, much 
 more so, with the French language, the cyclopaedist translates his 
 original " The Infant Prodigy." 
 
 The first state of the portrait of " Asselyn," the painter, by 
 
lOO THE PRINT COLLECTOR. 
 
 Rembrandt, is characterized by the introduction of a painter's 
 easel, which is seen behind the figure, but which Rembrandt 
 afterwards expunged, so that in the after state it does not appear. 
 The Dutch catalogue of Amade de Burgy's collection, in June, 
 1755, very correctly describes this first state, " met den Ezel agter 
 zig ;" that is, " with the easel behind him," Unluckily, the Dutch 
 word " ezel " has two meanings — namely, a painter's easel and an 
 ass ; and in a French translation, which the same catalogue gives, 
 on the opposite page, the translator, knowing nothing of the print, 
 happened to select from his dictionary the wrong meaning, and 
 renders the passage, " avec I'ane derridre lui !" 
 
 While noticing ridiculous errors, we cannot resist mentioning 
 one more laughable mistake, though it be not so closely connected 
 with our subject as those already related. When the inimitable 
 artist of our own time, George Cruikshank, had first attained his 
 celebrity, a publisher of the day, who had employed his brother 
 Robert, an etcher of very inferior talent, took care to omit, in his 
 advertisement, the Christian name in order that the publication 
 might pass for the work of " the" Cruikshank, a remonstrance 
 was made, and the Literary Gazette took occasion to warn the pub- 
 lic against being misled by this disingenuous artifice ; and when 
 that journal next reviewed a work of George Cruikshank —namely, 
 the " Points of Humor," published in 1824 — the reviewer {Literary 
 Gazette, No. 372) set out thus : "Assuredly George Cruikshank is 
 the real Simon Pure ; he is eminently gifted," etc. A few years 
 after this Nagler began his Dictionary of Engravers, " Neuves 
 Allemagnes Kunstler Lexicon," and, meeting with this article in 
 the Literary Gazette, and totally ignorant of the allusion, familiar 
 to English readers only, he construed the sobriquet as conveying 
 an invaluable piece of secret history, and when, in his alphabetical 
 order, he came to our artist, he records him thus : "Cruikshank, 
 George, a celebrated caricature designer and engraver, in London, 
 whose real name is Simon Pure !" 
 
TJJK PRINT COLLECTOR. lOl 
 
 This ridiculous mistake calls to mind the dedication, byScopoli, 
 of a plate in his " Dclicia^ Florae," to Benjamin White, the book- 
 seller, at Horace's Head, in Fleet Street, " Auspiciis Benjamini 
 White ct Horatii Head, bibliopolorum, Londinensium." 
 
 There can be no doubt that to watch the progress of a work ol 
 genius, to note the improvements that suggest themselves to the 
 artist as the work goes on, and to follow its march towards perfec- 
 tion, is an occupation of the highest possible interest and choicest 
 intellectual enjoyment ; and this is exemplified in other works of 
 the mind. In literature, for example, what can be more pleasing 
 and instructive than to witness the first ideas thrown off from such 
 minds as those of Pope or Milton, and to see these expand and 
 ripen ; to pore over the first rough drafts of " The Rape of the 
 Lock," or the " Lycidas," and to trace, in the scratchings and re- 
 scratchings of the thickly-scribbled sheet, the lucky thought, the 
 happy amendment, and the labored polish ? 
 
 Most inestimable, indeed, is the opportunity, when it arises, of 
 enjoying such a gratification as this, and more especially in authors 
 of such eminence as just named, or in artists of such eminence and 
 original genius as Rembrandt. But the pleasure arises from the 
 contemplation of the gradual and sure advance, at every step, to- 
 wards a higher and higher perfection ; and if the source fail from 
 whence this pleasure springs, if we observe alterations for the 
 worse, additions without meaning, overworkings made at the sug- 
 gestion, not of the genius of the artist, but of his cupidity, it is no 
 longer a pleasing or an edifying occupation ; on the contrary, it is 
 a melancholy and pitiable employ, to be forced to witness a retro- 
 grade progress, and to feel that a great mind is humbling itself and 
 willingly sacrificing the sacred energies of genius to a mercenary 
 passion. 
 
 Here, then, appears to be opportunity of drawing a line. May 
 not an amateur be content with possessing that one state, which- 
 ever it may be, which is, as a work of art, the most intrinsically 
 
I02 THE PRINT COLLECTOR. 
 
 valuable ? or may he not, at any rate, limit himself to the acquire- 
 ment of such states only as show the true advance of the work to 
 its perfection ? If a man of just taste and plain sense be not at 
 liberty to do this, he will certainly be obliged to act, in some cases, 
 contrary to common-sense and just taste. 
 
 For instance, there is a fine print by the artist last named, Rem- 
 brandt, of a man who was Receiver-General of the States of Hol- 
 land. He is represented sitting at a table, amid bags and chests 
 of money, and with a pair of scales before him, and the print is 
 technically called " The Gold-Weigher. " It would seem that Rem- 
 brandt had nearly completed the work before an opportunity oc- 
 curred of the original sitting for his portrait, and, meantime, he 
 struck off a few impressions. In these an oval blank is left for the 
 face, which was afterwards introduced ; and these impressions are 
 technically called " the white face." 
 
 To a rational person, seeking excellence and real value only, 
 such a print, if he were already possessed of an impression from the 
 finished plate, would be considered of little or no value. It is not 
 of value as a perfect work, and although it certainly is a sample of 
 the work during its progress, yet it does not show a progress having 
 any interest attached to it. It is not of value as showing the first 
 thought of the artist afterwards improved upon ; he does no 
 more in the finished plate than follow up and complete the design 
 all along contemplated, and expressly indicated, in this impression 
 of " the white face ;" and having done that, he rendered valueless, 
 according to ordinary estimation, the incomplete performance. But 
 with collectors this is " a state," a " first state," and as such, how- 
 ever intrinsically valueless it maybe, on the one hand, and however 
 costly, for its rarity, on the other hand, still the collection, aiming 
 to embrace all the prints by this artist, and all the states of all his 
 prints, is incomplete without it. 
 
 When a collector, eminent for nearly a complete collection of 
 Rembrandt's works, opens his folio, he discloses, on sheet after 
 
THE PRINT COLLECTOR. IO3 
 
 sheet, four, five, six, or more, and it may be ten, as we have just 
 seen, prints, all, to a common eye, and at first sight, the same thing 
 so many times repeated. The eye of the cognoscenti fixes at once 
 upon the one rare state, whichever it may be, and regards no 
 other ; the eye of the unitiated wanders about, uncertain where to 
 fix, and feels as if looking through a multiplying glass. What- 
 ever beauty there may be in some one or each individual print, is 
 impaired for want of being set off as it deserves ; it is lost in the 
 bewilderment of the mass ; at any rate it requires to be sought for 
 and selected. Of such collections, common-sense suggests that the 
 pleasure of the collector must consist in the consciousness of pos- 
 session, and the reputation attached to it, rather than in any very 
 sensitive enjoyment of the intrinsic beauties of a fine work of art. 
 
 These are bold and venturesome observations, and the collector 
 who admits them as just must, it is feared, be content to be 
 branded among the very aristocratic and conservative body to 
 which he aspires to belong, as a sad radical and advocate of revo- 
 lution. Nevertheless, if he appeal to " the people" — that is to say, 
 general good taste, apart from connoisseurship — he will, perhaps, be 
 pardoned if, instead of displaying before his visitor such a hydra- 
 sheet as just described, he present to him one only print, the most 
 beautiful that the plate has produced. But let us hasten to atone 
 for these heresies. The next chapter shall be wholly and soundly 
 conservative. 
 
CHAPTER VI. 
 
 OF THE CARE AND KEEPING OF PRINTS. 
 
 The universal mode of keeping prints, such only excepted as 
 are of very large size, is to mount them, as it is called, on card or 
 stiff paper, either white or colored. The most approved and most 
 usual way of doing this is to attach the back of the left-hand edge 
 of the print along its whole length to the mounting paper by the 
 smallest possible quantity of paste, not thin and liquid, but of con- 
 siderable consistency, such as is used by shoemakers, and is sold 
 by the leather dealers or grinders. Our Continental neighbors 
 sometimes prefer attaching the upper edge of the print, rather than 
 either of the side edges, under the idea that, when mounted in a 
 book, there is less risk of folding a print in turning over the leaves. 
 
 Either of these modes affords opportunity of examining the 
 back of the print as well as the face of it, a precaution invariably 
 taken by a careful purchaser for the purpose of better examining 
 the quality of the paper, its probable age, perhaps the watermark ; 
 also of better discovering any mendings or cleanings, or any soils 
 
THE PRINT COLLECTOR. 1 05 
 
 or weak parts ; and, again, for ascertaining whether any and what 
 manuscript or other notices or marks may be on it of former pro- 
 prietorship, or other circumstances respecting it. 
 
 A print, carefully mounted in this manner, is at all times readily 
 detached again, if required, without detriment or risk. To better 
 insure this, when the paper is delicate from being thin or from the 
 much handling during several generations, or where it is inclined 
 to fray at the edge from frequent remountings, it is not unusual, 
 nor a bad practice, to paste along the back of the left-hand edge, 
 previous to mounting it, a very narrow slip of paper, about a tenth 
 or eighth of an inch wide, to strengthen and support it ; and this 
 is not considered to impair the print as an entire laying down would 
 seriously do. Sometimes such a strip is found pasted along the 
 back of all the four edges. All the important prints of the collec- 
 tion of M, Paignon d'ljonval were thus protected. ^ 
 
 ^ The possessor of a fine print ought to consider himself as its custodian. He 
 should take good care of it for its own sake, and for the sake of those who will come 
 after him. Every careless touch, however slight, contributes to its defacement. If 
 possible, the fingers should never be allowed to come in contact with it. Some per- 
 sons think that after prints are mounted it is a good plan to place sheets of soft tissue 
 paper between them in the portfolio. For a time it may answer a good purpose, but 
 this kind of paper is often very carelessly made, and is filled with impurities which are 
 imparted to the paper it comes in contact with. Every one has noticed this in books 
 where it is bound in to prevent the set-ofif from a printed page or engraving, how it 
 usually becomes yellow or spotted, and communicates this to the leaves of the book. 
 
 A method of mounting prints which Mr. Maberly does not suggest, and which is by 
 far the best, although a little more expensive, consists in taking two pieces of bristol- 
 board, or extremely thick drawing-paper, attaching the print in its proper position 
 upon one of them by a hinge of thin paper, then cutting an opening on the second 
 piece a trifle larger than the print, and attaching this piece upon the surface of the first. 
 This leaves a broad margin higher than the face of the print, so that when placed in 
 the portfolio, or in a pile one upon another, it is impossible that the surface of the 
 engraving shall receive any abrasion. This system has been adopted by the British 
 Museum, and the finest specimens mounted in this way are freely handled without 
 injury. It gives also a stiffness to the mount so that it does not bend, no matter in 
 what position it may be held. 
 
lo6 THE PRINT COLLECTOR. 
 
 Neither is a print damaged in estimation by having, as is often 
 seen, a very small square of paper pasted at the back of each of its 
 four corners, the object being to preserve these parts, under the 
 idea that they are apt to curl and tear ; but the heavy thickness of 
 such corners is unpleasant, and it is better never to protect a print 
 by any of these modes unless it be essentially necessary. 
 
 Mounting-papers are generally separate single sheets, but some- 
 times they are bound together in large folio books with guards be- 
 tween. This is not an advisable mode, except where entire collec- 
 tions are formed of any given artist ; and in such case it is cer- 
 tainly the best and the usual plan. As all existing ancient prints 
 are known, and all, of almost all masters, together with the copies 
 that exist, are catalogued in printed books and their exact dimen- 
 sions set down, the possessor of a bound folio may, throughout his 
 arrangement, keep places reserved for such prints, or states of prints, 
 or copies, as he has not yet got, but hopes and purposes to obtain. 
 But unless a complete collection be intended, a bound folio must 
 either be disfigured by a multitude of blank spaces never intended 
 to be filled, or the prints, if any proper classification of them be 
 adopted, must, unless kept loose in the folio, be subjected to con- 
 tinual displacement and refixing to make way for the introduction 
 of new acquisitions ; and the frequent unmounting and remount- 
 ing which this calls for is very objectionable. 
 
 When mounted singly, prints are usually kept in portfolios, or 
 in what are called solanders, a good sort of repository, but now not 
 much in use, because of being rather cumbersome and heavy as 
 compared with a pasteboard folio, and because of the improve- 
 
 Prints protected in this manner may be kept in cabinets or drawers, without port- 
 folios, are easily taken out or put away, and are quickly secured under lock and key. 
 Common cardboard is cheaper than bristol-board or drawing-paper, but it is not fit to 
 mount valuable prints upon, being made mostly from common cotton rags, if from 
 nothing worse, and the thicknesses united by paste, so that it warps, shrinks, and 
 becomes discolored. The best hand-wove linen paper is none too good, and if well 
 seasoned will last always. 
 
THE PRINT COLLECTOR. 107 
 
 incnts in modern times of the manufactory of the latter article. A 
 solander is a wooden box, backed with leather, the sides covered 
 with marble or other paper, having- leather corners, so that it has 
 much the appearance of a book ; one of the sides is made to open 
 as a lid, carrying with it the back, which is attached to it ; the 
 same thing, in short, which is still in use, of a less size, for holding 
 music or pamphlets. The advantage of the solander is, that the 
 prints need never be pressed strongly, one against another, as in 
 the tying tight of a portfolio ; the mounting-papers have liberty to 
 lie level, and their edges and corners are better protected. If, in- 
 deed, all the mounting-papers be of one size, and the portfolio of 
 dimensions exactly suitable, and its boards thick and stiff, all 
 these advantages are pretty well gained. 
 
 Of artists who lived before the eighteenth century, the numeri- 
 cal proportion of extra-sized prints to those of moderate or small 
 dimensions is inconsiderable. There is no important artist whose 
 works consist wholly of such, and unless a complete collection be 
 intended, the moderate-sized prints of any artist are generally quite 
 as good specimens of his style and manner as the largest. The most 
 convenient size for mounting-papers may be from twenty-two to 
 twenty-three inches by eighteen to nineteen inches, and this size will 
 suffice, and not more than conveniently sufifice, for the largest of 
 Rembrandt's etchings, the " Ecce Homo ;" and in a select collec- 
 tion of works of ancient artists there need not be many prints of a 
 larger size than this, and perhaps there are none at all but what in 
 such a collection might be altogether dispensed with. 
 
 If portfolios be preferred to solanders, care should be taken 
 that the boards be of suf^cient substance to keep themselves ever 
 straight and level, not curving in and meeting together, when tied, 
 so as to press unequally on the prints and mounting-papers, pinching 
 their edges and corners. This precaution is recommended, notwith- 
 standing the disadvantage it entails of additional weight. The 
 portfolio should also be furnished with wings or flaps of light paste- 
 
108 THE PRINT COLLECTOR. 
 
 board or leather, or else with Holland wrappers, to fold over the 
 edges and keep out the dust ; it is as well, however, not to have 
 these to tie, much less to buckle, as is sometimes seen ; all should 
 be plain and level, and without any knot, strap, or other projection 
 that may indent the prints on any accidental pressure. 
 
 When the mounting-papers are bound together in a book, it 
 may be of no great importance whether the folio be laid horizon- 
 tally or set up on end, in the way of a book ; and this is one of 
 the chief advantages of a bound folio. But, if loose in a portfolio 
 or solander, these should certainly be laid on shelves in the cabinet 
 in a horizontal position ; and, indeed, this mode is, in all cases, 
 preferable. It is always a better preservative against dust ; and 
 if, which ought to be, as well for convenience as other reasons, 
 each portfolio have a separate shelf, it will not be exposed to un- 
 equal and undue lateral pressure, as a book in a book case is liable 
 to be. 
 
 One other and far better mode of preserving prints there is, 
 were it not that space cannot be extended at command, and that 
 brooms and balls, careless housemaids, and playful children, can- 
 not be dispensed with. Otherwise a print has certainly the best 
 chance of preservation when it is secured from the perpetual hand- 
 ling and turning over to which it is else subjected, by being ju- 
 diciously placed within a frame and under a glass. ' 
 
 ' It would seem needless to remind the collector that prints, if framed, should never 
 be allowed to come in contact with the glass. If they do so they will in a short time 
 become injured, if not ruined. 
 
 A mount prepared as suggested in the note on page 105, is the best to place the print 
 upon when it is to be framed, but in this case it should be attached and hung from the 
 upper edge, just as one would hang a curtain. This gives it an opportunity to accom- 
 modate itself to the swelling or shrinking of the mount, and it will straighten out and 
 keep flat. 
 
 The frame should be hung perpendicularly against the wall. If for any reason it is 
 necessary to lean the top a little forward, a very slight touch of paste may be put on 
 the lower corners of the print to prevent its bagging or coming in contact with the 
 
THE PRINT COLLECTOR. 109 
 
 At the Bibliothcquc Royalc, at Paris, some of the finest prints 
 are framed and glazed and hung in different parts of the rooms, 
 
 1 and a catalogue is pubHshed of these " Estampes expos6es/' which 
 
 j extend to three hundred and sixty-five specimens. 
 
 We should be well pleased to see the example followed in our 
 
 I own national collection, where there is now much better opportu- 
 nity than heretofore, or than there is at Paris. The gallery leading 
 to the print-room of the British Museum is admirably adapted for 
 the purpose, and is at present occupied by Egyptian papyri, arti- 
 
 j cles not within the proper range of a repository of engravings. 
 Should the suggestion ever occur to turn it to this more appropri- 
 ate use, we trust that our authorities will improve upon their 
 French model in several particulars. 
 
 We hope that no prints will be thus " suspendus" but such as 
 are of the finest quality, both in impression and condition ; that 
 none will be submitted to public view but such as are unquestion- 
 ably genuine and pure. A frame and glass are a protection to a 
 print, but they may protect imposition also. 
 
 In the French national collection is a unique state, as it is pro- 
 fessed to be, of the print, by Rembrandt, of Christ preaching, tech- 
 nically called the " Little La Tombe ;" and the chief characteristic 
 of this early state is that a child's peg-top, which in the after state 
 of the plate is lying on the foreground, is, in the present impression, 
 not introduced. English connoisseurs who remember this print be- 
 
 glass. Precautions should be taken to exclude all dust, by pasting a narrow strip of 
 paper around the edge of the glass inside and against the frame, and after the mount 
 is in place a piece of stiff paper should be pasted over the whole back. If this is put 
 on wet, it will dry tightly over it like a drum-head. Mr. Maberly's hope that prints 
 belonging to national collections in the British Museum and elsewhere might one day 
 be framed and exhibited to the people has been realized. Cases with inclined glass 
 tops have been placed in the library rooms and halls, and a constant and ever- 
 changing exhibition of the finest works is now given to the public. 
 
 If any revival of the art of engraving can be hoped for it cannot but be fostered and 
 hastened by the facilities given in this way for spreading a knowledge of the subject. 
 
no THE PRINT COLLECTOR. 
 
 fore it was framed and glazed, and who, while it was in the portfolio, 
 examined it with attention and against the light, declared that the 
 peg-top has been ingeniously taken out. There may or may not 
 be truth in this assertion ; but surely it is better whenever any 
 such accusation as this be made, or even whenever a suspicion be 
 suggested, to immediately withdraw the print from all unfair pro- 
 tection, and allow and invite naked scrutiny. 
 
 It is hardly necessary to express a hope that, if prints belong- 
 ing to our national collection should ever be hung up to view, they 
 will all be placed in situations where they may be seen to perfec- 
 tion. Our building has greatly the advantage of the French with 
 respect to eflecting this. 
 
 It would be preferable, perhaps, that no prints should be kept 
 permanently framed and glazed, but all occasionally changed ; and 
 that the prints selected from time to time for periodical exposure to 
 exhibition, for a season, should be all of the early or middle seras of 
 the art, and such as are of the greatest rarity. We should recom- 
 mend this for the sake, firstly, of greater economy of space. Any 
 one of the more important prints of the present, we cannot there- 
 fore call them degenerate, days, and many of the century passed, 
 the Raffaelle Morghens, Volpatos, and others, contain, each one, 
 more square inches than six average-sized prints of Albert Diirer 
 put together, or than the whole of the works of any one of the lit- 
 tle masters, or than all the impressions of nielli that have ever 
 been discovered. Whatever question there may be, whether the 
 moderns excel the ancients in art, there is no question but that, 
 regarded as a whole, they go beyond them in size out of all degree 
 of rivalry. 
 
 But, secondly, this limitation seems desirable because the ob- 
 ject should be to show what cannot be seen elsewhere, or, at least, 
 only in few and distant places. Considerably more than one third 
 part of the prints exposed in frames, in the Bibliotheque Royale, 
 are of the eighteenth and nineteenth centuries ; prints, for the most 
 
THE PKIiV'J- COLLECTOR. Ill 
 
 part, of large dimensions, and not containing one single s[)ecimcn 
 but what has been already made familiar to the public eye by fre- 
 quent occasional display in shop-windows ; nor one which may not 
 at almost any time be found in the portfolios of some one or other 
 of the principal printsellers, whether of London or Paris. 
 
 Prints should never be unnecessarily touched by the hand. It 
 has been quaintly remarked that an Englishman's eyes are at his 
 fingers' ends ; and a collector is sometimes doomed to stand in 
 agony while a would-be critic, with all the assurance and impor- 
 tance natural to the most absolute ignorance, is rubbing his damp 
 forefinger, now here, now there, over the print, or fixing it on one 
 spot with most energetic pressure while he expatiates on the beau- 
 ties or demerits, as he fancies, of the work he is injuring. 
 
 The manner in which a stranger takes up a print to look at it 
 will at once give intimation to the collector whether he has suffi- 
 cient knowledge, or practice, or appreciation of art to be trusted to 
 go through a portfolio. A grossly ignorant person, with conceit 
 proportionate, will often think to show his familiarity with works 
 of art by an affectation of careless handling, while a person of 
 knowledge will, as a matter of course, and without intending effect, 
 show himself to be such by a habit the very opposite. They who, 
 though not aspiring to be collectors, may yet partake of the very 
 general desire to pass for amateurs, may be assured that they make 
 a great step towards acquiring a reputation for this, in the eyes 
 of cognoscenti, and a highly favorable first impression on an ex- 
 hibitor, if they be careful ever to hold a print with both hands, one 
 hand at each of two opposite diagonal corners, instead of with one 
 hand only, by the pressure of thumb and finger, which always risks 
 the crumpling and soiling the print, or, at any rate, the mounting- 
 paper. 
 
 The safest way of exhibiting is to have a small easel, composed 
 of a light, fragile material, such as pasteboard, set upon the table, 
 and to lay each print in succession upon this for the general inspec- 
 
112 THE PRINT COLLECTOR. 
 
 tion. The very process suggests an interdiction against touching, 
 and a heavy finger could not rest on the print, for the frail fabric 
 would retreat before its pressure. 
 
 In exhibiting prints, attention should be paid to the strength 
 and direction of the light. 
 
 A light from above is the best ; a side light, though generally 
 resorted to, from necessity rather than choice, is, in some respects, 
 bad, especially when strong. Every little unevenness and crease in 
 the paper becomes conspicuous, casting a shadow on one side, and 
 on the other catching the light, and showing a white spot or line. 
 By another position of the light, these imperfections might be ren- 
 dered imperceptible. For judging of impression, and for examin- 
 ing condition, where minute inspection is important, daylight is in- 
 dispensable. For the exhibition or enjoyment of a collection, a 
 bright daylight is often too strong, except for very dark prints, 
 such as Rembrandt's " Burgomaster Six." When artificial light is 
 used, the best effect is produced by throwing it full on the print 
 from behind the spectator. 
 
 We have seen used, with good effect, an argand lamp, made to 
 slide up and down a tall pole, so as to vary the height at pleasure, 
 and having behind it a flat shade of tin, painted white inside, so as 
 to reflect the light. The thing is represented in the vignette at the 
 head of our second chapter. 
 
 Under the head of " care of prints," it may be expected that 
 something should be said of cleaning them. Prints which have 
 existed for years, and perhaps centuries, transmitted from hand to 
 hand, passing through auctions, exposed in shop-windows, turned 
 over again and again in dealers' folios, necessarily acquire an accu- 
 mulation of the dirt of ages, and yet may not have had the ill-luck 
 to be actually stained or soiled otherwise than by this gradual 
 effect of exhibition and use. In such cases the chief part of the 
 soiling thus acquired may be removed by pure water merely. To 
 effect this, the print is laid, face downward, in a vessel large enougli 
 
THE PRINT COLLECTOR. 113 
 
 to ndmit of the whole paper lying quite flat ; water, boiling hot, is 
 then poured over it, sufficient to cover it to the depth of an inch 
 or more. The print is allowed to soak in the water more or less 
 time, according to circumstances. By degrees the dirtiness dis- 
 engages itself from the surface into the water ; the print is then 
 taken out, and passed through fresh, clear water, and held or hung 
 up, for the superfluous moisture to run from it ; and when this 
 has sufficiently taken place, it is laid between sheets of white 
 French blotting-paper, and covered by a thick millboard, weights 
 being laid on it, so as to have the effect of a moderate press, and it 
 is thus left till dry. Where there is much soiling to be removed, 
 and of old standing, it may be allowable to use, gently and care- 
 fully, a soft hair brush, while the print is saturated with the water, 
 to assist in the disengagement of the impurities. 
 
 When the operation of cleaning is honestly confined to no more 
 than this, little or no damage is done to the print. Hecquet, an 
 eminent collector, who, a hundred years ago, disclosed to the world 
 what he called his "secret for cleaning prints," suggests no other 
 process than hot water, and the exposure of the print, face down- 
 ward, to the heat of the sun ; and he declares that all sorts of oil 
 stains may be removed by a patient application of these remedies. 
 But the truth is that, when a print has, unluckily, become soiled 
 with ink, wine, cofTee, wax, etc., more active remedies must be 
 resorted to. It then frequently becomes a question, whether to 
 allow the soils to remain, or to risk irreparably injuring the print, 
 in attempting to remove them. 
 
 It is not uncommon to meet with ancient prints that have evi- 
 dently been subjected to some rough manual operation of cleansing, 
 or to the effect of chemical acids ; and this not in parts only, but 
 over their whole surface. Prints are often seen, especially fine prints, 
 of very ancient date, which, on being examined with a lens of 
 high power, show the whole texture of the paper, fretted, ruffled 
 up, and rendered, as it were, woolly, suggesting the idea of its 
 
114 THE PRINT COLLECTOR. 
 
 having been scoured all over with soap and water, applied with a 
 brush of bristles ; and, very possibly, this has been the case. The 
 lines of the engraving are broken, overlaid, and confused by the 
 raising up of the fibres of the paper, giving an indistinct and 
 blankety appearance. Violent remedies, such as indicated by re- 
 sults like these, are never willingly resorted to ; and the general 
 disapprobation of such, or indeed of any chemical processes, is best 
 evidenced by the universal disinclination of all cleaners and dealers 
 to admit that any such are ever used. 
 
 Of the chemical agents employed in cleaning prints, the most 
 harmless is the salt of lemon : this, when properly and carefully 
 used, is perfectly efficacious for the removal of certain stains, 
 especially those of writing ink. The mode of applying it is pretty 
 much according to the printed directions sold with the article. 
 The print should be laid on a pewter or silver plate, placed over a 
 basin of boiling water, so as to become greatly heated ; a small 
 quantity of the salt is then sprinkled over the ink-spot, and a little 
 warm water dropped, gradually, upon it, from a small camel' s-hair 
 pencil, until the salt is wholly dissolved. In a few minutes the 
 ink will disappear. The print is then passed through clear warm 
 water, and proceeded with in the manner before directed, in the 
 simple washing with water. ^ 
 
 ' In a previous chapter reference has been made to the custom of taking the first 
 proofs or earlier impressions of engravings upon India paper. This is the universal 
 practice at the present time. The printers paste the thin India paper, which has an 
 especial affinity, so to speak, for the ink, taking it most cleanly and perfectly from the 
 plate, upon a spongy white paper, because it presents a soft back for the reception 
 of the impression. This white paper has nothing in common with the India paper, 
 and is apt to become spotted, eventually having to be removed and replaced by some- 
 thing better. To effect this the engraving should be immersed in clear water, when 
 the sheets can readily be detached. If the print be small it is better not to paste it 
 down again, but to mount it loose in the manner before indicated. Should it be 
 necessary, however, on account of its size, to reback it, the services of an expert, who 
 has the proper tools and a press for the purpose, should be called in. With the exercise 
 
TJIE PRINT COLLECTOR. 115 
 
 Wc shall not venture to offer further receipts ; the other agents 
 resorted to, such as strons^ lime, oxymuriatc of potash, muriatic 
 acid, etc., cannot be used with any degree of safety, but after much 
 experience ; and we shall not be doing any kindness to our young 
 collector to encourage him to make experiments that even in the 
 most practised hands are attended with danger. 
 
 of the utmost care it will be found impossible to perform this operation without 
 injuring the brilliancy of the impression. Therefore, unless the spots or stains be 
 very bad, it is bolter not to tamper with the print at all. 
 
CHAPTER VII. 
 
 ON THE MODE OF COMMENCING COLLECTOR. 
 
 We will suppose that our would-be collector has not, as yet, any 
 predilections toward any one or other school, or toward any one 
 or other artist, in particular, nor to any subject or class ; and that, 
 indeed, he has not, as yet, knowledge or acquaintance with art 
 sufficient to have gained any such bias ; but that his simple object 
 is to acquire a small, select collection. 
 
 Under these circumstances, if he be a person of sense and pru- 
 dence, two inquiries will, at the commencement, suggest themselves : 
 firstly, the most judicious mode of setting to work ; and, secondly, 
 the probable extent of the expense into which he is embarking. 
 With respect to this latter point, although it has sufficiently appeared 
 that no very definite idea can be given of the average value of indi- 
 vidual prints, yet it may be satisfactory to know that it is by no 
 means impossible to give a tolerable estimate of the price at which 
 
rilK PRINT COLLECTOR. 117 
 
 a respectable collection, if the nature and extent of it be well deter- 
 mined, may be, on an average, obtained. 
 
 The circumstances in which we have supposed our aspirant to 
 be placed are precisely those in which the author of these pages 
 found himself at his first setting out ; and, conformably with what 
 he has observed in his preface, he apprehends that he cannot better 
 offer instruction to others than by stating what he now considers 
 his own mode of proceeding would have been, in case he had at 
 that time been possessed of the knowledge which experience has 
 since afforded him. His idea was to make chronology the principle 
 of his collection ; to make no subdivision into schools, at least at 
 first, but to select, indifferently, from all schools, specimens of the 
 greatest masters, as they arose in order of time ; and thus to dis- 
 play the progress of the art, from its commencement to our own 
 times. In contemplating a collection of a general nature, and of a 
 limited extent, it does not appear that any better plan can be re- 
 sorted to than to follow out this idea. 
 
 Before proceeding to make any purchases whatever, we would 
 recommend that a list be drawn up of a certain number of artists, 
 some one or more of whose works, but no others, should be ad- 
 mitted into the collection ; and we would recommend that this list 
 contain such artists only as are of prominent importance, taking care, 
 however, to include such as mark aeras in the art, and such as have 
 invented or introduced new methods of working ; the first practisers, 
 therefore, of the dotted manner ; of etching ; of dry point ; of 
 mezzotinto ; and, in wood, the inventors of chiaroscuro. 
 
 We would advise the young collector to be, for a while, content 
 to circumscribe himself, strictly, within this list, and also to confine 
 himself to a very few specimens of each artist in it : in many cases 
 one single specimen v\^ould sufifice. Where, indeed, the same artist 
 has handled subjects of different descriptions, and which will fre- 
 quently be found to be the case, the collector may consider himself 
 at liberty to obtain a sample of each description of subject : a speci- 
 
ii8 THE PRINT COLLECTOR. 
 
 men of the artist's execution of landscape, for instance ; another, 
 of his portraits ; another, of his historical subjects. 
 
 So, also, where the same artist has engraved in different styles, a 
 specimen of each of his styles may be advisable, especially when he 
 has improved by change of school, or foreign travel. 
 
 Thus : of Marc Antonio, connoisseurs recognize four different 
 manners, at four different periods of his progress, each characterized 
 by its specific peculiarities. So, again, where the same artist has 
 practised different methods, it may be desirable to possess a speci- 
 men of his pure etching ; an impression from a plate executed by 
 dry point alone, or by the burin alone, and then of the admix- 
 ture of two or more of these. M. Claussin enumerates seven differ- 
 ent processes, practised by Rembrandt ; and gives several instances, 
 from the voluminous works of this artist, of prints executed by 
 each of these processes. 
 
 We would recommend that prints of great rarity, or extraordi- 
 nary quality, be, at this early period, rather avoided than sought ; 
 these may be added at a future day, as opportunity may be afforded. 
 It is better that, before touching these, the eye be accustomed to 
 exercise in the proper department ; that it obtain experience to be 
 able to discern, with certainty, what is most congenial to its own 
 corrected taste, and what it would be best pleased to fall back upon 
 for permanent enjoyment. The result of proceeding in this manner 
 will be, that there will be formed a perfect skeleton, though not a 
 perfect body, of a collection ; a sort of complete framework, 
 capable of receiving and supporting whatever additions it may be 
 afterward wished to add to it. It is as though a man, wishing a 
 planisphere of the heavens, were to lay down in the first instance 
 all stars of one given magnitude only, or some two or three stars, of 
 each constellation, and then, at his leisure, fill up the intervals with 
 the greater and lesser heavenly bodies, to a never-ending ex- 
 tent. 
 
 But how is the stranger to art and artists to furnish himself with 
 
THE I'RINT COLLECTOR. H9 
 
 II such a list or catalogue as here proposed ? There is not, that we 
 are aware of, any publication containing such a thing, or calculated 
 to give practical assistance to the beginner, in his endeavors to 
 frame such a thing for himself. Whether the Dictionaries of Strutt 
 and Bryan would be of much service may be doubtful ; one work 
 there is, the title of which seemed to the writer, in his nonage, as 
 he well recollects, to promise advice toward the forming a collection, 
 since it is called " Idee g^nerale d'une Collection complete 
 d'Estampes ;" but, alas ! it proved too true to its title. It de- 
 scribes, literally, a complete collection ; it is, indeed, nothing less 
 than a classification of all existing prints in the known world. It is 
 of no use, therefore, to our present object. 
 
 There are other works, with like enticing titles, but of no better 
 practical avail. It is feared that, should the young collector sit 
 I down to such books as these, or to his Bryan, or his Strutt, or, in- 
 deed, to any other publication bearing promise of assistance, he 
 will soon find himself perplexed and overwhelmed, rather than as- 
 sisted, and will probably be discouraged altogether at the immensity 
 of the prospect opened to his view. He will become quickly sensi- 
 ble of the want of an experienced hand to make a selection for 
 him. 
 
 Such a selection we now propose to submit ; a selection upon 
 which to form a beginning, and calculated to be, itself, the teacher 
 of further progress. Whether we arrange this selection in schools, 
 or, miscellaneously, without regard to schools, is, perhaps, of no 
 great importance. It may be observed here that the division into 
 schools is by no means perfectly defined, nor can it be, from the 
 nature of things. There are several artists, who are classed some- 
 times in one school, sometimes in another, and who may, with 
 equal propriety, be considered to belong to one or the other. This 
 occurs in instances where an artist, born in one country, was edu- 
 cated or practised in another. 
 
 Previous to proceeding to dictate a selection, as we are about to 
 
I20 THE PRINT COLLECTOR. 
 
 venture to do, we may remark that it is not probable that any two 
 persons, however conversant with their subject, upon being set to 
 work to form a list of some fifty or hundred artists, whom they 
 would recommend as best fitted to build up the skeleton, as we 
 have phrased it, of a collection, would agree in the names through- 
 out ; but there are, nevertheless, some few artists whose names 
 would unquestionably be found in every catalogue that should be 
 so drawn up, whatever number of connoisseurs might be set to the 
 work of selection ; and it may safely be asserted, at the present 
 day, that the names that would appear in this unanimous selection 
 would comprise all who are most excellent, and none who are not 
 excellent, in the art. 
 
 This could not have been asserted half a century back ; it is only 
 of late years that works possessing the highest qualities of art have 
 been duly appreciated in our country, even among collectors and 
 writers on the subject. The author of an " Essay upon Prints," 
 published in 1768, in giving a full critical account of all the noted 
 engravers, makes little other mention of that most admirable artist, 
 Marc Antonio, than to inform his reader that the only merit his 
 works can claim is their antiquity, and that, but for this quality, 
 " such vile prints" would never obtain credit among connoisseurs. 
 With equally unhappy obliquity of judgment the same author ob- 
 serves, of the lovely etchings of Claude Lorraine, that they are the 
 "dirty shapes of something which he could not express." See 
 the Rev. Mr. Gilpin's " Essay on Prints," page 233, et scq. 
 
 Nor were our nearer continental neighbors more free than our- 
 selves, at this period, from a like perversion of taste. Forty years 
 after the publication of Mr. Gilpin's work, a French writer of a 
 book on the origin of engraving and the knowledge of prints, re- 
 peats, nearly word for word, the portentous misjudgment of our 
 reverend connoisseur, without acknowledgment or mention of its 
 original author, but adopting and proclaiming it as his own. See 
 
THE PKIXT COLLECTOR. 121 
 
 Jansen, " Essai sur I'Origine de la Gravure," etc. Paris, 1808. 
 Vol. I., p. 62. 
 
 Meantime the Germans show a better feeling. Writers of that 
 nation also availed themselves of the more valuable part of the 
 English author's essay, but, in translating great part of it, they duly 
 acknowledge their borrowing, and carefully, but tacitly, omit the 
 unfortunate criticisms to which we have alluded. See Huber et 
 Rost, " Manuel des Curieux, " etc. Zurich. 1797. 
 
 As it may be thought by proficients to be more in character to 
 adopt the systematic method of arrangement into schools, we will 
 pursue that course, and commence with 
 
 THE ITALIAN SCHOOL. 
 
 The Italian school is characterized, and especially when con- 
 trasted with the German, by dignity of composition and style ; by 
 simplicity and grace, the result of the study of the ancient sculp- 
 tures ; and by the plain and unaffected draperies. In this last 
 characteristic we must be understood not to refer to the very early 
 state of the art ; for in some of the most ancient works — "The 
 Entombment," for example, by Andrea Mantegna — the draperies 
 are nearly as complicated, angular, and frittered as in the German 
 of the same and later asra. 
 
 The Italian style is further, and more especially, distinguished 
 by the superiority of the drawing of the human figure, the due pro- 
 portions of the limbs, the fulness of the contours, and the shape of 
 the body and action of the muscles, apparent beneath the drapery. 
 There is not a doubt that the finest artists of this ancient school 
 drew all their figures in the naked, and clothed them afterward, or, 
 rather, indeed, drew them in the skeleton, and then clothed them 
 with flesh, and, lastly, with drapery. 
 
 Our catalogue may commence with Andrea Mantegna, born 
 in 143 1. He is not quite the earliest artist of his school, but the 
 
122 THE PRINT COLLECTOR. 
 
 works of the few who precede him are rare and costly. He is the 
 first, therefore, of whose engraving a specimen may be obtained 
 without much difficulty and expense, and he is sufficiently ancient 
 to exemplify the infancy of the art. He is remarkable, also, for 
 his manner of working, the shading being effected by means of 
 diagonal lines only, drawn from right to left, without any crossing. 
 This is the artist who painted the frescoes of the Triumph of Csesar, 
 now at Hampton Court Palace. 
 
 We have no inclination to recommend more artists of this early 
 period, unless it be JULIO Campagnolo. Him we mention be- 
 cause of his being the first who introduced what is called the dotted 
 manner, and which many have supposed to be a modern invention : 
 prints by him are not frequently met with, and are consequently 
 expensive. 
 
 We may notice, at this opportunity, that there are, in these 
 early times, as well in the Italian as in the German school, prints 
 by artists whose names are wholly unknown. Most of these, how- 
 ever, used marks or monograms, initial letters, either singly or fan- 
 tastically combined, or other devices, sometimes very fanciful ones, 
 by which their works are distinguished, and after which, indeed, 
 they are named. Thus we have, in the Italian school, the Master 
 of the Mousetrap ; the Master of the Die : in the German school, 
 the Master of the Caduceus ; the Master of the Crab ; the Shuttle ; 
 the Anchor, and others ; so named from the circumstance of these 
 unknown artists having characterized their works with these 
 figures. 
 
 There are, comparatively, very few ancient artists who have put 
 their names at length on their prints. The generality use a mono- 
 gram ; sometimes three or four different monograms, or varieties of 
 the same. Marc Antonio used, sometimes, a plain tablet, and some- 
 times a cipher, of which his plates exhibit six varieties. Albert 
 Durer has five varieties. Some artists used fanciful figures, and 
 some a sort of rebus or enigma of their name. Thus : the Hopfers 
 
THE PK'/Xf COLLECTOR. 123 
 
 used a hop plant, which their name inipHcs ; Schaufflcin, from 
 similar fancy, a baker's peel ; Lucas Krug, a ju<,^ ; and Martin Rota, 
 a wheel ; Van Staren puts a star between the initials of his name ; 
 and Cornelius Cort has two fighting cocks. 
 
 These monograms are so numerous, and there are so many an- 
 cient artists who arc recognized wholly by them, their names being 
 unknown, that dictionaries and other works have been compiled on 
 this subject alone. Of all the unnamed artists, the sera, as well as 
 the name, is uncertain ; and as neither excellence of design, pov- 
 erty of invention, nor merit of execution, is, by any means, a cri- 
 terion of chronological order, it is not possible to assign to them, 
 with certainty, any distinct dates or order of priority ; suf^ce it 
 that they all fall at a very early period, and their works are, mostly, 
 of great rarity. 
 
 We will now pass at once to a name which marks a memorable 
 aera in the history of engraving — the name of Marc Antonio 
 Raimondi. This great artist was born about the year 1487 ; he 
 was contemporary with RafTaelle, whose works he engraved, under 
 that great painter's own eye and immediate superintendence. 
 
 The prints of Marc Antonio aflord a good illustration of progress 
 to\vard perfection. His earliest performances were executed while 
 resident at Bologna, with Francia, under whom he studied. In 
 these, his drawing is without much taste, and frequently incorrect, 
 the shadows harsh, and a deficiency of intelligence betrays itself 
 throughout. Quitting Bologna for Venice, Marc Antonio there 
 fell in with the prints from wood blocks, designed by Albert Diirer : 
 and so great was his admiration of these that he copied, on copper, 
 the whole series of sixteen, now known as " The Little Passion." 
 From Venice, Marc Antonio went to Rome, and there, becoming a 
 pupil of the great Raffaelle, and being duly appreciated by that 
 master, he rapidly rose to the summit of his fame. 
 
 The truth, purity, and spontaneous grace of his outline have 
 never, to this day, been excelled, or perhaps equalled. It will be 
 
124 THE PRINT COLLECTOR. 
 
 well to obtain a specimen both of his earlier and his later manner. 
 His works are very numerous ; and although extra fine impressions 
 of any of his prints are always costly, yet sufficiently good impres- 
 sions of many of them may be met with at a comparatively mod- 
 erate price. Perhaps the finest specimen of his finest manner is the 
 " Adam and Eve," after Raffaelle ; the drawing of this is so ex- 
 quisite that the great painter is believed to have himself assisted 
 the engraver in his work. The same is said of his " Judgment of 
 Paris." 
 
 Among Marc Antonio's works are engravings from Raffaelle's 
 first designs for three of the cartoons : fair impressions of these are 
 neither rare nor very costly. These prints are interesting, in that 
 they vary from the cartoons as ultimately executed, and exhibit, 
 therefore, the first thoughts of the painter. A comparison of these 
 engravings with Dorigny's, from the same subjects, or with the 
 elaborate over-workings of still more modern artists, will satisfy 
 any judicious eye of the progress made by the moderns in mechan- 
 ical execution, and at the same time that, in this advance, excel- 
 lence, in some of the higher qualities, has been left behind. 
 
 Agostino da Musis, called Veneziano, and Marco da 
 Ravenna, were pupils of Marc Antonio, the former the more ex- 
 cellent, perhaps. They both followed him so closely as to have 
 sometimes, as is believed, worked in conjunction with him ; nor 
 are their works always clearly distinguishable from their master's, 
 though neither of them, indeed, ever approached the consummate 
 excellence of Raimondi's best performances. 
 
 Julio Bonasoni, born in 1496, is a truly original artist, al- 
 though he neglected many of the essentials, and more of the acces- 
 sories, of the art : many of his plates acquire additional value from 
 the circumstance of the pictures, from which they were engraved, 
 being no longer in existence. His best engravings are those after 
 his own designs, an observation which applies, with equal truth, to 
 almost every engraver. 
 
THE PRINT COLLECTOR. 1 25 
 
 An anonymous engraver, known as tlie Master of the Die, 
 from having used, as his monogram, a small cube, is another of 
 Marc Antonio's pupils, and is even preferred by Bartsh to 
 Agostino. 
 
 The Mantuan family of Ghisi comprise four artists, all of consid- 
 erable eminence — John Baptiste, George, Adam, and Diana. A 
 specimen of the work of George Ghisi will be sufficient. 
 
 To these succeeds a great name among painters, known as Par- 
 MEGIANO, the first, among the Italians, by whom we have etchings. 
 The spirit and genius which appear in these, the sweet character of 
 the heads, the elegant turn of the figures, and the beauty and sim- 
 plicity of the composition, amply atone for the deficiency, which 
 certainly must be admitted to exist, in the mechanical execution. 
 
 Caraglio is another of Marc Antonio's pupils, and ranks among 
 the most able of them. 
 
 ^NEAS Vigo is also of this school, though not so successful a 
 pupil as those already named. Among his works is a very interest- 
 ing print, representing the studio of Baccio Bandinelli, after a pic- 
 ture by that artist and containing his portrait. 
 
 Barocgio, born in 1528, is esteemed for the excellence of his 
 drawing and expression. 
 
 Cornelius Cort, though born in Holland, ranks, as entitled, 
 in the Italian school, and he had for his pupil Agostino Carracci ; 
 and we now come to this illustrious family, who have immortal- 
 ized their names, not only by the extraordinary excellence of their 
 works as painters, but as the establishers of a school in that art. 
 
 LUDOVIGO Carracgi has left but a few small prints, slight, free, 
 and masterly, the design being first etched, and the work then fin- 
 ished with the graver. 
 
 Agostino Carraggi executed numerous engravings, working 
 entirely with the burin : these comprise portraits, subjects, and 
 landscapes, many of large size, after various masters, and all of ex- 
 traordinary merit. His drawing of the naked parts of the figure is 
 
126 THE PRINT COLLECTOR. 
 
 admirable ; the heads are fine, and the extremities are marked in a 
 most accurate and masterly manner. 
 
 Annibal Carracci's etchings are greatly and deservedly es- 
 teemed ; he is remarkable for the correctness with which he drew 
 the human figure, and the admirable taste which he displayed. 
 
 Cherubino Alberti is another distinguished engraver of the 
 sixteenth century, who executed numerous plates, after various 
 masters. They are not very powerful in effect. Like the Carracci, 
 and all other artists of this period, he neglected the chiaroscuro. 
 This was the great defect of that time. 
 
 ViLLAMENA is a bold, effective artist, who foHowed the style of 
 Cort and Agostino, both in their beauties and in their faults. His 
 works are very numerous, and after various masters of different 
 reputations ; none of them are high priced. 
 
 GuiDO, having left some etchings, which are neither scarce nor 
 costly, so eminent an artist ought to find his way into a collection, 
 however small ; although, indeed, his works on copper do not ap- 
 proach the excellence to be expected from so great a painter. 
 
 We now reach the seventeenth century, which is ushered in 
 by a voluminous, pleasing, and spirited artist, Della Bella ; 
 and by another, who, whether classed with the Italian school, or, 
 as he frequently is, with the French, may be considered a twin 
 brother, the still more voluminous Callot. The infinite variety 
 displayed in his minute, multitudinous population, the neatness and 
 clearness of his work, and the smartness and spirit of his diminutive 
 figures, are truly wonderful. 
 
 Spagnioletto, Salvator Rosa, Castiglioni, may each claim 
 a place in our selection ; as also that bold, free etcher, PiRANESi, 
 but that he is almost too gigantic. Prints by these engravers are 
 easy to meet with, and at no great price. But we are drawing to a 
 close, for the eighteenth century is opening upon us, with Cana- 
 LETTI, BaRTOLOZZI, VOLPATO, RAPHAEL MORGHEN. 
 
 This approach toward modern times calls for a determination 
 
TJIE PRINT COLLECTOR. 127 
 
 ot the question, whether it mii;lit, or might not, be advisable to fix 
 an asra at whieh our collection should stop. Both artists and pro- 
 ductions are, in very modern times, so numerous that selection 
 becomes more perplexing, perhaps we may say more invidious, 
 and yet, certainly, more indispensable, if the collection is to have 
 any moderate limit. In fixing a period beyond which the term 
 " ancient" should not be considered to attach, the obvious course 
 seems to be to make use of some boundary line, which circum- 
 stances have already traced for us. We may adopt, for instance, as 
 a rule for a collection of ancient prints, that no artist shall be ad- 
 mitted who is too modern to have a place in Bryan's Dictionary, or, 
 perhaps, the preceding one of Strutt. 
 
 In thus running through the Avhole Italian school, to the period 
 just proposed as the limit, it will be seen that we have not encum- 
 bered our young collector with above thirty names ; and yet no 
 one artist of much importance is omitted, although a great number 
 might be added, some works of all of whom would be desirable 
 acquisitions. These may form matter for future selections when- 
 ever it may be desired to augment the portfolio. 
 
 All the artists hitherto named engraved on copper. Prints 
 from wooden blocks are much less esteemed, or at least are, gen- 
 erally speaking, of greatly less cost than engravings on copper ; 
 and there are connoisseurs who may, perhaps, consider them as 
 rather derogatory to a fine collection. 
 
 Nevertheless, there is some temptation to covet a specimen of 
 Ugo da Carpi, born in i486, and whom his countrymen of Italy 
 regard as the inventor of the mode of producing prints in what is 
 called chiaroscuro, by which is meant the printing, in different 
 shades, by means of two or more blocks ; the same process, in short, 
 as that used for modern paper-hanging. 
 
 Andrea Andreani, half a century later, was another eminent 
 artist in this style. 
 
 Before quitting the Italian school, we will intimate that we have 
 
128 THE PRINT COLLECTOR. 
 
 hitherto been silent as to what ought, in truth, to be the first speci- 
 men, in point of time, in a portfoHo of ancient Italian engravings. 
 When our young collector shall have attained courage to lay out 
 five or ten pounds, or more, in a single, dull colored, oily -looking, 
 diminutive print, of, perhaps, an inch square, and of no very taking 
 appearance to the popular eye, we recommend him, when oppor- 
 tunity serves, and after he has been for some time industriously at 
 work at subordinate matters, to head his collection with a specimen 
 of a genuine impression of niello. The assumption, on which we 
 have been all along proceeding, that our reader is, as yet, uninitiated, 
 and not at all read in the subject of which we treat, will supply an 
 excuse for repeating the oft-told tale, necessary to explain the 
 phrase just used, " niello." 
 
 Wood engraving is, generally, allowed to have been first brought 
 into use in Europe by the Germans ; but the first practice, and, in- 
 deed, invention, of taking impressions on paper from engravings on 
 metal, is generally attributed to the Italians. 
 
 The goldsmiths, who executed works in intaglio, for purposes of 
 ornament for armor, scabbards, knife-handles, bracelets, etc., were 
 accustomed to fill their work, when finished, with a black compo- 
 sition which they called " niello," which, when dry, became com- 
 pact and hard, and not again removable from the work ; and which, 
 making visible all the fine lines of the graver on the silver plate, 
 gave great effect to the performance. Many specimens exist of 
 silver ornamental work thus engraved, and filled with niello ; and 
 these go by the name of " nieUi." 
 
 It is said that the workers in this method were accustomed, after 
 finishing their engraving in the silver, and before filling it with 
 niello, to take an impression, or mould, of it in fine earth, and from 
 that mould to take a sulphur cast. This cast, which was a counter- 
 part of the silver, though in another substance, they then rubbed 
 with soot and oil until all its cavities were filled with black ; the 
 surface of the sulphur being then cleaned, the artist was enabled to 
 
THE J'KIXT COLLECTOR. 129 
 
 see precisely what the effect of his silver engraving would be 
 when it should come to be filled with black in like manner. 
 
 This practice led to the taking, occasionally, an impression on 
 wet paper, from the plate itself. This was effected by rubbing the 
 silver with soot and oil till all the graved work was filled with it ; 
 then, wiping the surface, laying on it a piece of damped paper, and 
 rolling it, by hand, with a round, smooth roller. Thus it was that 
 the art originated of taking impressions on paper from engraved 
 plates of metal, and which we now term the art of engraving. 
 After a while the roller was improved into the rolling-press, and 
 impressions were multiplied, with more precision, fulness, and ex- 
 pedition. 
 
 The artist to whom the credit of this invention is given is Maso 
 Finiguerra. There exist impressions, from nielli, which are, with 
 much confidence, ascribed to his hand. One of these has been 
 noticed and described in a previous page. An original ancient im- 
 pression from one of these nielli, by whatever artist, and it is not 
 frequently possible to appropriate them, appears, certainly, to be 
 the legitimate commencement of a chronological series of specimens 
 of copper-plate engraving. 
 
 THE GERMAN SCHOOL. 
 
 Let us now proceed to run through another school in the same 
 manner that we have ventured to do the Italian. It has already 
 been observed that the Germans claim the credit of having been 
 the first to introduce into Europe the practice of the art of wood 
 engraving. This preceded the invention of printing. Printing, at 
 its offset, was not performed by means of movable types, as at 
 present, and in which operation each page is formed by the com- 
 positor, letter by letter, but the whole wording of each page was cut 
 in relief on a block of wood, and from this the page was printed. 
 This is the same process as the modern method called stereotype, 
 
130 THE PRINT COLLECTOR. 
 
 the only difference being that in the latter process the printing is 
 not done with the wooden block, but with a block or plate of metal, 
 cast from a mould. 
 
 The taking an impression, on paper, from an engraved block of 
 wood, being an operation precisely similar to this block-printing, 
 the art fell immediately into use in combination with it ; for it 
 served at once to illustrate the meaning, adorn the book, amuse the 
 reader, assist his imagination, and fix deeper in his recollection the 
 subject matter of the text ; and as the earliest of these block- 
 books were Bible histories, saintly legends, or religious exercises, 
 these assistances were considered of much utility, and were very 
 copiously resorted to. The impressions from wood engravings, 
 which appear in these block-books, may be esteemed the earliest 
 specimens of the art practised in Europe ; and, unless we supercil- 
 iously discard all wood engravings as unworthy of a place in a col- 
 lection, they seem fittest, for this reason, to stand at the head of a 
 chronological arrangement. 
 
 The earliest specimens are anonymous. There is no artist, 
 whose name is known, until MICHAEL WOLGEMUTH, born in 1434, 
 at Nuremberg. This is he who, in conjunction with William Pley- 
 denwurff, published, in 1493, the curious folio known by the name 
 of " The Nuremberg Chronicle." Some suppose that the earliest 
 specimens of wood engraving are such as have the back of the print 
 plain and unprinted, for that these, probably, were executed before 
 the printers had acquired the method of printing both sides of 
 the paper. Nevertheless, it does not clearly appear that there ever 
 was a time when they could not print on both sides, and, therefore, 
 we should rather recommend that the specimen, for our collection, 
 be a print that has block-printing at the back of it, since this will 
 afford a tolerable presumption that such a print was struck off pre- 
 vious to the time of the coming into use of movable type. 
 
 The early German school is characterized less by its beauty than 
 its want of that quality. The artists do not seem to have studied 
 
THE PRINT COr.fJ'.C'JOK. 13I 
 
 from nature, and they had not the advantage, possessed by the 
 Italians, of a reference to the great and beautiful remains of Greek 
 art. Their drawing is defective, and sometimes to a lamentable 
 degree, more especially in the naked figure, which is ever incorrect 
 in outline, meagre and emaciated in form, the extremities large, 
 the joints heavy and protuberant. The draperies exhibit a multi- 
 plicity of folds, the arrangement of which, in all sorts of angles, 
 seems to have exercised all the ingenuity and invention of the de- 
 signers : they appear as if made of crumpled paper ; nor is there 
 ever any attempt to give any indication of limbs concealed beneath 
 them. 
 
 The first name which occurs as a copper-plate engraver of the 
 German school is Martin Schoen, born toward the middle of the 
 fifteenth century ; and to him has been generally conceded the credit 
 of being the first person, known by name, who engraved metal 
 plates for the express and sole purpose of taking from them, and 
 multiplying impressions on paper. His prints are without date, 
 and the time of his birth is unknown, but he died in i486. He 
 engraved from his own compositions, a circumstance which always 
 increases the interest of a print, and may well be supposed to con- 
 tribute to excellency also. There remain upward of one hundred 
 prints by this artist, and many of them are by no means difficult to 
 be obtained. Though not exempt from the general character, just 
 given, of early German art, yet he is less Gothic than the generality 
 of his countrymen ; his heads are often beautifully expressive, and 
 are, indeed, the best part of his performances. He gained, in his 
 own time, the epithet of " Le Beau Martin." One of his prints, 
 " St. Anthony Carried into the Air by Demons," was thought 
 worthy, by Michael Angelo, of being studied and copied by him in 
 color. Buonarotti was then, indeed, but a boy ; but it must be 
 remembered that, as Eustace observes, he was a boy who broke 
 out an original sculptor at the age of fourteen, and who excelled 
 
132 THE PRINT COLLECTOR. 
 
 most in that part of sculpture which forms the very essence of 
 drawing. 
 
 An anonymous artist, contemporary, or nearly so, with Martin 
 Schoen, is a voluminous engraver, known as THE MASTER OF 1466, 
 from the circumstance of that date appearing on one of his prints. 
 He used no monogram, and his works are not recognizable, there- 
 fore, except by the style of his design, and the manner of his en- 
 graving ; but in these he is so characteristic that it is not difficult 
 to appropriate his works ; all of them evince much intelligence and 
 originality. 
 
 Israel von Mechelen, born in 1424, and his son, of the same 
 name (if two there were, but, if so, they are confounded together), 
 are artists of much notoriety, but arising, certainly, not from 
 superior merit, but from the multitude of their performances which 
 remain, and which amount to nearly 250 in number. They exhibit 
 all the Gothic taste of the age and country to which they belong, 
 with few qualities to redeem it. This, it would appear, was the 
 judgment of their fellow-artists of their day ; for it is remarkable 
 that, although there was a very prevalent habit, at this period, of 
 engravers copying one another's prints, it is said to be doubtful 
 whether there exist a single print which is copied from an original 
 design of Von Mechelen. 
 
 Of such artists one sample may suffice, and we may, without 
 regret, pass over what others there may be of like estimation ; and, 
 as in the Italian school, we made a step from infant attempts to 
 the full maturity of the art, exemplified in Marc Antonio, so, in 
 the German school, we may stride from the Gothic struggles of 
 the earlier artists to the comparative perfection of the art, as ex- 
 emplified in the great name of Albert Durer. 
 
 Born in 1471, this intelligent and industrious artist was painter 
 as well as engraver, a geometrician, and a writer on these subjects, 
 and on civil and military architecture. Like his great compeer of 
 Italy, he marks, in his own country, as important an aera in German 
 
THE PRINT COLLECTOR. 133 
 
 engraving as Marc Antonio docs in the Italian school. Vasari, 
 Du Fresnoy, and Sir Joshua Reynolds concur in opinion that if 
 Albert Durer had had the advantage of an Italian education he 
 would have ranked in the very first class. His works are numerous, 
 both in copper and on wood ; and to him is also attributed the in- 
 vention of etching. Some of his prints are thought to be from 
 plates of iron or steel, rather than copper. 
 
 We are not aware that there is any proof of this, or that it is 
 more than conjecture, arising from a certain peculiar appearance in 
 the prints, as to which the supposition applies ; but it may be re- 
 marked that there was published, in 1599, in London, a book, 
 translated from the Dutch, which, therefore, was probably of some 
 years' earlier date, which treats of the method of " graving with 
 strong water on steel and iron," a title which seems to infer, not 
 only that steel and iron plates were used for engraving, but that the 
 art of etching, invented in the same century, was confined to those 
 metals, and not as yet practised on copper. 
 
 The copper-plates of Albert Diirer are executed with the graver 
 only, in so neat and excellent a style that, for facility of execution 
 and command of that instrument, he has never been excelled. 
 They are all from designs of his own. Some connoisseurs have fan- 
 cied that the " Prodigal Son," and one or two others, are copies 
 from Diirer's master, Michael Wolgemut ; but there does not appear 
 to be any good ground for this assertion ; and the specimens which 
 we have of Wolgemut's art, in the once famous Nuremberg Chron- 
 icle, do not, by any means, favor the idea. 
 
 Albert Diirer displays great copiousness of invention, an accu- 
 rate observation of individual nature, and great talent of represent- 
 ing the characters and textures of objects. One or more specimens 
 should be sought, both of his copper-plates and his wood-engrav- 
 ings, and one sample also of his etchings, although these are very 
 few in number.' 
 
 ^ The judgment of the present age will hardly allow the collector to be contented 
 with one specimen of Diirer's engravings. Let the scheme for forming a collection, 
 
134 THE PRINT COLLECTOR. 
 
 One peculiar circumstance we must mention respecting Albert 
 Diirer, for the sake of the credit which it does him. In selecting 
 specimens of his prints, there is nothing to avoid ; and there is 
 scarcely another ancient artist of whom this can be said. He 
 stands almost alone in moral character ; he never engraved what 
 is technically called a free subject ; nor is there, throughout his 
 works, an indelicate representation or gross allusion. So excellent 
 was the private character of Albert Diirer that his friend, Melanc- 
 thon, used to say of him that his least merit was his art. This is, 
 indeed, laudari a laudato viro. 
 
 With respect to wood-engravings, as well those by the artist 
 under consideration as by others, it is proper to notice that the 
 better opinion seems to be that the share which the designer him- 
 self had in these was confined to the drawing of his design on the 
 block, and that the very mechanical operation of cutting away was 
 left to subordinate hands. Now and then, perhaps, an artist may 
 have himself been the wood-cutter, but that he was not always, or 
 even generally so, is proved from the circumstance of blocks exist- 
 ing, at this day, at the back of which is found the name of the 
 wood-engraver ; and Jean Neudorffer, a contemporary of Albert 
 Diirer, expressly states (as cited in De Murr's Journal) that Jerome 
 Resch, a medal and letter-type engraver, was the person by whom 
 were engraved, on wood, most of the designs of Albert Diirer. 
 
 as suggested by Mr. Maberly, be ever so complete and systematic, there are excep- 
 tions, and Diirer is a master of whose work it would seeni impossible to have too 
 many examples. We would rather counsel the acquisition of almost every print of 
 importance by him, when it can be had in fine condition and at a reasonable price. 
 His subjects are replete with interest as well as marvellous in execution. In England 
 they have never been until late years as thoroughly appreciated as Rembrandt's etchings 
 have been. 
 
 The collector will find it difficult enough to secure fine examples of either Diirer, 
 Rembrandt, or Marc Antonio, and there will probably be no danger of his becoming 
 possessed of too many of the works of either of these artists, who form the great trio 
 of engravers, standing foremost among them all. 
 
THE PRINT COLLECTOR. 135 
 
 Hans Burchmair, a very voluminous engraver on wood, Hans 
 SCIIAUFFLEIN, and Wenceslaus OF Olmutz, may afford one 
 sample each. For this last-named artist, M. Duchesne claims the 
 credit of being the inventor of etching, on the ground that an etch- 
 ing exists, bearing his monogram, with the date of 1496 ; whereas 
 the earliest of the etchings of Albert Diirer, the hitherto reputed 
 inventor, bears date 15 12. 
 
 Lucas van Leyden affords specimens of beautifully fine work, 
 but the extreme delicacy of his handling occasioned his plates to 
 wear down very soon, and good impressions of this artist's works 
 are therefore rare. It is of little use to point out what may be 
 preferable specimens, because, in early masters, and especially those 
 whose works are more uncommon, a collector will rarely have op- 
 portunity to select, but must think himself fortunate whenever he 
 may find a good impression, in good condition, even though it be 
 not of one of the principal plates of the master. 
 
 Let any one who would see Van Leyden in perfection beg a 
 sight, at the British Museum, of the print of " David Playing be- 
 fore Saul ;" but he should be previously apprised that the sight of 
 this most splendid impression will make him dissatisfied with every 
 print that he is likely ever to meet with by the same master. 
 
 We now approach a series of artists who, from the diminutive 
 size of their works, are called " The Little Masters." Such are : 
 
 Albert Altdorfer, whose works are numerous, both in copper 
 and wood, the latter being the best, and to these it is said Hans 
 Holbein was much indebted, and that the style of Altdorfer is trace- 
 able in the works of this esteemed painter. 
 
 Bartholomew Beham resided much at Rome, and, it is said, 
 studied under Marc Antonio. His prints, indeed, evince something 
 of that great artist's manner. 
 
 Hans SjSbald Beham, brother of the preceding, is a very vo- 
 luminous and pleasing engraver, both on copper and wood. 
 
 Matthew Zagel dated his prints, and, but for this, he is so 
 
13^ THE PRINT COLLECTOR. 
 
 stiff and Gothic, and so deficient in taste, drawing, and composition^ 
 that he might be supposed earlier than Martin Schoen. 
 
 James Binck, though a pupil of Albert Diirer, evinces much of 
 the Italian school, from having studied at Rome, and engraved, 
 indeed, after Raffaelle. 
 
 Virgil Solis engraved both in wood and copper. He is a 
 voluminous artist ; he displays great fertility of invention, his fig- 
 ures are spirited, and his attitudes good, yet his drawing is generally 
 careless and incorrect. 
 
 Henry Aldegrever is much esteemed for his neat execution, 
 expression, and propriety of composition. 
 
 Gregory, or George Peins, born in 1500, ranks among the 
 little masters, except that he occasionally emancipated himself from 
 them. He studied first under Albert Diirer, but afterward under 
 Marc Antonio, and showed, in one or two large prints, especially 
 in one, after Julio Romano, representing a besieged town, that he 
 had favored and acquired the higher taste of the Italian masters. 
 
 A family of the name of HOPFER, of whom David is the chief, 
 flourished early in the sixteenth century. 
 
 Hans Sebald Lautensack, born in 1508, engraved portraits, 
 much esteemed for their truth, and also landscapes, frequently 
 historical. 
 
 Theodore de Brye, born in 1528, designed and engraved, very 
 prettily, small subjects, full of figures, processions, and the like. 
 
 Lucas Kilian, born in 1579, introduced a bolder, freer style : 
 he is noted for his great command of the graver. 
 
 GlACOMO Frey, born in 1681, leaves a long interval, but 
 within which is no very important engraver ; some that might 
 have justly been classed within this period, in the German school, 
 have been stolen away, and will appear in the Flemish and Dutch. 
 Frey engraved plates of considerable size, in a masterly manner, 
 and did justice to some of the finest works of the greatest masters. 
 Care is necessary in the selection of a specimen of his works, for 
 
I'JJE PKJNT COLLECTOR. 137 
 
 his plates were mostly retouched by his son Philip, and very in- 
 judiciously. 
 
 RiDiNGEK, born in 1695, executed, to admiration, etchings of 
 wild animals, in forest and wild scenery. 
 
 DiETRici, born in 171 2, and George Frederick Schmidt, 
 born in the same year, may close our list of the German school : 
 the latter, at times, imitated the manner of Rembrandt. 
 
 We must not, however, quit the Germans without noticing that 
 it was with them that the art of engraving in mezzotinto had its rise. 
 Prince Rupert, w4io is ranged in the English school, had long the 
 reputation of being the inventor ; but this credit is now ascertained 
 to be due to LUDWIG VON Siegen, born about 1609. In the His- 
 tory of Mezzotinto Engraving, published in 1839, by Leon la 
 Borde, mentioned in the catalogue of books, contained in subse- 
 quent pages, is a very curious document, being a fac-simile of a 
 letter from Count Siegen to Prince Rupert, giving an account of 
 his discovery. 
 
 The first mezzotinto print published was the portrait of " Amelia 
 Landgrave of Hesse," which appeared in Amsterdam, in August, 
 1642. This department of engraving has been chiefly cultivated 
 and improved in England, and the best specimens of it are to be 
 found among the artists of our own country. This is so generally 
 acknowledged that Heinecken, a great authority, has called it "La 
 maniere Anglaise. 
 
 the flemish AND DUTCH SCHOOL. 
 
 The commencement of this school does not date so far back as 
 the more ancient ones which have been treated of. It will, never- 
 theless, be found to compensate for this by producing a greater 
 abundance of intelligent and pleasing artists, who claim to be in- 
 cluded in our catalogue. We find no one necessary to be men- 
 tioned until we arrive at the middle of the sixteenth centurj-', 
 when appear the Sadelers. 
 
138 THE PRIiYT COLLECTOR. 
 
 John Sadeler, born in 1550, is important as being the founder 
 of a school, in his family and beyond it : they engraved subjects, 
 landscapes, and portraits. 
 
 About the same period, JOHN and JEROME WiERiNX engraved 
 small plates, of beautifully minute and highly-finished work. 
 
 The next name of repute is Henry GOLTZIUS, born in 1558, a 
 voluminous engraver, of manly, bold execution, and great effect, 
 but not without considerable faults — affectation, extravagance, a 
 daring carelessness, and a neglect or ignorance of chiaroscuro. He 
 engraved both on copper and on wood. He affected to undervalue 
 the reputation of his great predecessors in the art, and engraved a 
 series of prints, in express imitation of their respective manners, in 
 order to convince the world that he could himself perform as well 
 as any of them. 
 
 Goltzius was followed closely by pupils and imitators. The 
 chief of the former were Saenredam, Matham, and Muller ; 
 all, with much similarity of manner and effect, imitated their more 
 able master. The works of these engravers comprise many showy 
 prints, easy to meet with, and of small price. 
 
 To the great Rubens, born in 1577, are attributed a few etch- 
 ings, on which, indeed, appears his name ; but whether these were 
 altogether finished by himself, or whether his share in them be 
 confined to the sketching only, with the etching needle, may be 
 doubtful. 
 
 Peter Soutman, of the school of Rubens, engraved after this 
 master, and introduced the mixture of etching with the burin with 
 much effect ; and this practice was carried to greater perfection by 
 SUYDERHOOF and others. 
 
 Christopher Jegher executed, on wood, designs after Ru- 
 bens, some, perhaps, drawn on the block by Rubens himself. He 
 retained the strictest preservation of the characteristic style of this 
 master. 
 
 Another great name is Vandyke, born in 1599. He etched two 
 
THE PRINT COLLECTOR. 139 
 
 subjects only, but several masterly portraits, which were finished 
 by Vorsterman, and other artists ; and our collector should not sit 
 down content with one of the finished prints longer than until he 
 can procure one of the first state, consisting of the simple etching, 
 all by Vandyke's own hand. 
 
 ScriELTluS BOLSWERT is, perhaps, the most powerful engraver, 
 for effect, that ever lived, and the most faithful renderer of the 
 style of his original, which was generally Rubens. 
 
 Vorsterman was a contemporary artist, of great reputation, as 
 was Paul Pontius, both engraving chiefly after Rubens and 
 Vandyke. 
 
 Rembrandt. The mention of the name is sufficient. His 
 works are, of themselves alone, a collection. The young collector 
 will, as his taste improves, and as his eye gets accustomed to really 
 fine things, become, in all probability, fascinated with this pre-emi- 
 nent of all artists, and will yield to temptation beyond his original 
 intention. He is sure to acquire more and more affection for an 
 artist of whom it has been observed that he worked with his heart 
 rather than his hand. Let him do so, and indulge himself, but let 
 it be leisurely and judiciously. 
 
 Meantime we must condescend to remember our present im- 
 mediate purpose. With reference to this, then, we would observe 
 that there are many of Rembrandt's prints of frequent occurrence, 
 and of moderate price, if rare states be not aspired to, and which 
 may, at first, and during the growth of the rest of the collection, 
 be contentedly accepted as affording sufficient idea of the style 
 and manner of this inimitable master. 
 
 The example of Rembrandt encouraged the practice of etching, 
 and that so exclusively that the chief artists of this school form, 
 henceforth, a class called the " Dutch etchers." These delight 
 much in rustic scenes, cattle, and landscape. They form a constel- 
 lation of brilliant stars. OSTADE ; Karl du Jardin ; Paul 
 Potter ; Adrian Van de Velde ; John Both ; Waterloo ; 
 
I40 THE PRINT COLLECTOR. 
 
 SWANEVELT ; STOOP ; BEGA ; FYTT ; EVERDINGEN ; BERGHEM ; 
 
 ROOS ; De Laer ; De Ulieger ; and one or two of shipping, 
 Backhuysen ; Zeeman. 
 
 Adrian Ostade confined himself to subjects taken from the 
 peasantry of his country. His figures are true to nature, and 
 touched with such spirit that the low life which is represented 
 ceases to be offensive. He has a surprising talent of insulating 
 every figure ; detaching it, that is, from surrounding objects. It 
 appears as if one could walk round about and among the people 
 assembled in his compositions. 
 
 Bega is in the same style as to subject, but coarser, and with 
 less qualities to redeem vulgarism. 
 
 John Both etched landscapes, of beautiful composition, and 
 executed with a delicate and hght touch. 
 
 Nothing can exceed the truth and perfection with which 
 Waterloo renders the foliage of trees, giving to each the perfect 
 character of its species. A person accustomed to hang with admi- 
 ration over the delightful etchings of this artist will perpetually, in 
 his country drives, be reminded of this exquisite reflector of nature : 
 every little coppice which he passes, every oak tree, will bring to 
 recollection Waterloo. 
 
 SwanevelT had a peculiar mode of working, his foliage being 
 composed of short horizontal lines, which give also a peculiar 
 effect. A fanciful person might consider it a soft, hazy, or sultry 
 appearance. 
 
 EVERDINGEN is remarkable for the infinite variety displayed in 
 the prodigious number of prints that he etched, representing the 
 scenery of a rocky, woody country, with picturesque log-houses, 
 mills, torrents, etc. He also engraved fifty-seven plates of "The 
 Life of Reynard the Fox." 
 
 The remaining names above enumerated as Dutch etchers con- 
 fined themselves wholly, or in great measure, to subjects of 
 domestic animals. Each well deserves separate notice, for their 
 
THE PRINT COLLECTOR. 141 
 
 works arc nature itself ; but \vc cannot afford to expatiate too 
 largely. 
 
 One great name, as an engraver, must not be omitted — COR- 
 NELIUS VISSCHER, born in 1610. Of him, the specimen to be 
 selected should be one of his prints after a design of his own. 
 
 Our list shall close with an able artist, well known to us by his 
 admirable portraits of his own countrymen — HOUBRAKEN. 
 
 THE FRENCH SCHOOL. 
 
 The French school commences with Duvet, born in 1485, called 
 the " Master of the Unicorn," from his frequent introduction of 
 that animal in his compositions. 
 
 After him there is nothing very alluring till we come to Callot, 
 born in France in 1593, but who, from having studied at Rome and 
 Florence, is often classed in the Italian school, in which he has been 
 already noticed. 
 
 The little landscapes of CLAUDE LORRAINE are perfectly char- 
 acteristic of him, and worthy of his hand. 
 
 Claude Mellan, born in 1601, is remarkable for a quaint pe- 
 culiarity of style. He generally used a single line only, not cross- 
 ing it ; and a fantastical, but able print, by him, is the " Sudarium," 
 of large size, performed with one single continuous line, beginning in 
 the centre of the tip of the nose, and circling thence, in a spiral, to 
 the extremities of the plate, the shadows being produced by the 
 occasional thickening of the one same line. 
 
 Jean Morin, bom about 1612, adopted a peculiar manner, mix- 
 ing lines and dots, which he endeavored to harmonize with each 
 other. 
 
 BORGONONI, the battle painter, produced a few etchings of like 
 subjects, very free and spirited, and at the same time broad and 
 masterly. 
 
 Francis Poilly, born in 1622, the head of a family of engravers 
 of that name, executed many fine prints, and was, perhaps, the 
 
142 THE PRINT COLLECTOR. 
 
 best handler of the graver that had appeared in France up to that 
 period. His plates are numerous, and after various masters, in- 
 cluding Raffaelle and Guido. 
 
 The French school, however, produced very little above medioc- 
 rity until the appearance of Robert Nanteuil, born in 1630. 
 His finest works are his portraits, some of which are the size of 
 life, or nearly so. Two or three specimens, or even more, of this 
 very eminent and admirable engraver may well be afforded ; and 
 these should be selected from works executed at distant periods of 
 his career, because this artist affords, and which is not common, a 
 good example of a persevering progress toward improvement, and 
 of the adoption of various experiments in the pursuit of it. 
 
 Contemporary with Nanteuil arose the family of the Audrans, 
 of whom Gerard Audran is the chief. He it was who first showed 
 to the world what could be effected by the united powers of etch- 
 ing, mingled with the burin, in the production of grand historical 
 subjects, in a style broad, original, comprehensive. His prints are 
 numerous ; and the only difficulty may be to select specimens 
 which shall sufficiently exhibit his full power, and yet lie within 
 the dimensions of a moderate-sized portfolio. 
 
 Without dwelling on the PiCARTS, laborious and entertaining 
 artists, or on PiTAU, a pupil of Poilly, we pass on to another en- 
 graver, of consummate excellence, Gerard Edelinck. Although 
 he had the example before him of the admirable effect produced 
 by Audran's method of working, he, nevertheless, chose to confine 
 himself to the burin alone, without the admixture of etching. So 
 free were these great contemporaries from jealousy of one another 
 that one of Edelinck's finest prints, "Alexander in the Tent of 
 Darius," was engraved in consequence of Audran's recommending 
 him to Le Brun, the painter, as the engraver best competent to 
 the work. 
 
 Nothing can exceed the freedom and delicacy with which 
 Edelinck handled his favored tool. Some connoisseurs fancy that 
 
THE PRINT COLLECTOR. 143 
 
 a little mixture of etching would have given more force, so that 
 delicacy and softness would have been less predominant qualities ; 
 and some also afifect to see, in several of Edelinck's prints, a ten- 
 dency to the quality which, in modern French engravers, has been, 
 and with suf^cient meaning, termed metallic. 
 
 Anthony Masson, of the same period, having been brought up 
 to the engraving of ornamented gun-barrels, had acquired, by the 
 habit of working in this harder metal, such command of the graver 
 that, when he turned to copper, he played with his tool as with a 
 pencil. This enabled him to produce works that astonished the 
 world, but led him, at the same time, to exuberate, capriciously, 
 in eccentricities and vagaries, as if to show, in triumph, what he 
 could do. Apart from these conjuring tricks, however, he is a most 
 beautiful artist. He expresses the texture of substances with won- 
 derful truth, not only in the subordinate adjuncts of ermines, lace, 
 etc., but also in the hair, flesh, the eye, etc. 
 
 The two DREVETS, father and son, especially the latter, carried 
 to perhaps still higher perfection this accurate rendering of the 
 texture of inanimate substances, luxuriating in furs, lawn, velvet, 
 lace, and also bronze, carved wood, books, etc., to a degree ex- 
 citing, indeed, much admiration, but at the same time tending to 
 draw down on their school the censure of frippery and flutter. The 
 portraits of " Bossuet " and of " Bernard," the finest of Brevet's 
 works, fully exhibit these characteristics. 
 
 Following in the same line, of what some consider minute over- 
 laboring, came John George Wille, a German by birth, an en- 
 graver of great popularity ; and if clearness and beauty of mechani- 
 cal work be high excellence, and which they certainly are, Wille 
 well deserves all his reputation ; but he does not stand in so high 
 esteem with those connoisseurs who require more important and 
 intellectual qualities. The Death of Cleopatra is a fine subject for 
 a painter of feeling and intellect. Wille engraved that subject, but 
 it was after a picture by Netscher, a minute painter, of kindred 
 
144 THE PRINT COLLECTOR. 
 
 taste to himself ; and when the superlative excellence of this justly- 
 admired specimen of Wille's abilities is pointed out by his admirers, 
 they ever direct our attention to the inimitable white satin dress of 
 Cleopatra. 
 
 THE ENGLISH SCHOOL. 
 
 There remains only the school of our own country. The earliest 
 copper-plate engraver who, with certainty, belongs to us, is Thomas 
 Geminus. He executed, in 1545, the frontispiece to " VesaHus's 
 Anatomy," an outline design of ornamental work. 
 
 Remigius Hogenberg ranks in this school, though bearing a 
 foreign name, his principal print being the portrait of " Archbishop 
 Parker. 
 
 The family of Passe introduced a more neat and elaborate style 
 than had before been practised in England. Their portraits are 
 generally drawn from the life, and have all the appearance of 
 being so. 
 
 Wenceslaus Hollar, born in 1667, is another artist of foreign 
 name, but it is only by birth that he belongs to the Germans : in 
 all other respects he is English. He is exceedingly voluminous, 
 and exceedingly various ; portraits, subjects, landscapes, buildings, 
 figures, costumes, animals, insects, muffs, furs, etc. 
 
 About twenty years later appeared William Faithorne, whose 
 portraits are greatly esteemed ; he is one of the most eminent en- 
 gravers of the English school. We may mention, also, David 
 LoGGAN and ROBERT White. 
 
 Sir Nicolas Dorigny, a Frenchman by birth, but claimed by 
 the English school (and our poverty, at this period, makes us glad 
 to claim him), is best known to us by his engravings of the " Car- 
 toons," and the " Transfiguration," of Raffaelle. He came over to 
 England for the express purpose of executing the cartoons, and at 
 an advanced period of life. 
 
THE PRINT COLLECTOR. 145 
 
 Vertue, born in 1684, is but little above a number of engravers 
 whom we do not think worthy of mention. 
 
 He, of whom England may well be proud, is the very original 
 William Hogarth, who is too well known to need any detailed 
 notice. It is as a painter, or, rather, as a designer and composer, 
 that he is excellent ; but as several of the plates from his pictures 
 were engraved by himself, our art justly derives credit from 
 him. 
 
 Sir Robert Strange, born in 1721, and William Woollett, 
 born in 1735, are perhaps the finest engravers, the one of subjects 
 and the other of landscapes, that the English school has ever pro- 
 duced ; and, in some of their qualities, they equal, indeed, any 
 artist of any school. 
 
 Bartolozzi is well known by the great multitude of his prints, 
 executed in a very pleasing styje ; and his larger works, such as the 
 " Clytie, " show that he had great ability. Perhaps no artist has 
 rendered the fleshiness of the naked figure better than Strange or 
 Bartolozzi. 
 
 The chief mezzotinto engravers of whom we boast, and in 
 which line of art, as has already been observed, the English school 
 stands pre-eminent, are M'Ardel and Earlom. 
 
 We should like to add to our list of English engravers William 
 Sharp ; but we are already descending to names which are per- 
 haps rather too modern. We will close with an anecdote. 
 
 William Sharp, when at Rome, visited Raphael Morghen, then 
 of great age. The venerable Italian, after exhibiting to our coun- 
 tryman his choice, reserved proofs of his numerous fine engravings, 
 at last exclaimed, " And now, Mr. Sharp, I will show you a print 
 which is equal to any thing I ever did in my life ;" and so saying, 
 he drew from his portfolio Sharp's own engraving of the " Doctors 
 of the Church, after Guido." The Englishman was, of course, 
 highly flattered and delighted with this compliment ; and when, 
 on his return, he related the story, he added, with a vanity not al- 
 
146 THE PRINT COLLECTOR. 
 
 together inexcusable, " And, indeed, the old man was not far from 
 right." 
 
 We have now finished what we would suggest to the young col- 
 lector as a catalogue within which, at first, to confine himself ; 
 and having divided it into schools, he has the opportunity of still 
 further limiting himself, if he please, to one or other of these, to 
 the exclusion of the rest. It would be vain to affect to tell him 
 what his outlay would be in the attainment of a little collection, 
 such as here contemplated, because we have not confined him to 
 any number of specimens. He may be inclined to extend his sam- 
 ples of some artist, who may greatly attract his taste, to the number 
 of ten, twenty, or more ; and the question of greater or less amount 
 of expenditure will much depend on who these more favored 
 artists may happen to be. This, however, he may venture to as- 
 sume, that a very respectable collection of prints, by the artists 
 whom we have catalogued, embracing one, two, or three samples of 
 each, sufficient to show their varieties of style and modes of work- 
 ing, may be obtained for a less sum than that at which Mr. Christie 
 shall, now and then, knock down some one little choice picture of 
 two feet square. 
 
 Adhering to the systematic mode of collecting that has been 
 recommended, there is little apprehension that the young collector 
 will — by injudicious purchases, by amassing things that, as he 
 grows wiser, he repents having got, or by other accidents incident 
 to proceeding in the dark—become disgusted with the occupation. 
 On the contrary, he will ever be able, as he progresses, to look back 
 with satisfaction on his acquisitions, and feel a continually growing 
 love of his pursuit, and a continually increasing attachment to its 
 objects. He will, by degrees, discover what artists best suit his 
 fancy ; he will perhaps find some so attractive that he will not 
 be able to resist the extending his collection of their works be- 
 yond the few samples he contemplated at his setting out, and there 
 
THE PRINT COLLECTOR. 147 
 
 may prove to be some whose complete works he will endeavor to 
 compass. 
 
 During his progress, also, in working upon the catalogue here 
 placed before him, he will be continually meeting with prints by 
 artists who have not been named, and, as to several of whom, he 
 will begin to doubt why they should not have been included in the 
 list of recommendation. We would not attempt to put close re- 
 straint on this excursive disposition, but only suggest that it should 
 not be indulged, until practice, under tutorage, shall have conferred 
 sufificient experience and judgment to justify the discarding of the 
 leading strings. 
 
 A collector should never be impatient ; he should make his pur- 
 suit an occupation rather than a longing ; he should be content to 
 wait opportunity ; and he must have courage to seize opportunity 
 when offered. This last observation, however, need not be under- 
 stood as applying to a beginner, but to the experienced only : it 
 refers to things with which he would not meddle in his early days. 
 It is time enough, when a collection has acquired a respectable 
 bulk, to look out for a few very choice and rare specimens. 
 
 Prints there are, but not often seen, that, of themselves singly, 
 give a value to a collection, and lift it above the average. Some 
 three or four of such are ever desirable to crown a collection, and 
 give importance to it ; but these are not to be had at a call. One 
 or other may appear in the market in the course of a twelvemonth, 
 some not for many years ; they never lack a ready customer. It 
 may be a favor, if such are for private sale, to be allowed the re- 
 fusal ; and printsellers always give such refusal to their best cus- 
 tomers, and occasionally give offence to others by obliging one. 
 
 It is superfluous to observe that the price which these bear is 
 such as to narrow competition for them. We could name, from our 
 own cabinet, some half dozen of prints of this high class which 
 would alone purchase the whole of such a collection as we are 
 advising our beginner to be, during his pupilage, content with ; 
 
148 THE PRINT COLLECTOR. 
 
 but these were not added to our portfolio till late in the day — till 
 the collection became, in fact, worthy of them. That collection, 
 though by no means extensive, has been years in forming, years 
 more in improving, and is looking upward for further improve- 
 ment, as time goes on and opportunities arise : and these years 
 have all been years of enjoyment, without, on the one hand, any 
 painful craving, and without, on the other hand, any sensation, 
 at any time, of satiety ; and the total outlay, spread over so long 
 and pleasurable a period, has not been more than what any person, 
 in tolerably easy circumstances, may well be justified in laying out, 
 on so rational a pursuit, without any feeling of self-reproach or 
 repentance. 
 
CHAPTER VIII. 
 
 THE OLD AND NEW SYSTEMS. 
 
 The observation which closed the last chapter suggests the ques- 
 tion, how far the outlay submitted to, in judiciously forming a col- 
 lection of ancient prints, must be considered as money sunk, or to 
 what extent it may be regarded in the nature of investment only, 
 capable of being again realized, if circumstances should require it. 
 
 The difference, with respect to price, between buying and 
 selling, by persons not being dealers, is proverbial ; and there is no 
 reason to flatter ourselves that an experiment, tried on a miscella- 
 neous collection of ordinary prints, would produce any exception 
 to the truth of this adage. But it has been shown how greatly 
 prints of a high class have increased in value. The rise has been 
 such, indeed, as to justify an expectation that a collection, having 
 a tolerable proportion of such specimens, might, by the advance in 
 these, be compensated for the loss which must be necessarily sus- 
 tained on the mass. But the proprietor must not indulge so mer- 
 cantile a spirit, or be so close an economist, as to expect interest 
 for his money. He must consider that he has been all along re- 
 
15° THE PRINT COLLECTOR. 
 
 ceiving interest, in the shape of pleasure afforded to him, by the 
 enjoyment of his possessions. 
 
 The question which, under these circumstances, the incipient 
 collector will be desirous to have answered is, whether there be a 
 reasonable ground to expect that ancient prints will continue to 
 rise in value, or even maintain their present prices ; or whether 
 there be not ground to apprehend that they may be so excelled by 
 modern improvement in art as to cease, by degrees, to be held in 
 estimation. 
 
 There is no question that if any given number of persons, not 
 being artists or connoisseurs, and who have never been accustomed 
 to ancient art, but to whom the shops, or, rather, splendid galleries, 
 of our modern print publishers are familiar, were invited to look 
 through a folio of prints, even of the finest class, executed during 
 the first two centuries after the invention of the art, they would, 
 nine out of ten at least, entertain a very mean opinion of them, 
 compared with the magnificent framed and glazed glories to which 
 their admiration had previously been directed. It must further be 
 admitted that it follows, from thence, that if the finest ancient 
 print existing were, at this day, first published, it would find but 
 few purchasers. 
 
 Notwithstanding this, we are fully inclined to believe that these 
 ancient works will not only maintain their credit, but continue to 
 rise, as they have done, more and more in value. 
 
 This expectation is grounded on several considerations. First, 
 their intrinsic excellence, which is visible enough to men of taste 
 and judgment, though it may not be so to the multitude, but 
 which will, naturally, be more and more generally appreciated as 
 taste and judgment improve. Secondly, their scarcity, from which 
 it follows that a very few buyers are sufficient to keep up the price 
 of them, and which scarcity must increase more and more, from 
 several causes, such as the casualties to which such things are 
 
THE PRINT COLLECTOR. 151 
 
 liable, their wider dissemination, and the occasional withdrawal of 
 them into permanent depositories. 
 
 This last cause of scarcity threatens to operate very powerfully. 
 National collections are now forming by governments who never, 
 till lately, turned their attention to the subject ; and, again, in 
 those States which have of old had depositories, great activity and 
 interest have, of late years, succeeded a long course of apathy and 
 indifference. The national collection of Berlin, now rising into no- 
 toriety, more from the energy displayed in the formation of it 
 than from the number or importance of its acquirements in its yet 
 infant state, had no existence seven years ago. Our own govern- 
 ment has, for some time past, exercised a much greater liberality 
 than heretofore, as is witnessed by the purchases, not long since 
 made, from the Sheepshanks and Harding collections, to say noth- 
 ing of an unequalled entire set of Raffaelle Morghen's engravings. 
 A similar observation is applicable, in a greater or less degree, to 
 the royal or national collections of Paris, Vienna, Amsterdam, 
 Dresden, Munich, 
 
 It appears by the " Notice des Estampes exposes a la Biblio- 
 theque Royale," and which is professed to comprise such of the 
 prints of that collection as are " les plus curieuses par leur an- 
 ciennete, leur rarete, ou leur beaute," that, of the first one hundred 
 articles of that catalogue, and which include the whole of the 
 fifteenth and sixteenth centuries, one third part has been acquired 
 since the year 1800 ; yet we know that the collection was founded 
 as early as 1667. It is natural to expect that other countries will 
 follow in this train, and that the example may extend to States 
 across the Atlantic. 
 
 The third and last circumstance to be noticed as conspiring to 
 uphold in estimation prints executed during the early periods, is a 
 certain security, which they seem to enjoy, against any rivalship in 
 those qualities in which their excellence mainly consists. This last 
 remark calls for some explanation. 
 
152 THE PRINT COLLECTOR. 
 
 In points which are subordinate, the art of engraving has, in its 
 progress, made great advances. Until the days of Masson and the 
 Drevets, the texture of substances was never rendered with the re- 
 dundant refinement which pubhc taste has, since that period, ad- 
 mired. Sir Robert Strange expressed flesh better, perhaps, than 
 any engraver who preceded him ; similar credit is due to Bartolozzi ; 
 and Woollett may be cited for kindred excellences. But it is to 
 the higher qualities that we mean our observation to apply — drawing, 
 simplicity of means, intellectual effect. 
 
 Let it not be supposed that we entertain an unworthy opinion 
 of modern ability ; on the contrary, we are willing to believe that 
 there may be engravers, of our own time, and in our own country, 
 who are capable, or at least might make themselves capable, of exe- 
 cuting works equal to any that ancient art can show. We are not 
 inclined to engage in the invidious task of drawing comparisons 
 between the ancients and the moderns ; we are merely desirous to 
 notice, so far as illustration of our subject requires, some of the 
 characteristic peculiarities of each, and to contrast the system and 
 circumstances under which the works of the old school were pro- 
 duced, with the circumstances and system that exist and prevail 
 now. 
 
 To prevent being misunderstood, we beg to premise that when, 
 on the present occasion, we contrast the ancient school and modern 
 system, we do not mean to be governed by any such defined line, 
 as we have, in a former page, proposed to draw, as separating the 
 ancients from the moderns, for the purpose of classing a collection. 
 We mean the description, which we shall presently give, of the 
 ancient practice, to be considered as applying, not to all artists, of 
 all countries, who happened to live before a certain aera, but only 
 to the best artists, of the best periods of art — to those artists, in 
 short, by whom were produced the works which give rise to our 
 discussion, the works which we consider to be secure from rivalry. 
 
 A still further distinction is necessary to be drawn with respect 
 
THE r KIN T COLLECTOR. 153 
 
 to the modern system. It must be borne in mind that we are not 
 taking upon ourselves to show that art has declined, either gen- 
 erally or in any particular qualities ; nor to account for any such 
 decline, if such there be. Our object has not reference to the 
 present state of art, but to its prospects only : to show whatever 
 the state of art may be at present ; and without stopping to inquire 
 whether it be a high state or a low state, that the system now pre- 
 vailing is adverse to its improvement. It is not, therefore, the 
 history and causes of any declension that we are called to enter 
 upon, but simply to describe the system in operation at the present 
 day. The origin of that system may be incidentally referred to, 
 but not with any intent of inferring that, up to the time of that 
 origin, art was everywhere improving ; and that, from that period, 
 art has been everywhere declining. There is no such turn to be ob- 
 served. Various causes for fluctuations in art, some for good, some 
 for bad, some in one country, some in another, some at one time, 
 some at another time, have been occasionally operating. Some, 
 indeed, of the same causes that appear as the effects of the system 
 complained of, may have been in action previous to its rise, and 
 have been not altogether created by it, but only confirmed and 
 strengthened and made irremovable. 
 
 Again : the modern system, which we are about to describe, is 
 that which we see under our own eyes, in our own country ; but the 
 ancient practice, with which we purpose to contrast it, was the sys- 
 tem of other countries chiefly, and the period when it was most 
 perfect, or most general, was antecedent to the existence of an Eng- 
 lish school at all, or of any importance. We understand, however, 
 and the conclusions which we draw proceed upon the assumption, 
 that the modern system is not local, merely confined to England, 
 but has become universal. 
 
 We have thought it necessary to make these preparatory obser- 
 vations, for we foresee that, without such explanation, there is risk 
 of misconception. Sufifice it, then, as a general declaration of our 
 
154 THE PRINT COLLECTOR. 
 
 purport, that we merely mean to describe a system, no matter when 
 or where existing, by which works of a certain description were 
 produced ; and to describe another system by which, as we con- 
 ceive, similar works cannot be produced. 
 
 We now return to our subject. 
 
 A professional lecturer on his own art, engraving, with a feeling 
 of deep indignation observes that up to the period when the great 
 mercantile patron, Alderman Boydell, unable to support his own 
 reputation as an engraver, turned to dealing in the publications of 
 others, engravers had been, themselves, their own publishers of 
 their own works, as Raphael Morghen, Bervic, and others, in Italy 
 and France, continued to be till a much later period, " each," says 
 Mr. John Landseer, " employing himself, for the most part, accord- 
 ing to the natural bent of his own genius, uncurbed, or but little 
 curbed, by mercantile restraints and ignorant dictations, and not 
 compelled to labor against time, who is always sure to prove victo- 
 rious." 
 
 Good intent ought not to be blamed for consequences which it 
 could not foresee. The Alderman has had the credit of having been 
 actuated by a purely laudable, and not a mercenary, motive ; his 
 great liberality to Woollett and others is sufficient protection to 
 his character in this respect. If his original motive had any baser 
 mixture, it was perhaps the vanity of patronage, rather than com- 
 mercial speculation. The latter, however, if not in his own time, 
 yet speedily after, became the ruling passion, and has continued to 
 be exclusively and undisguisedly so ever since. 
 
 The followers and improvers of the new line of trade which Boy- 
 dell chalked out hold, in great measure, in their hands the reputa- 
 tions and fortunes of the engravers. The latter can never enter 
 the presence-chamber without the patronage of these gentlemen- 
 ushers. These, nowadays, and not himself, influence the public 
 mind, and, unfortunately, their interest requires that they pander 
 
THE PRINT COLLECTOR. 155 
 
 to the prevailing taste, rather than attempt to correct it, or create 
 a better. 
 
 It has become perfectly hopeless for an engraver to attempt to 
 be his own publisher. We believe that this has been tried, not 
 only by a single individual, but also by several engravers, asso- 
 ciated together ; but it is understood that these experiments, even 
 though assisted, in the latter case, by amateur liberality, and 
 submitting to a sacrifice, for the sake of offering a handsome 
 premium to printsellers, were not found to answer. An article 
 offered to the public must be forced into public notice ; and this can 
 only be done through the medium of the class whose trade this is. 
 The print publishers cannot only force into notice whatever may 
 best answer their purpose, independent, in great measure, of in- 
 trinsic merit, but they have also, unitedly, a power to repress 
 which no merit can stand up against. They are also the best judges 
 of what subjects will be popular, and they command all the capital 
 embarked in print speculations. 
 
 Hence it arises that, of many of the most important prints, 
 they are the originators. In these cases they either purchase, or 
 obtain permission to have engraved, a picture already painted, or 
 they employ a painter to paint a picture for the express purpose of 
 being engraved. In the latter case, they dictate the subject ; per- 
 haps, also, the mode of treating it, both being in entire subser- 
 viency to what they know to be most likely to attract subscriptions ; 
 such, for instance, are several prints that have appeared in the 
 present reign, involving, but with a very obvious policy, what Allan 
 Cunningham has called all the difficulties of portraiture and pre- 
 cedence„ The public are not indisposed to pay handsomely, pro- 
 vided they have, for their money, a fine, showy thing, of elaborate 
 execution. The most popular prints, therefore, which have been 
 published of late years are of exceedingly large size, but are, never- 
 theless, wholly filled with work, great part of which is of the most 
 minute and labored description. The publisher is, naturally, im- 
 
156 THE PRINl" COLLECTOR. 
 
 patient to begin to realize ; the engraver must, therefore, work 
 against time. 
 
 The requisites for producing a plate of this sort, and in the style 
 now in use, are manual dexterity and immense labor, rather than 
 talent ; for talent is shown, not in multiplying and complicating 
 the means, but in simplifying them, and in producing the greatest 
 effect in the easiest and most intelligible manner, and with least 
 apparent effort. Labor, therefore, of the description which is em- 
 ployed in the works in question, admits of being subdivided in the 
 same manner as is practised in all other manufactories. The print 
 is, in truth, not a work of individual art, but a manufacture. 
 
 It is well understood that the engraver, when set his task, and 
 his day, is at liberty to employ what aids he pleases ; he may do as 
 little with his own hand as is indispensable to his reputation, 
 measured by the modern standard of reputation. It is not incon- 
 sistent with this that he should, and it is anticipated that he will, 
 delegate to inferior agents every part of the plate that can, with any 
 degree of safety, be entrusted to subordinate auxiliaries. Engineers 
 come to his assistance, for machines have been invented for per- 
 forming portions of his work, substituting for the freedom of the 
 skilful hand of man the hard rigidity of a finger of iron. The 
 drawing, from the original painting, he may make himself, or he 
 may have it made by another ; have it made by a good draughts- 
 man, or by one who can scarce draw at all. The time and trouble 
 and talent necessary for making an artist-like copy may be dis- 
 pensed with. The drawing is invariably effected by reducing the 
 original, and the paper on which the copy is to be made, into cor- 
 responding squares, a method which has, for ages, indeed, been 
 practised by artists of all ranks ; nor is it objectionable, when 
 limited to the extent to which it was formerly restricted : it was 
 used for no further purpose than to get things into their places, to 
 serve, therefore, as a preparative for the drawing. But there is 
 temptation, and which is too often yielded to, to make it a substi- 
 
THE PRINT COLLECTOR. i57 
 
 tute for it ; and if this be found sufficient to answer the purpose, 
 why need an engraver study drawing ? Provided the person under- 
 taking the engraving do but produce the finished plate by the time 
 advertised, and be godfather to the manufacture; and, above all, 
 provided he take care that the engraving be strong enough to yield 
 plenty of impressions, the object is answered, and his employer sat- 
 isfied. 
 
 Under such a system as this an engraver, with real love for his 
 art, and well educated in it, and with ambition to excel in it, cannot 
 but feel that he is placed in a degrading position. He cannot but 
 feel that he is, at best, but a foreman, working under a master, to 
 whose control his own superior judgment and taste are compelled 
 to submit, as is exemplified in the anecdote already related of 
 Muller and Rittner ; that he is the foreman over subordinates, of 
 whom he has often cause to be ashamed. It is related in a book, 
 lately printed, but privately only, and not published, that Barto- 
 lozzi, having engaged to engrave Copley's picture of the " Death 
 of the Earl of Chatham," for which he was to receive ^2000, ex- 
 pended a sum of nearly that amount in assistance, and which 
 proved, for the most part, worse than none. 
 
 The first process toward engraving a plate, according to the 
 most usual practice at present, is to etch the subject. A number 
 of impressions are taken from the etching ; but these are generally 
 for distribution to the trade as specimens rather than with a viev/ 
 to sale. The engraving is then proceeded with, and when finished, 
 all but the inscription at foot, a number of impressions are taken 
 off, which are called proofs before letters. The inscription is then 
 added, in faint, open letters, and a further number of impressions 
 are printed. After this, the letters are strengthened and filled in, 
 and the remaining impressions are then taken. Whatever the price 
 of the print from the fully-finished plate may be, the first proofs are 
 frequently charged at treble, and the open-letter proofs at double 
 that sum. 
 
158 THE PRINT COLLECTOR. 
 
 The number of proofs thus taken is generally extended to a de- 
 gree that makes that term perfectly farcical. It is recorded, in the 
 work just quoted, that five hundred proofs were printed from Raim- 
 bach's plate of Wilkie's " BHnd Man's Buff." But this was in the 
 infancy of the system ; and this number of proofs now would be 
 considered a very moderate quantity to send out of a readily sala- 
 ble publication. 
 
 It is said, that from one series of plates for a periodical work, 
 which it is not necessary to name, five hundred impressions were 
 on one occasion taken off, in haste, to seize an opportunity of 
 supplying the American market ; and that after these had been 
 despatched to cross the Atlantic, and not before, the operation 
 began of printing the first proofs for home customers. These 
 plates, however, were of steel ; and it may be said, therefore, that 
 the circumstance here related was of no importance, since a steel 
 plate will render a prodigious number of impressions, without any 
 sensible difference between the first and the last. But if this be 
 so, why, in such cases, continue the distinction between proofs and 
 prints at all ? 
 
 Copper plates, by the practice which has been noticed, become 
 frequently worn down before plain prints, which succeed proofs, 
 begin to be taken off. Yet these are the impressions with which 
 lovers and patrons of art whose means are moderate are compelled 
 to be content, and by which they are left to estimate the reputa- 
 tion of the engraver. As soon as the plate becomes much worn, it is 
 retouched and repaired, and is again worked from, and then again 
 worked upon and worked from, so long as any call for impressions 
 continues or can be excited. It is asserted, but, we will hope, 
 not truly, that in the course of these retouchings the lettering is 
 sometimes burnished out, and that fresh proofs, or rather false 
 proofs, then again begin to be taken ; or that such proofs, so to 
 call them, for want of an appropriate name, are produced by the 
 printer artfully avoiding to print the letters in taking off the im- 
 
THE PRINT COLLECTOR. 159 
 
 pressions. Hence, a modern engraver must be content to be much 
 less sensitive of his reputation than were the ancients. 
 
 It is recorded of Lucas van Leyden, that so jealous was he of 
 his just fame, that, in working off impressions from his plates, he 
 at once destroyed such as did not fully satisfy his own idea of 
 perfection. The poor impressions that are met with were no 
 doubt taken after, and probably long after, his death ; and this 
 observation will apply to many, perhaps to all, of the very early 
 engravers, several of whose plates are even still in existence. 
 
 Let us now, by way of contrast to the practice which has been 
 detailed, take a summary view of the very different system by 
 which prints were produced during the earlier asras of the art. 
 
 The ancient artist, in a great majority of instances, was at 
 once painter, engraver, printer, publisher. Generally speaking, he 
 selected his own subject ; he embodied his first thought in color 
 or in chalk, on canvas or on paper, as he thought fit. He himself, 
 with his own hand, transferred it to the copper ; sometimes, in- 
 deed, he originated it on the plate at once. He himself perfected 
 it there, infusing, at every touch, the single individual soul of the 
 first conception, unmixed, undivided, in all its complete unity. 
 
 If the engraver was not himself a painter, but a translator only 
 of the original design of another, he considered it necessary, in 
 order to duly exercise this secondary profession, to acquire, as a 
 groundwork, the most important qualities that go to form a paint- 
 er. Especially, he thought it indispensable to make himself 
 perfectly proficient in drawing. Further, he was impressed with 
 the great importance of forming an intimate acquaintance with 
 the mind of his original ; and in order to this, he preferred to 
 confine his tasks of translation to as few original authors as might 
 be, even, if possible, to one. He so studied his original as to 
 imbibe a kindred spirit, to engender a communion of soul and 
 feeling, such as subsisted between Marc Antonio and Raffaelle, 
 Rolswert and Rubens. The painter himself anxiously superin- 
 
l6o THE PRINT COLLECTOR. 
 
 tended the translation, as it progressed, and lent occasionally a 
 touch from his own hand to perfect the identity. 
 
 So entirely, indeed, did the old engravers incorporate them- 
 selves with their original, so perfectly did they assimilate their 
 spirit to his, and so conscious were they of having acquired a 
 thorough identity of feeling with him, that they ventured, now and 
 then, to act as if this identity were real ; and they made alterations 
 and improvements, such as they felt their original would have done 
 had he been himself engraving his work. 
 
 As one instance of this, to confine ourselves to one, we may 
 mention the engraving by Agostino Caracci, which is a chef- 
 d'oeuvre of that great master's efforts in this line, of " The Ecstasy 
 of St. Francis," after Francis Vanni. In this print Agostino has 
 greatly improved the design of his original. The superior artist 
 possessed himself of the whole idea of the painter ; felt what was 
 intended to be expressed, but which appeared inadequately carried 
 out ; continued and extended the intention, and perfected what 
 the painter had conceived, but wanted talent to express ; " de 
 sorte," says Bartsch, " que cet ouvrage a tout le merite d'un 
 original." 
 
 The desire that the plate should be the labor of his own hand, 
 led the ancient engraver to study how to produce great effect by 
 small means ; to know how much it was needful to express, and 
 how much might be left, and would be better left, to the imagina- 
 tion to fill up. His judgment did not suggest, nor did the taste of 
 his age require, that his whole paper should be covered with micro- 
 scopic working ; he compensated for this by his consummate knowl- 
 edge and skill, by masterly touches and management ; and he con- 
 trived to make large spaces of white paper, left untouched by the 
 engraver, more conducive to general effect than if he had loaded 
 them with tooling. He knew that minuteness of detail often 
 diminishes effect, and he felt the truth that had been proclaimed, 
 applicable to such a subject, twenty centuries before, by the old 
 
7Y/A- PRINT COLLECTOR. l6r 
 
 Greek poet Hesiocl, that the half is better than the whole, and, 
 nocere sa^pe nimiam diligcntiam. 
 
 This is so fully understood by intelligent connoisseurs, that 
 when a universal redundancy of labor, such as present taste seems 
 to require, does appear, as is sometimes, but rarely, the case, and 
 chiefly in the German masters, they consider it not a subject of 
 praise, but are rather prone to make for it a sort of apology, with 
 an implied admission that its tendency is prejudicial. " La per- 
 fection," says M, Duchesne, speaking of a print by Albert Durer, 
 " avec laquelle sont rendus les details, ne nuit en rien a I'effet 
 general." 
 
 Having finished his plate, the ancient artist did not content- 
 edly dismiss it from his care ; he himself (we speak in the general, 
 because known special instances seem to warrant it) selected the 
 paper for receiving the impression, choosing a texture and tint best 
 harmonizing with his work ; he himself condescended to ink the 
 plate, exercising, even in this almost menial department, a science 
 and a judgment equal to any exhibited in the prior stages. In 
 many of the finest etchings, the important advantage arising from 
 this practice alone is specifically apparent, independent of the 
 other excellences. He himself arranged and regulated the press, 
 in his own house, with his own hands ; and, lastly, he himself, in 
 due maturity of time, published his work to the world. Thus, 
 invented and carried to its perfection by one mind and one hand, 
 the print exhibited the effect of one continuously-sustained feeling 
 and intelligence, and sparkled forth all intellect, life, and spirit. 
 
 The evil of the system which has grown up instead of this, is 
 very generally felt and admitted ; but every one seems content to 
 believe that it could not have been prevented, and that it is with- 
 out hope of remedy. The print-publishers assure us that they are 
 compelled to resort to and encourage the expedients that are so 
 much to be regretted, by reason of the great cost of getting up a 
 plate. According to the statements made, the expense is increased 
 
1 62 THE PRINT COLLECTOR. 
 
 far beyond the proportion to be expected from mere change of 
 times. 
 
 To go no further back than the time of Woollett, who died in 
 1785, that eminent artist's price for engraving his " Niobe" was 
 fifty guineas, though his liberal and enterprising patron paid him a 
 hundred. That print was published at five shillings. " Proof 
 prints," the biographer of Alderman Boydell observes, "were not 
 at that time considered as having any particular value ; the few that 
 were taken off, to examine the progress of the plate, were delivered 
 to such subscribers as chose to have them at the same price as the 
 other impressions." 
 
 To engrave a plate of the size of the Niobe, and of similar 
 subject, in the style of the present day, would now cost upwards 
 of a thousand pounds, at the least, and the prints would be 
 charged at about a guinea and a half. On comparing the two^ 
 prints together, there would certainly be found in the modern 
 production, although that print would not be one third so effective 
 as the other, three times the amount of work that appears in the 
 Woollett. It is proper to remember, also, that the price of all the 
 commodities of life is increased since the time of which we are 
 speaking by about one third ; but these two causes, taken to- 
 gether, are by no means sufificient to account for the great in- 
 crease of expense. Unitedly, they account for an increase of not 
 fourfold, but the increase which is to be accounted for is twenty- 
 fold. 
 
 We know not where to seek for the additional causes, unless 
 among circumstances partly of a general and partly of a special 
 nature ; all so obvious as not to need remark, but a slight sugges- 
 tion merely. Such are, the difference in the habits of living ; the 
 expense necessary to support this ; the preference now given to 
 reputation for wealth overall other reputation ; the disposition of the 
 public always to patronize a favorite, and to refuse to be content with 
 any one else ; the necessity of engaging the favorite artist, and having 
 
THE PRINT COLLECTOR. 163 
 
 all works executed under his name ; the consequent inadmissibility of 
 any competition ; the natural disposition in the favorite to take the 
 full advantage of this his fortune ; the power given to him to set 
 his own value upon himself ; the consequent temptation to exor- 
 bitancy ; the helplessness necessitating submission to it ; the in- 
 clination of artists generally to assume this rate of pay as the 
 general rate of price ; the pride that will rather starve than under- 
 value itself ; the grudging of the profits of the middlemen ; the 
 determination to share in them. 
 
 The reader will have observed, that the increase of price at 
 which the print is charged to the public bears very inadequate 
 proportion to the increase of price paid to the engraver ; the latter 
 being, as before mentioned, above twentyfold, and the former 
 little more than six. This disproportion is accounted for by the 
 very great increase in the number of buyers. Had customers so 
 multiplied upon an artist of the old time, he, in his innocence, 
 would have been puzzled how to meet the demand, and would 
 probably, in the dull simplicity of his mind, have thought of no 
 better expedient than to engrave a second plate. But the inge- 
 nuity of modern times has, as has been shown, quite surmounted 
 the apparent impossibility of meeting a demand beyond the means 
 of supply ; and by the invention adopted, and the contented 
 acquiescence of the unknowing public, the publishers can afford to 
 sell a print vastly cheaper, compared with the cost of producing 
 it, than the older speculators were enabled to do. 
 
 But there is one item of expense, of which the print-publishers 
 make great complaint. It frequently happens that the speculation 
 of engraving and publishing a print originates in the popularity 
 acquired by a picture on its exhibition at the Royal Academy or 
 elsewhere ; but here the print-publisher is met by an interdiction 
 that has become subject of much remonstrance and dispute. The 
 painter considers, even though he may have sold his picture, that 
 he has a copyright in his work, and that, in the event of any 
 
l64 THE PRINT COLLECTOR. 
 
 scheme of multiplying it by engraving, though with the permission 
 of the proprietor, he is entitled to demand, as the price of his 
 license to do this, any sum that he may please to require. 
 
 It might be expected, that, if reputation were of more con- 
 sideration than gain, a painter would think it an advantage to have 
 his fame extended by the labors of the sister art. This was 
 doubtless the case in old times. The painter will probably insist 
 that it is so still ; but he, in his justification, desires that it may be 
 remembered that the object of the application to him for his 
 license is not the extension of his fame, nor the love of art, nor a 
 disinterested anxiety for its advancement, but merely and exclu- 
 sively the making of money. He pretends to know that very large 
 sums are reahzed by this class of persons, who neither bear nor are 
 competent to bear any share whatever in the labors of the art 
 which produces the article which they sell, but are merely the 
 hand through which the result of the labors of others is ushered 
 to the public. 
 
 The print-publishers, on the other hand, assure us that it is the 
 enhancement of expense occasioned by this claim, that mainly 
 contributes to drive them to every expedient to economize and 
 compensate. They admit, or, at least, cannot deny, that the 
 modern system, the main characteristics of which have now been 
 noticed, is derogatory and prejudicial to art, and has a tendency to 
 debase rather than to encourage it. But they profess that the 
 adoption of this system is forced upon them by the great drain on 
 their capital ; by the very great sum which they are obliged to pay 
 for this license, or for a picture ; the great sum they are obliged to 
 pay the engraver ; the advances of money which they are called 
 upon to make as the work proceeds ; the great length of time that 
 elapses before any return begins to be received ; the long credit 
 required by the retailer ; the heavy cost of forcing the publication 
 upon public notice ; and they might add, if they pleased, the very 
 large profit that, somehow or other, they are enabled and content 
 
THE PRINT COJ.LECTOR. 165 
 
 to allow to the printscllcrs, to induce them to subscribe for impres- 
 sions, and which, by the customary rule of the trade, is upwards of 
 thirty-three per cent., and sometimes, in special cases, rises to- 
 wards fifty, or one half the price at which the print or proof is 
 sold. The great grievance of the charge for license is more 
 bitterly complained of from the known fact, that the circumstance 
 of having been engraved gives additional value to a picture. When 
 print-publishers, therefore, purchase a picture, with the right of 
 engraving it, or when they order a picture to be painted for this 
 purpose, they get great part, or perhaps all, of their money back 
 again, or possibly even more ; while, on the other hand, the 
 money which they may be obliged to pay for a license, merely to 
 engrave, is entirely sunk. It is asserted that the accumulated 
 expenses Avhich have been enumerated, can never be compensated 
 except by a proportionate extensiveness of sale ; and hence it is 
 that it has become necessary to devise the expedient of the dis- 
 tinction and variety of proofs ; hence the great multiplication of 
 them, and the working down the plate to extremity. Hence, also, 
 we are told, and this is a circumstance of still more importance, 
 that the print-publishers are compelled to restrict themselves to the 
 employment of the lower branches of the art of engraving, and are 
 precluded from encouraging the higher ; hence, therefore, it arises 
 that the largest and most important, or, indeed, nearly all the 
 publications of the present day, are produced by a combination of 
 mezzotinto, aquatinta, etching, scraping, stippling, and any means, 
 whether artist-like or not, so they be cheap and expeditious, of 
 producing a result ; hence it is, that the old, legitimate, and high- 
 est branch of the art, line-engraving, has, in our country at least, 
 been nearly abandoned, and is superseded by the heterogeneous, 
 nondescript mianufacture, with which the public are content to be 
 satisfied, and, perhaps, not being better guided, prefer. 
 
 Projects have of late years been set on foot, professing to have 
 for their object the encouragement of the art, and of creating and 
 
l66 THE PRINT COLLECTOR. 
 
 extending among the people a taste for its productions. Hon- 
 estly to effect such an object, there must be a union of qualities 
 which rarely meet together : disinterested purity of motive ; 
 talent to devise a mode of action ; means of execution ; and judg- 
 ment to direct those means. The development and result of the 
 projects which have as yet been tried, give ample evidence that 
 they have not been concocted under the happy auspices of any 
 such combination as this. The only effect on public taste has been 
 to further debase and mislead it, and the only arts that have been 
 encouraged are the arts of speculation and gambling.— Non tali 
 auxilio ! — If a return to purer and nobler principles be ever per- 
 mitted to take place, it must be by the influence of some better 
 spirit than that which now walks the earth. That which the old 
 philosophy stigmatized as the incentive to all evil, longer expe- 
 rience proves to be also the impediment to all good. " This most 
 ennobling of all studies," says Sir David Wilkie, speaking of the 
 fine arts, " this most unsordid of all pursuits, must be followed by 
 a pure heart and a disinterested mind. If the glories of art are 
 not sought for their own sake, they had better not be sought at 
 all. If gain alone were its glory, it should be a forbidden study, 
 and prohibited, from the very prostitution of soul which in such 
 minds it occasions." It is to be wished that these sentiments were 
 more general than they are ; they are freely acknowledged, but 
 seldom allowed to become operative. To emancipate art from its 
 incongruous alliance with commercial speculation, will require more 
 disinterestedness, more enthusiasm, more singleness of purpose, 
 more self-denial, more independence, more lofty motive, than the 
 world can at present afford. 
 
 The circumstances that have now been detailed, and the obser- 
 vations that have been made, will sufficiently explain the grounds 
 upon which we form the expectation, that the prints of the ancient 
 masters are, and are likely to continue for an indefinite period of 
 
THE PRINT COLLECTOR. 
 
 167 
 
 lime, secure from rivalry in those high qualities of art in which 
 their excellence mainly consists. 
 
 Priscis, enim, temporibus, cum, adhuc, nuda placeret virtus, 
 vigebant artes ingenua;, summumque certamen inter homines erat, 
 ne quid profuturum sseculis diu lateret. Nolite mirari si artes 
 ingenuae defecerunt, cum, omnibus hominibus, formosior videatur 
 massa auri, quam quicquid Apelles, Phidiasve, Graeculi delirantes, 
 fecerunt.* 
 
 * Petronius. 
 
CHAPTER IX. 
 
 OF BOOKS ON ENGRAVING, 
 
 Having now concluded the observations that appear necessary 
 for the initiation of the young collector into the first rudiments of 
 his pursuit, it remains to introduce him to the sources from whence 
 he may derive further information. 
 
 It was proposed to close this little volume with as complete a 
 list as might be, of all works that have at various times been 
 published, abroad or at home, upon the subjects of engraving or 
 prints, whether treating of those matters expressly and exclusively, 
 or incidentally only, as one branch of the fine arts in general ; but 
 it soon appeared that the execution of such a plan would extend 
 to a bulk vastly disproportionate to the work to which it was 
 intended as an appendage merely. We have, therefore, abandoned 
 this idea, and confined our catalogue as nearly as possible to such 
 works only as are devoted exclusively to prints, or the art which 
 produces them. 
 
 This curtailment has been submitted to with less reluctance, 
 because it makes room for a brief raisonne account of the works as 
 
 The wood-block printed at the head of this chapter is an original engraved by 
 Anderson, who is called the father of American wood engraving. He worked in the 
 style of the English artist Bewick. 
 
rilE rKINT COLLECTOR. 169 
 
 they occur, which will be a more advantageous mode of proceeding 
 than the merely setting down a dry list of books without any 
 comment. Having regard to the purpose for which this catalogue 
 is compiled, we, indeed, consider it necessary to do this, for, 
 without some intimation of the character of the books introduced 
 to notice, with respect to their comparative utility, our young 
 collector may still be at a loss. He may, indeed, be often misled, 
 rather than instructed, for it frequently happens of books, in 
 whatever department of literature, that while some, with scanty 
 and unassuming titles, are found on examination to contain more 
 substantial and varied matter than could be expected from their 
 modest title-page, there are others whose title promises greatly 
 more than what the book is found to contain. 
 
 An instance of this occurred to a young collector of our acquaint- 
 ance, which well illustrates this remark, and shows the utility of 
 such observations as constitute the value of a catalogue raisonne, 
 as distinguished from a bare list. Our young friend entertained 
 the idea of forming a small collection, of such a description as 
 should show, in order of time, the progress of the art of engraving, 
 from its invention to the present time. In making search for 
 information to assist him in executing this plan, he accidentally 
 read, in a bookseller's catalogue, the following item : "A Cata- 
 logue of a Collection of Prints, formed with a view to elucidate and 
 improve the history of engraving, from the earliest period of the 
 art to the year 1700, etc. London, 1803." A note, subjoined to 
 the item, stated that " this catalogue was the work of Dr. Charles 
 Combe, an eminent connoisseur and antiquary." Here, then, was 
 the very thing that was desired. It was eagerly sent for. Pro- 
 portionate to the expectation was the disappointment. It proved 
 to be a mere sale catalogue, of the most bare and meagre descrip- 
 tion possible, each lot comprising a number of prints, none de- 
 scribed, and only one or two now and then even named. For exam- 
 ple : ''Lot 54. Rembrandt. Dutch. Five, Good Samaritan," 
 
170 THE PRINT COLLECTOR. 
 
 etc. Every item was according to this sample, nothing beyond. 
 It is hoped that this long digression will be excused, for the evi- 
 dence which it gives of how little credit is to be attached to a 
 title-page. 
 
 The works that have been published within the last fifty years 
 have incorporated nearly all that was worth preserving in the 
 earlier authors. The old books are, nevertheless, interesting, as 
 exhibiting the state of art at the time of their publication, the 
 extent of the information then possessed, and the taste and tone of 
 thinking of the age. They are also, generally speaking, of low 
 price, and may serve as temporary substitutes for the more 
 extended and costly modern works. 
 
 It must be borne in mind that this reduction of our catalogue 
 from the original intention respecting it, has occasioned the omis- 
 sion of a vast quantity of valuable or interesting material. A tract 
 on our specific subject frequently appears in some voluminous 
 work treating of other matters. 
 
 Thus, to give a few instances: " HiSTOiRE DE LA Gravure 
 JUSQU'autemps d'Albert DiJRER," is found in the second vol- 
 ume of Von Murr's Journal of the Arts. 
 
 A tract, by Cronin Mortimer, appeared in the Philosophical 
 Transactions of 1731, entitled, " An ACCOUNT OF Mr. James Chr. 
 Le Blon's principles of printing in imitation of painting." 
 
 In the Transactions of the " Society for Encouragement of 
 Arts," of the year 1776, Mr. Robert Lawrie proposed, "A NEW 
 METHOD OF PRINTING MEZZOTINTO PRINTS IN COLORS." 
 
 A tract, by Ch. Francois, " On the ART OF ENGRAVING IN IM- 
 ITATION OF CRAYON DRAWING," appears in the first part of the 
 " Philosophes Modernes de Saveneir, " a quarto book, printed 
 at Paris in 1767. 
 
 " Improvement in the aquatinta process, by which pen, 
 
 PENCIL and chalk DRAWINGS CAN BE IMITATED, BY J. HaSSELL," 
 is a tract printed in Nicholson's Journal, No. 30, p. 220, 1811. 
 
TIIK PRINT COLLECTOR. l-Jl 
 
 " The earliest specimens oe mezzotinto engraving, in a 
 LETTER TO Sir Henry Ellis, K.H., E.R.S., etc., London, 1838. 
 BV Hugh W. Diamond, E.S.A.," is printed in the twenty-seventh 
 volume of the Archaeologia. Mr. Diamond's valuable collection of 
 early mezzotintos is now in the British Museum. These instances 
 might be multiplied to a great extent. 
 
 Again, dissertations, essays, or incidental passages, containing 
 very valuable and interesting matter on engraving or prints, are to 
 be found dispersed among the writings of many eminent or well- 
 known authors, on other branches of the fine arts, under various 
 titles. Thus : writings of Baldinucci, Bottari, Sandrart, Felibien, 
 La Comte, Lacombe, Mariette, Petity, Heinecken, Lanzi, Knorr, 
 etc., and touching more or less on our subject, are found under 
 the titles of Racolte, Academic, Principes, Cabinets, Biblio- 
 theques, Histoires, Memoirs, Spectacles, etc. Much, also, respecting 
 prints or engraving is scattered about in the lives of painters, or 
 general biographies, by very many authors, such as Vasari, 
 D'Argenville, Descampes, Mariette, De Piles, Coxe, Chalmers, 
 Duppa, etc. Much, also, in lectures on painting, as in Reynolds, 
 Opie, Fuseli, etc. Some, also, in the analogous arts of typog- 
 raphy, and of xylography, as applied to some special purpose, as 
 in Herbert, Ames, Dibdin, Singer, Breitkoft, etc. Much, also, 
 in miscellaneous periodical and other compilations, as Musees, 
 Magazines, Annals, Journals, as that of Von Murr. A great mass, 
 again, may be found in Dictionaries, as Dictionnaire des Beaux 
 Arts ; and others, composed or contributed by various authors, as 
 L'Avocat, Pouget, Pernety, Fontenai, Diderot, Watelet, Zani, etc. 
 The subject of engraving is exceedingly well treated in many of 
 those very voluminous works, abounding in our own, as well as 
 other languages, under the title of Cyclopaedias. Several of these 
 give very elaborate accounts of the different schools, and of all the 
 artists of any note in each. 
 
 Much pains have been bestowed, by various amateurs and 
 
172 THE PRINT COLLECTOR. 
 
 others, at various times, in the attempt to compose perfect cata- 
 logues of all the works of certain individual engravers. The utility 
 of such catalogues to a collector is sufificiently obvious, and they 
 form an important portion of his library. To Florent le Comte, 
 who lived at the end of the seventeenth and beginning of the eight- 
 eenth century, has been generally given the credit of having 
 introduced the idea of composing these catalogues. This writer 
 was not, however, the first who began the practice, for a catalogue 
 of the works of Bonason was published by Malvasia in his 
 " Felsina Pittrici," in 1678. Mariette, who had the care of Prince 
 Eugene's collection at Vienna, catalogued every volume ; but 
 Heinecken observes that this was done when he was a young man, 
 and that he did not publish his catalogues. 
 
 Catalogues which have been made for the purpose of sale by 
 auction, are to be met with in booksellers' shops, and, not unfre- 
 quently, with the prices and the names of the purchasers added in 
 manuscript. In what manner, and to what extent, such catalogues 
 can be made of any practical avail, has been already intimated, 
 p. 55. The earliest sale catalogue which we happen to have seen 
 is that " des estampes et livres de figures de defunct M. Boucot," 
 8vo, 1699. A catalogue of the whole collection of De Marolles, 
 Abbe de Villeloin, was published in 1666 ; and this was the first 
 publication of the kind in France. This collection consisted of 
 123,400 prints, of which 17,300 were portraits. 
 
 The most important catalogue, in point of utility, is, perhaps, 
 the "Catalogue raisonne des estampes du cabinet de M. le 
 Comte Rigal, par F. L. Regnault de la Lande, peintre et graveur," 
 8vo ; Paris, 1817. Although this is a catalogue of a miscellaneous 
 collection, yet so nearly perfect was the assemblage of the produc- 
 tions of certain masters, that, in several instances, the enumeration 
 of the prints of some one engraver amounts to a tolerably complete 
 catalogue of his works. Being drawn up with much of the accuracy 
 and minuteness of Bartsch's Peintre Graveur, this catalogue serves, 
 
THE PRINT COLLECTOR. 173 
 
 as far as it goes, as a sort of supplement to that work, supplying 
 engravers to whom that pubHcation does not extend. Copies were 
 printed after the sale had taken place, and these contain a table of 
 the prices for which the several lots were sold. M. de la Lande 
 had great practice in the composition of catalogues, and he gives, 
 in this of Rigal, a list of two hundred and eighty-two others which 
 he had composed. 
 
 Although the modern art of lithography be certainly a method 
 of producing prints, it cannot be considered as having any analogy 
 to the art of engraving ; and we, therefore, do not notice in our 
 catalogue, the works that have been published upon it. " The 
 complete course of Lithography," etc., by Alos Senefelder, trans- 
 lated into English, and published in quarto, London, 18 19, gives 
 the general outline of its invention and practice. Still less need 
 we notice the more recent process of producing prints, or rather 
 plates, by voltaic electricity. A small pamphlet, by Thomas 
 Samson, published in 1842, entitled, " Electro-tint," etc., professes 
 to explain what has as yet been effected. 
 
 The earliest book which is met with, in the English language, 
 professing to treat of the art of engraving, is that which has been 
 already alluded to, in page 133. It is entitled, "A BOOK OF SE- 
 CRETS," etc., etc. ; " ALSO to grave with strong water on 
 
 STEEL AND IRON, TRANSLATED OUT OF DUTCH, BY W. P. — ADAM 
 ISLIP, 1599." It is a small quarto. 
 
 " TrAITE DES MANIERES de GRAVER EN TAILLE DOUCE, PAR 
 
 Abraham Bosse, Paris, 1645." 8vo. 
 
 Of this book, M. Cochin published an enlarged edition, in 1758, 
 under the title, " De la maniere de graver a l'eau forte et 
 
 AU BURIN, et de LA GRAVURE EN MANIERE NOIRE," etc., " PAR 
 
 Abraham Bosse, graveur du roi, nouvelle edition, aug- 
 
 MENTEE DE L'IMPRESSION QUI UNITE LES TABLEAUX ET LA 
 GRAVURE, EN MANIERE DE CRAYON, ET DE CELLE QUI IMITE LES 
 LAVIS, ORNEE DE VIGNETTES ET DE PLANCHES EN TAILLE DOUCE. 
 
 Parts, 1758." 8vo. 
 
174 THE PRINT COLLECTOR. 
 
 The first original English work on engraving was a duodecimo 
 volume, published in London, in 1662, by the eminent engraver, 
 William Faithorne, and of which a second edition appeared, in i2mo, 
 in 1702, entitled, "The art OF graving and etching, wherein is 
 
 EXPRESSED THE TRUE WAY OF ENGRAVING ON COPPER : ALSO THE 
 manner and method of THE FAMOUS CaLLOT AND M. BOSSE, IN 
 
 their several ways of etching. published by william 
 Faithorne. The second edition, in which is added the 
 
 WAY OF printing COPPER-PLATES, AND HOW TO MAKE THE PRESS. 
 London, 1702." This little work consists of no more than seventy- 
 two pages, and is entirely practical. 
 
 " Cabinet des singularitez d'architecture, peinture, 
 sculpture, et gravure, ou introduction a la connaisance 
 
 DES PLUS BEAUX ARTS, ETC., PAR FlORENT LE COMTE, SCULPTEUR 
 ET PEINTRE, ETC. 3 TOM. BRUSSELLES, 1702." I2mo. 
 
 Although this book be not confined exclusively to engraving, 
 we, nevertheless, notice it, by reason that in it appears the first 
 " idea of a fine collection of prints." The classification in this is 
 by character of subject, as historical, moral, etc. This book gives 
 catalogues of the works of several engravers, as also painters ; the 
 Sadelers, Peter Testa, Nanteuil, Vandyke, the Caracci, also Rubens, 
 Le Brun, Raffaelle, Vander Meulen, and the portraits in the Palais 
 Royal, 
 
 '' NOUVEAU GENRE DE PEINTURE, OU L'ART D'IMPRIMER DES 
 PORTRAITS, ET DES TABLEAUX, EN HUILE, AVEC LA MEME EXACTI- 
 TUDE, QUE S'lLS ETOIENT FAITES AU PINCEAU, PAR J. CHR. Le 
 
 Blon. London, 1722." 4to. 
 
 " COLORITTO, OR THE HARMONY OF COLOURING IN PAINTING, 
 REDUCED TO MECHANICAL PRACTICE, UNDER EASY PRECEPTS AND 
 INFALLIBLE RULES, BY J. ChR. Le BLON. LONDON, 1737." 4tO. 
 
 " LETTRE CONCERNANT LE NOUVEL art DE GRAVER ET D'IM- 
 
 primer les tableaux, par J. Gaultier DE Mont d'Orge. 
 Paris, 1749." 8vo. 
 
THE PRINT COLLECTOR. 1 75 
 
 This author was the writer of the article " Engraving," in the 
 Encyclopedic des Sciences de Diderot. Two other books, founded 
 on the above work of Le Blon, appeared in Paris, in 1756 and 1767. 
 
 " NOUVELLE MANIERE DE FAIRE DES GRAVURES DE DIFFEREN- 
 TES COULEURS A LA MANIERE DU DESSEIN, PAR J. J. BYLAERT." 
 The original of this book is Dutch, from which it was translated 
 into German. 8vo, Amsterdam and Leipsig, 1773. 
 
 We have classed these books together, as they all relate to the 
 fruitless attempts made to produce colored prints. 
 
 Antonio Pellegrini Orlandi is an Italian author, whose several 
 works have supplied materials to later writers. Of these one is en- 
 titled as follows : " ORIGINE E PROGRESSI DELLA STAMPA O SIA 
 DELL ARTI IMPRESSORIA, E NOTIZIE DELL' OPERI STAMPATE D'ALL 
 ANNO 1457, SINO ALL ANNO 1500. BONON, 1 722." Another is the 
 " Repertorium SCULPTILE TYPICUM ;" and which was published, in 
 London, in 1736. The third bears the title, " Abecedario Pitto- 
 
 RICO, CONTINENTE LE NOTIZIE, etc., etC. VENEZ, 1753." 4tO. 
 
 " Comminciamento, e progresso, dell arte dell intagli- 
 are in rame, coll vite di molti di piu excellenti maestri, 
 
 DELLA STESSA PROFESSIONE. FiRENZE, 1 767." 4tO. 
 
 This work is by Domenico Maria Manni, and is a supplement, 
 and new edition, under a new title, of the " Racolta DI ALCUNI 
 OPUSCULI SOPRA VARIE MATERIE DE PITTURA, SCOLTURA, ET 
 
 architettura, ETC., DA FiLiPPO Baldinucci ;" which was pub- 
 lished at Florence, in 4to, in 1686. 
 
 A compilation, from the Repertorium, the Abecedario, the 
 Cabinet des Singularitez, the above works of Baldinucci and Manni, 
 as also the English work of Faithorne, were incorporated into 
 a duodecimo volume, published anonymously, under the title, 
 " SCULPTURA, HISTORICO TECHNICA ; OR, THE HISTORY AND ART 
 OF ENGRAVING, ETC. LONDON, 1 747." 
 
 " DiCTIONNAIRE DES MONOGRAMMES, CHEFFRES, LETTRES IN- 
 ITIALES, LOGOGRYPHES, REBUS, ETC., TRAD. DE l'ALLEMANDE DE 
 
176 THE PRINT COLLECTOR. 
 
 M. Christ et augmente de plusieurs supplemens, par M. de 
 l'Acad. Imp. et de la Soc. Roy. de Londres. Paris, 1750." 
 8vo. 
 
 This book was, formerly, the great authority on the subject of 
 monograms. The modern work of Brulliot, which will be noticed 
 hereafter, has incorporated the whole of this, and therefore super- 
 sedes it. 
 
 "Abrege historique de l'origine et des progres de la 
 gravure, et des estampes en bois, et en taille douce, par 
 M. LE Major de Humbert. Berlin, 1752." i2mo. This Httle 
 book contains but sixty-two pages, and is very superficial. 
 
 "La gravure, poeme, par R. P. Doissin. Paris, 1753." 
 8vo. " Des phrases," says a French critic, " assez peu poetiques, et 
 fort inutiles." 
 
 ''Venezia, la prima inventrice della stampa. Venice, 
 1754." 8vo. 
 "Idee de la gravure, etc., par M. Antoine Marcenay 
 
 DEGHUY, AVEC UN catalogue RAISONNE DES ESTAMPES, QUI FOR- 
 
 ment l'ceuvre de M. Marcenay. Paris, 1764." 4to. 
 
 " An essay on the invention of engraving and printing 
 in chiaroscuro, as practised by Albert Durer, Hugo da 
 Carpi, etc., by Mr. Jackson, of Battersea." 
 
 John Baptist Jackson was a creditable wood engraver. Being in 
 lack of employ, he engaged in a paper-manufactory at Battersea, 
 and the object of this publication was to obtain patronage for printed 
 paper-hangings. The art had been thus applied, in France, fifty 
 years before. 
 
 " SCULPTURA ; OR, THE HISTORY AND ART OF CHALCOGRAPHY, 
 and ENGRAVING ON COPPER, ETC. : TO WHICH IS ANNEXED A NEW 
 
 manner of engraving, or mezzotinto, communicated by his 
 Highness Prince Rupert to the author of this treatise. 
 John Evelyn, Esq. The second edition. London, 1755." 
 This is a thin, small octavo ; the original edition was published 
 
HIE PRINT COLLECTOR. 1 77 
 
 in 1662. It has all the interest which might be expected from a 
 work of so celebrated a writer. 
 
 " Traite historique et pratique de la gravure en bois, 
 TAR J. M. Papillon, graveur, etc. Paris, 1766." 2 tom. 8vo, 
 with a supplemental third volume. 
 
 Until Mr. Jackson's publication, mentioned hereafter, this book 
 was the principal, or only considerable, work on wood-engraving. 
 Pierre Simon Fournier had published, in 1758, a dissertation on 
 this subject, which abounds in errors. The first volume of Papil- 
 lon's work contains the history of the art ; the second, the practice. 
 This book is very copious ; it is mentioned in commendable terms 
 by Strutt, and is interesting from the many specimens it contains 
 of the author's art. 
 
 " Dictionnaire des graveurs anciens et modernes depuis 
 l'origine de la gravure, avec une notice des principaux 
 estampes qu'ils ont gravees, suivie des catalogues des 
 
 GEUVRES de JAQUES JORDAENS ET DE CORNEILLE ViSSCHER, 
 PAR F. BASAN, GRAVEUR. PARIS, 1767." 2 tom. Svo. 
 
 Strutt observes, that Basan omits to notice the style or manner 
 in which the artists worked ; neither has he given the monograms. 
 Huber, publishing in 1787, says, "This book is hastily got up, but 
 is the best of the kind now existing." 
 
 " Dictionnaire des graveurs anciens et modernes depuis, 
 ETC., par p. F. et H. L. Basan, pere et fils, graveurs. 
 Seconde edition, precedee d'une notice historique sur 
 l'art de la gravure, par p. p. Choffard, suivie d'un precis 
 de la vie de l'auteur, et ornee de soixante estampes, 
 etc. Paris, 1809." 2 tom. 8vo. 
 
 The plates are copies of select prints of various engravers, in- 
 tended as samples of their work. 
 
 " A catalogue of engravers who have been born or re- 
 sided IN England, digested, by Horace Walpole, from the 
 MSS. of Mr. George Vertue; to which is added, an ac- 
 
178 THE PRINT COLLECTOR. 
 
 COUNT OF THE LIFE AND WORKS OF THE LATTER. STRAWBERRY- 
 HILL, 1763." 8vO. 
 
 This work was afterwards incorporated into the " Anecdotes of 
 Painting in England," in 5 vols. 8vo. 
 
 "An essay upon prints, containing remarks upon THE 
 PRINCIPLES OF picturesque BEAUTY, THE DIFFERENT KINDS OF 
 PRINTS, AND THE CHARACTERS OF THE MOST NOTED MASTERS, IL- 
 LUSTRATED BY CRITICISMS UPON PARTICULAR PIECES ; TO WHICH 
 ARE ADDED, SOME CAUTIONS THAT MAY BE USEFUL IN COLLECTING 
 
 PRINTS. London, 1768." i2mo. 
 
 This is the work by the Rev. Mr. Gilpin, noticed in a preceding 
 page, 120. It was, for a long time, a very popular book; it was 
 translated into German, and published at Frankfort and Leipsig. 
 It served Fuesslin for the groundwork of his " Catalogue raisonne," 
 presently noticed. Huber and Rost, in their " Manuel des Curieux,'^ 
 which is founded on Fuesslin' s work, observe, most truly, that, in 
 his characters of the most noted engravers, this author is altogether 
 in error. 
 
 " A CHRONOLOGICAL SERIES OF ENGRAVERS, FROM THE INVEN- 
 TION OF THE ART TO THE BEGINNING OF THE PRESENT CENTURY, 
 WITH PLATES AND INDEX. CAMBRIDGE, I77O." 
 
 The compiler was C. Martyn. The series is brought down to 
 1735 ; the name and aera of the artists are given ; the plates are of 
 monograms. 
 
 "NOTIZIE ISTORICHI DEGLI INTAGLIATORI, OPERA DI GlOV. 
 
 GoRi Gandinelli. Sienese, 1771." 3 tom. 8vo. 
 
 Huber says that this is an excellent book, so far as regards the 
 artists of Italy, but, as to the rest, it is full of errors ; and the 
 names of the artists of other countries are so mangled that they 
 are scarce recognizable. A good critique, by Heinecken, on this 
 work is contained in the " Nouvelle Bibliotheque des Belles 
 Lettres," a German publication. 
 
 " LE pastel en GRAVURE, INVENT^ ET EXECUTE PAR LOUIS 
 
THE PRINT COLLECTOR. 1 79 
 
 BONET, COMrOSE DE HUIT EPREUVES QUI INDIQUENT LES DIE- 
 FERENS DEGRES. PARIS, 1 769." 8vo. 
 
 '' Idee generale d'une collection complette d'estampes, 
 
 AVEC UNE dissertation SUR L'ORIGINE DE LA GRAVURE, ET SUR 
 LES PREMIERS LIVRES D'IMAGES. LEIPSIG ET ViENNE, 1771." 
 
 8vo. 
 
 This is a German work, by Heinecken, who had been, for more 
 than twenty years, the curator of the Dresden Gallery, In this his 
 " General Idea," he included the whole of that collection, and 
 added all that he knew of elsewhere, in which it was deficient. 
 The practical utility of such a compilation is not very apparent ; 
 but the dissertation on the origin of engraving, and on block-books, 
 which occupies about half the volume, is very valuable and inter- 
 esting. It contains copies of the most ancient block-prints. 
 
 "Catalogue raisonn^ des principaux graveurs et de 
 
 LEURS CEUVRAGES, A L'USAGE DES CURIEUX ET DES AMATEURS, 
 
 PAR Jean Caspar Fuesslin. Zurich, 1771." 8vo. 
 
 This work is in German. It formed the foundation of the 
 " Manuel des Curieux," by Huber and Rost, in which work the 
 whole of it is comprised. 
 
 " L'art de graver au pinceau, nouvelle methods plus 
 prompte qu'aucune de celles qui sont en usage, etc., mise 
 AU jour par M. Stapart. Paris, 1773." i2mo. 
 
 This work on aquatinta was translated into German by Harem- 
 peter, and pubHshed at Nuremberg, in 1780. 
 
 "a biographical history of england, from egbert the 
 Great to the Revolution, etc. ; with a preface, shewing 
 the utility of a collection of engraved portraits, etc. 
 By the Rev. Wm. Grainger. London, 1775." 4 vols. 8vo. 
 
 This was the first attempt, as the author observes in his pref- 
 ace, towards a methodical catalogue of engraved British portraits. 
 The work was continued, by Mark Noble, in 1806, in 3 vols. 8vo. 
 Biographical notices are given of the personages engraved. This 
 
i8o 
 
 THE PRINT COLLECTOR, 
 
 has been a favorite book for illustration. Its utility to a collector, 
 for all practical purposes, is superseded by Bromley's catalogue, 
 presently mentioned. 
 
 " DiCTIONNAIRE DES ARTISTES, DONT NOUS AVONS LES ES- 
 TAMPES, AVEC UNE NOTICE DETAILEE DE LEURS OUVRAGES 
 GRAVES. Leipsig, 1/75," et seq. 4 tom. 8vo. 
 
 This is an unfinished work of Heinecken ; four volumes only 
 were printed when the death of the author took place. The ar- 
 rangement is alphabetical, and extends to " Diz." The work was 
 complete in the MS. in 24 vols, folio, which, it was calculated, 
 would make, in print, 12 vols, in 8vo. The MS. is in the Electoral 
 Library of Dresden. Besides the information expected in such a 
 work, Heinecken, in his account of each artist, gives reference to 
 other publications in which further particulars respecting him may 
 be found ; and he gives, also, a list of portraits of all the artists of 
 whom portraits have been engraved. There is a preface, contain- 
 ing critical observations on former catalogues, and remarks on the 
 adoption and usage, by artists of different countries, of names and 
 nicknames ; and this leads this author to give his judgment in favor 
 of chronological arrangement, which he decides to be the most use- 
 ful and preferable. Huber observes of this work of Heinecken, 
 *' It will form a work that will leave nothing to be desired by ama- 
 teurs, and will include notice of all that has been engraved, from 
 the origin of the art to the present time." 
 
 " Descrizione della racolta di stampe del Conte Du- 
 
 RAZZO, ESPOSTA IN UNA DISSERTAZIONE SULL' ARTE DELL' INTAG- 
 LIO A STAMPA. Parma, 1784." 4to. 
 
 " A BIOGRAPHICAL DICTIONARY, CONTAINING AN HISTORICAL 
 ACCOUNT OF ALL THE ENGRAVERS, FROM THE EARLIEST PERIOD 
 OF THE ART OF ENGRAVING TO THE PRESENT TIME, AND A SHORT 
 LIST OF THEIR MOST ESTEEMED WORKS, WITH THEIR CIPHERS, 
 MONOGRAMS, ETC. ; TO WHICH IS PREFIXED, AN ESSAY ON THE RISE 
 AND PROGRESS OF THE ART OF ENGRAVING, BOTH IN COPPER AND 
 
THE PRINT COLLECTOR. 15 1 
 
 WOOD, WITH SEVERAL CURIOUS SPECIMENS OF THE PERFORMANCES 
 OF THE MOST ANCIENT ARTISTS. By JOSEPH StRUTT." 2 vols. 
 4to. London, 1785. 
 
 Huber observes that Strutt boasts of having added two 
 thousand artists to Basan ; but that, in this number, there are 
 many who never existed, and many others who are catalogued 
 twice over. The German was, perhaps, jealous of our country- 
 man's labors ; and he might well be so, for the preliminary essays 
 of Strutt are superior to anything of the like nature which had then 
 appeared. They treat of the origin and history of the art, and of 
 each school, and draw comparisons between the schools and be- 
 tween the artists, one with another, contrasting their methods and 
 styles in a clear, comprehensive manner, of great practical utility. 
 Notwithstanding the subsequent publication of Bryan's more ex- 
 tended dictionary, the work of Strutt still maintains its reputation. 
 It is still a costly book, and it is, perhaps, to be wished that some 
 one would publish an edition of his preliminary essays as a separate 
 work. 
 
 " The HISTORY of the art of ENGRAVING IN MEZZOTINTO, 
 FROM ITS ORIGIN TO THE PRESENT TIME, INCLUDING AN ACCOUNT 
 OF THE WORKS OF THE EARLIEST ARTISTS. WINCHESTER, 1 786." 
 I2mo. 
 
 This little volume, which contains but a hundred pages, is by 
 Dr. James Chelsum. It executes, sensibly and well, what is pro- 
 fessed in its title, but the true inventor of this art was not then 
 known. 
 
 " NOUVEAUX MEMOIRES SUR LES ARTISTES ET DES ARTS PRE- 
 MIERE. Dresde ET Leipsig, 1786." 8vo. 
 
 This is another work of Heinecken ; it contains critical remarks 
 on Papillon's work on wood engraving, a catalogue raisonne of the 
 works of Albert Diirer, a new essay on printing and block-books, 
 followed by a history of engraving in Germany, with notices of un- 
 known artists ; and it finishes with a catalogue raisonne of the 
 works of Martin Schoen and Von Mechlen. 
 
io3 the print collector. 
 
 "Notices generales des graveurs, divises, par nations, 
 
 ET des PEINTRES, RANGES PAR ECOLES, PRECEDES DE L'HISTOIRE, 
 DE LA GRAVURE, ET DE LA PEINTURE, DEPUIS L'ORIGINE DE CES 
 ARTS JUSQU'a NOS JOURS; ET SUIVIES D'UN CATALOGUE RAI- 
 SONNE D'UN COLLECTION CHOISEE D'ESTAMPES. PaR M. HuBER. 
 
 Dresd. ET Leips. 1787." 8vo. 
 
 The preliminary discourse apprises the reader that the ground- 
 work of this book is the catalogue raisonne of the author's collec- 
 tion of prints. It is the first part of this book which treats of en- 
 gravers ; the second part treats of painters. Huber gives the 
 character of former similar works, Basan, Strutt, Heinecken, Fuess- 
 lin. The book fulfils the promise of its title. 
 
 "a catalogue of engraved british portraits, from 
 Egbert the Great to the present time, containing the 
 effigies of persons in every walk of human life, etc. ; 
 
 WITH AN APPENDIX, ETC. BY HeNRY BrOMLEY. LONDON, 
 
 1793." 4to. 
 
 This is founded on Grainger, but omits the biographical notices. 
 It is the standard book of reference for engraved British por- 
 traits. 
 
 " Manuel des curieux et des amateurs de l'art, conte- 
 
 NANT UNE notice ABREGE DES PRINCIPAUX GRAVEURS, ET UK 
 CATALOGUE RAISONNE DE LEURS MEILLEURS OUVRAGES, DEPUIS 
 LE COMMENCEMENT DE LA GRAVURE, JUSQU'A NOS JOURS, LES 
 ARTISTES RANGES PAR ORDRE CHRONOLOGIQUE ET DIVISES PAR 
 
 ECOLE. Par M. Huber et C. C. H. Rost. Zurich, 1797-1808." 
 9 torn. 8vo. 
 
 This is, in great measure, a compilation from previous works. 
 The introduction contains some valuable matter, but more than 
 one half of it is translated or paraphrased from Mr. Gilpin's " Essay- 
 on Prints." 
 
 " Materiali per servire alla storia dell' ORIGINE ET DE 
 progressi del incisioni in rami e in legno. Da D. Pietro 
 Zani. Parma, 1802." 8vo. 
 
the print collector. 183 
 
 **Le peintre-graveur, par Adam Bartsch. Vienna, 1803- 
 1821." 21 torn. i2mo. 
 
 This is the well-known text-book of all collectors. It is a cata- 
 logue of the works of engravers, not of all, but of certain classes : 
 and, as far as it extends, is, or at any rate was, at the time of its 
 publication, the most complete, correct, and useful of any that had 
 appeared. The first five volumes comprise the Dutch and Flemish 
 schools ; the next five the old German, of which the seventh vol- 
 ume is confined to Albert Diirer and Van Leyden ; and to these 
 ten volumes the eleventh is a general table of contents. The 
 twelfth volume contains Italian artists in chiaroscuro ; the re- 
 mainder of the work is occupied with the Italian school ; the four- 
 teenth being entirely composed of the works of Marc Antonio, 
 Agostino, Veneziano, and Marco di Ravenna ; but in the sixteenth 
 is introduced the school of Fontainbleau. It is thought well to 
 thus notice the contents of the volumes of this useful work, be- 
 cause they are occasionally to be met with in broken sets. Of 
 each artist a short biographical account is given, and, in most cases, 
 critical observations on his manner and work. All the prints are 
 given, seriatim, in classes, according to subject, each distinguished 
 by a number. Every print is described very fully, and its dimen- 
 sions given. The different states are mentioned, where such there 
 are, and also all the copies that are known. The small discrepan- 
 cies between the best copies and their originals are accurately no- 
 ticed, as characteristics by which to detect the copy ; and, for better 
 instruction in this matter, many plates are inserted, in which the 
 parts where the difference is found are engraved, both as in the 
 original and as in the copy, side by side, on an enlarged scale. A 
 specimen of this is exhibited in the vignette at the head of our 
 third chapter. There are, also, many plates of monograms. In 
 the sixth volume is a preface, introductory of the German school. 
 In the twelfth volume is an introduction, treating of the invention, 
 history, and practice of the chiaroscuro method, and an ample list 
 
184 THE PRINT COLLECTOR. 
 
 of Italian prints in chiaroscuro ; and, in the thirteenth volume, is 
 an excellent "■ Essai sur I'Histoire de la decouverte de I'impression 
 des Estampes." 
 
 " Notice sur les graveurs qui nous ont laisse des es- 
 tampes, ETC., PAR l'Abbe Beverel et Malpez. Besancon, 
 1807." 2 torn. 8vo. 
 
 " DiSCOURS HISTORIQUE SUR LA GRAVURE, PAH T. B. EmERIC 
 
 David. Paris, 1808." 8vo. 
 
 " Lectures on the art of engraving, delivered at the 
 Royal Institution of Great Britain, by John Landseer, 
 engraver to the King and F.S.A. London, 1807." 8vo. 
 
 The lecturer indulged in strictures on Messrs. Boydell, the 
 energetic print-publishers of the day, and was not allowed to con- 
 tinue his lectures. 
 
 Three lectures were delivered at the same place, and pub- 
 lished, in 1809 and 18 11, BY Robert Mitchell Meadows. 
 
 " Essai sur l'origine de la gravure en bois et en taille- 
 
 DOUCE, ET sur LE CONNOISSANCE DES ESTAMPES DES I5 ET l6 SIE- 
 CLES, OU XL EST PARLE AUSSI DE L'ORIGINE DES CARTES A JOUER, ET 
 DES CARTES GEOGRAPHIQUES, SUIVI DE RECHERCHES SUR L'ORIGINE 
 DU PAPIER DE COTON ET DE LIN, SUR LA CALLIGRAPHIE DEPUIS 
 LES PLUS ANCIENS TEMPS JUSQU'A NOS JOURS, SUR LES MINIATURES 
 DES ANCIENS MANUSCRITS, SUR LES FILIGRANES DES PAPIERS DES 
 14, 15, ET 16 SIECLES, AINSI QUE SUR L'ORIGINE ET LE PREMIER 
 USAGE DES SIGNATURES, ET DES CHIFFRES, DANS L'ART DE LA 
 TYPOGRAPHIE, AVEC 20 PLANCHES. PARIS, 1808." 2 tom. 8vO. 
 
 This work is by H. I. Jansen, and answers fully to its compendi- 
 ous title. The first chapter treats of the principles of painting, as 
 applicable to prints ; the next, of the art of engraving, in its differ- 
 ent branches ; the next, of the qualities necessaiy to an engraver ; 
 the next, advice to collectors. After this follow treatises on each 
 of the different schools, with comparisons between them. No cata- 
 logues of artists, or of prints, are attempted, except that the 
 
THE PRINT COLLECTOR. 185 
 
 eleventh chapter contains a chronological notice of rare anony- 
 mous prints, having dates. The twelfth chapter is on the inven- 
 tion and manufacture of paper, which ends the first volume. The 
 second volume is on calligraphy and stereotype ; at the end is a 
 table of authors consulted, and a general index. The plates are cop- 
 ies of rare specimens, most of them those which are, also, fac-similied 
 by Heinecken and Strutt. There is one small plate of monograms, 
 and there are eight folding plates of watermarks, which appear on 
 paper manufactured in the fourteenth, fifteenth, and sixteenth cen- 
 turies. 
 
 " CHALCOGRAPHIA ; OR, THE ART OF IMITATING CHALK, BLACK- 
 LEAD PENCIL, AND PEN-AND-INK DRAWINGS, BY J. HaSSELL. LON- 
 DON, 1811." 4tO. 
 
 " The amateur's pocket companion ; or, a description of 
 scarce and valuable engraved british portraits, as men- 
 TIONED IN THE WORKS OF GrAINGER, BrOMLEY, NOBLE, ETC. 
 
 Dedicated to Earl Spencer. By John Morris Flendall. 
 London, 1813." 
 
 This is little more than an index to the works mentioned in the 
 title-page. 
 
 " Chalcographiana : THE printseller's chronicle, and 
 
 collector's guide to the KNOWLEDGE AND VALUE OF EN- 
 GRAVED British portraits. By James Caulfield. 18 14." 
 8vo. 
 
 This book consists of short biographical notices of the artists, in 
 chronological order. It gives a list of their prints ; and the author 
 takes upon himself to add, throughout, the specific price or value of 
 each individual print. 
 
 " Chalcographimania ; OR, the portrait collector and 
 printseller's chronicle; with infatuations of every de- 
 scription. A humorous poem, in four books, with COPIOUS 
 
 notes explanatory. By Satiricus Sculptor, Esq. Cacoe- 
 thes carpendl London, 1814." 8vo. 
 
1 86 THE PRINT COLLECTOR. 
 
 In this not very successful attempt at facetiousness is related 
 the story, though not correctly told, of Deighton, the caricaturist, 
 offering for sale a rare etching by Rembrandt, and the detection 
 which took place of Deighton's embezzlements from the British 
 Museum, in consequence of Mr. Woodburn going thither to com- 
 pare the print. 
 
 "A CATALOGUE OF PORTRAITS OF FOREIGNERS WHO HAVE 
 
 VISITED England, as noticed by Lord Clarendon, Heath in 
 HIS Civil Wars, Thurloe in his State Papers, etc., etc. By 
 James Caulfield. London, 1814." Bvo. 
 
 " An inquiry into the origin and early history of en- 
 graving UPON COPPER AND IN WOOD, WITH AN ACCOUNT OF 
 engravers AND THEIR WORKS, FROM THE INVENTION OF CHAL- 
 COGRAPHY, BY MaSO FINIGUERRA, to THE TIME OF MARC AnTO- 
 
 Nio Raimondi. By William Young Ottley, F.S.A. London, 
 1816." 2 vols. 
 
 This book answers to its title-page, which it fully justifies. The 
 account of the ancient engravers is full and minute ; an entire cata- 
 logue is given of the works of each ; of several of the most ancient 
 and rare prints fac-similes are given. The book closes with a full 
 index. It is an excellent work. 
 
 " A BIOGRAPHICAL AND CRITICAL DICTIONARY OF PAINTERS 
 and engravers, FROM THE REVIVAL OF THE ART UNDER CiMA- 
 BUE, AND THE ALLEGED DISCOVERY OF ENGRAVING BY FlNIGU- 
 ERRA, TO THE PRESENT TIME, WITH THE CIPHERS, ETC., ETC. BY 
 
 Michael Bryan. London, 18 16." 2 vols. 4to. 
 
 This book includes the whole of Strutt's " Dictionar>' of En- 
 gravers," and Pilkington's " Dictionary of Painters," with much 
 additional matter. It is now the universal book of reference of its 
 class. 
 
 " Manuel de l'amateur d'estampes faisant suite au 
 
 MANUEL DU LIBRAIRE, ETC. PaR E. JOUBERT, PERE, GRAVEUR, 
 
 etc. Paris, 1820." 3 tom. 8vo. 
 
THE PRINT COLLECTOR. 1 87 
 
 The title-page fully and justly details the contents of these vol- 
 umes, and we therefore transcribe it. " i. Les remarques qui de- 
 terminent le merite et le priority des 6preuves. 2. Les caract^res 
 auxquels on distingue les originaux d'avec les copies. 3. Les prix 
 que les pieces capitales peuvent conserver dans le commerce, en 
 raison de leur rarete et de I'opinion des amateurs. 4. Des tableaux 
 seculaires offrant les artistes contemporains sur des lignes annuelles 
 et a toutes les epoques desirables. Le tout precede d'un essai sur 
 le genie, considere comme principe des beaux arts ; des recherches 
 sur la decouverte et I'epoque de I'impression des estampes ; d'un 
 coup d'oeil general sur I'etat de la gravure en Europe ; et considera- 
 tions sur I'impression lithographique dans ses rapports avec la 
 gravure en taille-douce." 
 
 " IL FIORE dell' ARTE DELL INTAGLIO NELLE STAMPE. GaU- 
 
 Dio. Padua, 1823." 4to. 
 
 Only 120 copies of this book were printed. 
 
 " Notice des estampes, exposees a la bibliotheque du 
 ROi, precede d'un essai sur l'origine l'accroissement, et la 
 disposition methodique du cabinet des estampes. Par 
 Duchesne, aine. Paris, 1823." 8vo. 
 
 " Essai sur les nielles, gravures des orfevres Flo- 
 
 RENTINS du 15 SIECLE. PAR DUCHESNE, AINE. PaRIS, 1826." 
 8vo. 
 
 This is the text-book on nielli ; the first published on this sub- 
 ject exclusively. 
 
 " An essay on the utility of collecting the best WORKS 
 
 of the ancient engravers of the Italian school, accompa- 
 nied BY A critical CATALOGUE OF THE ENGRAVERS OF A CHRON- 
 OLOGICAL series of RARE AND VALUABLE PRINTS, FROM THE 
 EARLIEST PRACTICE OF THE ART IN ITALY TO THE YEAR 1 549, 
 NOW DEPOSITED IN THE BRITISH MuSEUM AND ROYAL ACAD- 
 
 EMY IN London. By George Cumberland. London, 1827." 
 4to. 
 
i88 THE PRINT COLLECTOR. 
 
 An introductory essay is prefixed to this work, which endeav- 
 ors to exalt all works of the Italian school, to the depreciation of 
 all others. It gives some instruction to collectors with respect to 
 selecting impressions ; it gives a tolerably full account of each ar- 
 tist mentioned, and a detailed description of every print noticed, 
 and with critical observations. At the end are two plates of mono- 
 grams. It contains a catalogue of the works of Julio Bonasoni, 
 collected by the author, and now in the British Museum. 
 
 "A CATALOGUE RAISONNE OF THE SELECT COLLECTION OF 
 ENGRAVINGS OF AN AMATEUR. LONDON, 1 828." 4to. 
 
 The amateur and author is Mr. Wilson, whose collection has 
 been since dispersed. This volume was not published, but printed 
 for private circulation only. It contains the best catalogue of the 
 etchings of Ostade. The collection consisted, for the most part, of 
 rare states and extraordinary impressions. 
 
 " A COLLECTION OF ONE HUNDRED AND TWENTY-NINE FAC- 
 SIMILES OF SCARCE AND CURIOUS PRINTS, BY THE EARLY MASTERS 
 
 OF THE Italian, German, and Flemish schools, illustra- 
 tive OF THE history OF ENGRAVING, ETC. BY WM. YOUNG 
 
 Ottley, F.A.S. London, 1828." Folio. 
 
 Mr. Ottley had nothing to do with this book, beyond the writ- 
 ing of the preface and the lending of his name. It is said to have 
 been got up by a person named Walker, having few or no qualifica- 
 tions for such a publication. Many of the prints, of which fac- 
 similes are given, are, by no means, of the rarity which their intro- 
 duction into such a work implies. There is a long introduction, 
 containing an account of the earl}^ use of wood-engraving in Eu- 
 rope, and of the invention of chalcography. It is very copious, and 
 discusses fully the subject and the questions arising out of it. 
 
 " La calcografia. G. Longhi. Milan, 1830." 8vo. 
 
 " Memorie spettanti alla storia della calcografia del 
 commendi Conte Leopoldo Cicognara. Prato, 183 1." 8vo, 
 with a folio volume of plates. 
 
THE PRINT COLLECTOR. 1 89 
 
 " MONOGRAMMEN LEXICON, I5V J. HELLEK. BAMBERG, 183I." 
 
 " Dictionnaire des monogrammes, marques, FIGUREES, 
 lettres initiales, noms abreges, etc., AVEC LESQUELS les 
 peintres, dessinateurs, graveurs, et sculpteurs ont 
 
 DESIGNE LEURS NOMS. PaR FRANCOIS BrULLIOT. MUNICH, 
 
 1832-3." 4to. 
 
 This is a corrected and enlarged edition of a work first pub- 
 lished in 18 17, and is exceedingly copious. It is now the standard 
 text-book on its subject. 
 
 " Le peintre-graveur Francois, par Robert Dumesnil, 
 A.P.F. 1835, etseq." i2mo. 
 
 " This work is in progress, and six volumes are published ; it 
 is, in a manner, a continuation of Bartsch's " Peintre-graveur," but 
 confined to the French school only. It appropriates to the French 
 school some engravers who have hitherto been generally classed in 
 some other. 
 
 " Le classiche stampe dal commenciamento della cal- 
 cografia fino al presente compresi gli artisti viventi 
 descritte e corredate di Storiche e critiche osserva- 
 ziONi Di GiULio Ferrario. Milan, 1836." 8vo. 
 
 " Histoire de la gravure en maniere NOIRE, par Leon 
 DE Laborde. Paris, 1839." 8vo. 
 
 Of this work only three hundred copies were printed. The in- 
 troduction occupies thirty pages, with a history of the claims of the 
 reputed inventors ; and twenty-two more with notices of the family 
 of Seigen, from various documents, during three centuries. The 
 first chapter, of nine pages, is confined to the origin of the family 
 of Seigen, and the birth and education of Louis de Seigen. After 
 this follows the account of the invention of the art, and the exten- 
 sion of its practice. A fac-simile is inserted of a letter from Count 
 Seigen to Prince Rupert, communicating the secret of the inven- 
 tion. A catalogue is given of a collection of mezzotinto engrav-' 
 ings by artists who lived before 1720. A chapter of twenty-eight 
 
ipo. THE PRINT COLLECTOR. 
 
 pages is devoted to Le Blon's method of printing in color. The 
 book closes with an appendix, containing notices of artists em- 
 ployed at Hesse Cassel from 1550 to 1650, with their monograms. 
 
 "A TREATISE ON WOOD-ENGRAVING, HISTORICAL AND PRAC- 
 TICAL, WITH UPWARDS OF THREE HUNDRED ILLUSTRATIONS, 
 ENGRAVED ON WOOD, BY JOHN JACKSON. LONDON, 1 839." 8vo. 
 
 A most comprehensive and excellent work. It treats elabo- 
 rately of the antiquity and history of the art, its progress, decline, 
 and revival ; and fully, also, of its practice. The illustrations com- 
 prise several most exquisite specimens of the perfection to which 
 cutting in wood has been brought, as well in subjects in which it is 
 most effective as in others to which, perhaps, it is not judiciously 
 applicable, 
 
 " Untersuchung der Grunde fur die Annahine DASS 
 Maso di Finiguerra erfinder des handgriffes sei geste 
 cheve metall platten auf genetztes papier abzudrucken. 
 Von C. Fr. von Rumohr. Leipsig, 1841." 
 
 "The art of engraving, with the various modes of 
 operation, etc., illustrated with specimens of the dif- 
 ferent styles of engraving. By T. H. Fielding. London, 
 1841." 8vo. 
 
 " HiSTOIRE DE l'aRT EN AlLEMAGNE, PAR RACKNISKY." 3 
 tom. 4to, and a folio volume of plates. 
 
 This is an extensive and costly work, just published in French. 
 
 "Neuves Allgemeines kunstler lexicon, etc. G. K. 
 Nagler. Munchin, 1835, et seq." 8vo. 
 
 A very compendious German work, of which twelve volumes, 
 extending to nearly the end of letter R, are published, and the 
 work is continuing. 
 
 "The complete aquatinter, being the whole process 
 OF engraving, and engraving in aquatinta, the use of 
 aqua-fortis, with all the tools necessary. London." 
 4to. 
 
THE PRINT COLLECTOR. IQI 
 
 " Supplements au peintre-graveur de Adam Bartscii, 
 
 RECUEILLIS ET PUBLIES PAR RUDOLPH WEIGEL. LeIPSIG, 
 1843." 
 
 Only the first volume of this work is, as yet, published. 
 
 We ought to notice, though it be but a tract in a large work, 
 the "Traite SUR l'art de LA GRAVURE," which appears at the 
 head of the third volume of the " Mus6e de France," published by 
 Robillard. 
 
 It will have been observed that, upon many books contained in 
 the preceding catalogue, we have abstained from all observation. 
 Of such works it is to be understood that they answer, with more 
 or less correctness, to what is professed by their titles, and do not 
 call for any special notice, condemnatory or recommendatory. 
 There are very many of which it might have been noted that they 
 are superseded by later publications ; but this is left to be assumed, 
 and it probably will be so. Jackson's treatise, for instance, on 
 wood-engraving, has superseded Papillon. Bryan has made obso- 
 lete Basan, and all previous dictionaries, even Strutt, except his 
 preliminary essays. Bartsch, Dumesnil, and Nagler, render useless 
 the prior labors of the earlier catalogue-makers, so far as respects ar- 
 tists to whom these modern publications extend ; and all the early 
 histories of the art are, more or less, concentrated in Mr. Ottley's 
 work. 
 
192 THE PRINT COLLECTOR. 
 
 CATALOGUES OF THE WORKS OF INDIVIDUAL 
 ENGRAVERS. 
 
 Of catalogues of this description, which are included in or 
 appended to books, there have been already noticed the follow- 
 ing : 
 
 In the " Cabinet des Singularitez," etc., by Le Comte, among 
 others who are wholly or chiefly painters, not engravers, are cata- 
 logues of Nanteuil, the Sadelers, Peter Testa, with the 
 Caracci, Rubens, and Vandyck. These are all very incorrect, 
 and too deficient in detail to be of any use. 
 
 In the " Idee de la Gravure" is a catalogue of the works of 
 Marcenay ; in Basan's " Dictionnaire," Jordaens and CORNELIUS 
 ViSSCHER ; in Heinecken's " New Memoirs," etc., Albert Durer, 
 Martin Schoen, and Von Meckelen. 
 
 In the sale catalogue, by E. F. Gersaint, of the prints of M. 
 Quintin de I'Orangerie, published at Paris in 1744, is found a cata- 
 logue raisonn6 of the works of Callot, Della Bella, Le Clerc, 
 and B. PiCART. 
 
 " Catalogue des estampes gravees d'apres P. P. Rubens, 
 Jacques Jordaens, et de Corneille Visscher; et ou l'on 
 trouve UN secret pour blancher les Estampes. Par. R. 
 Hecquet. Paris, 175 i." i2mo. 
 
 " Catalogue raisonne de toutes les pieces qui forment 
 l'ceuvre de Rembrandt, compose par feu M. Gersaint, et 
 
 MIS AU jour AVEC LES AUGMENTATIONS NECESSAIRES. PaR 
 
 LES SiEURS Helle ET Glomy. Paris, 175 I." 
 
THE PRINT COLLECTOR. 193 
 
 Gersaint was the first person who undertook the drawing up of a 
 catalogue raisonn6 of prints, by the very voluminous artist, Rem- 
 brandt van Rhyn, The prints are numbered, and are arranged in 
 classes, beginning with portraits of Rembrandt, by himself, and por- 
 traits resembling him ; next, subjects from the Old Testament, 
 then the New, and then devotional ; next, fancy subjects, beggars, 
 free subjects, studies, landscapes, portraits, heads. After these 
 follows a catalogue of pieces attributed to Rembrandt, but doubt- 
 fully ; then, subjects and portraits, after him, by different masters ; 
 and, lastly, catalogues of the works of his principal scholars, Fer- 
 dinand BOL, Van Uliet, and Lievens. Every print is minutely 
 described, its dimensions noted, and also the variations of the dif- 
 ferent proofs and states ; also the copies that have been made from 
 them. 
 
 In making this catalogue, Gersaint availed himself of the collec- 
 tion of James Houbraken, the engraver, who had bought that of 
 Burgomaster Six, the friend and patron of Rembrandt. Messrs. 
 Helle and Glomy had scrutinized the most celebrat id collections 
 in Paris, such as those of Marolles and Beringhen, at the King's 
 Library ; of Coypel, the king's chief painter ; of Silvestre, the 
 king's draughtsman ; M. de Julienne ; M. d'Argenville ; M. Potier, 
 etc. 
 
 An English translation of this catalogue was published by T. 
 Jeffreys, London, 1752. 
 
 To this catalogue, Pierre Yver, aprintseller of Amsterdam, pub- 
 lished a supplement. It was merely an extension of it, and partly 
 a correction ; but, although it corrected many errors, it occasioned 
 new ones. It was published, in i2mo, at Amsterdam, in 1756. 
 
 " A DESCRIPTIVE catalogue OF THE WORKS OF REMBRANDT, 
 AND OF HIS SCHOLARS, BOL, LlEVENS, AND VaN UlIET, COM- 
 PILED FROM THE ORIGINAL ETCHINGS, AND FROM THE CATA- 
 LOGUES OF De Burgy, Gersaint, Helle and Glomy, Marcus, 
 AND Yver. By Daniel Daulby. Liverpool, 1796." Svo. 
 
 This is a further extension of the former catalogues, and by an 
 
194 THE PRINT COLLECTOR. 
 
 English author. It is preceded by observations on the works of 
 Rembrandt, and some memoranda of his life. This is the catalogue 
 by which collections of Rembrandt's prints, in England at least, 
 are now generally arranged. The De Burgy, named in the title- 
 page, was the proprietor of a very large collection of Rembrandt's 
 prints, at the Hague. Marcus was a person, of whose prints a cata- 
 logue was published, on occasion of a sale which took place of 
 them in 1770. 
 
 " Catalogue raisonne de toutes les estampes qui 
 
 TORMENT L'CEUVRE DE REMBRANDT ET CEUX DE SES PRINCI- 
 PAUX IMITATEURS, COMPOSES PAR LES SlEURS GERSAINT, HELLE, 
 
 Glomy, et p. Yvers. Nouvelle edition, ENTIEREMENT RE- 
 
 FONDUE, CORRIGEE, CONSIDERABLEMENT AUGMENTEE, PAR ADAM 
 
 Bartsch. Vienne, 1797." 
 
 This work is an extension of the former catalogues, and pro- 
 ceeds on a similar plan. In it are three folding plates, exhibiting 
 the differences, in a variety of instances, between the originals and 
 copies of many of the prints, and between different states of tfie 
 same original. 
 
 "Catalogue raisonne di^ toutes les estampes qui for- 
 
 MENT L'GEUVRE DE ReMBRANDT ET DES PRINCIPALES PIECES 
 DE SES ELEVES COMPOSE PAR LES SlEURS GERSAINT, HELLE, 
 
 Glomy, et P. Yver. Nouvelle edition, corrigee et con- 
 
 SIDERABLEMENT AUGMENTEE, PAR M. LE CHEV. DE CLAUSSIN. 
 
 Paris, 1824." 
 
 This catalogue is a still further extension of the former, and is 
 more accurate and particular in its description, and corrects former 
 mistakes. 
 
 " Supplement au catalogue de Rembrandt, etc., on y a 
 JOINT une description des morceaux qui lui ont ete 
 faussement attribues, et de CEUX des meilleurs graveurs 
 d'apres SES tableaux ou dessins, par M. LE Chev. de 
 Claussin. Paris, 1828." 
 
THE PRINT COLLECTOR. 195 
 
 The title sufficiently explains the work. At the end is a tabic, 
 showing the correspondence between the numbers by which the 
 prints are classified by Bartsch, and the new numbers by which 
 Claussin marks them. 
 
 " A DESCRIPTIVE CATALOGUE OF THE PRINTS OF REMBRANDT, 
 
 BY AN Amateur. London, 1836." 8vo. 
 
 The amateur is Mr. Wilson, the catalogue of whose collection 
 of prints has been mentioned. This work professes to be built on 
 the English foundation of Daulby, of which it is an extension. At 
 the end is a table of correspondence of numbers. 
 
 " Catalogue de l'ceuvre de F. de Poilly. 1752." 
 
 This catalogue is by C. A. Jombert, a bookseller and amateur 
 at Paris. 
 
 "Catalogue de l'ceuvre de Francois de Poilly, Jean 
 Visscher, et Philip Wouverman, par R. Hecquet. Paris, 
 1752." i2mo. 
 
 "Catalogue de l'ceuvre de C. N. Cochin, fils. Paris, 
 1770." Svo. 
 
 This is by C. A. Jombert, mentioned above. 
 
 "Description of the works of the ingenious delin- 
 eator AND engraver, Wenceslaus Hollar. Second edi- 
 tion, with additions, by George Vertue. London, 1759." 
 4to. 
 
 "Catalogus van alle de prenten van Nicholas Ber- 
 CHEM, ETC. Amsterdam, 1767." 
 
 This catalogue is by Henry de Winter, and is called, by Hein- 
 ecken, a much esteemed work; but it is in Dutch, and is now quite 
 superseded by the " Peintre-Graveur" of Bartsch, in which the 
 whole of it is included. 
 
 "Essai du catalogue de l'ceuvre de la Bella, par 
 Ch. Ant. Jombert. Paris, 1792." Svo. 
 
 "Catalogue raisonne de l'ceuvre de George Fred. 
 Schmidt, par Ruber. London, 1789." 
 
196 the print collector. 
 
 " Catalogue raisonne des estampes graves a l'eau forte 
 PAR GuiDO Reni, et de celles de ses disciples, par Adam 
 Bartsch. Vienne, 1795." i2mo. 
 
 "Catalogue raisonnie de toutes les estampes qui 
 torment l'ceuvre de Lucas de Leyden, par Adam Bartsch. 
 1798." 8vo. 
 
 The catalogues, afterwards inserted by Bartsch, of these artists, 
 in his " Peintre-Graveur," supply several deficiencies in these cata- 
 logues of Guido and Van Leyden. A list of Van Leyden's engrav- 
 ings is given by Meusel, in his " Nouveaux Melanges," etc. 
 
 " Catalogue de la collection de Messire del Marmol, 
 
 CONSEILLER DE BrABANT, CONTENANT L'UN DES PLUS BEAUX 
 CEUVRES QUI AIENT ETE FORMES DES ESTAMPES GRAVELS D'APRES 
 
 Rubens, etc. 1794." 8vo. 
 
 "A COLLECTION AND DESCRIPTION OF THE WHOLE OF THE 
 WORKS OF THE CELEBRATED JaQUES CaLLOT, CONSISTING OF 
 ONE THOUSAND FOUR HUNDRED AND FIFTY PIECES, ETC., BY 
 
 J. H. Green. London, 1804." i2mo. 
 
 A short life of Callot is prefixed, as also some observations on 
 his works, which, however, are merely transcribed from Strutt. 
 The catalogue classes the prints by subjects; describes each, and no- 
 tices different states ; but does not give the dimensions. Catalogues 
 of Callot's works are also found in the " Eloge historique par le 
 pere Husson," published at Brussels, in 1766, in 4to ; and also in 
 several catalogues of collections, as presently mentioned. 
 
 A catalogue of the copper-plate engravings of ALBERT DURER 
 was published, in 1778, in German, by H. S. Husgen, of which 
 Bartsch says that it is very incorrect, omits many rare prints, and 
 does not describe the copies. 
 
 Bartsch mentions a catalogue of the works of ALBERT DiJRER, 
 by an anonymous author, published, in 1805, at Dessau, and which, 
 he says, is a mere compilation of what had gone before. 
 
 " Catalogo delle opere d'intaglio di Raffaello Mor- 
 
THE PRINT COLLECTOR. 1 97 
 
 GHEM RACCOLTE ET ILLUSTRATE DE N. PaLMERINL FIRENZE, 
 
 1824." 8vo. 
 
 Bervic's engravings are enumerated in the sale catalogue pub- 
 lished of his collection after his death, entitled " CATALOGUE d'un 
 CHOIX PRECIEUX D'ESTAMPES DE CELEBRES GRAVEURS SUR FEU 
 
 M. Bervic, par Regnault de la Lande. Paris, 1822." 
 8vo. 
 
 " Leben und werke Albrecht Durers, etc., par J. 
 Heller. Leipsig, 1831." Being the Life of Albert Diirer, with a 
 catalogue of his works. 
 
 Only one volume of this work has been published, and that not 
 the first ; two more are promised. The catalogue, contained in this 
 volume, of the prints by Albert Diirer, is the most perfect and full 
 of any hitherto published, and it attempts explanations of the 
 allegorical subjects or mysterious thoughts of this philosophical 
 artist. 
 
 " ElOGE HISTORIQUE, par M. DUGAS DE Montbel, avec 
 LE catalogue DES OUVRAGES DE M. DE BOISSEAU. LYONS, 
 1840." 
 
 The editor of the " Impostures innocentes de Bernard Pic- 
 ART," folio, Amsterdam, 1734, has given, at the end of that work 
 a catalogue of all the prints composing the works of that 
 artist. 
 
 The engravings by Scheltius Bolswert, after Rubens, are 
 enumerated in the catalogue, which has been already noticed, of 
 the works of that painter. 
 
 By the completeness of collections, formed occasionally of some 
 one artist's engravings, the sale catalogues of such collections 
 amount to a catalogue of his works. In this way we are presented, 
 in the Paignon Dijonval catalogue, composed by M. Morel de 
 Vinde, 4to, Paris, 1810, with a list of the works of Callot, 
 Vandyck, and Drevet. And we have Vandyck, again, in the 
 catalogue of the Del Marmol collection, in 1794 ; in that of Ali- 
 
1 98 THE PRINT COLLECTOR. 
 
 bert, in 1803 \ ^^^d, again, as also Callot, in that of SiLVESTRE, in 
 1 8 10; and Callot, again, in the catalogue of the Baron de Non. 
 A list of Suyderhoof's engravings appears in the catalogue of the 
 Mariette collection; and of JULIO Compagnola's, in those of the 
 Duke of Buckingham and Mr. Ottley. 
 
 The Rigal catalogue, which has been already spoken of, is en- 
 titled ''Catalogue raisonne des estampes du cabinet de 
 M. LE Compte Rigal, par F. L. Regnault de la Lande, 
 peintre et graveur. Paris, 1817." 8vo. 
 
 Of the numerous prints called " Hogarth's," most of the minor 
 plates, and several of the principal ones, were engraved by himself ; 
 but others were engraved by himself, in conjunction with some 
 other artist, and the rest by other engravers, without any part 
 taken by himself. The engravings executed wholly, or partially, 
 by Hogarth, are nowhere separately catalogued. The catalogues 
 that have been published, of Hogarth's works, include all prints 
 published by him, after his own designs, by whomsoever engraved ; 
 and a compendium of the whole is comprised in the last edition of 
 Nichols' " Anecdotes of Hogarth." London, 1839. ^vo. 
 
APPENDIX, 
 
APPENDIX. 
 
 TREATING OF THE PRACTICE OF TPIE ART OF ENGRAVING, WITH 
 THE VARIOUS MODES OF OPERATION, UNDER THE FOLLOWING 
 DIFFERENT DIVISIONS — VIZ. : ETCHING, SOFT-GROUND ETCH- 
 ING, LINE ENGRAVING, AQUATINT, MEZZOTINT, CHALK AND 
 STIPPLE, WOOD ENGRAVING, AND LITHOGRAPHY. 
 
 ETCHING. 
 
 In the following instructions we shall consider etching, not as 
 the beginning of line engraving, or as practised by line engravers, 
 but as generally executed by painters. In this style the needle 
 and aquafortis are the only means employed, the graver being sel- 
 dom called into action, and the parallel ruler for ruling flat tints 
 never. Prints from plates done in this manner are generally 
 termed painters' etchings, to distinguish them from those made by 
 the line engraver ; and as their worth is derived from the skill in 
 drawing possessed by the person who etches them, so every at- 
 tempt to imitate the engraver's beautiful, but more or less mechan- 
 ical arrangement of lines, will only deprive the artist of that facil- 
 ity of drawing and freedom of execution by which his works ought 
 to be distinguished. 
 
 The process of etching consists in covering a metal plate with a 
 varnish called etching-ground, through which the lines composing 
 the subject are drawn with a sharp-pointed etching-needle, cutting 
 through the varnish into the surface of the plate ; these lines are 
 afterwards corroded with an acid till of a sufificient depth : but be- 
 
202 THE PRINT COLLECTOR. 
 
 fore we proceed to the details of the process, we shall enumerate 
 and describe the various objects which may be wanted, and which 
 are as follow : 
 
 Etching-ground. This is to be had at all the shops where 
 they sell engraving materials ; but for those who wish to make it 
 themselves, the following recipe will be found one of the best : 
 " To two ounces of asphaltum add one of Burgundy pitch, and an 
 ounce and a half of white virgin wax. The asphaltum must be 
 finely powdered, and then melted in a glazed earthen vessel over a 
 moderate fire, before the Burgundy pitch is put in ; the wax must 
 be added last, when the whole composition must be well stirred, 
 and then poured into warm water, to be further incorporated by 
 means of the hands, and made up into balls." When used, a ball 
 ought to be tied up in a piece of stout silk cloth. 
 
 Transparent Etching-ground may be made by putting one 
 ounce of common resin and two ounces of virgin wax into a glazed 
 pipkin ; set it over a gentle fire until it simmers, and when cool it is 
 fit for use, and is laid in the same way as the common etching- 
 ground, except that instead of being smoked it must be warmed 
 with a piece of writing-paper after being dabbed. A very good 
 transparent etching-ground may be made by covering the plate 
 with thin turpentine varnish, in which a small quantity of oxide of 
 bismuth has been mixed ; this should be laid on very evenly with a 
 camel's-hair brush, and has the property of showing the original 
 etching in the plate, over which it is laid, much better than the 
 former transparent ground, as it is less dazzling. Great care, how- 
 ever, is requisite to have the right quantity of oxide ; if too much, 
 the work over which it is laid will scarcely be visible ; if too little, 
 the ground becomes dazzling. After it has been laid a day or two 
 on the plate, this ground is apt to become brittle, which may be 
 remedied by warming it gently at the fire, or heating the plate a 
 little. Oxide of bismuth is sold at most chemists, and should be 
 impalpable. 
 
APPENDIX. 203 
 
 Turpentine Varnish may be bought at all the color-shops, or 
 ma}' be made by putting common resin into a bottle of spirits of 
 turpentine, and then setting the bottle in an oven, or near the fire, 
 till the resin is quite melted. 
 
 Brunswick Black, used for stopping out or covering any lines 
 that are not correctly etched, may also be bought at all the oil and 
 color shops. If not to be had, a piece of etching-ground, dissolved 
 in spirits of turpentine, will answer the same purpose. 
 
 Bordering Wax is made by melting over a slow fire in a 
 glazed pot three pounds of Burgundy pitch, one pound of bees- 
 wax, to which is added, when melted, a gill of sweet-oil. When it 
 has been melted a little time, take it off to cool ; then pour it into 
 water, and afterwards pull it well to make the ingredients unite 
 more intimately. It may be bought at all shops which sell engrav- 
 ing materials. 
 
 A Hand-vice, not less than five inches in length, will be 
 wanted to hold the plate while heating it. 
 
 Etching-Needles (Plate I, Fig. i) should be of three or four 
 different degrees of fineness. To sharpen them well requires some 
 degree of manual dexterity and practice. First, grind the point on 
 a flat Turkey stone, or hone, turning the needle round in your fin- 
 gers while rubbing it on the stone ; next, take the handle of your 
 needle between the palms of your hands, and placing the point in a 
 groove on the hone, turn it rapidly round by rubbing your hands 
 against each other, backwards and forwards, in different directions ; 
 then rub them on a strap, prepared with washed flour of emery 
 and tallow, to take off any roughness and make them perfectly 
 round. When used for dry-pointing, the etching-needle should 
 only be sharpened on the flat hone, so as to procure an angle on 
 one side of the point, to cut with, and ought not to be strapped. 
 
 The Gravers (Plate I, Fig. 5) should be of different forms, from 
 the extreme lozenge to the square, the lozenge being for fine and 
 the square for broad lines. To sharpen the belly, or sharp edge of 
 
204 THE PRINT COLLECTOR. 
 
 the graver, requires great nicety. Lay one of the flat sides of the 
 graver on the oilstone, keeping the right arm close to the side, and 
 the forefinger of the left hand pressed upon that side of the graver 
 which is uppermost ; next, sharpen the other side the same way. 
 The face or point is sharpened by holding it firmly in your hand, 
 with the belly upwards, in a slanting position ; then rub it back- 
 wards and forwards on the stone, taking care to carry it evenly 
 along, and not to make more than one face on the point ; this be- 
 ing done, hold the graver a little more perpendicularly to square the 
 point, which will be done in a very short time, as it should not be 
 squared too much. 
 
 The Scraper (Plate I, Fig. 2) should be three-sided, and fluted, 
 as they are easier to sharpen : it is used to take off the burr left by 
 the etching-needle or dry-point. 
 
 The Burnisher (Plate I, Fig. 3) is used to soften lines which 
 have been bit too dark. We recommend the kind used by mezzo- 
 tint engravers as being the best form for all kinds of neat and deli- 
 cate work (Plate I, Fig. 4). 
 
 The Oil-rubber should be made of woollen cloth, rolled up as 
 tight as possible, and tied round with string ; one, six or seven 
 inches long and two inches or two inches and a half in diameter, is 
 sufficiently large for almost all purposes. Where a small one is 
 wanted, a piece of cloth laid over your forefinger may be advan- 
 tageously used, or a piece of very soft cork will do. The oil-rub- 
 ber is used with oil alone, or with oil and 
 
 Washed Flour of Emery, which is emery in a state of im- 
 palpable powder, and of the greatest use in rubbing down parts 
 that are too dark, as is also 
 
 Emery Paper, not such as is used by servants to clean iron uten- 
 sils, but such as is made with washed flour of emery, and, like it, 
 only to be had, I believe, at some of the great ironmongers, or at 
 some of the coppersmiths. When washed flour of emery is not to 
 be had, crocus martis may be used, but is not so good. 
 
APPENDIX. 205 
 
 Charcoal is also used, with either oil or water, in rubbing 
 down dark parts, or taking out blemishes in copper plates : to be 
 procured best at your coppersmith's, who will give you the kind 
 you want. 
 
 A Camel' s-HAiR Brush with very long hair will be wanted, 
 to sweep off loose varnish while etching ; some small ones for stop- 
 ping out, and larger ones for laying on transparent ground, and 
 varnishing broad parts of the plate. 
 
 The Dabber (Plate I, Fig. 14), to lay the etching-ground even, 
 is made by tying up cotton-wool very tight in a piece of silk, which 
 should be as even as possible, without any threads larger than the 
 rest. We recommend fine wool instead of cotton wool ; and if it is 
 laid very thick on a round piece of cardboard, three inches in 
 diameter, and a double silk stretched over it and tied behind, so as 
 to make a soft, elastic, even cushion, well raised in the middle, it 
 will be found more convenient to handle than the common dabber. 
 
 The Bridge, or Rest, is a thin board planed smooth, with the 
 edges sloped off, and of a length and breadth proportioned to the 
 size of the plate you are working upon. At each end is fastened a 
 piece of wood sufficiently high to raise it above the plate when the 
 wall of wax is on. There should also be another, much lower, to 
 be used in etching, before the wall is made. 
 
 The Blind, or Shade, is made of tissue-paper, stretched 
 upon a frame, and placed between your work and the light, to en- 
 able you to see better on the surface of the bright copper. A very 
 convenient one is made in the following manner : Take a heavy 
 piece of wood about fifteen inches long, three inches broad, and 
 one inch thick ; then take about one yard of stiff wire, and place 
 the ends of it in each end of the wood, so as to form an arch, over 
 which stretch tissue-paper, and you may bend the wire so as to 
 throw the light in any direction you may require. 
 
 Besides the above-mentioned objects, it is necessary to have a 
 Turkey stone, or hone, a couple of glass bottles with glass stoppers, 
 
2o6 THE PRINT COLLECTOR. 
 
 one of them with a small mouth, capable of holding a pound of 
 pure nitrous acid, the other with a wide mouth and capable of con- 
 taining a pint or more, according to the size of the work which will 
 have to be covered, of diluted nitrous acid. When bottles with 
 glass stoppers are not to be procured, a common bottle with a wax 
 stopper will do for the pure nitrous acid, which it is better to reduce 
 in strength, by adding exactly the same quantity of water, to pre- 
 vent its destroying the wax stopper, which it soon would if left 
 the full strength : the wide-mouthed bottle may be advantageously 
 replaced by a pint pitcher, on which a piece of wood may be laid, 
 that the strength may not evaporate. Should architecture form 
 the subject of the plate to be etched, a tee-square and brass- 
 edged parallel ruler will be wanted. A pair of steel screw com- 
 passes will also be useful for etching arches. 
 
 Copper or steel plates are, or ought to be, sufificiently well pol- 
 ished when brought home from the coppersmith's, to admit of hav- 
 ing the etching-ground laid upon them without any further prepara- 
 tion ; but the former being a softer metal, is extremely liable to 
 get scratched or the polish destroyed. When this is the case, the 
 scratches ought to be burnished, and the burnisher's marks taken 
 out by oil-rubbing the plate with washed flour of emery and sweet- 
 oil ; when the scratches are too deep to be effaced with the bur- 
 nisher, they may be taken out with the scraper, which must be 
 used very lightly, so as not to scratch ; the scraper-marks must 
 then be taken out by rubbing the place either with charcoal and 
 oil or a piece of cloth on the finger with emery and oil. It may be 
 as well to remark here that whenever the word emery is used in this 
 work, washed fiour of emery is to be understood. 
 
 Sometimes, however, it happens that the scratch is too deep, or 
 a line or point bit iti so strongly as not to admit of being effaced 
 either by the burnisher or the scraper. In this case recourse must 
 be had to the process of knocking up, an operation requiring great 
 nicety and dexterity, and which we shall briefly describe. 
 
APPENDIX. 207 
 
 The instruments required are — a polished steel anvil, a hammer 
 (Plate I, Fig. 13) having a head, with one end flat, and the other 
 with a rounded point, artd a pair of calliper compasses. These last 
 are easily made out of a pair of iron compasses, such as are used by 
 carpenters and coopers, by heating the points, and then bending a 
 quarter of an inch of each inwards, so that they shall exactly meet, 
 leaving a space of half an inch between the two legs (Plate I, 
 Fig. 16). By placing the plate between the legs of the compasses, 
 with one of the points on the spot to be effaced, you can easily 
 mark on the back with the other point the place immediately oppo- 
 site to it. The plate is then placed with the part to be effaced on 
 the anvil, and struck at the back with the round end of the ham- 
 mer, till the line or hole is filled up. The jarring of the plate in 
 the hand, and the noise of the hammer, will sufificiently indicate 
 whether the part of the surface immediately opposite to where you 
 strike is fairly on the anvil or not. Before, however, you proceed 
 to the actual hammering, the work on the part to be effaced must 
 be carefully taken out with an instrument called a scooper (Plate I, 
 Fig. 6), so as to leave a clean smooth hollow. 
 
 When the part to be effaced is very minute, an iron punch is 
 used, and the plate must then be held on the anvil by an assistant, 
 whilst you hold the punch steadily with the left hand, on the spot 
 marked at the back with the compasses, and strike it gently, but 
 smartly, with the hammer, till the place is filled up. 
 
 However neatly the operation of knocking up is performed, the 
 lines of the etching in the immediate vicinity of the part knocked 
 up will be more or less weakened or effaced, and will want re-etch- 
 ing with a transparent ground, or working up to their original 
 strength with the graver. It often happens, also, that the part 
 effaced is raised above the level of the plate, in which case it must 
 be brought down with the scraper, and afterwards finished with the 
 charcoal. 
 
 When a new plate has been oil-rubbed, the oil is first wiped off 
 
2o8 THE PRINT COLLECTOR. 
 
 with a rag ; it is then washed with spirits of turpentine, and after 
 that is wiped off, is cleaned and polished with a dry rag and whit- 
 ing ; it is then ready for an etching-ground, which is laid in the 
 following manner : 
 
 Fasten the plate in the hand-vice, and hold it with the surface 
 upwards over a charcoal fire, or heat it with pieces of paper, till so 
 hot that you cannot bear your finger on it ; then rub the etching- 
 ground, wrapped up in a piece of silk, backwards and forwards, till 
 the plate is covered as evenly as you can with the ground, which, 
 melting with the heat, oozes through the silk. Next, with the 
 dabber, dab the plate gently all over till it appears of the same 
 color, as it is darkest on those places where there is most etching- 
 ground, and continue the dabbing till the plate begins to cool, and 
 no longer. Then, whilst the ground is yet warm, take a candle, or, 
 what is still better, a wax taper twisted together, so that six or 
 more flames unite in one, and, cutting the wicks short, hold them 
 under the plate turned with the ground downwards, and keep the 
 fiame moving backwards and forwards till every part of the ground 
 is of a shining black color. The greatest care must be taken never 
 to let the flame remain a moment in the same place, as the ground 
 would burn, which is easily seen by its becoming dull and cracked. 
 When cold, the plate is ready for the reception of the design. 
 
 As a subject is seldom etched upon a plate at once without a pic- 
 ture, or at least an outline on paper, having previously been made, 
 we must now describe the various methods of reducing, tracing, 
 and transferring the tracing on to the plate. 
 
 When the picture is larger than the plate on which you intend 
 to copy it, take a pair of compasses and divide the top and bottom 
 into an equal number of parts, marking each part on the edge of 
 the picture with a pencil or chalk ; then with the compasses in the 
 same position measure off along the sides of the picture, beginning 
 at the bottom, as many parts as the sides will contain, so that the 
 remainder or fraction of a square, if any, may be at the top ; for it 
 
APPENDIX. 209 
 
 seldom happens that the same measure which equally divides 
 the top and bottom of a picture will also equally divide the 
 sides, and it is better that the picture be marked out into perfect 
 squares, leaving only a line of imperfect squares along the top, than, 
 as usually recommended, by dividing the sides equally as well as 
 the top and bottom, cut the picture into a set of long squares. 
 You can now, if an oil painting, draw lines either with a black 
 water-color, which is easily cleaned off afterwards by a sponge, if 
 the picture be light, or white water-color, if dark : or if the subject 
 be a painting in water-colors, wrap round it threads from top to 
 bottom, and from side to side ; take a piece of smooth writing- 
 paper the size of the intended subject (which must always be so 
 much less than the plate as to leave at least half an inch or more 
 of margin all around) and divide it with a pen and a pale tint of lake 
 or vermilion into exactly the same number of squares as the pic- 
 ture ; then with an F, HB, or B pencil, copy whatever is in each 
 square of the picture into the corresponding square on your paper, 
 and, to prevent mistakes, number the squares both on the painting 
 and the paper. This being done, damp the paper well, fix it with 
 the face downwards on the etching-ground with wax at one side, 
 and let the printer pass it through a moderately tight rolling-press, 
 by which means the pencil-marks will be transferred to the ground, 
 so that the subject will appear reversed, in fine silvery lines. 
 
 When the subject you mean to copy is to be the same size on 
 the plate, take a piece of thick transparent tracing-paper, and fast- 
 ening it firmly to the painting by turning a part of it over the top 
 and pasting it behind, trace the outline with a blacklead pencil, 
 and then transfer it to the ground as directed above. To make 
 tracing-paper, mix together equal parts of spirits of turpentine and 
 drying oil, and with a rag or piece of cotton-wool rub it evenly 
 over a sheet of tissue-paper, which must be hung to dry for a day 
 or two. Thick tracing-paper may be made with very smooth, thin 
 writing-paper. 
 
2IO THE PRINT COLLECTOR. 
 
 When no rolling-press is to be had, another method must be 
 pursued to transfer the outline to the etching-ground. Having 
 made the tracing or reduction on thin transparent paper, take a 
 piece of the thinnest and smoothest foreign letter-paper, or, what is 
 still better, a piece of glazed tissue-paper, and rub it evenly over 
 with vermilion, chrome-yellow, white-lead, or any other light color 
 in impalpable powder till well covered. Then having turned down 
 the tracing on to the plate, and fastened it with wax at the top 
 edge, place the vermilion paper between it and the ground with the 
 color side downwards, and with a blunt-pointed etching-needle, 
 called a tracing-point, go over the outline, using a moderate pres- 
 sure, by which means it will be transferred in color to the etching- 
 ground. A still quicker method is often used, but one which re- 
 quires the greatest delicacy as well as firmness of touch, and a tracing 
 point perfectly rounded so as not to cut the paper and so injure the 
 ground. It is to rub the front of the tracing itself with vermilion, 
 and lay it on the plate so as to do away with the necessity of an 
 intermediate colored paper. 
 
 The bridge being placed over it, the plate is now ready for the 
 commencement of the etching, and but few instructions are requi- 
 site to enable the painter to proceed without difficulty. The etch- 
 ing-needles with the most tapering points should be used for the 
 skies and distance, pressing more heavily and changing them for 
 others as we approach the foreground, sharpened, with a thicker 
 point made by holding it more perpendicularly on the stone, so' as 
 to give a broader and deeper line. Wherever the ruler is used for 
 buildings, ship-masts, etc., it is to be remembered that the lines 
 made with it will be much darker than those made by the hand, so 
 that a much less pressure is required ; and it should be the 
 endeavor of every one who wishes to give a pleasing effect to his 
 work, to etch with an equal pressure, so as to produce lines of the 
 same strength wherever a fiat tint is wanted, as in the shade side of 
 a house, a mass of distant trees, etc. It is of course needless to 
 
APPENDIX. 2 1 1 
 
 mention that the closer the lines arc laid together the darker will 
 be the part so etched, and where extreme depth is wanted it is 
 usual to cross the lines ; this, however, looks better when the lines 
 that cross the others are done with a second transparent ground. 
 Wherever any error has been made the part must be covered 
 evenly, and not too thickly, with a camel's-hair pencil dipped in 
 Brunswick black, and when dry the lines re-etched through it. We 
 must here remark that the etching must always penetrate so well 
 througJi the etching-ground as to scratch the metal ; and when the 
 plate is steel, it is better, as much as possible, to avoid breathing 
 upon it, as the slightest humidity will often rust it. Steel plates, 
 when no longer wanted by the printer, ought to be well cleaned, 
 and then covered with white wax by heating them, and then pass- 
 ing the wax over them. 
 
 Though the shade sides of white objects may generally be 
 etched and bit in with aquafortis, it is better to do them with the 
 dry point, which is peculiarly well adapted for the fur and hair of 
 white animals, the light of white drapery, light clouds and sky, and 
 extreme distances. 
 
 It is difificult, nor is it indeed the province of this work, to give 
 further directions to the painter as to the manner of his work. It 
 depends entirely on his skill in drawing, and his facility in using 
 the pen or pencil ; on his taste in the choice of his subject, and his 
 knowledge of general or particular effects in the arrangement of 
 forms, and the disposition of lights, shades, etc. 
 
 The etching being finished, the plate must be carefully exam- 
 ined, and all accidental scratches stopped out with Brunswick 
 black. When this is dry, a wall or border is put round the plate, 
 which is done by softening the bordering wax in warm water till 
 perfectly ductile ; it is then pulled out into straps about six inches 
 long, one inch broad, and a quarter of an inch thick, and the edge 
 pressed down immediately before it cools on the margin, and the 
 thumb of the left hand passed along the inner edge with a strong 
 
212 THE PRINT COLLECTOR. 
 
 pressure so as to squeeze the wax close down to the plate : another 
 piece is to be immediately joined to the first, and so on till the 
 plate is surrounded, leaving a spout at one corner to pour off the 
 acid. 
 
 It is difficult to give exact rules for biting-in, but the following 
 will be found sufficient. Procure some strong nitrous acid, and 
 then mix, in a wide-mouthed bottle, one part of the acid with five 
 parts of water, adding to it a small portion of sal-ammoniac, in the 
 proportion of the size of a hazelnut, to one pint of acid, when 
 mixed for biting.^ The advantage of using the sal-ammoniac is, 
 that it has the peculiar property of causing the aquafortis to bite 
 more directly downwards, and less laterally, by which means lines 
 laid very close together are less liable to run into each other, nor 
 does the ground so readily break up, by thus preventing the natural 
 tendency to lateral erosion. Pour the mixture, when cool (nitrous 
 acid becoming warm when mixed with water), on to the plate, and 
 leave it to bite in the delicate parts about a quarter of an hour, 
 sweeping off the bubbles as they form on the plate with an old 
 camel's-hair brush or feather ; take off the acid, wash the plate 
 with water, and dry it either by blowing with bellows or pressing 
 on it gently with a piece of blotting-paper ; stop out with Bruns- 
 wick black those parts which are sufficiently bit in ; again put on 
 the acid, let it remain twenty minutes or half an hour, to give the 
 next degree of depth, wash and stop out as before, and leave the 
 acid on for half or three quarters of an hour for the last biting, as 
 three bites are generally sufficient for most painters' etching. 
 
 The wall is now to be taken off by warming the margin of the 
 plate at the back with a piece of lighted paper ; it is then to be 
 washed clean with spirits of turpentine, then oil-rubbed, then again 
 washed with spirits, and after being wiped dry may be taken to the 
 printer's for a proof. 
 
 * We should have earlier observed that biting, or biting -in, is the technical term for 
 eroding the copper that has been laid bare by the etching-needle. 
 
APPENDIX. 213 
 
 The process of biting-in, already described, is only applicable to 
 copper plates ; for steel plates another method is pursued, which is 
 as follows : 
 
 Mix together 
 
 Pyroligneous acid I part. 
 
 Nitric acid i part. 
 
 Water 6 parts. 
 
 In bitiiig-in with this composition the first tint will be only on 
 and off, washing the plate immediately with water, and never using 
 the same water twice ; when washed, the plate must be set on one 
 edge, and blown dry with bellows as soon as possible to prevent 
 rusting. 
 
 If pyroligneous acid is not to be had, from sixty to seventy 
 drops of nitric acid to one pint of water will do nearly as well. 
 
 In biting in steel, one minute will be generally found long 
 enough for the darkest tint. 
 
 If, on examining the proof, all or part of the etching is found 
 too weak, it may be made stronger either by etching over it with a 
 transparent ground, or, when the tint is not too delicate, by rebit- 
 ing, in which case a rebiting ground must be laid ; which is per- 
 formed in the following manner : 
 
 Clean the plate well with spirits of turpentine, then wash it 
 with pure water of potass, which is to be had at the chemist's ; next 
 rinse the plate with perfectly clean water several times, till entirely 
 free from the potass, and wipe it quite dry with a clean rag. This 
 being done, heat a spare piece of copper or steel plate, on which melt 
 some etching-ground, then with a silk dabber (a new one is best) 
 take up a small quantity, and having previously heated the plate 
 which is to be rebit, dab it very lightly all over, and continue till 
 every part of the surface is well covered with the ground, leaving 
 the lines perfectly clear. This is an operation which requires great 
 
214 THE PRINT COLLECTOR. 
 
 patience and the utmost delicacy of touch, and as it takes consider- 
 able time, the plate must be heated very often to keep up the same 
 degree of warmth, which is extremely difficult. For this reason it 
 is better to employ the following method, which is now generally 
 used by most engravers, not only for rebiting, but also for common 
 etching-grounds : Procure a tin box twelve inches long, nine 
 broad, and three deep, without any opening, except a hole at one 
 corner, by which it is to be filled with hot water. This is placed 
 on a stand so as to admit of a small charcoal stove underneath, by 
 which the water must always be kept at a boiling heat. The plate 
 is laid on this box, and by this means kept at an uniform tempera- 
 ture, so that there is no danger of burning the ground, which so 
 often happens when the plate is heated in the common way. 
 When the ground is cold, a wall may be put round it, and the sub- 
 ject bit in as before. 
 
 Should it be intended to rc-ctch the plate, a transparent ground 
 must be laid, the manner of doing which we have already described 
 under the head of Transparent Ground. 
 
 A well-practised etcher, after each biting-in, takes off a very 
 small portion of the ground, and can then judge in what manner it 
 will print. He then stops out, or passes over all the lines which 
 may be sufficiently deep, with Brunswick black, and proceeds with 
 the rest as we have already mentioned. 
 
 When any line or small part is too dark, it may be made lighter 
 with the burnisher ; but when any broad tint or the whole of the 
 plate is too dark, the quickest way is to rub it down with the 
 emery-paper before mentioned. This, however, should be well 
 rubbed on a piece of copper or steel, to take off the sharpness, 
 which might otherwise scratch, and even then it will leave a mark, 
 which would show strongly in the proof if not first taken out with 
 soft charcoal and oil, and then polished with the oil-rubber. 
 
 A pleasing way of giving more effect to an etching, when fin- 
 ished, is to take off the polish of the plate with the emery-paper, by 
 
APPENDIX. 215 
 
 which means a delicate tint is laid all over it, and on which the 
 lights on clouds, white figures, water, etc., may be burnished. 
 Pumice-stone finely powdered and sifted through muslin, and 
 rubbed on with a rag, will do the same ; and Rembrandt often, by 
 leaving the surface of the plate only partially cleaned from the 
 printing-ink, when proving, produced a singular effect on some of 
 his etchings. 
 
 When etching or engraving by lamp-light, we recommend the 
 use of a globe of water, placed between the lamp and the plate, as 
 described under the head of Wood Engraving. 
 
 We shall conclude with a short account of Etching on Glass, 
 a process which, we are afraid, is more curious than useful. The 
 glass employed should be a piece of the best plate, which must be 
 covered with a mixture of lamp-black and turpentine varnish. 
 When dry, the subject is etched in the same way as on copper ; 
 and as soon as finished a wall is put round, and fluoric acid poured 
 over the glass, on which it will require to be left five or six hours 
 exposed to the sun before the work is sufificiently corroded. In 
 winter the glass is but slightly acted upon in four days, and would 
 never be finished if not placed in a very hot room. 
 
 SOFT-GROUND ETCHING. 
 
 Etching on soft-ground is a style of engraving formerly much 
 employed to imitate chalk or pencil drawings. Since the invention 
 of lithography, however, it has been almost entirely abandoned, 
 though for those who live too far from any town where a litho- 
 graphic press is established, it will be found a great source of 
 amusement, as the rapidity and facility with which it is executed 
 will often tempt those who have not sufficient patience to pursue 
 the more tedious operation of etching on hard-ground. 
 
 Soft-ground for winter use is made by adding one part of hog's 
 lard to three parts of common etching-ground ; but for warm 
 weather, less hog's lard is required. The ground is laid and 
 
2l6 THE PRINT COLLECTOR. 
 
 smoked in the same way as the hard etching-ground, taking care 
 that nothing touches it after it is done till the paper is laid on. 
 
 The process is as follows ; Draw the outline of your subject 
 faintly on a piece of smooth thin writing-paper, which must be at 
 least an inch larger every way than the plate ; then dampen it, and 
 spread it cautiously on the ground, and, turning the edges over, 
 paste them down to the back of the plate : in a few hours the 
 paper will be dry, and stretched quite smooth. Resting your hand 
 on the bridge, take an H or HB pencil, and draw your subject on 
 the paper exactly as you wish it to be, pressing strongly for the 
 darker touches, and more lightly for the more delicate parts, and 
 according as you find the ground more or less soft, which depends 
 on the heat of the weather or the room you work in, use a softer 
 or harder pencil, remembering always that the softer the ground 
 the softer the pencil. When the drawing is finished, lift up the 
 paper carefully from the plate, and wherever you have touched 
 with the pencil the ground will stick to the paper, leaving the cop- 
 per more or less exposed. A wall is then put around the margin, 
 the plate bit in, and if too feeble, rebit in the same way as a com- 
 mon etching, using hard etchmg-ground for the rebite. If the acid 
 has been successfully applied to the plate, the proof will be exactly 
 the same as the drawing made by the soft etching-ground sticking 
 to the underside of the paper, which is indeed itself a proof how 
 far you have succeeded. 
 
 It may be here observed, in anticipation of our remarks upon 
 aquatint engraving, that an outline in soft ground for aquatint is 
 much less apt to cause white lines than the continuous line of com- 
 mon etching. 
 
 LINE ENGRAVING. 
 
 Of all the various kinds of engraving, the art we are about to 
 describe stands pre-eminently the first. However it may be sur- 
 passed by other branches of the profession in the representation of 
 
APPENDIX. 217 
 
 certain objects, yet as a whole it is decidedly superior to the rest. 
 It cannot produce the velvety softness, intense depth, and harmo- 
 nious mingling of light and shade which is given by mezzotint. 
 Neither can it, even when aided by the ruling-machine, produce 
 that silvery clearness or deep transparent tone perceived in aqua- 
 tint ; nor, like it, reproduce the dragging, scumbling, and accidental 
 touches of the artist's brush. In crispness and brilliancy it is far 
 exceeded by wood-engraving. Still it stands before all others, and 
 we cannot but see with regret, though not surprise, its present 
 declining state. 
 
 When steel was first applied to line engraving, the immense 
 number of impressions it was found capable of producing enabled 
 the publishers to offer to the world works beautifully illustrated 
 at a much cheaper rate than had hitherto been done. A new class 
 of publications — we mean the annuals — were introduced as a vehicle 
 for spreading more rapidly the impressions from steel plates, and 
 the most beautiful productions of our best engravers were flung 
 with a prodigal hand before the public, at a price for which they 
 ought never to have been sold, and which only an excessive sale 
 could render profitable. We are no enemies to cheapness in any 
 thing, and still less in whatever may contribute to the mental 
 enjoyment of the public ; but when that cheapness is obtained by 
 the reduced income of the artist, reduced, not from extravagant 
 gains to fair remuneration, but from fair remuneration to insuffi- 
 ciency — when such is the case we cannot but lament, whilst we ad- 
 mire the beautiful works which fill our portfolio, the sacrifice by 
 which they have been so cheaply obtained. 
 
 The cause of this deterioration was simply the excessive sale of 
 these illustrated works, which created a demand for line engravers 
 far beyond what the population of England, rich as she is, ought 
 to support. But the fashion for annuals, like all other fashions, 
 passed away. One by one they sunk into oblivion, and left the 
 artists they had helped to create to seek an existence in other 
 
2l8 THE PRINT COLLECTOR. 
 
 countries, or by attempting some other branch of the profession. 
 The pubhc, weary with seeing in every shop and on every table the 
 beautiful engravings which steel plates had showered upon the 
 land, like a child surfeited with sweets, was glad to turn to sonrie- 
 thing else, and mezzotint became the fashion. Then it was that 
 the reduced sale of illustrated works no longer allowed the pub- 
 lishers to offer a fair remuneration, and the many engravers un- 
 employed were forced to accept the little they could afford to 
 give. 
 
 Such are the causes of the present depressed state of the art ; 
 and were these all the evils arising from engraving on steel, if it 
 were merely a stagnation arising from too great a production, how- 
 ever much we might regret the losses which line engravers must for 
 a while sustain, still we know that a few years must bring back the 
 art to a more healthy state. But when the hardness of the metal 
 was found to admit of finer work, then came in fashion the exces- 
 sively finished style of the present day, which, whilst it increases 
 the mechanical difficulties, tends to reduce all engravers to the same 
 level, or, what is still worse, allows some whose only merit consists 
 in a capability of laying lines closer than others to usurp the place 
 of real talent. This is indeed an evil, and we are afraid that many 
 years must pass away before the vitiated taste of the public can 
 bear the works of real genius, unfettered by the microscopic finish 
 of the present style. 
 
 The process of line engraving consists, at present, in first etching 
 the plate, and then, after it is bitten-in, finishing it with the graver 
 and dry-point. Formerly, however, it was the custom to begin and 
 finish a plate with the graver only ; but this method has long been 
 laid aside, as the use of the etching-needle gives so much greater 
 freedom in the representation of almost every object. 
 
 Of the method of laying the ground, transferring the subject to 
 the plate by means of tracing, and of sharpening the graver, nee- 
 dle, etc., we have already spoken under the head of etching. The 
 
APPENDIX. 219 
 
 manner of handling the needle is, however, very different, as in all 
 the flat tints a ruler is made use of. Clear blue skies are done by 
 means of the ruling-machine, of which the following is a descrip- 
 tion : " On a straight bar of steel is placed a socket, which slides 
 backwards and forwards with a steady but even motion. To the 
 side of the socket is fitted a perpendicular tube, which receives a 
 steel wire or any other hard substance, called a pen. This pen has 
 a point like an etching-needle, and is pressed down by the action of 
 a spring. If, then, a copper plate covered with the etching- ground 
 is placed under the ruler, which should be supported at each end, 
 and raised about an inch above it, the point of the pen may be 
 caused to reach it ; and if the socket to which the pen is attached 
 be drawn along the bar, it will form a straight line upon the plate, 
 more even, but in other respects the same as if that line had been 
 drawn by hand with a ruler. Now, if the plate or the ruler be 
 moved, backwards or forwards, in a direction parallel to this first 
 line, any number of lines may be drawn in the same manner. 
 
 In the machine, therefore, a very exact screw, acting upon a 
 box confined by a slide and connected with the bar or board upon 
 which the plate rests, produces the requisite motion ; and a con- 
 trivance or index is used to measure the exact portion of a turn 
 required before any stroke is drawn. Such is the principle of the 
 machine most generally used ; but the point or pen employed 
 should not be made of steel, which, however well tempered, will 
 require frequent sharpening, and must therefore inevitably draw 
 strokes deficient in perfect uniformity. The pen should have a dia- 
 mond point, which when once properly figured remains constantly the 
 same, and imparts an admirable degree of regularity and sweetness 
 to the work. 
 
 Though the ruler is used in laying flat tints, it does not follow 
 that the lines made with it are to be straight ; on the contrary, 
 they are made to take the form most suited to the object by 
 slightly moving the hand, taking care to make them parallel. But 
 
220 THE PRINT COLLECTOR. 
 
 the greatest difficulty, and what requires the longest practice to at- 
 tain, is to give that equal pressure to the needle, so that every line 
 may be the same depth, width, and distance from each other, with- 
 out which it is entirely hopeless to obtain an even tint. This capa- 
 bility of laying flat tints, and of ruling parallel lines excessively 
 close without running into each other, is so essential that no one 
 can expect to make a decent plate till he has fully accomplished it ; 
 and the first business of the learner should be by continual practice 
 to obtain a readiness and certainty in the management of the ruler 
 and needle. He must also be equally capable of laying parallel 
 lines of the same strength without the aid of the ruler, and must 
 seek to acquire a freedom of handling in etching grass and the foli- 
 age of trees in landscape, and the flowing lines required in drapery 
 and the waves of the sea. 
 
 In etching a plate to be finished as a line engraving, every part 
 which is white, such as white drapery, satin, light water, ice, white 
 clouds, the white fur of animals except when in shade, and the 
 light parts of flesh, etc., ought to be left untouched by the aqua- 
 fortis, and laid in with the dry-point or graver. 
 
 The following extracts from a celebrated work on Engraving, 
 aided by the examination of the prints of the best professors of the 
 art, will be found worthy of attention: "The strokes of the 
 graver should never be crossed too much in the lozenge manner, 
 particularly in the representation of flesh, because sharp angles pro- 
 duce the unpleasing effect of lattice-work, and take from the eye 
 the repose which is agreeable to it in all kinds of picturesque de- 
 signs ; we should except the case of clouds, tempests, waves of the 
 sea, the skins of hairy animals, or the leaves of trees, where this 
 method of crossing may be admitted. But in avoiding the lozenge, 
 it is not proper to get entirely into the square, which would give 
 too much of the hardness of stone. In conducting the strokes, the 
 action of the figures and of all their parts should be considered, and 
 it should be observed how they advance towards or recede from 
 
APPENDIX. 221 
 
 the eye, and the graver should be guided according to the risings or 
 cavities of the muscles or folds, making the strokes wider and 
 fainter in the lights, and closer and firmer in the shades. Thus the 
 figures will not appear jagged, and the hand should be lightened in 
 such a manner that the outlines may be formed and terminated 
 without being cut too hard ; however, though the strokes break off 
 where the muscle begins, yet they ought always to have a certain 
 connection with each other, so that the first stroke may often serve 
 by its return to make the second, which will show the freedom of 
 the engraver. 
 
 In engraving the flesh, the effect may be produced, in the 
 lighter parts and middle tints, by long pecks of the graver, rather 
 than by light lines or by round dots, or by dots a little lengthened 
 by the graver, or, best of all, by a judicious mixture of these to- 
 gether. 
 
 In engraving the hair and the beard, the engraver should begin 
 his work by laying the principal grounds and sketching the chief 
 shades in a careless manner, or with a few strokes, and he may fin- 
 ish it at leisure with finer and thinner strokes at the extremities. 
 When architecture is to be represented, except it be old and ruinous 
 buildings, the work ought not to be made very black, because as edi- 
 fices are commonly constructed either of stone or white marble, the 
 color being reflected on all sides does not produce dark shades as in 
 other substances. When sculpture is to be represented, white points 
 must not be put in the pupils of the eyes of figures as in engrav- 
 ings after paintings, nor must the hair or beard be represented as 
 in nature, which makes the locks appear flowing in the air, be- 
 cause in sculpture there can be no such appearance. 
 
 In engraving cloths of different kinds, linen should be done with 
 finer and closer lines than other sorts, and be executed with single 
 strokes. Woollen cloth should be engraved wide in proportion to 
 the coarseness or fineness of the stuff, and when the strokes are 
 crossed, the second should be smaller than the first, and the third 
 
22 2 THE PRINT COLLECTOR. 
 
 than the second. Shining stuffs, which are generally of silk or 
 satin, and which produce flat and broken folds, should be engraved 
 more hard and more straight than others, with one or two strokes 
 as their colors are bright or otherwise ; and between the first course 
 of lines other smaller must be occasionally introduced, which is 
 called interlining. Velvet and plush are expressed in the same man- 
 ner, and should always be interlined. Metals, as armor, etc., are 
 also represented by interlining, or by clear single strokes. In 
 architecture, the strokes which form the rounding of objects should 
 tend to the point of sight, and when whole columns occur, it is 
 proper to produce the effect as much as possible by perpendicular 
 strokes. If a cross stroke is put, it should be at right angles, and 
 wider and thinner than the first stroke. The strokes ought to be 
 frequently discontinued and broken for sharp and craggy objects. 
 Objects that are distant, towards the horizon should be kept very 
 tender. Waters that are calm and still are best represented by 
 strokes that are straight and parallel to the horizon, interlined with 
 those that are finer, omitting such places as, in consequence of 
 gleams of light, exhibit the shining appearance of water ; and the 
 forms of objects reflected upon the water at a small distance from 
 it, or on the banks of the water, are expressed by the same strokes 
 retouched more strongly or faintly as occasion may require, and 
 even by some that are perpendicular. For agitated waters, as the 
 waves of the sea, the first strokes should follow the figure of the 
 waves, and may be interlined, and the cross strokes ought to be 
 very lozenge. In cascades, the strokes should follow the fall and 
 be interlined. In engraving clouds, the graver or needle should 
 sport where they appear thick and agitated, in turning every way, 
 according to their form and their agitation. If the clouds are dark 
 so that two strokes are necessary, they should be crossed more 
 lozenge than the figures, and the second strokes should be rather 
 wider than the first. The flat clouds that are lost insensibly in the 
 clear sky should be made by strokes parallel to the horizon, and a 
 
APPENDIX. 223 
 
 little waving ; if second strokes arc required, they should be more 
 or less lozenge, and when they are brought to the extremity the 
 hand should be so lightened that they may form no outline. The 
 flat and clear sky is represented by parallel and straight strokes, 
 without the least turning. In landscapes, the trees, rocks, earth, 
 herbage, and indeed every part except white objects, should be 
 etched as much as possible ; nothing should be left for the graver 
 but perfecting, softening, and strengthening." 
 
 The above observations will be found very useful to refer to, 
 though perhaps, after all, the examination of the prints of the best 
 engravers will be found the best instruction that the beginner can 
 have ; but then that examination ought to be, not merely to see 
 how certain work is performed, but the manner of executing the 
 representation of the same object by different engravers should be 
 carefully observed, and that which is best selected as a model, re- 
 marking at the same time wherein consists its excellence, and in 
 what manner it differs from the rest. 
 
 AQUATINT ENGRAVING. 
 
 This art, so beautiful yet so difificult, so peculiarly adapted to 
 those subjects requiring broad flat tints of extreme delicacy or ex- 
 cessive depth, so capable of expressing light foliage on a dark back- 
 ground, and the only style of engraving which can faithfully render 
 the touches of the artist's brush, has of late years been degraded to 
 the mere production of colored prints, though there is no one who 
 has seen the spirited engravings done in the latter end of the last 
 century by Madame Prestel, after Rosa da Tivoli, or in the present 
 day the beautiful productions of Reeves and others, after Copley 
 Fielding, Vicars, etc., etc., but must acknowledge that it deserves a 
 higher station than at present it seems to hold. 
 
 Engraving in aquatinta is said to have been invented by a French 
 artist of the name of St. Non, who communicated it to Jean 
 Baptiste Le Prince, a painter and engraver who died in 1783. 
 
224 THE PRINT COLLECTOR. 
 
 Paul Sandby introduced it into England and greatly improved 
 it, and Madame Catherine Prestel, a German, produced works 
 which even at the present day cannot but be admired. 
 
 The process of aquatint engraving, as now followed, consists in 
 pouring over a highly polished copper plate a liquid composed of a 
 resinous gum dissolved in spirits of wine, which latter evaporating 
 leaves the resin spread all over the plate in minute grains that 
 resist the action of the aquafortis, which, however, corrodes the bare 
 surface of the copper that is left between them. This granulated 
 varnish is called a gromid ; but before the invention of this process, 
 dust grounds were made use of, though they are no longer used in 
 England. The method of making them is as follows : Powder 
 some common black resin very finely, and tie it up in a muslin 
 bag ; then having rubbed the plate very slightly with a greasy rag 
 so as just to dim the copper, shake the bag over it till it is com- 
 pletely covered with the powder ; strike the plate smartly at the 
 back to shake off any loose particles, and fix the resin which re- 
 mains on it by warming it at the back with a piece of lighted paper 
 till it begins to change color. 
 
 To make liquid ground, powder five ounces of common resin, 
 and put It into a bottle with a pint of the strongest spirits of wine. 
 Shake it up several times during the day till the resin is dissolved, 
 which will be in twenty-four hours, and then leave it another day 
 for the impurities in the resin to settle to the bottom. This mix- 
 ture will be much too strong for use. You must therefore have an- 
 other bottle, and mix some of it up with more spirits of wine, in 
 the proportion of one third of the mixture to two thirds of spirits, 
 though even this will be too strong, for it is obvious that the 
 greater the proportion of resin the larger will be the granulations. 
 
 Almost all the resinous gums, when dissolved in spirits of 
 wine, will make grounds more or less adapted for aquatinting, and 
 though the common resin is one of the best that can be employed 
 if properly managed, yet some of the other gums granulate in a very 
 
APPENDIX. 225 
 
 .dilTcront manner, and can be employed, if found upon trial to be 
 more satisfactory. The following are some of these : 
 
 1. Turpentine varnish dissolved in spirits of wine. 
 
 2. Burgundy pitch and resin, equal quantities. 
 
 3. Burgundy pitch alone. 
 
 4. Common black resin alone. 
 
 5. Mastic and Burgundy pitch, equal quantities. 
 
 6. Mastic alone. 
 
 7. Frankincense alone. 
 
 8. Mastic and common resin, equal quantities. 
 
 These different specimens should be examined through a strong 
 magnifying-glass to distinguish their peculiarities. No. i, Turpen- 
 tine varnish, is merely a variety of the resin ground ; and this, and 
 No. 3, Burgundy pitch. No. 4, Common resin, and No. 7, Frankin- 
 cense, will be found the best. Some aquatint engravers prefer mix- 
 tures, but we have always found that the simple resins — Burgundy 
 pitch, resin, and frankincense — are much better when used alone 
 than any compound of them. , 
 
 Before laying an aquatint ground, it is necessary to provide a 
 tin trough rather longer than your plate to receive the superfluous 
 ground, with a spout at one end by which you can pour it back into 
 an empty bottle, and never into the same you have taken it from, 
 as it is certain, however clean the trough may be kept, to gather 
 some dust or impurities, which must be allowed to settle before it 
 can be again made use of. 
 
 As the beauty of an aquatint ground depends not only on the 
 manner in which it is laid, but also on the degree of polish possessed 
 by the plate, we cannot but recommend a long and vigorous oil-rub- 
 bing ; first with washed flour of emery and oil, then with oil alone. 
 The plate should next be wiped clean from the oil, then washed with 
 spirits of turpentine, which must be wiped off with a rag, and after- 
 wards the plate must be well rubbed with a clean dry rag and whit- 
 ing. To know when a plate is perfectly clean, breathe gently upon 
 
226 THE PRINT COLLECTOR. 
 
 it, and your breath will dim every part with a white mist or cloud, 
 except such places as have any dirt or grease, which will remain 
 bright. When any such spots appear, the plate should be oil- 
 rubbed again and cleaned as before. 
 
 When the plate is clean, hold it slanting on your left hand with 
 the edge resting in the trough, pour over it the aquatint ground, 
 and when the superfluous fluid has run off, lay it in the same slant- 
 ing direction, with the lower edge a little way off the table, and 
 keep it well wiped. If, when dry, the ground is too fine, clean it 
 off and lay another ; but instead of pouring it once over, move the 
 plate in your hand in such a way that the ground may flow back- 
 wards and forwards two or three times before you allow it to run 
 into the trough : by this means a greater quantity will remain on 
 the plate, and the grain will be coarser. When, on laying it once 
 over only, the grain is too coarse, more spirits of wine must be 
 added to the ground, but it is better that it should be so weak as 
 to allow of its being allowed to run at least twice over. 
 
 Those only can be considered good grounds in which every grain 
 is of the same size, for where they are of different sizes the smaller 
 particles of resin are destroyed by the acid before the plate is half 
 bit in. A badly polished plate is certain to make a smudgy grain, 
 as it is called, and it is the culpable negligence of aquatint engravers 
 which has given to aquatint plates the unfortunate reputation of 
 not being able to throw off many impressions. We have seen in 
 Paris the five hundredth impression of one of the plates of Oste- 
 wald's " Voyage Pittoresque en Sicile," engraved with a very fine 
 grain, in which even the most delicate tints had not become more 
 weak, and have no doubt but that two thousand good impressions 
 might be taken off. The copper was double hammered, and when 
 polished had a peculiar silvery appearance. 
 
 It now remains to speak of the various accidents which may 
 happen in laying an aquatint ground. The first and worst is water- 
 ing, as it is called, and which consists in the formation of drops of 
 
APPENDIX. 227 
 
 water on the ground as it begins to granulate, and which has the 
 effect of making it much coarser under each drop than it is in the 
 surrounding parts, so that when bit in, what ought to be a flat tint 
 has the dappled appearance of the feather of the guinea-fowl, being 
 speckled with white. In England this always happens through 
 want of strength in the spirits of wine, remembering that the same 
 ground which waters on a very wet day will frequently make a per- 
 fect ground in dry weather. In Paris, however, we have found 
 that the strongest spirits of wine will frequently water, and to those 
 who have to practise the art of engraving in aquatinta in France, 
 the following method of obviating its ill effects will be found of 
 the greatest use : Lay your ground, set it to drain, and as soon as 
 the grains are completely formed on the lowest part of the plate, 
 take it on your left hand and dash over it a large basinful of cold 
 water in such a manner that every part of the plate is immediately 
 covered ; set it to drain, and when dry the ground will be its natu- 
 ral color in some places and white in others, which, however, will 
 not prevent its biting even. 
 
 The accidents accruing from dust may be obviated in a great 
 measure by placing the plate, as soon as the ground is laid, under a 
 board sufficiently large to cover it, and supported at each end by 
 hooks, etc. 
 
 If, as often happens when a ground is laid in very hot weather 
 during the heat of the day, or in a cold room when there is a severe 
 frost, it will not granulate, the only remedy is to lay the ground 
 very early in the morning in hot weather, and if possible in a room 
 looking towards the north or north-west ; in short, the best time 
 for laying grounds is in very dry weather with a moderate tempera- 
 ture, excess of heat, cold, or humidity, being against a good forma- 
 tion of the grain. 
 
 It often happens that an outline of the subject to be engraved is 
 etched on the plate before the aquatint ground is laid, and occa- 
 sions considerable difficulty, as the ground settling in the etching 
 
228 THE PRINT COLLECTOR. 
 
 causes a white line to be formed by the side of every dark etched 
 line, producing an effect extremely disagreeable. This may be ob- 
 viated by getting the printer to fill up the etching with ink, which 
 must be left twenty-four hours to harden, when the plate may 
 be cleaned as before directed, and the ground laid over it. This 
 method has the advantage of preventing the etching from being bit 
 in too deep by the aquafortis used in biting in the aquatint. 
 
 A ground having been obtained, the margin of the plate should 
 be varnished over or stopped out, as it is technically termed, with a 
 mixture of lamp-black, or oxide of bismuth and turpentine varnish, 
 leaving a narrow slip on the lower margin ; and if the sky is a gra- 
 dation, a small piece at the end where the sky is darkest. The use 
 of the slip is to see the degree of strength each application of the 
 acid has given to the plate, as will be explained hereafter. We 
 must here recommend oxide of bismuth in preference to lamp- 
 black, as resisting the aquafortis better ; at the same time it is 
 more cleanly, though a mixture of the oxide with sufficient lamp- 
 black to make it of a gray middle tint has peculiar properties, 
 which makes it give a sharper line over grounds deeply bit in than 
 either of the substances used separately : these properties are of 
 the greatest utility in working architecture, more especially where 
 there is no etched outline. 
 
 The best palette for mixing the oxide with varnish is a marble 
 slab with a deep hollow at one corner to hold spirits of turpentine ; 
 a small glass muller is required to mix them intimately by grinding 
 them on the slab, and a thin palette-knife to scrape the color to- 
 gether. 
 
 Brushes of four different sizes, as represented in Plate I, Fig. 15, 
 will be wanted, the three smaller being red sables, which are best 
 on account of their stiffness, and the larger one a flat camel's-hair 
 brush, for the margin or any other broad tints of varnish ; and we 
 must be allowed again to press on the young aquatinter's memory 
 the necessity of having the oxide of bismuth in a perfectly impal- 
 pable state. 
 
APPENDIX. 229 
 
 When the margin is quite dry, the subject to be aquatinted 
 must be transferred to the plate, either by tracing or drawing with 
 a pencil. If the former method be preferred, the tracing must be 
 carefully fastened down to the copper by bits of wax along the 
 upper edge. A piece of thin paper, covered on one side with lamp- 
 black and sweet oil, is placed between the tracing and the ground 
 with the colored side downwards, and every line of the subject 
 must be passed over with the tracing-point, using a moderate pres- 
 sure. One of the greatest difificulties is the preparation of the col- 
 ored paper, for if too much oil be used, every touch of the tracing- 
 point stops out, and of course makes a white line when the plate is 
 bit in ; if, on the contrary, there is too little oil, the lamp-black 
 does not adhere sufficiently to the ground, and is washed off after 
 the first or second bites. 
 
 When the subject is drawn on the plate, a BB pencil is to be 
 used, with which every part may be sketched on the ground with 
 nearly the same facility as on paper, and where there is no paint- 
 ing or drawing to engrave from, this method is to be preferred. 
 The greatest care must be taken that there be no grit or sand in 
 the pencil, as it would scratch the ground and make a black line 
 when bit in ; for this reason a hard lithographic chalk is to be pre- 
 ferred, though there is great danger, as it is a greasy material, of 
 stopping out if the pressure be too great. 
 
 The tracing being finished and the papers removed, a wall of a 
 moderate height (that is, three quarters of an inch) must be put 
 around the plate, with a large spout, which if the sky is a gradation 
 should be at that corner where it is the darkest. 
 
 Every thing is now ready for stopping out ; and in describing the 
 method of engraving an aquatint plate, we trust we shall be able, 
 by leading our readers step by step through all its intricacies, to 
 make them clearly understand this difficult art. 
 
 To five parts of water in a wide-mouthed bottle with a glass 
 stopper add one part of strong nitrous acid, and set it by till the 
 heat occasioned by the mixture is entirely gone off. 
 
230 THE PRINT COLLECTOR. 
 
 Grind up together on your marble slab a little oxide of bismuth 
 and turpentine varnish, diluting it with spirits of turpentine till of 
 a proper consistence to work freely. With a small sharp-pointed 
 red sable stop out every part of the plate which is to be quite 
 white ; in a few minutes the varnish will be sufficiently dry. We 
 have already observed that the spout is at that corner of the plate 
 opposite what is to be the darkest part of the engraving. 
 
 Hold the plate with your left hand in a sloping position, with 
 the spout off the table, and lower than the other parts of the plate, 
 which must rest on the edge of the table. Pour the aquafortis 
 you have prepared very slowly on the lower part of the plate, in 
 such a manner that it shall gradually rise till it first reaches 
 the darkest part of the background, and so goes on gradu- 
 ally, forming nearly a diagonal line across the plate, the direc- 
 tion of which will be indicated by the character of the compo- 
 sition or design. In this manner proceed, gently raising your left 
 hand, and adding more aquafortis till it has covered the lighter 
 parts ; then raise your left hand suddenly that the acid may flow 
 immediately all over the plate, and again sink it (holding the mouth 
 of your bottle under the spout) so as to pour off the aquafortis as 
 quickly as possible. Cover the plate with water, and wash off with 
 a feather all the bubbles which the effervescence of the acid has 
 left on the plate. Throw away this water, and rinse the plate 
 twice ; wipe it dry with a clean soft towel, being exceedingly care- 
 ful not to press so hard as to remove any of the stopping-out. 
 
 In warm weather, or a very warm room, two minutes will be 
 quite enough for the acid to have remained on the plate ; but to 
 know the exact time required for each bite is'one of the greatest 
 difficulties in aquatinta engraving, and can only be acquired by 
 long experience. The aquafortis, which at eight o'clock in the 
 morning in winter, before a fire has had sufficient time to warm the 
 room, requires six minutes to procure a certain tint, will, in the 
 evening, after candles are lighted, bite in the same in two minutes, 
 
APPENDIX. 231 
 
 SO that no rule can be given. The best method of judging is to 
 sweep away the bubbles which form on the surface whilst the acid 
 is on the plate, and the rapidity with which they are renewed will 
 be the best criterion of the energy of its action on the copper. 
 
 The darker parts of the plate will have now been bitten two 
 minutes, whilst the parts over which the acid was only allowed to 
 pass for a moment will scarcely have had more than fifteen seconds. 
 The acid must be again poured on the plate in the same way, and 
 for the same time, then washed off and dried, and the operation 
 repeated a third time. This will have given six minutes to the 
 darker parts and ONE MINUTE for the lighter part of the plate, 
 which will be sufificient for the FIRST BITE. 
 
 To see the degree of strength on the plate, first clean off with 
 spirits of turpentine and rag the small piece of ground left uncov- 
 ered on the margin at the end, and having wiped it quite dry, and 
 freed it from every particle of varnish, take a little dry oxide of 
 bismuth on the tip of your finger and rub it well in, then with an- 
 other finger, previously covered with whiting, polish it off, and you 
 will see by the quantity of oxide remaining in the part bit in the 
 exact strength of the dark part. Pursue the same process with one 
 end of the slip, and you will also see the strength you have ob- 
 tained by this first process. 
 
 Stop out the parts you have uncovered on the margin, drawing 
 the varnish in a straight, even line across the slip where it had been 
 opened for trial. The background perhaps is now of sufficient 
 strength, and to stop it out so as to preserve the forms to be de- 
 signed upon it, a new process must be resorted to. 
 
 Mix together equal quantities of whiting, sugar, and gamboge 
 with water sufficient to bring it to the consistence of cream, adding 
 enough lamp-black to make it of a dark color. With this composi- 
 tion paint in every part of the design which comes against the back- 
 ground. Then with a flat camel's-hair brush, dipped in turpentine 
 varnish and lamp-black diluted with spirits of turpentine, pass 
 
232 THE PRINT COLLECTOR. 
 
 evenly over every part of the background, taking care not to leave 
 more on one place than another. Allow it to dry for one hour. 
 Then cover the plate with water, and in another hour or less every 
 part you have painted in with the composition will come up, leav- 
 ing the ground ready for a fresh bite with the acid, whilst the tur- 
 pentine varnish and lamp-black will effectually stop out every part 
 uncovered by the composition. Wash the plate clean with water 
 and wipe it dry. 
 
 Stop out every part which is sufificiently strong, and proceed to 
 your SECOND BITE, for which the acid must remain on one minute 
 and a half. 
 
 The whole plate may be done with the same acid, but in gen- 
 eral practice we recommend a small portion of strong aquafortis to 
 be added each bite, by which less time is required, and the work 
 shows out sharper. Aquafortis which has already been used and is 
 impregnated with copper should never serve a second time, as the 
 work done with it will appear dull, and the grain dingy and indis- 
 tinct, instead of that silvery clearness which forms the peculiar 
 charm of the best aquatint engravings. The reader no doubt now 
 understands that engraving in aquatint is like making an Indian-ink 
 drawing : each time the aquafortis is put on the plate a fresh tint 
 is produced, and as each part successively becomes dark enough, it 
 is stopped out. In this manner a plate is often finished with one 
 ground bitten about twelve times. 
 
 To clean the plate, warm the back with a piece of burning paper, 
 and the wall will easily come off. Scrape off what wax remains stick- 
 ing to the plate with the palette-knife. Clean off the varnish with 
 spirits of turpentine and rag. Oil-rub the plate well, wash it clean 
 with spirits of turpentine, and send it to the printer's for a proof. 
 
 When the plate comes back, oil-rub it thoroughly. Wash it 
 several times with spirits, rubbing it dry each time with a clean 
 rag, and, lastly, polish it off with a soft clean dry rag with a very 
 little whiting, and it will then be ready for a second ground. 
 
APPENDIX. 233 
 
 Every second ground ought to be a rcbiting ground on those 
 parts you intend to work upon, and we must here inform our read- 
 ers that rebiting grounds are those in which the resin granulates in 
 exactly the same form as the one already bitten in. To do this, 
 the spirits of wine must contain more resin and be laid fuller, for 
 which reason a rebiting ground can never be obtained all over the 
 plate, as when it rebites on the dark parts it will be coarser on the 
 very light parts, and when a rebite on the light parts it will be 
 finer, or, as it is termed, a cut grain, on the darks. A strong mag- 
 nifying-glass is useful to examine peculiarities of the ground. Var- 
 nish the margin as before, but do not leave any slip : lay in all the 
 dark parts with the composition ; when dry, varnish evenly as be- 
 fore directed, put a wall around your plate, and in an hour's time 
 pour on the water : let it remain till all the composition comes up. 
 
 The best and least tedious method of biting in dark touches is 
 by applying very strong aquafortis with a brush, or feather, hence 
 technically termed feathering. Mix the strong nitrous acid with 
 water in equal parts, have ready a basin of water and sponge, and 
 then apply the acid by means of a feather, or, what is better, a 
 common camel's-hair brush. No rule can be given for the time of 
 biting-in, and there is the greatest danger in leaving the aquafortis 
 on too long, as the ground might thereby be entirely destroyed, 
 and the plate ruined. The acid corrodes the copper downwards 
 and sideways, and so gradually undermines the grains of resin till 
 they give way, and the part becomes one even hollow incapable of 
 holding the printing ink, instead of a succession of small holes. 
 The dark touches being all bit in, there only remain to be finished 
 the minor details, which are done by etching through a thin coat of 
 turpentine varnish to which a little white has been added. This 
 method of laying in fine lines will be found very convenient in 
 doing the rigging of ships, the lines in architecture, etc. 
 
 When any part of the plate is too dark it must be made lighter 
 by means of burnishing, and this operation may be performed in 
 
234 THE PRINT COLLECTOR. 
 
 two ways, either with oil and lamp-black, or dry, with very fine 
 white-lead or oxide of bismuth. In the former method the part to 
 be burnished is filled in with oil and a little lamp-black : a shade of 
 tissue-paper is then placed between the plate and the light, in 
 order to allow the different tints to be more distinctly seen, and 
 the burnisher is then rubbed with a firm even pressure till the part 
 is sufficiently light. In this method, though generally used by 
 almost every engraver, there is the greatest difficulty in distinguish- 
 ing two tints which are nearly the same strength, and it is only 
 long practice which will enable any one to burnish a delicate tint 
 without reducing the strength of the edge of the one next to it, 
 and so make a white line. 
 
 In the second method, the plate is made perfectly clean, and 
 then filled in with the finest white-lead in powder or oxide of bis- 
 muth ; the former, however, for general purposes is best, when it 
 can be had sufficiently fine, as the oxide has a certain greasiness, 
 which makes it clog the plate ; for fine and very delicate tints, 
 however, the bismuth will be found more useful, as you can ob- 
 serve the difference between two tints, however slight, which no 
 white-lead is capable of showing. 
 
 As a plate becomes worn by printing, all the fainter tints are 
 effaced, so that care should be taken that the first bite is suffi- 
 ciently strong to allow for it ; for even should it be a little too 
 strong, if all the other tints are in proportion by printing with a 
 slacker press, or by adding a little white to the ink, it may easily 
 be brought down to a proper standard. 
 
 Whenever one part of a plate is generally too dark, instead of 
 burnishing, the quickest way is to rub it down with the oil-rubber 
 and washed flour of emery, or a piece of flannel stretched over the 
 finger in place of the oil-rubber : if this is not found sufficiently 
 expeditious, the paper prepared with washed flour of emery, after 
 it has been first rubbed on a piece of copper to take off the rough- 
 ness and prevent its scratching, will reduce even the coarsest 
 grounds very rapidly. 
 
APPENDIX. 235 
 
 There care few who have not seen and admired the lithographic 
 drawings by Harding and others, which have been pubHshed within 
 the last few years, and which, by employing a second stone to give 
 the broad flat tints and high lights, imitate in the most perfect 
 manner /r«^z7 sketches on colored paper with the lights laid in with 
 white chalk or paint. 
 
 In the same manner sepia or Indian-ink sketches on colored 
 paper may be equally well imitated in aquatinta, with this advan- 
 tage, that as with the second stone only about six different degrees 
 of strength of color are obtained, with the second plate as many as 
 twelve can be produced, if the color in which it is printed is not 
 too light. 
 
 We shall conclude our account of aquatinta engraving by 
 strongly advising every one who wishes to excel in this art to prac- 
 tise feathering and the use of the acid with the brush as much as 
 possible, not only for dark touches, but for all those parts where a 
 gradation of tint is required, as clouds, mountains, etc., especially 
 if dark, as a plate may be executed in this way with half the num- 
 ber of bites, and look much richer than when worked in the ordi- 
 nary way. 
 
 MEZZOTINTO. 
 
 Mezzotinto engraving was most probably invented by Ludwig 
 von Siegen, a lieutenant-colonel in the service of the Landgrave of 
 Hesse, as there is a portrait by him of Amelia Elizabetha, Princess 
 of Hesse, dated 1643. He is said to have communicated his inven- 
 tion to Prince Rupert, to whom the honor of it has been fre- 
 quently but unjustly ascribed. 
 
 The process of Mezzotinto engraving consists in passing over 
 a plate of steel or copper an instrument called a cradle, by which 
 a burr is raised on every part of the surface in such quantity that 
 if filled in with ink and printed, the impression would be one 
 mass of the deepest black. On the plate so prepared the lights 
 
236 THE PRINT COLLECTOR. 
 
 and middle tints are burnished or scraped away, leaving it un- 
 touched for the darkest shades. 
 
 The instruments used in mezzotint© engraving consist of bur- 
 nisher, Plate I, Figs. 3 and 4 ; scrapers, Figs. 2 and 7 ; roulettes of 
 different kinds. Figs. 9 and 11 ; shading tools. Fig. 10 ; and a cradle, 
 or rocking tool, which is the same shape as the shading tool, and is 
 used in laying grounds. The use of the roulette, Fig. 11, is to 
 darken any part which may have been scraped away too much, and 
 ought to be of different sizes. Roulettes of the form of Fig. 9 are 
 used for making dotted lines. 
 
 Formerly it was the custom to finish plates entirely in mezzo- 
 tint, and most beautiful engravings have been produced in this 
 style. At present, however, the outline of the subject is almost 
 always laid in with a strong, bold etching, somewhat resembling 
 chalk engraving, and this serves to destroy that excessive softness 
 which was formerly so much complained of. Indeed, so general 
 has the practice of introducing lines and dots to express the differ- 
 ent kinds of texture in objects become, that no plate is ever exe- 
 cuted at the present day xn pure mezzotint alone.''' 
 
 When the outline is etched, the ground must be laid, an opera- 
 tion which is performed in the following manner : The plate is 
 divided equally by lines parallel to each other, and traced out with 
 very soft chalk. The distance of these lines should be about one 
 third of the face of the cradle which is to be used, and these lines 
 should be marked with capital letters or strokes of the chalk. The 
 cradle is then to be placed exactly betwixt the two first lines, and 
 passed forwards in the same direction with them, rocking it from 
 side to side, and proceeding till every part of the plate between the 
 
 * We consider this a great misfortune, for no one can examine the beautiful pure 
 mezzotints of Earlom, Green, Houston, and other masters of this branch of the art, 
 who flourished in the latter part of the eighteenth and the beginning of the present 
 century, without regretting that this species of engraving has not received greater 
 attention of late years. Perhaps, however, it is satisfactory to reflect that genius 
 such as inspired these artists now finds development in other forms and methods of 
 expression. 
 
APPENDIX. 237 
 
 lines is covered with a burr. The same operation must be re- 
 peated with respect to all the other lines till the instrument has 
 passed over every part of the plate, care being taken to press stead- 
 ily and firmly upon the tool. 
 
 Other lines must be drawn then from the other two sides in the 
 same manner, which, intersecting the first at right angles, will form 
 them into squares. The same operation must be repeated with the 
 cradle between each row of lines as before. New lines must then 
 be drawn diagonally, and the cradle passed between them ; and 
 when the first diagonal operation is performed, the lines must be 
 crossed at right angles, and the cradle passed between them in the 
 same manner. The plate having undergone the action of the cra- 
 dle according to the disposition of the first order of lines, a second 
 set must be formed, having the same distances from each other as 
 the first ; but they must be so placed as to divide those already 
 made into spaces one third less than their whole width — that is, every 
 one after the first on each side will take in one third of that before ; 
 for instance, beginning at A, of which the first third must be left 
 out, the third of B will consequently be taken in, and so of the 
 rest. These lines of the second order must be marked with small 
 letters or lesser strokes, in order to distinguish them from the first ; 
 and the same treatment of the plate must be pursued with respect 
 to them as was practised with the others. When this second op- 
 eration is finished, a third order of lines must be drawn, the first of 
 which, for instance in A, must omit two thirds of it, and conse- 
 quently take in two thirds of B, etc. By these means the original 
 spaces will be exactly divided into equal thirds, and the cradle 
 must be again employed between these lines as before. When the 
 whole of this operation is finished, it is called one turn ; but in 
 order to produce a very dark and uniform ground the plate must 
 undergo the repetition of all these several operations, until a 
 ground has been produced that will print a perfectly black tint. 
 
 When the subject is traced on to the plate, the work Is com- 
 
238 THE PRINT COLLECTOR. 
 
 menced by scraping and then burnishing the highest lights, after 
 which the next Hghtest parts are scraped away, and so on, proceed- 
 ing gradually frorti light to dark, leaving for the deepest shades the 
 ground untouched. 
 
 We have already spoken of etching in the outhne, which we 
 must here remark is a very delicate operation, for if too strong it 
 will appear spotty and dirty in the light parts, and if too feeble it 
 will be entirely lost when the ground is laid. It is therefore more 
 advantageous to do nothing, before the ground is laid, but the mere 
 outline, and then when the burnishing and scraping are nearly 
 finished, to cover the plate with a thick coat of transparent etch- 
 ing-ground. On this lines are etched to give texture to the differ- 
 ent parts, and of course ought to be varied as in line engraving, 
 according to the nature of the object represented, making use of 
 clean-cut lines for polished surfaces, irregular broken lines for 
 earth, etc. ; in short, whatever may best express the texture of the 
 substance upon which they are placed. This depends in a great 
 measure on the natural taste of the engraver ; but the best method 
 for the learner is to observe the works of the best engravers, not 
 only in mezzotint, but also in line ; more particularly good etch- 
 ings, by which he will see how any object may be best represented. 
 Wood engravings will also be useful. 
 
 Almost every engraver has his own style of working, and it is 
 extremely difificult to say where such and such lines ought to be 
 used. Many artists use a great number of different kinds of rou- 
 lettes for more readily etching in the dotted straight lines on walls, 
 etc. Some again rely on the needle and graver, as, for instance, 
 some of the French engravers, but a judicious employment of every 
 kind of work will be found the best, taking care not to destroy, by 
 an over-anxiousness to procure texture, the peculiar properties of 
 mezzotint, where its softness and velvet-like appearance are best 
 suited to the object. 
 
 The great deficiency of mezzotint, when applied to landscape, is 
 
APPENDIX. 239 
 
 seen when a clear sky or light foliage is represented. However 
 well the former may have been executed, it will ever have a misty 
 appearance when compared with the clear, silvery, and brilliant 
 tints of aquatint or line engraving ; and we are sorry that the diffi- 
 culty of procuring an even grain on steel has hitherto prevented 
 the union of two styles so peculiarly adapted to each other as 
 mezzotint and aquatint. Might not something be done by cover- 
 ing steel with an excessively thin plate of copper, which is easily 
 polished, and on which aquatint ground forms so well ? 
 
 Light foliage coming away from a dark background is seldom 
 well represented in mezzotint, which is too soft and undefined for 
 the crisp and sparkling isolated lights which are continually occur- 
 ring in the leaves of trees. Here again aquatint would be of the 
 greatest assistance, and this is felt not only in England, but in 
 France, in which country the author has been continually asked to 
 lend his assistance, but which has been rendered unavailing on ac- 
 count of the difBculty above mentioned. 
 
 In all the works on engraving which we have consulted, and in 
 which mezzotint is mentioned, we find an account of printing this 
 style of engraving in colors by means of different plates, as in- 
 vented by Le Blon of Frankfort, a pupil of Carlo Marata. Print- 
 ing in colors, however, is not peculiar to mezzotint, but may be ap- 
 plied to every style of engraving, as may be seen in oil-color print- 
 ing from wood blocks, and lithographic printing in colors. 
 
 CHALK AND STIPPLE ENGRAVING. 
 
 We have preferred to treat these styles of engraving under the 
 same head, as the process in each is so much alike that they 
 scarcely ought to have a different name. 
 
 The invention of chalk engraving has been attributed to three 
 different French artists : G. E. Demarteau, J. J. Frangois, and 
 Louis Bonnet, all of whom lived in the first half of the eighteenth 
 century. 
 
 Stipple engraving is said to have been invented by Bylaert, a 
 
240 THE PRINT COLLECTOR. 
 
 painter and engraver of Leyden, although dotting is to be seen in 
 the works of Albert Diirer, and almost all the earliest engravers. 
 It was introduced into England by the unfortunate Ryland, and 
 brought to perfection by Bartolozzi, since whose time it has been 
 used with great success in portrait, being particularly well adapted 
 for the representation of flesh, and we should say for that alone. 
 
 The process of stipple engraving is very simple. An etching- 
 ground being laid on the plate, and the subject transferred to it as 
 in etching, the outline is laid in by means of small dots made with 
 the needle, after which all the darker parts are etched likewise in 
 dots, which ought to be larger and laid closer together for the deep 
 shades. The work is then bitten in, taking care not to let the 
 aquafortis remain too long on the middle tints. When the ground 
 is taken off the plate, all the lighter parts are laid in with the dry- 
 point or stipple graver, Plate I, Fig. 12, the form of which resem- 
 bles the common kind, except that the blade bends down instead 
 of up, thereby allowing greater facility in forming the small dots or 
 holes in the copper. When a stipple graver is not to be had, a 
 common graver will do exceedingly well, if its position in the han- 
 dle be changed, so that the bend which was downwards is now up- 
 permost : in using it, of course it must be held with the bend down- 
 wards, the usual position of the handle in the hand being changed. 
 We have already said that all the lighter parts must be laid in with 
 the dry-point or graver, which gives much greater delicacy than 
 can be obtained with the aquafortis : the middle tints also, which 
 have been but faintly bitten in, must be worked up with the graver, 
 which will make them softer, and the dark shades strengthened 
 wherever they may want it, though should these be much too faint 
 they are better deepened by laying a rebiting ground, as explained in 
 etching. As every stroke of the dry-point or graver raises a burr 
 on the plate, it ought to be scraped off occasionally, and the work 
 recommenced till sufficiently dark. When using the graver, the 
 plate ought to be placed on a sand-bag, or a button fastened to the 
 back with wax. 
 
APPENDIX. 241 
 
 Chalk engraving is merely the imitation of chalk drawings by 
 means of stipple engraving, and, like the latter, is a very easy style. 
 The grain which the chalk leaves on the paper is imitated by irregu- 
 lar dots of varied forms and sizes, and the whole process is exactly 
 the same as stipple engraving. 
 
 Chalk engraving since the invention of lithography is much less 
 practised than before, and we trust that the use of chalk as a 
 material for sketching even the human figure, is gradually giving 
 way to the superiority of its rival, the blacklead pencil. There is 
 7wthing that chalk can execute that cannot be done better and 
 quicker with a BB blacklead pencil, to say nothing of the dirt and 
 trouble in forming a point to chalk, and the difificulty of fixing the 
 drawing when done. 
 
 WOOD ENGRAVING. 
 
 The greatest uncertainty exists as to the exact time when 
 wood engraving was first invented, or rather applied to the produc- 
 tion of pictorial representations. Long before 1423, the earliest 
 date yet found on any wood-cut, wooden stamps, having figures 
 in relief, were used to impress on paper and parchment the signa- 
 tures and marks of kings, nobles, the clergy, merchants, and others ; 
 and there is no doubt that at a very early period the illuminators of 
 manuscripts often made use of a stamp to form their ornamented 
 capital letters, and they may therefore claim in some measure the 
 credit of inventing wood engraving, though Mr. Jackson, in his 
 splendid work on this division of the art, attributes the discovery to 
 the German card-makers, who used wooden stamps to form the 
 outline of their figures, which were afterwards colored by means of 
 stencilling. 
 
 The limits of our work will not allow us to pursue any further 
 the history of wood engraving ; to tell how it rose to eminence in 
 the time of Albert Diirer ; how it gradually declined during the 
 seventeenth century ; or how, towards the end of the eighteenth, 
 the rare talents of Thomas Bewick restored it to its former excel- 
 
242 THE PRINT COLLECTOR. 
 
 lence. For these details we must again refer the reader to " A 
 Treatise on Wood Engraving," by John Jackson, a work which 
 ought to have a place in every library, and which no wood engraver 
 who has any love for his profession should be without. The pro- 
 cess of wood engraving is exactly the reverse of engraving on steel 
 or copper, in which the portions of the print required to be left 
 white remain untouched, while the black and tinted parts are pro- 
 duced by a series of lines cut out of the metal with the graver ; 
 whereas in wood the black and tinted portions are left even with 
 the surface, and the white parts are cut out. Whilst the engraver 
 on steel produces his effect by a series of incised lines, the wood 
 engraver cuts away only that part not intended to print. 
 
 In printing wood blocks it is necessary that the ink used should 
 be of a composition much thicker than that employed in the pro- 
 duction of prints from engravings on copper or steel, in order that 
 it may lie upon the surface of the block without filling up the hol- 
 lows. The manner in which type is printed is so well known that 
 it is only necessary to say that the printing of wood blocks is ex- 
 actly similar, and generally done at the same time, as they are 
 chiefly used in the illustration of books. 
 
 There are three kinds of wood used in this style of engraving : 
 Sycamore, Pear, and Box, the two former being only used for large 
 coarse cuts, such as are often seen at the head of play-bills, as they 
 are too soft to admit of fine lines being engraved upon them. 
 
 Boxwood is grown in England, and though not so large as that 
 imported from America or the Levant, is equally good, or perhaps 
 better, as being more rarely of a red color, which is a certain sign 
 of softness and of course unfitness for fine work, for which the 
 smallest log should always be chosen, those blocks which are of a 
 clear yellow color all over being the best. This, however, is very 
 dif^cult to obtain, as almost always the centre of the tree is of a 
 deeper yellow than the outside, which is in general whitish and 
 much softer. 
 
 Box is purchased in small trunks varying from four to twelve or 
 
APPENDIX. 243 
 
 fourteen inches in diameter, and from two to five feet in length ; 
 they are cut into sHces of about seven eighths of an inch in thick- 
 ness, the same as that of type, in order that the engraving may 
 be printed simultaneously with the letter-press. These slices, after 
 being cut from the trunk, are laid by for a period varying, according 
 to circumstances, from twelve months to two years, to ensure their 
 being properly seasoned. 
 
 To prepare a block for drawing, nothing more is requisite than 
 to cover the smooth surface with a thin coating of Bath-brick 
 finely powdered and mixed with a little water, which when dry is 
 to be removed by rubbing it off with the palm of the hand. This 
 gives a certain degree of roughness which makes the blacklead pen- 
 cil mark more freely on the block. Drawings on wood are exe- 
 cuted in two different styles : one in which the principal flat tints 
 are laid in in Indian-ink, and then touched up with a blacklead 
 pencil ; the other in which every line is drawn exactly as it is in- 
 tended to be produced in the engraving. 
 
 The tools used by wood engravers are gravers, tint tools, 
 scoopers or gouges, chisels or flat tools, and a mezzotint scraper 
 (see Fig. 7, Plate I) for scraping away the wood in the process of 
 lowering. The gravers are the same as those used in line engrav- 
 ing, and vary in form from the square lozenge to the extreme 
 
 lozenge. 
 
 Six or eight will generally be found sufificient. 
 
244 THE PRINT COLLECTOR. 
 
 Tint tools are deeper in the sides than gravers, and are used 
 
 where a succession of fine parallel lines are wanted. Six will be 
 found sufficient, those for the broadest lines being about as fine as 
 the most lozenge graver, and five others growing gradually finer. 
 
 Scoopers (Plate I, Fig. 6) are chiefly used for scooping out the 
 wood from the middle parts of the block, and ought to be of six 
 different sizes. 
 
 Flat tools, chis- 
 els, or, as they are 
 sometimes called, 
 blocking-out tools, 
 are used for cutting 
 away those parts of 
 the block which are 
 towards the sides 
 after the engraving is finished. 
 
 When the drawing is finished, before the engraver begins to 
 work upon it, the block ought to be covered all over with hot- 
 pressed Bath post, except that part where he intends to begin. It 
 is then placed on a sand-bag, which, being higher in the centre, 
 allows the block to be turned with more facility, and thereby gives 
 greater freedom of execution. 
 
 We have already said that the fac-simile style is much the easiest 
 kind of engraving. In this style less judgment and artistical power 
 are required, as every line is here drawn for the engraver, and all 
 that is required of him is sufficient mechanical practice to enable 
 him clearly to cut out those parts which have been left white by 
 the artist, and leave standing up, sharp and clear, ever}' line in the 
 
APPENDIX. 245 
 
 drawing. Thus in the fac-similc style the print of a wood engrav- 
 ing is little more than an exact representation in ink of the drawing 
 of the artist. 
 
 In all those parts of the drawing which are meant to be ex- 
 tremely soft and light, the surface of the block should be lowered 
 before the engraver begins to work upon it. As of course this 
 operation, which is done with a mezzotint scraper, entirely effaces 
 those parts of the design on which it is performed, and which the 
 engraver must either draw in again himself or take it back to the 
 artist, it is much better that only an outHne be made at first, and 
 the parts to be lowered indicated with tints of white color. The 
 wood engraver proceeds to lower the block in the necessary places, 
 and then gives it back to the draughtsman, who finishes his draw- 
 ing. By these means there is less danger of the drawing being in- 
 jured during the process, but at the same time it requires that the 
 artist should perfectly understand the principle of lowering. 
 
 It is in those designs which are made on the block with Indian- 
 ink that the mechanical skill and artistical powers of the engraver 
 are fully shown. Left almost entirely to himself, the choice of the 
 kind of work with which he proposes to make out the different 
 parts of the drawing depends more on his knowledge as a 
 draughtsman than his skill in handling the graver : for instance, let 
 an Indian-ink drawing of a fox be given to two engravers, one of 
 whom shall be eminent for the cleverness with which he can man- 
 age his tools, and the other very deficient in this respect, but at 
 the same time more used to the drawing of animals, the latter shall 
 produce an engraving which, however roughly executed, will have 
 that resemblance to nature for the want of which no skill or 
 beauty of execution on the part of the former can compensate. 
 We have been led to these observations by having lately seen a 
 work on animals where the subjects badly drawn are no doubt 
 made worse by the want of artistical knowledge displayed bj the 
 engraver in his elaborate and careful execution of them. 
 
246 THE PRINT COLLECTOR. 
 
 As in line engraving, so in engraving on wood, we can give no 
 rules for the use of such or such lines for expressing certain ob- 
 jects : it is true we can say that straight parallel lines are best for 
 indicating blue sky, and waving lines for clouds, but that is about 
 all we can say. We cannot tell with what lines the engraver 
 should make out the light leaves of the willow, or the stiff foli- 
 age of the yew ; the long grass of the meadow left unmown till 
 autumn, or the clean-cut lawn where not one blade rises higher 
 than another. These, and almost every other object, each en- 
 graver will represent after his own manner, and that manner is 
 best which approaches nearest to nature. We repeat, the best 
 method for the engraver is to practise drawing from nature in 
 blacklead, or pen and ink, those objects which it is his intention to 
 make the subject of his profession, whether it be landscape, fig- 
 ures, architecture, or animals. 
 
 When the engraving is finished, a proof is obtained in the fol- 
 lowing manner : With a small silk dabber dipped in printing-ink, 
 the whole surface of the block is evenly covered by dabbing it with 
 a light steady hand, and not too much ink, so as not to force it 
 between the lines. A piece of India paper is next laid on the block 
 with a card over it to prevent the fine lines from being injured by 
 the pressure. A burnisher is then rubbed firmly all over, by which 
 an impression of the work is taken off on to the India paper. 
 
 When an injury has happened to any part of the work, the only \ 
 remedy is to introduce a fresh piece of wood : for this purpose a 
 circular hole is drilled nearly through the block, sufficiently large to 
 cut out the part to be obliterated ; a plug of box is then driven in, 
 and the part re-engraved. 
 
 In engraving on wood by lamplight, a most excellent method is 
 to place between the work and the lamp a glass globe filled with 
 clear water, in such a manner that the concentrated rays of light 
 may fall upon the block. This has the advantage of giving a much 
 more brilliant light than the lamp itself, and at the same time 
 
APPENDIX. 247 
 
 much cooler, as the lamp is at a greater distance. It is also much 
 more economical, as a single lamp will serve several persons, each 
 having a globe. We have seen in France four persons working 
 very comfortably with one candle in the midst of them ; but in 
 England we do not study economy so much, nor is it so well under- 
 stood as amongst the nations of the continent. We remember also 
 to have seen in France a letter engraver make use of clear blue 
 water, or rather weak aquafortis strongly impregnated with copper, 
 in his globe, the light through which, he said, was much more 
 agreeable, clear water being too dazzling. 
 
 Chiaroscuro drawings are easily imitated on wood by printing 
 over the impression of the finished engraving a second block with 
 the high lights cut out : this, if printed in gray ink, will give the 
 appearance of a pen-and-ink drawing done on gray paper with the 
 high light touched in with white color. 
 
 LITHOGRAPHY. 
 
 Lithography is the art of drawing or writing on stone, though 
 many restrict the signification of the term to the mere printing or 
 taking impressions from such drawings or writings. We shall, 
 however, take it in the former sense, for though we propose to 
 briefly explain the process of lithographic printing, it is that part 
 which is executed by the artist which properly belongs to this 
 treatise. 
 
 The process of lithography depends on the facility Avith which 
 some kinds of stone absorb either grease or water, and on the nat- 
 ural antipathy which grease and water have for each other. An 
 even surface having been given to the stone, a drawing is made 
 upon it with a greasy chalk. The stone is then wet, and the 
 printer passes over it a roller covered with printing-ink, which ad- 
 heres to those parts only which are drawn upon with the chalk ; a 
 damp paper is then pressed upon it, and receives an impression of 
 the drawing. 
 
248 THE PRINT COLLECTOR. 
 
 Lithography was accidentally discovered about the year 1792 by 
 Alois Senefelder, the son of a performer at the Theatre Royal of 
 Munich. He was a student of law at the university of Ingold- 
 stadt, and after his father's death tried a theatrical life, but with- 
 out success. He then became an author, but being too poor to 
 publish his works, tried various methods of writing on copper in 
 order that he might print them himself, and soon found that a 
 composition of soap, wax, and lamp-black formed an excellent ma- 
 terial for writing, capable, when dry, of resisting aquafortis. To 
 obtain facility in writing backwards, as copper was too expensive, 
 he procured some pieces of calcareous stone, which when polished 
 served him to practise upon. His mother having one day desired 
 him to take an account of some linen she was sending to be 
 washed, he wrote it out on a piece of this stone with his composi- 
 tion of soap and wax. It afterwards occurred to him that by cor- 
 roding the surface with acid the letters would stand out in relief, 
 and admit of impressions being taken from them. He tried the 
 experiment and succeeded, and soon found that it was not abso- 
 lutely necessary to lower the surface of the stone, but that simply 
 wetting it was sufficient to prevent the printing-ink from adhering 
 to any parts except those which were marked with the composition. 
 
 Such was the invention of lithography, and Senefelder contin- 
 ued to pay unremitting attention to the improvement of the art. 
 In 1796 pieces of music were printed, and it was perhaps the first 
 time that lithography became of real use. The difficulty of writ- 
 ing backwards brought about the invention of the transfer-paper. 
 
 In 1799 Senefelder took out a patent at Munich, and soon after 
 entered into partnership with a Mr. Andr6 of Offenbach, who pro- 
 posed to establish presses and take out patents in London, Paris, 
 and Vienna. He came to London in 1801, with a brother of Mr. 
 Offenbach, and communicated the new art, then called polyautog- 
 raphy, to many of our best English artists, who tried it ; but the 
 continual failures, through want of skill in the printing, and the 
 
APPENDIX. 249 
 
 difference between German and English materials, caused it to be 
 abandoned. 
 
 Having separated from Mr. Andre, Senefelder went to Vienna, 
 where he tried to apply lithography to the printing of cottons, but 
 apparently without success, and he returned to Munich in 1806, in 
 which year the professor of drawing at the public school at Munich, 
 Mr. Mitterer, succeeded in multiplying copies of his drawings for 
 his pupils by lithography. He is also said to have invented the 
 composition for chalk as now made. 
 
 In 1809 we find Senefelder inspector of the royal lithographic 
 establishment at Munich, and engaged in printing a map of Ba- 
 varia, and soon after invented the stone paper, which, however, did 
 not succeed r it was exhibited in 1823 at London, by a partner of 
 Senefelder, but its liability to crack by being wet and the pressure 
 of the press rendered it useless. 
 
 Little was done in England after 1806, till its revival in 18 17, 
 since which time it has been gradually improving, till lately it has 
 acquired still greater powers by the means of employing a second 
 stone, by which is obtained a perfect imitation of drawings made 
 on tinted paper, having the lights laid on with white. 
 
 In France, also, it was not till the year 18 15 that any thing can 
 be said to have been done in lithography, when Count Lasteyrie 
 took it up. 
 
 The stones used in lithography are calcareous, and readily ab- 
 sorb grease and moisture, and effervesce with an acid. The best 
 are from Bavaria, though those of Chateauroux, in France, would 
 perhaps be found still better were they not so full of spots of a 
 softer nature ; for it is highly necessary that a stone should possess 
 the same degree of hardness throughout its entire surface. In 
 England, stones have been found at Corston, near Bath, which, 
 though of a coarser grain than the German stone, are sufficiently 
 good for writing or transfers. 
 
 Stones are prepared for chalk drawings by rubbing two together, 
 
250 THE PRINT COLLECTOR. 
 
 with a little silver sand and water between them, taking care to sift 
 it to prevent any large grains from getting in, by which the surface 
 would be scratched. The upper stone is moved in small circles 
 over the under one till the surface of each is sufHciently even, when 
 they are washed, and common yellow sand is substituted for the 
 silver sand, by which means is procured a finer grain. They are 
 then again washed clean and wiped dry. We must remark that 
 the upper stone is always found of a finer grain than the under 
 one. 
 
 To prepare stones for writing or ink drawings, the same process 
 is used. After being rubbed with the brown sand, it is washed off, 
 and powdered pumice-stone used instead : the stones are after- 
 wards washed, and each polished separately with a fine piece of 
 pumice-stone, or water Ayr-stone. Chalk can never be used on 
 the stones prepared in this manner. 
 
 Exactly the same process is followed in order to clean a stone 
 that has already been used. 
 
 Lithographic ink is composed of 
 
 Tallow 2 ounces. 
 
 Virgin wax 2 ounces. 
 
 Shell-lac 2 ounces. 
 
 Common soap 2 ounces. 
 
 Lamp-black |- an ounce. 
 
 " These materials are prepared in an iron saucepan with a 
 cover. The wax and tallow are first put in and heated till they 
 ignite ; whilst they are burning the soap must be thrown in in 
 small pieces one at a time, taking care that the first is melted be- 
 fore a second is put in. When all the soap is melted, the ingredi- 
 ents are allowed to continue burning till they are reduced one third 
 in volume. The shell-lac is now added, and as soon as it is melted 
 the flame must be extinguished. It is often necessary, in the course 
 
APPEA'D/X. 251 
 
 of the operation, to extinguish the flame and take the saucepan from 
 the fire, to prevent the contents from boiling over ; but if after the 
 process above described any parts are not completely melted, they 
 must be dissolved over the fire without being again ignited. 
 
 The black is now to be added, having previously mixed it with 
 thick varnish, made by heating linseed-oil till it will ignite from the 
 flame of a piece of lighted paper, and allowing it to burn till 
 reduced to one half. When it is completely dissolved, the whole 
 mass should be poured out on a marble slab, and a heavy weight 
 laid upon it to render its texture fine." 
 
 The utmost care and experience are required in the making 
 both of the ink and chalk, and even those who have had the great- 
 est practice often fail. Sometimes it is not sufficiently burned, 
 and when mixed with water appears slimy ; it must then be re- 
 melted and burned a little more. Sometimes it is too much 
 burned, by which the greasy particles are more or less destroyed : 
 in this case it must be remelted and a little more soap and wax 
 added. This ink is for writing or pen drawing on the stone. The 
 ink for transfers should have a little more wax in it. 
 
 Lithographic chalk is made of 
 
 Common soap i| ounce. 
 
 Tallow 2 ounces. 
 
 Virgin wax 2^ ounces. 
 
 Shell-lac I ounce. 
 
 Lamp-black I ounce. 
 
 The manner of mixing the ingredients is exactly the same as in 
 preparing the lithographic ink. 
 
 Transfer-paper is made as follows : 
 
 Dissolve in water half an ounce of gum tragacanth. Strain it, 
 and add one ounce of glue and half an ounce of gamboge. Then 
 take of 
 
252 THE PRINT COLLECTOR. 
 
 French chalk 4 ounces. 
 
 Old plaster of Paris ^ an ounce. 
 
 Starch i ounce. 
 
 Powder and sift them through a fine sieve ; grind them with the 
 gum tragacanth, glue, and gamboge ; then add sufificient water to 
 give it the consistence of oil, and apply it with a brush to thin 
 sized paper. 
 
 The drawing or writing being made on the prepared side of this 
 paper, is transferred to the polished stone (which must be warmed 
 to about 125° Fahrenheit) by being wet at the back and placed 
 with the face downward on the surface. The stone is then passed 
 four or five times under the press, and the paper, being damped, 
 is taken off, when the writing will be found transferred from the 
 paper on to the stone. This process is extremely useful for maps 
 and plans, etc., where expedition and economy are required. 
 
 The subject intended to be drawn ought to be traced on to the 
 stone in red, as the lines will more readily be distinguished from 
 those of the lithographic chalk, and in this operation, as well as all 
 others, the greatest care must be taken not to lay the fingers on 
 any part of the stone intended to be worked upon, as the insensible 
 perspiration of the hand will be sufificient to print. If in speaking, 
 also, the smallest speck of saliva should fall upon the stone, it will 
 prevent the chalk from adhering to it, and make a white spot. 
 
 The subject may also be dratvn on the stone with a soft black- 
 lead pencil, but we do not recommend it, as the similarity of color 
 occasions frequent mistakes as to which is chalk or which is black- 
 lead, so that parts where the pencil has been are frequently left un- 
 touched by the chalk through this mistake. 
 
 When the tracing is made, a bridge is placed over the stone to 
 prevent the hand from touching it, and the work is commenced 
 exactly in the same way as in making a drawing with a BBB black- 
 lead pencil on smooth paper, with this difference, that lithographic 
 
APPENDIX. 253 
 
 drawing requires a greater degree of firmness to make each stroke 
 tell ; for if sufficient strength be not employed to make the chalk 
 adhere firmly to the stone, it will come ofif in places in the prepara- 
 tion, and spoil the whole. The execution of the details, where 
 nothing but lines are wanted, is extremely simple, but when a fiat 
 tint is required considerable practice is necessary to lay it even, 
 and it is only to be done by continually working in different direc- 
 tions a great many times with faint strokes. This operation is so 
 extremely tedious that many artists who are in the habit of work- 
 ing on stone employ an assistant to do all the flat tints. 
 
 Whenever a light is wanted, it may either be left or scraped out 
 with a scraper : the last method is best whenever a thin white line 
 is wanted, or such lights as the foam of the sea. 
 
 If any part is made too dark, the only remedy is to pick out the 
 chalk with a very fine needle till it is reduced to the requisite 
 strength. 
 
 When the drawing is finished, it is prepared for printing by 
 etching-in, which operation consists in pouring over it aquafortis, 
 diluted in the proportion of one part acid to one hundred parts of 
 water. The stone is placed in a sloping direction, and when the 
 aquafortis has run over it, it is turned so that the acid may run 
 back again, producing a slight effervescence : the drawing on the 
 stone is then washed with water, and afterwards weak gum-water is 
 poured over it. The use of the acid is to destroy the alkali in the 
 lithographic chalk, making the stone refuse the printing-ink except 
 where touched by the chalk : the gum-water helps to fill up 
 the pores, and thereby prevents the lines of the drawing from 
 spreading. The proportion of acid in the water should always be a 
 little stronger for drawings made with ink than those made with 
 chalk. 
 
 When the stone is not too wet, the roller charged with printing- 
 ink is passed over it, and the stone is ready for printing. 
 
 To etch on stone, a highly polished one, such as is used for 
 
254 THE PRINT COLLECTOR. 
 
 writing on, is prepared by pouring over it the aquafortis as men- 
 tioned above, which is immediately washed off. As soon as dry, 
 cover it with gum-water and lamp-black, which must also dry, when 
 it is ready to etch upon. 
 
 In etching, you make use of a needle as in etching on copper, 
 with this difference, that you merely cut through the gum, the lines 
 that are to be dark being obtained by a broader point, and not by 
 pressing deeper into the stone : when the etching is finished, it is 
 rubbed all over with linseed-oil, and the gum washed off with 
 water. Let it be remembered that the line in this style of work 
 looks much thicker than it will print. 
 
 Wood-cuts maybe imitated on stone by covering with ink those 
 parts which are meant to be black, as in middle tint, and then 
 scratching out the lights with an etching-needle, whilst those lines 
 which come against a white background are best laid in with a 
 very fine brush and lithographic ink. 
 
 Very beautiful effects are produced in lithography by employ- 
 ing a second stone, and thus pencil sketches on colored paper 
 touched up with white are imitated in the most perfect manner. 
 The method is as follows : 
 
 Take wax 2 parts. 
 
 soap I part. 
 
 And a little vermilion to color it. Melt it in a saucepan, and cast 
 it into sticks. Rub this composition with water till it is as thick as 
 cream, and then cover with it a polished stone such as is used for 
 writing upon. An impression of the first stone is applied to the 
 stone so prepared, and the parts intended to be white are then 
 taken out entirely with the scraper, whilst those intended for half 
 tints are scraped somewhat less, so that by this method half a 
 dozen tints are obtained. The manner of printing is, first to take 
 an impression of the second or tint stone in an)^ color the artist 
 
APPENDIX. 255 
 
 may think will best suit his subject ; on this impression the first 
 stone is printed in black, the greatest care being taken by marks in 
 the first stone that the two impressions fit exactly, otherwise the 
 effect will be entirely spoiled. 
 
 Another method is, after an impression has been taken from the 
 first stone to the second, to cover the bright lights, which are to be 
 left white, with thick gum-water and a little vermilion. The whole 
 is then covered by rubbing a stick of the composition all over it 
 very thick, after which the superfluous composition is scraped off 
 with the straight edge of a piece of ivory or horn, and what 
 remains well rubbed in with a piece of the finest woollen cloth 
 stretched over the end of an oil-rubber which has never been used. 
 In performing this operation, a fresh place in the cloth should be 
 laid over the end of the oil-rubber after each stroke, which should 
 be carried the whole length of the stone, and the greatest care 
 taken to leave on, or rather rub in, to the stone the same quantity 
 of composition on every part, so as if printed it would give one 
 even tint all over the impression. 
 
 The next thing is to procure the different degrees of middle 
 tint, which are to be obtained in two different ways. First, where a 
 defined edge is not wanted the composition is to be rubbed off 
 with the woollen cloth, and this method is extremely useful for 
 clouds, and to soften the hard edges of the positive whites which 
 have been laid in with gum. In this way also the gradations of 
 evening skies are executed. 
 
 In the second method all the middle tints, which have a defined 
 edge, must be scraped up very carefully, otherwise they will be 
 uneven. The scraper may also be advantageously used to soften 
 the positive lights. 
 
 When only one tint, with the edges of the lights not softened, is 
 required, the quickest method is to lay in the white touches with 
 gum, as before directed, on the tint stone, after the impression of 
 the first stone is transferred to the stone intended to print the col- 
 
25 6 THE PRINT COLLECTOR. 
 
 ored tint, and then send it to the printer, who, by passing the roUer 
 two or three times over it, will give it a tint, which, if necessary, 
 may be softened at the edges of the white places, or have fresh 
 lights taken out afterwards with the scraper. 
 
 Drawings are now made on zinc plates : the operation is then 
 called zincography ; and the most beautiful work, quite equal to 
 lithography, is produced by it. At the same time the great porta- 
 bility of zinc plates, when compared with the ponderous stones re- 
 quired for large drawings in lithography, would always cause them 
 to be preferred, were it not for the circumstance that nothing that 
 is once done can be effaced and again retouched, nor can we take 
 out the lights, which on zinc plates ought always to be left. 
 
 These difficulties render zincography only fit to be practised by 
 an artist certain of his work and of what he intends to do : in such 
 hands it has this great advantage, that the faintest line, which in 
 lithography would perhaps be effaced in the etching in, is certain 
 to print. 
 
 Although, throughout this work, we have purposely abstained 
 from entering into those details which belong exclusively to the 
 printer, still we think we ought not to omit the following extracts 
 from the Magazine of Science. 
 
 If the drawing should run smutty, the following mixture for 
 cleaning the drawing, while printing, must be used : Take equal 
 parts of water, spirits of turpentine, and oil of olives, and shake 
 them well together in a glass phial until the mixture froths ; wet 
 the stone, and throw this froth upon it, and rub it with a soft 
 sponge. The printing-ink will be dissolved, and the whole drawing 
 will also disappear, though, on a close examination, it can be dis- 
 tinguished in faint white lines. On rolling it again with printing- 
 ink the drawing will gradually reappear as clear as at first. 
 
 Accidents sometimes occur in the printing from the quality of 
 the paper. If the paper has been made from rags which have 
 been bleached with oxymuriatic acid, the drawing will be incurably 
 
APPENDIX. 257 
 
 spoiled after thirty impressions. Chinese paper has sometimes a 
 strong taste of alum ; this is so fatal as sometimes to spoil the 
 drawing after the first impression. 
 
 When the stone is to be laid by after printing, in order that it 
 may be used again at a future period, the drawing should be rolled 
 in with a preserving-mk, as the printing-inks when dry would be- 
 come so hard that the drawings would not take the ink freely. 
 The following is the composition of the preserving-ink : Two 
 parts of thick varnish of linseed-oil, four parts of tallow, one part 
 of Venetian turpentine, and one part of wax. These must be 
 melted together ; then, four parts of lamp-black very carefully and 
 gradually mixed with it, and it must be preserved for use in a close 
 tin box. 
 
CATALOGUE OF 
 
 DURER'S ENGRAVINGS ON COPPER 
 
 AND ETCHINGS. 
 
CATALOGUE OF DURER'S ENGRAVINGS ON COPPER 
 AND ETCHINGS. 
 
 WITH ENUMERA TION OF COPIES. 
 
 SUBJECTS FROM THE OLD TESTAMENT. 
 
 Adam and Eve. — Dated 1504, one of Durer's earliest dated engrav 
 
 ings on copper, and one of his most perfect 
 
 Copies. — (i.) By John Wierix, whose name appears on the tablet 
 
 hanging from the tree, and the date 1568 on the corner. 
 (2.) By John van Goosen, "Johannes van " being inscribed 
 
 on the tablet after Durer's name. 
 (3.) Without the tablet, a poor engraving with a death's head on 
 
 the ground. 
 (4.) A small copy. 
 
 (5.) Copy by Marc' Antonio, reversed. 
 (6.) Another Italian copy, also reversed, supposed by Augustine 
 
 Veneziano. 
 (7,) Another Italian copy, by Antonio of Brescia. 
 
 SUBJECTS FROM THE NEW TESTAMENT. 
 
 The Birth of Christ. — The Virgin, with her hands in the attitude ol 
 adoration, looks down on the Holy Child lying before her. 
 Dated 1504 
 
 Copies. — (i.) Very beautiful imitation b}- Wierix. 
 (2.) By Adrian Huber, 1514, inscribed. 
 (3.) Without Durer's tablet, as in the original. 
 (4.) With the tablet. 
 
 THE PASSION, IN SIXTEEN DESIGNS. 
 
 Ecce Homo. — The Virgin and S. John Looking sadly at the Suffer- 
 ing Christ. Dated 1509 
 
 Christ on the Mount of Olives. 1508 
 
 The Kiss of Judas. 1508 
 
 Christ before Caiaphas. 1512 
 
 Christ before Pilate. 1512 
 
 The Scourging. 1512 
 
 The Crowning with Thorns. 1512 
 
 Christ Presented to the People (Ecce Homo). 1512 
 
 Pilate Washing his Hands. 1512 
 
 Bearing the Cross. 1512 
 
 Our Lord on the Cross. 1511 
 
 Christ Freeing Souls from Hades. 1512 .. 
 
 HELLER. 
 NO. 
 
 BARTSCH. 
 NO. 
 
 3 
 
 3 
 
 4 
 
 4 
 
 5 
 6 
 
 5 
 6 
 
 7 
 
 8 
 
 7 
 8 
 
 9 
 
 9 
 
 10 
 
 10 
 
 II 
 
 II 
 
 12 
 
 12 
 
 13 
 
 13 
 
 14 
 
 14 
 
262 
 
 THE PRINT COLLECTOR. 
 
 The Descent from the Cross. 1507 
 
 The Entombment. 1512 
 
 The Resurrection. 1512 
 
 SS. Peter and John Healing the Cripple. 1513 
 
 Christ on the Mount of Olives, 1515. — This is one of Durer's etch 
 ings, or, as they have been called, his " iron-plates." 
 
 Christ Dying on the Cross, 1508. — The holy women at the foot of 
 the Cross and S. John on the right, with stretched-out hands. 
 A small plate 
 
 The Little Crucifix. — A circular miniature, little more than an inch 
 and a half diameter 
 
 Christ with his Hands Bound, 1512. — An Etching, or drypoint 
 (" iron-plate") , 
 
 Christ Showing his Five Wounds 
 
 Christ Seated, 1515. — The crown of thorns is on the head. Etch- 
 ing, or rather drypoint. A pewter plate (?) 
 
 S. Veronica, 15 10. — A small plate three inches high 
 
 An Angel Flying with the Cloth exhibiting the Veronica, 1516. — 
 An etching ("iron-plate") 
 
 Two Flying Angels displaying the Holy Cloth with the Image of 
 our Lord's face. 15 13 
 
 The Prodigal Son 
 
 The Virgin and Anna 
 
 Mary on the Half Moon, without Crown. — The Holy Child is sit- 
 ting on her right arm. Her hair flows behind her 
 
 Mary on the Half Moon, without Crown, but with date, 1514. — She 
 looks to the right. This print is called by Bartsch the " Virgin 
 with the Short Hair." 
 
 Mary on the Half Moon, with the Crown of Stars, 1508 
 
 Mary on the Half Moon, with the Crown of Stars and Sceptre, 
 1516 
 
 Mary Crowned by an Angel, 1520. — She sits on a cushion placed on 
 a bank 
 
 Mary Crowned by two Angels, 1518. — The Virgin sits looking to the 
 right, with a crown of roses 
 
 The Nursing Mary, 1503.— The Holy Child is held by the right 
 hand to the left breast. The tablet, with the year 1503, hangs 
 behind her on a twig 
 
 The Nursing Mary, 1519. — In this print also the child is held to the 
 left breast. The Virgin sits on a bank 
 
 Mary with the Swaddled Child, 1520. — She sits on a cushion placed 
 on a great stone 
 
 Mary Sitting under a Tree, 1513. — She sits on a bank at the foot of 
 a tree 
 
 Mary by the Wall, 1514. — The Virgin holds the child in both her 
 arms, he having an apple in his right hand 
 
 Mary with the Pear, 151 1. — She sits at the foot of a great tree, in 
 her right hand a pear 
 
 Mary with the Monkey 
 
 The Holy Family with the Butterfly. — A larger plate than any other 
 of the Marienbilds 
 
 The Holy Family. — One of the etchings, or "iron-plates;" or pos- 
 sibly on a softer metal, done principally with drypoint 
 
 HELLER. 
 
 BARTSCf 
 
 NO. 
 
 NO. 
 
 15 
 16 
 
 15 
 16 
 
 17 
 
 18 
 
 17 
 18 
 
 19 
 
 20 
 
 24 
 
 21 
 
 23 
 
 22 
 
 21 
 
 23 
 
 20 
 
 24 
 25 
 
 22 
 64 
 
 26 
 
 26 
 
 27 
 
 28 
 
 25 
 28 
 
 29 
 
 29 
 
 30 
 
 30 
 
 31 
 
 32 
 
 33 
 
 31 
 
 33 
 
 32 
 
 34 
 
 37 
 
 35 
 
 39 
 
 36 
 
 34 
 
 37 
 
 36 
 
 38 
 
 38 
 
 39 
 
 35 
 
 40 
 
 40 
 
 41 
 
 42 
 
 41 
 42 
 
 43 
 
 44 
 
 44 
 
 43 
 
THE PRINT COLLECTOR. 
 
 263 
 
 SAINTS. 
 
 S. Philip. — He holds in his left hand the long staff with the cross... 
 
 S. Bartholomew, 1523. — The knife is in his left hand, a book in his 
 right arm 
 
 S. Thomas, 1514. — In his right hand is the instrument of his mar 
 tyrdom, the spear 
 
 S. Simon, 1523. — In his right hand is the saw 
 
 S. Paul, 1514. — His left arm supports the open book 
 
 S, Anthony, 15 19. — He sits in the foreground, and reads in a book 
 held by both hands 
 
 S. Christopher, 1521. — In this design the saint turns his head as if 
 to remonstrate with the miraculous burden which weighs him 
 down 
 
 S. Christopher, same date. — In this the Holy Child lays his right 
 arm on the saint's head, the fingers being in benediction , 
 
 S. John Chrysostom. — The saint creeping on hands and knees to 
 wards the left, and in the middle of the composition, at the 
 mouth of a grotto, a woman nurses a child at her breast. . . 
 
 S. Hubert, properly S. Eustachius, no date. — The most elaborate of 
 all Durer's plates. The size of this plate is only 13! by 10^, 
 but the elaboration and the detail make it equal to a larger 
 field 
 
 S. George on Foot. — His right hand holds a banner with the cross, 
 
 S. George on Horseback, 1508. — The dead dragon lies along by the 
 horse's feet 
 
 S. Jerome in his Study, 1514. — On the foreground lies the lion ; 
 beside him a curious dog 
 
 S. Jerome. — An etching or "iron-plate." The saint sits in a wild 
 place in a storm of wind and rain 
 
 S. Jerome Praying. — One of the larger plates upright 
 
 The little Praying Jerome. — He kneels to a crucifix which is at- 
 tached to a tree 
 
 S. Sebastian bound to a Pillar 
 
 S. Sebastian bound to a Tree 
 
 MYTHOLOGY AND OTHER SUBJECTS. 
 
 Judgment of Paris 
 
 'Apollo and Diana. — Apollo bends his bow, looking to the right. . . 
 
 The Rape of Anymone. — Called by Durer in his "Journal" a 
 " Meerwunder." The Triton carries her through the water. . . . 
 
 Pluto carrying away Proserpine. — An etching, or " iron-plate.". . . 
 
 Jealousy. — A large plate 
 
 The Satyr's Family, 1505. — The Satyr advances from the left, play- 
 ing on a pipe or trumpet 
 
 The Vengeance of Justice. — It represents a man riding on a lion, 
 in his right hand a sword, in his left scales 
 
 The Little Fortune. — A naked woman of common type, the back 
 presented to the spectator, standing on a globe 
 
 Temperance ; usually called " The Great Fortune." 
 
 Melanchol)% 1514 
 
 The Dream. — A young man sleeps on a bench by the side of a great 
 stove, while a demon blows into his ear with a pair of bellows. 
 
264 
 
 THE PRINT COLLECTOR. 
 
 The Four Naked Women, 1497. — They stand in a chamber, the 
 one in the middle having her back to the spectator 
 
 The Witch. — A wild woman rides a flying or leaping animal, her 
 face being towards the left 
 
 The Three Genii, or Cupids 
 
 The Bath. — An etching, or "iron-plate." Five figures, or rather 
 studies of figures, naked for the most part 
 
 Gentleman and Ladj"^ Walking. — They go towards the left 
 
 The Love Offer. — A middle-aged man, with a short beard, sits be- 
 side a young woman 
 
 The Wild Man Seizing a Woman 
 
 The Bagpiper, 1514. — Small 
 
 The Dancing Peasants 
 
 The Peasant and his Wife. — They stand looking towards the left. . 
 
 The Peasant going to Market. He goes to the left, stretching out 
 his right hand 
 
 The Three Peasants. — They stand together in talk 
 
 The Cook and the Housekeeper 
 
 The Turk and his Wife. — He is on the left, the woman on the right 
 of the print 
 
 The Standard-bearer. — A soldier with bare head holding a banner. 
 
 The Six Soldiers 
 
 The Little Courier. — He gallops to the left, his right hand flourish- 
 ing a whip 
 
 The Lady on the Horse 
 
 The smaller War-horse, 1505.— rThe white heavy charger is turned 
 to the right : 
 
 The larger War-horse, 1505. — A foot-soldier, holding a halbert, 
 and with a helmet on his head, steps towards the left 
 
 The Knight, with Death and the Devil, 1513 
 
 The Cannon, 1518. — A landscape, with a great cannon and two 
 figures. This is the best of the so-called " iron-plates." 
 
 The Monster Pig 
 
 The Shield with the Lion and Cock 
 
 The Shield of the Death's Head, 1503 
 
 PORTRAITS. 
 
 The smaller Cardinal Archbishop Albert of Magdeburg and Maintz, 
 
 1519 
 
 The larger Portrait of the same 
 
 Frederick the Wise, Elector of Saxony, 1524 
 
 Erasmus, 1526 
 
 Philip Melanchthon, 1526 
 
 Bilibald Pirkheimer, 1524 
 
 HELLER. 
 NO. 
 
 74 
 
 79 
 
 99 
 100 
 loi 
 102 
 103 
 104 
 
II. 
 
 CATALOGUE OF DURER'S WOOD ENGRAVINGS. 
 
 OLD TESTAMENT SUBJECTS. 
 
 Cain Killing Abel 
 
 Samson Killing the Lion 
 
 NEW TESTAMENT SUBJECTS. 
 
 Adoration of the Magi, 1511 
 
 The Greater Passion: A Series of Twelve. Size, 15 inches by io|. 
 
 The Title 
 
 The Last Supper, 1510 
 
 The Agon}^ in the Garden 
 
 The Seizing of Christ, 1510 • 
 
 The Flagellation 
 
 The Mocking 
 
 Bearing the Cross 
 
 The Crucifixion 
 
 Christ taking the First Redeemed from Hades 
 
 The Bewailing of the Maries 
 
 The Entombment 
 
 The Resurrection 
 
 The Little Passion : A Series of 37, title included. Size, 5 inche 
 by 3-1 
 
 The Title 
 
 Adam and Eve taking the Apple 
 
 The Expulsion from Paradise 
 
 The Annunciation by Gabriel 
 
 The Nativity : Adoration of the Shepherds 
 
 The Entry into Jerusalem • 
 
 The Cleansing of the Temple 
 
 Christ taking leave of his Mother before his Passion 
 
 The Last Supper 
 
 The Washing of the Feet 
 
 The Agony in the Garden . . 
 
 The Kiss of Judas 
 
 Christ brought before Annas 
 
 The High-priest Caiaphas rends his Clothes 
 
 The Mocking in the House of Caiaphas 
 
 Our Lord brought before Pilate 
 
 Before Herod 
 
 The Flagellation 
 
 The Crowning with Thorns 
 
 Presented to the People : .'.'.""..".".".."."." 
 
 Pilate Washing his Hands 
 
 Bearing the Cross ].. 
 
 The Veronica 
 
 Nailing Christ on the Cross, prone on the Ground 
 
 The Crucifixion 
 
266 
 
 THE PRINT COLLECTOR. 
 
 The Harrowing of Hell 
 
 The Descent from the Cross 
 
 The Weeping of the Maries 
 
 The Entombment 
 
 The Resurrection 
 
 Christ in Glory appearing to his Mother 
 
 Appearing to the Magdalene , 
 
 At Emmaus , 
 
 The Unbelief of S. Thomas 
 
 The Ascension 
 
 The Descent of the Holy Ghost 
 
 Christ Seated for Judgment 
 
 The Last Supper, 1523. — This is a long-shaped design.. . 
 
 The Mount of Olives 
 
 Pilate showing Christ to the People. (Not in Bartsch.). 
 
 The Head of Christ 
 
 The Great Head of Christ. — Larger than life 
 
 Christ on the Cross, 1510 
 
 Christ on the Cross, 1516 
 
 Calvary. 
 
 The Crucifixion 
 
 Christ on the Cross with Three Angels 
 
 Th« Trinity, 1511 
 
 The Apocalypse of S. John : A Series of 16 Designs, including 
 
 Title, 1498, viz. : 
 
 The attempted Martyrdom of S. John, in a Cauldron of Burning 
 
 Oil, under Domitian 
 
 The Seven Golden Candlesticks and the Seven Stars 
 
 The Throne of God, with the Beasts and the Twenty-four Elders. 
 
 The Four Horses with their Riders 
 
 The Martyrs clothed in White, and the Stars Falling 
 
 The Four Angels Holding the Winds, and the Multitude who 
 
 were Sealed 
 
 The Seven Angel Trumpeters 
 
 The Four Angels Slaying the Third Part of Man 
 
 John is made to eat the Book 
 
 The Woman clothed with the Sun, and the Seven-headed Dragon. 
 
 The Archangel Michael fights with the Dragon 
 
 The Worship of the Seven-headed Dragon and of the Horned Lion. 
 
 The Lamb in Zion 
 
 The Woman of Babyl on Sitting on the Beast 
 
 The Angel Imprisoning the Dragon 
 
 Celebrations of the Virgin. The Life of the Virgin ; 20 Designs, 
 
 1511, viz. : 
 
 Title 
 
 Joachim's Offering Rejected 
 
 The Angel of the Lord appears to Joachim with a promise 
 
 shall have a child 
 
 Joachim returns Home, and Anna meets him at the Golden Gate 
 
 The Birth of Mary 
 
 The Virgin ascending the Steps of the Temple 
 
 The Marriage of Joseph and Mary 
 
 he 
 
 HBLLER. 
 NO. 
 
 41 
 42 
 
 43 
 44 
 45 
 46 
 47 
 48 
 49 
 50 
 51 
 52 
 53 
 54 
 55 
 56 
 57 
 58 
 59 
 60 
 61 
 62 
 63 
 
 64 
 
 65 
 66 
 67 
 68 
 69 
 
 70 
 71 
 72 
 73 
 74 
 75 
 76 
 77 
 78 
 79 
 
 80 
 
THE PRnWT COLLECTOR. 
 
 267 
 
 The Annunciation 
 
 The Visitation of Elizabeth 
 
 The Nativity : with the Adoration of the Shepherds 
 
 The Circumcision 
 
 The Adoration of the Three Kings 
 
 The Purification of Mary 
 
 The Flight into Egypt 
 
 The Repose in Egypt 
 
 Christ Teaching in the Temple 
 
 Christ Bidding his Mother Farewell 
 
 The Death of the Virgin, 15 10 
 
 The Assumption of the Virgin 
 
 A Celebration of the Virgin-mother , 
 
 The Holy Family, 1511. — An upright composition 
 
 The Holy Family, "with the Cithern," 1511 
 
 The Holy Family, 1526 , 
 
 The Holy Family in a Chamber 
 
 Mary with the Swaddled Child 
 
 Mary Crowned by two Angels, 15 18 
 
 The Holy Family with the Three Rabbits , 
 
 SAINTS. 
 
 S. Arnolf, Bishop 
 
 S. Christopher, 1511 
 
 S. Christopher with the Birds 
 
 S. Christopher, 1525 
 
 S. Colman, 1513 
 
 S. Francis receiving the Stigmata 
 
 S. George 
 
 The Mass of S. Gregory, 151 1 
 
 S. Jerome in a Chamber, 1511 
 
 S. Jerome in the Grotto, 1512 
 
 The Little S. Jerome 
 
 The Beheading of S. John the Baptist 
 
 The Head of the Baptist brought to Herod, 1511 
 
 S. Sebald ; with his foot on a pillar, in his left the model of S. Se. 
 
 bald's kirk in Niirnberg , 
 
 The Penitent 
 
 The Prophet Ellas and the Raven 
 
 SS. John and Jerome 
 
 SS. Nicholas, Udalricus, and Erasmus , 
 
 SS. Stephen, Gregory, and Lawrence 
 
 The Eight Austrian Saints 
 
 The Martyrdom of the 10,000 in Nicomedia, Bithynia , 
 
 The Beheading of S. Catharine 
 
 S. Mary Magdalene , 
 
 Kaiser Max attending Mass 
 
 MYTHOLOGICAL AND NATURAL SUBJECTS. 
 
 Judgment of Paris. — Very small 
 
 " Hercules" 
 
 The Rider 
 
 (ELLER. 
 
 BARTSCH. 
 
 NO. 
 
 NO. 
 
 37 
 
 83 
 
 88 
 
 84 
 
 8q 
 
 85 
 
 90 
 
 86 
 
 91 
 
 87 
 
 92 
 
 88 
 
 93 
 
 89 
 
 94 
 
 90 
 
 95 
 
 91 
 
 90 
 
 92 
 
 97 
 
 93 
 
 98 
 
 94 
 
 99 
 
 95 
 
 100 
 
 96 
 
 lOI 
 
 97 
 
 102 
 
 98 
 
 103 
 
 100 
 
 104 
 
 
 105 
 
 lOI 
 
 106 
 
 102 
 
 107 
 
 
 108 
 
 103 
 
 109 
 
 104 
 
 no 
 
 105 
 
 III 
 
 106 
 
 112 
 
 no 
 
 113 
 
 in 
 
 114 
 
 123 
 
 115 
 
 114 
 
 116 
 
 113 
 
 117 
 
 115 
 
 118 
 
 125 
 
 119 
 
 126 
 
 120 
 
 Ap. 22 
 
 121 
 
 119 
 
 122 
 
 107 
 
 123 
 
 112 
 
 124 
 
 n8 
 
 125 
 
 108 
 
 126 
 
 116 
 
 127 
 
 117 
 
 128 
 
 120 
 
 129 
 
 121 
 
 130 
 
 App. 31 
 
 131 
 
 134 
 
 132 
 
 i£7 
 
 133 
 
 131 
 
268 
 
 THE PRINT COLLECTOR. 
 
 The Bath „ 
 
 The Embrace 
 
 The Learner, 1510 
 
 Death and the Soldier, 1510 
 
 The Besieging of a Town, 1537 
 
 The Rhinoceros, 1515 
 
 The Triumphal Chariot of Kaiser Maximilian I. — This is a series of 
 large blocks, eight in number, engraved by Jerome Rosch. 
 
 The Triumphal Arch of the Kaiser Max. — This is a combination of 
 ninety-two blocks, making an engraved surface of 11 feet 3 
 inches by 10 feet wide 
 
 The Great Column with the Satyr, 1517. 
 
 A Man Sketching, another sitting opposite, by means of a square 
 frame 
 
 Two Men sketching a Lute ■ 
 
 A Man sketching an Urn 
 
 A Man sketching a Woman , 
 
 Hemispherium Australe 
 
 Imagines Coeli Septentrionalis 
 
 Imagines Coeli Meridionalis 
 
 Six round ornamental Designs, on Black Ground ; supposed pat- 
 terns for embroidering 
 
 A Decoration, with the figures of God the Father holding the cha- 
 lice in one hand and tables of the law in the other, and Christ 
 bearing his Cross 
 
 A Title-Border 
 
 Another Title-Border, for a book published 1526 
 
 The Pirkheiraer Title-Border 
 
 HERALDIC PIECES. 
 
 The Arms of the Patrician Family of Beham 
 
 Shield of Arms of the Durers, dated 1523 
 
 The Shield of Arms of the Niirnberg families Ebner and Furer, 
 
 1 5 16 
 
 The Shield of Arms of the Kressen Family 
 
 The Arms of the Town of Niirnberg, 1521 
 
 The Shields of Albert von Scheuerl and of Ann Ziuglin 
 
 Arms of Johann Stabius 
 
 The Shield of Stabius with a Border 
 
 The Arms of Lawrence Staiber 
 
 The Shield with Three Lions' Heads 
 
 The Arms with the Wild Man and Two Dogs 
 
 PORTRAITS. 
 
 The Emperor Maximilian, 1519. — Ahead nearly the size of life. . . . 
 
 Emperor Maximilian 
 
 Ulrich Varnbuler, 1522. — A profile turned to the right 
 
 Albert Durer's Portrait. — Inscribed "Albrecht Durers contrefeyt in 
 seinem alter Des LVI Jares." ; 
 
 134 
 
 135 
 136 
 
 128 
 135 
 133 
 
 138 
 139 
 
 137 
 136 
 
 141 
 
 142 
 
 143 
 144 
 145 
 
 146 
 147 
 148 
 149 
 
 150-155 
 
 156 
 157 
 
 158 
 159 
 
 160 
 161 
 
 162 
 163 
 
 164 
 
 165 
 
 166 
 
 167 
 
 168 
 169 
 170 
 
 171 
 172 
 173 
 
 174 
 
THE WHOLE ETCHED WORK OF 
 REMBRANDT. 
 
TABLE 
 
 THE WHOLE ETCHED WORK OF REMBRANDT 
 
 ARRANGED IN CHRONOLOGICAL ORDER. 
 
 *^j* The Studies, Sketches, and Portraits are placed first ; then the Scriptural and 
 Religious Compositions ; General and Fancy Compositions j and lastly the 
 Landscapes. 
 S. followed by a number in the first column to the right refers to Pierre Yver's 
 Suppletnent. 
 
 Numbers in the Catalogues of 
 
 
 1628 
 
 Two small figures, etc., unfinished 
 
 A little bust, a man with a ruff and feathers 
 
 Head of a woman ; on the right side of the plate 
 
 A man on horseback, etc. (Rh). . . , 
 
 Bust of an old woman, lightly etched (Rh 1628) 
 
 An old woman's head, full face, seen only to the chin 
 (Rh 1628) 
 
 1629 
 
 Rembrandt, a bust ; supposed to be engraved on pewter 
 (Rh 1629) 
 
 A beggar by the road side ; an old woman in the distance 
 
 A dealer in old clothes 
 
 Two beggars, a man and a woman coming from behind a 
 bank (Rh) 
 
 Two beggars, a half length, and a head 
 
 Three profiles 0/ old men 
 
 Two beggars, a man and a woman, side by side 
 
 A beggar warming his hands over a chafing-dish 
 
 St. Jerome ; an outline 
 
 St. Jerome, seated ; with a large book. 
 
 1630 
 
 A Philosopher with an Hour-glass (Rh 1630). 
 Rembrandt with a conical cap ; in an oval. , . 
 Rembrandt, in a fur cap and dark dress 
 
 340 
 S. 130 
 S. 141 
 
 138 
 
 321 
 
 320 
 
 133 
 
 158 
 174 
 341 
 175 
 167 
 99 
 S.53 
 
 296 
 16 
 
 7 
 
 30 
 
 336 
 
 367 
 331 
 369 
 139 
 
 348 
 
 347 
 
 30 
 
 162 
 179 
 368 
 180 
 170 
 III 
 147 
 
 318 
 
 12 
 
 6 
 
272 
 
 THE PRINT COLLECTOR. 
 
 Numbers in the Catalogues of 
 
 Bust, the features resembling Rembrandt, with a jewel in 
 
 his cap 
 
 Rembrandt ; a small head, stooping 
 
 Rembrandt ; the plate an irregular octagon (Rh) 
 
 Rembrandt, with very small black eyes 
 
 Rembrandt, with an open mouth (Rh 1630) 
 
 Rembrandt, with an air of grimace (Rh 1630) 
 
 Rembrandt, with haggard eyes (Rh 1630) 
 
 Rembrandt, a full face, laughing (Rh 1630) 
 
 Rembrandt, with curly hair, rising into a tuft over his 
 
 left eye (Rh 1630) 
 
 Rembrandt, with fur cap and light dress (Rh 1630) 
 
 Portrait (unknown) of a man with a broad-brimmed hat 
 
 and a ruiF (Rh 1630) 
 
 An old man ; a bust shaded only on the right . . 
 
 An old man with a large beard ; the shoulders rise above 
 
 the ears (Rh 1630) 
 
 An old man with a large beard ; the shoulders lower than 
 
 the ears (Rh 1630) 
 
 An old man with a bushy beard ; a full length (Rh) 
 
 A beggar standing, and leaning upon a stick . . . 
 
 A beggar sitting on a hillock ; with his mouth open (Rh 
 
 1630) 
 
 A beggar with a wooden leg 
 
 An old man sitting on a chair, and wearing a high cap 
 
 (Philon the Jew) (Rh 1630) 
 
 Two beggars, a man and a woman conversing (Rh 1630).. 
 Head and bust, full face ; looking from behind a wall 
 
 (Rh 1630) 
 
 Profile of a bald man with a jewelled chain (Rh 1630). . . 
 Head resembling the last, smaller and more stooping 
 
 (Rh 1630) 
 
 Profile of a man, bald headed, and coarsely etched 
 
 Jesus Christ disputing with the Doctors ; a small upright 
 
 print (Rh 163b) 
 
 The Presentation ; with the angel (Rh 1630) 
 
 The Circumcision ; a small upright print 
 
 Tobit ; seen from behind 
 
 A flight into Egypt ; a sketch 
 
 A man standing towards the right (Rh 1630) 
 
 i63i 
 
 Rembrandt, with a broad nose 
 
 Rembrandt, with bushy hair, and strongly shaded (Rh). . . 
 Rembrandt, with a cap and robe of fur (Rh 1631) 
 
 Rembrandt, with a round fur cap, full face (Rh 1631) 
 
 A young man, full face ; with a low misshapen cap (Rh 
 1631) 
 
 6 
 S. 131 
 
 13 
 
 18 
 
 14 
 298 
 294 
 
 S. II 
 
 288 
 269 
 
 286 
 144 
 
 155 
 
 168 
 
 172 
 
 299 
 157 
 
 280 
 270 
 
 270 
 
 284 
 
 65 
 51 
 
 47 
 
 146 
 
 163 [ 
 
 S.26J 
 
 1S2 
 
 5 
 S. 127 
 
 19 
 S.9[ 
 
 21 J 
 
 1S7 
 
 5 209 
 
 336 221 
 
 9 213 
 
 13 ' 219 
 
 10 214 
 
 320 \ 217 
 
 316 ' 
 
 332 
 
THE PRINT COI.r.l'.CTOR. 
 
 73 
 
 Numbers in the Catalogues of 
 
 d 
 
 U 
 Q 
 
 1 
 1 
 
 28 
 
 319 
 
 15 
 
 15 
 
 25 
 
 25 
 
 8 
 
 8 
 
 I 
 
 I 
 
 7 
 
 7 
 
 339 
 
 349 
 
 333 
 
 343 
 
 338 
 
 348 
 
 294 
 
 298 
 
 317 
 
 324 
 
 303 
 
 307 
 
 310 
 
 314 
 
 304 
 
 30S 
 
 293 
 257 
 
 297 
 260 
 
 311 
 308 
 
 315 
 312 
 
 172 
 
 175 
 
 
 134 
 
 345 
 
 355 
 
 348 
 
 358 
 
 312 
 
 317 
 
 164 
 
 167 
 
 147 
 168 
 
 150 
 171 
 
 151 
 162 
 
 154 
 166 
 
 16^ 
 
 168 
 
 157 
 
 160 
 
 260 
 
 263 
 
 137 
 
 138 
 
 141 
 166 
 
 142 
 
 169 
 
 Rembrandt, with a soft round cap ; known as 'L'homme 
 
 a trois crocs' 
 
 Rembrandt, with a fur mantle or cape (Rh 1631) 
 
 Rembrandt, with bushy hair (injured with the acid) (Rh j 
 
 1631 1 
 
 Rembrandt, with bushy hair (the head nearly fills the 
 
 plate) 
 
 Rembrandt, with bushy hair, and small white collar (Rh). 
 Portrait of Rembrandt, with broad hat and embroidered 
 
 mantle (Rh 1631) 
 
 Rembrandt's mother in a black dress ; a small upright 
 
 (Rh 1631) 
 
 Rembrandt's mother seated, looking to the right (Rh. f.). . 
 Rembrandt's mother, her hand resting upon her breast 
 
 (Rh 1631) 
 
 Bust of a bald man, leaning forward to the right, with 
 
 his mouth open (Rh 1631) 
 
 Bust of a bald-headed man with a large nose (Rh 1631). . 
 Bust of an elderly man with a cap and robe of fur (Rh 
 
 1631) 
 
 An old man wearing a calotte edged with fur (Rh 1631). . 
 Bust of a man turned to the left, with an action of grim- 
 ace 
 
 Head and bust, upright, with bushy beard (Rh 1631) 
 
 Bust of an old man with a long beard (Rh 1631) 
 
 An old man with a large beard ; a square plate (Rh 163 i) 
 
 Man with a large beard, and low fur cap 
 
 An old beggar seated, with a dog by his side (Rh 1631). . 
 An old woman in a cottage ; ' the Onion Woman ' (Rh 
 
 1631) 
 
 An old woman wearing a dark head-dress with lappets 
 
 (Rh 1631) 
 
 A woman in a veil ; the lower part of the plate an irreg- 
 ular oval 
 
 Head and bust, the head nearly filling the upper right of 
 
 the plate (Rh 1631) 
 
 A beggar in a ragged coat ; in the manner of Callot (Rh 
 
 1631) 
 
 Small full-length figure of a beggar in a large cloak (Rh 
 
 1631) 
 
 Lazarus Klap, or the Dumb Beggar (Rh 1631) 
 
 Two Venetian figures 
 
 A beggar with a crippled hand ; in the manner of Callot 
 
 A beggar woman, with a leathern bottle 
 
 A beggar sitting in an elbow chair 
 
 A man with a short beard, and embroidered cloak (Rh 
 
 1631 
 
 The Blind Fiddler (Rh 1631) 
 
 The Little Polander (Rh 1631) 
 
 A beggar standing to the left ; a small upright print (Rh) 
 
 318 
 313 
 
 275 
 302 
 
 283 
 291 
 
 285 
 274 
 240 
 292 
 289 
 169 
 
 322 
 
 325 
 
 295 
 
 160 
 
 143 
 165 
 148 
 158 
 161 
 S.62 
 
 243 
 137 
 140 
 162 
 
274 
 
 THE PRINT COLLECTOR. 
 
 Numbers in the Catalogues of 
 
 OS 
 
 Small head, with a high misshapen cap 
 
 Sketches, with a so-called ' Head of Rembrandt ' (Rh ( 
 
 1631) \ 
 
 A sheet of sketches ; afterwards divided into five (Rh).. . 
 Bust of an old man, in profile, to the right.. . "I f 
 
 Small bust of an old man with an aquiline nose Parts of 
 
 An old man, seen from behind |- J^' ^ r \ 
 
 A Turkish slave | skeTches. I 
 
 Bust of a man crying out, turned to the left.. J L 
 
 A peasant with his hands behind him (Rh 1631) 
 
 A woman sitting upon a hillock , . . 
 
 A woman beneath a tree (Rh 1631) 
 
 Diana bathing (Rh f.) 
 
 Dianae and Jupiter (Rh) 
 
 i632 
 
 An old man with a large white beard, and fur cap (Rh f.) 
 
 The Persian (Rh 1632) 
 
 Rembrandt's mother in a widow's dress (Rembrandt f.). . . 
 
 A Polander ; turned to the left, a full length 
 
 Head of an old man with dark eyes 
 
 Head of a bald old man ; inclined to the left 
 
 Old man with a gray beard ; his hair short and wavy. . . . 
 
 Grotesque head of a man crying out 
 
 Grotesque head in a high fur cap 
 
 A Holy Family. The Virgin with a basket of linen (Rh) 
 St. Jerome kneeling ; an arched print (Rembrandt ft. 
 
 1632) 
 
 The Rat Killer, an injured plate 
 
 The Rat Killer (Rh 1632) 
 
 1633 
 
 Rembrandt, with a scarf round his neck (Rembrandt f. 
 1633) 
 
 Rembrandt, with the bird of prey 
 
 An old woman, etched no lower than the chin (Rembrandt 
 f- 1633) 
 
 A Polander ; walking towards the right 
 
 The Flight into Egypt ; a small upright (Rembrandt in- 
 ventor et fecit 1633) 
 
 The Good Samaritan (Rembrandt inventor et fecit 1633). . 
 
 The Descent from the Cross (Rembrandt ft. 1633) 
 
 The Descent from the Cross (Rembrandt cum pryvl" 1633) 
 
 The Resurrection of Lazarus ; a large print (Rh v. Ryn f.) 
 
 Jacob lamenting the supposed death of Joseph (Rem- 
 brandt van Ryn fet.) 
 
 Adverse Fortune (Rembrandt f. 1633) 
 
 278 
 336^ 
 337) 
 332 
 S. 129 
 S. 129 
 141 
 279 
 277 
 134 
 190 
 183 
 193 
 196 
 
 242 
 
 145 
 313 
 140 
 
 273 
 
 S. 132 
 
 306 
 
 305 
 
 61 
 
 lOI 
 
 118 
 
 317 
 
 22 
 
 17 
 
 17 
 
 4 
 
 3 
 
 3 
 
 3iq 
 
 341 
 
 351 
 
 139 
 
 139 
 
 140 
 
 52 
 
 56 
 
 52 
 
 77 
 
 94 
 
 90 
 81 
 
 84 
 
 83 
 
 81 
 
 74 
 
 77 
 
 73 
 
 35 
 
 42 
 
 38 
 
 123 
 
 113 
 
 III 
 
THE PRINT COLLECTOR. 
 
 275 
 
 Numbers in the Catalogues of 
 
 OS 
 
 > 
 
 1 
 
 
 
 p 
 
 1 
 
 i 
 
 C3 
 
 153 
 143 
 
 156 
 144 
 
 121 
 
 no 
 
 18 
 
 2 
 
 18 
 2 
 
 231 
 206 
 
 337 
 330 
 335 
 263 
 
 347 
 340 
 345 
 266 
 
 201 
 199 
 242 
 186 
 
 23 
 
 23 
 
 232 
 
 174 
 
 177 
 
 140 
 
 175 
 
 178 
 
 141 
 
 103 
 
 100 
 
 71 
 
 48 
 43 
 
 85 
 
 44 
 39 
 80 
 
 17 
 II 
 
 55 
 
 92 
 
 88 
 
 162 
 
 75 
 
 72 
 
 121 
 
 71 
 68 
 119 
 
 46 
 42 
 90 
 
 276 
 357 
 340 
 130 
 295 
 301 
 
 279 
 367 
 350 
 129 
 299 
 305 
 
 190 
 250 
 244 
 92 
 302 
 259 
 
 302 
 169 
 
 306 
 172 
 
 294 
 
 137 
 
 283 
 
 286 
 
 173 
 
 284 
 
 287 
 
 288 
 
 285 
 286 
 287 
 100 
 
 288 
 
 289 
 
 290 
 
 97 
 
 289 
 
 255 
 
 286 
 
 68 
 
 1684 
 
 A skater 
 
 Two travelling peasants 
 
 Rembrandt, with a drawn sabre, held upright (Rembrandt 
 
 f-i634) 
 
 Rembrandt, with moustache and small beard 
 
 Rembrandt's wife with pearls in her hair (Rembrandt f. 
 
 1634) 
 
 Study of Saskia ; ' the Great Jewish bride ' (R 1634) 
 
 A young woman reading (Rembrandt f. 1634) 
 
 Jan Cornells Sylvius (Janus Sylvius) (Rembrandt f. 1634) 
 Portrait, unknown, of a man with a sabre (Rembrandt f. 
 
 1634) 
 
 A beggar and a companion piece ; a man turned to the 
 
 left (Rembrandt f. 1634) 
 
 A beggar and a companion piece ; a man turned to the 
 
 right (Rembran. f. 163) 
 
 St. Jerome, sitting at the foot of a tree (Rembrandt f. 
 
 1634) 
 
 The Angel appearing to the Shepherds (Rembrandt f. 
 
 1634) 
 
 Joseph and the wife of Potiphar (Rembrandt f. 1634) 
 
 The Crucifixion ; a small square plate (Rembrandt f.). . . . 
 Our Lord and the Disciples at Emmaus ; a small print 
 
 (Rembrandt f. 1634) 
 
 The Samaritan Woman ; ' at the ruins ' (Rembrandt f. 
 
 1634) 
 
 The Tribute Money 
 
 The Travelling Musicians 
 
 1635 
 
 Johannes Uijtenbogaerd (Rembrandt f. t. 1635) 
 
 Three heads of women 
 
 An old woman sleeping 
 
 The Mountebank (Rembrandt f. 1635) 
 
 Bust of an old man, in a very high fur cap 
 
 A man with curling hair, and his under lip thrust out. . . . 
 An old man with short straight beard ; a profile to the 
 
 right 
 
 A ragged peasant, with his hands behind him 
 
 Three Oriental heads. First head, full face (Rembrandt 
 
 1635) 
 
 Three Oriental heads. Second head, a profile to the left 
 
 (Rembrandt) 
 
 Three Oriental heads. Third head, a profile to the right 
 
 (Rembrandt 1635) 
 
 A young man in a mezetin cap (R) 
 
 Bust of an old man asleep (Rembrandt) 
 
 The Martyrdom of St. Stephen (Rembrandt f. 1635) 
 
 151 
 142 
 
 23 
 3 
 
 316 
 311 
 314 
 246 
 
 28 
 
 171 
 
 171 
 
 100 
 
 43 
 36 
 
 91 
 
 72 
 67 
 115 
 
 259 
 333 
 303 
 127 
 276 
 281 
 
 282 
 166 
 
 266 
 
 266 
 267 
 
 268 
 
276 
 
 THE PRINT COLLECTOR. 
 
 Numbers in the Catalogues of 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 .S 3 
 
 1 
 
 ^" 
 
 
 c 
 
 OS 
 >■ 
 
 
 
 P 
 
 
 S 
 
 % 
 
 69 
 
 73 
 
 69 
 
 44 
 
 73 
 
 103 
 
 los 
 
 102 
 
 73 
 
 107 
 
 120 
 
 126 
 
 124 
 
 93 
 
 128 
 
 249 
 
 266 
 
 269 
 
 183 
 
 271 
 
 24 
 
 19 
 
 19 
 
 203 
 
 19 
 
 331 
 
 355 
 
 365 
 
 249 
 
 3^9 
 
 S3 
 
 82 
 
 77 
 
 52 
 
 82 
 
 70 
 
 95 
 
 91 
 
 43 
 
 96 
 
 89 
 
 89 
 
 85 
 
 59 
 
 90 
 
 132 
 
 38 
 
 33 
 
 4 
 
 135' 
 
 334 
 
 35S 
 
 36S 
 
 251 
 
 362 
 
 290 
 
 309 
 
 313 
 
 269 
 
 314 
 
 248 
 
 265 
 
 268 
 
 258 
 
 270 
 
 31 
 
 37 
 
 30 
 
 3 
 
 37 
 
 293 
 
 26 
 
 29 
 
 216 
 
 26 
 
 25 
 
 20 
 
 20 
 
 233 
 
 20 
 
 312 
 
 332 
 
 342 
 
 200 
 
 338 
 
 37 
 
 41 
 
 37 
 
 9 
 
 41 
 
 29 
 
 34 
 
 28 
 
 I 
 
 35 
 
 329 
 
 353 
 
 363 
 
 237 
 
 357 
 
 26 
 
 21 
 
 21 
 
 234 
 
 21 
 
 261 
 
 278 
 
 281 
 
 189 
 
 2S3 
 
 239 
 
 256 
 
 259 
 
 268 
 
 2bO 
 
 131 
 
 133 
 
 133 
 
 lOI 
 
 135 
 
 1^6 
 
 160 
 
 Ib3 
 
 i2b 
 
 160 
 
 S. 63 
 
 158 
 
 161 
 
 127 
 
 158 
 
 150 
 
 152 
 
 155 
 
 lib 
 
 152 
 
 335 
 
 359 
 
 3^9 
 
 122 
 
 3^3 
 
 97 
 
 102 
 
 99 
 
 70 
 
 104 
 
 49 
 
 53 
 
 49 
 
 22 
 
 54 
 
 109 
 
 III 
 
 109 
 
 79 
 
 113 
 
 Jesus Christ driving out the money-changers (Rembrandt 
 
 f.1635) 
 
 St. Jerome kneeling (Rembrandt f. 1635) 
 
 The Pancake Woman (Rembrandt f. 1635) 
 
 1636 
 
 Menasseh Ben Israel (Rembrandt f. 1636) 
 
 Rembrandt and his wife (Rembrandt f. 1636) 
 
 Rembrandt's wife and five other heads (Rembrandt f. 
 
 1636) 
 
 The Ecce Homo (Rembrandt f. 1636 cum privele et) 
 
 The Prodigal Son (Rembrandt f. 1636) 
 
 The Virgin mourning the death of Jesus 
 
 Abraham caressing Isaac (Rembrandt f.) 
 
 1637 
 
 Three heads of women, one asleep (Rembrandt f. 1637) . . 
 An old man, wearing a rich velvet cap (Rembrandt f. 
 
 1637) 
 
 A young man seated ; turned to the left (Rembrandt f. 
 
 1637) 
 
 Abraham sending away Hagar and Ishmael (Rembrandt 
 
 f. 1637) 
 
 1638 
 
 Rembrandt with a flat cap and slashed vest (Rembrandt). 
 Rembrandt in a mezetin cap and feather (Rembrandt f. 
 
 1638) 
 
 The St. Catharine, or the Little Jewish Bride (Rembrandt 
 
 f. 1638) • 
 
 Joseph telling his dreams (Rembrandt f. 1638) 
 
 Adam and Eve (Rembrandt f. 1638) 
 
 1639 
 
 The head of Rembrandt, and other studies 
 
 Rembrandt leaning on a stone sill (Rembrandt f. 1639). • • 
 Wittenboogaert : ' The Goldweigher ' (Rembrandt f. 1639) 
 
 An old man lifting his hand to his cap 
 
 A Jew with a high cap ; a full length (Rembrandt f. 1639) 
 
 A beggar standing, seen in profile : to the left 
 
 Three beggars — a man, a woman, and a child 
 
 A physician feeling the pulse of a patient 
 
 Two women in separate beds, etc 
 
 The Death of the Virgin (Rembrandt 1639) 
 
 The Presentation in the Vaulted Tem pie 
 
 Youth surprised by death (Rembrandt f. 1639) 
 
THE PRINT COLLECTOR. 
 
 277 
 
 Numbers in the Catalogues of 
 
 
 1640 
 
 Portrait, unknown — an old man in a divided fur cap 
 (Rembrandt, f. 1640) 
 
 The Decollation of St. John the Baptist (Rembrandt f. 
 1640) 
 
 Sketch of a dog 
 
 The little dog sleeping 
 
 The Flute-player (Rembrandt f. 1640) 
 
 A large tree and a house : an early morning effect (R)... . 
 
 A view of Amsterdam - 
 
 1641 
 
 Cornells Claesz. Anslo (Rembrandt 1641) 
 
 Portrait : a man with a crucifix and chain (Rembrandt f. 
 1641) 
 
 Portrait of a boy, half length (Rembrandt f. 1641) 
 
 An old woman reading 
 
 The Baptism of the Eunuch (Rembrandt f. 1641) 
 
 The Virgin and the Holv Child in the clouds (Rembrandt 
 f. 1641) ' 
 
 Jacob and Laban (Rembrandt f. 1641) 
 
 The Angel ascending from Tobit and his family (Rem- 
 brandt f. 1641) 
 
 A man playing cards (Rembrandt f. 1641) 
 
 The Draughtsman 
 
 The Schoolmaster (Rembrandt f. 1641) 
 
 The large Lion Hunt (Rembrandt f. 1641) 
 
 A small Lion Hunt — with a lioness 
 
 A Lion Hunt ; a companion piece 
 
 A battle piece 
 
 Rembrandt's Mill (Rembrandt f. 1641) 
 
 A large landscape, with a Dutch haybarn (Rembrandt f. 
 1641) 
 
 A large landscape, with a mill sail (Rembrandt f. 1641) . . 
 
 1642 
 
 Rembrandt's Wife, dying 
 
 A young woman with a basket 
 
 A man in an arbor (Rembrandt f. 1642) 
 
 St. Jerome ; in Rembrandt's dark manner (Rembrandt f. 
 
 1642) 
 
 The Resurrection of Lazarus ; a small print (Rembrandt 
 
 f. 1642) 
 
 The Descent from the Cross ; a sketch (Rembrandt f. 
 
 1642) 
 
 A student in his chamber 
 
 A cottage with white pales (Rembrandt f. 1642) 
 
 245 
 
 92 
 338 
 153 
 180 
 199 
 202 
 
 251 
 
 241 
 
 2=^8 
 
 261 
 
 287 
 
 306 
 
 310 
 
 S. 140 
 
 352 
 
 362 
 
 95 
 
 lOI 
 
 98 
 
 60 
 
 65 
 
 61 
 
 114 
 
 120 
 
 118 
 
 42 
 
 47 
 
 43 
 
 135 
 
 13b 
 
 136 
 
 128 
 
 131 
 
 130 
 
 126 
 
 129 
 
 128 
 
 113 
 
 lib 
 
 114 
 
 113 
 
 117 
 
 115 
 
 113 
 
 118 
 
 lib 
 
 113 
 
 119 
 
 117 
 
 225 
 
 230 
 
 233 
 
 217 
 
 222 
 
 225 
 
 222 
 
 222 
 
 22b 
 
 326 
 
 349 
 
 359 
 
 323 
 
 34b 
 
 356 
 
 237 
 
 254 
 
 257 
 
 105 
 
 108 
 
 105 
 
 73 
 
 76 
 
 72 
 
 8S 
 
 86 
 
 82 
 
 142 
 
 145 
 
 148 
 
 224 
 
 229 
 
 232 
 
278 
 
 THE PRINT COLLECTOR. 
 
 Numbers in the Catalogues of 
 
 
 1643 
 
 Three peasants travelling 
 
 Sketch of a tree, etc 
 
 The Hog (Rembrandt f. 1643) 
 
 The Three Trees (Rembrandt f. 1643) 
 
 1644 
 
 The Shepherd and his Family (Rembrandt f. 1644') 
 
 1645 
 
 Jesus Christ's Body carried to the Tomb (Rembrandt) 
 
 A Repose : in outline (Rembrandt f. 1645) 
 
 St. Peter (Rembrandt f. r645) 
 
 Abraham with his son Isaac (Rembrandt 1645) 
 
 View of Omval, near Amsterdam (Rembrandt f. 1645) . . . 
 The Boat-house, called 'A Grotto with a Brook ' (Rem- 
 brandt 1645) 
 
 Six's Bridge (Rembrandt f. 1645) 
 
 A village with a river and sailing vessel 
 
 1646 
 
 Jan Cornells Sylvius ; an oval portrait (Rembrandt 1646). 
 
 An old man resting his hands on a book 
 
 A beggar woman asking alms (Rembrandt 1646) 
 
 An Academical figure seated on the ground (Rembrandt 
 
 f. 1646) 
 
 A figure, formerly called ' The Prodigal Son ' (Rembrandt 
 
 1 646) 
 
 Academical figure of two men 
 
 The Shepherds in the wood 
 
 The Friar in the Cornfield 
 
 Ledikant (Rembrandt f. 1646) 
 
 A landscape, with a man sketching the scene 
 
 1647 
 
 Ephraim Bonus (Rembrandt f. 1647) 
 
 The Portrait of Jan Six (Rembrandt f. 1647) 
 
 A Repose in a wood . a night effect 
 
 An artist drawing from a model 
 
 The Spanish Gipsy 
 
 1648 
 
 Rembrandt drawing (Rembrandt f. 1648) 
 
 John Asselyn (Rembra. f. i.) 
 
 The Crucifixion ; an oval plate 
 
 129 
 339 
 152 
 204 
 
 217 
 
 88 
 
 88 
 
 84 
 
 S8 
 
 62 
 
 58 
 
 58 
 
 Q9 
 
 96 
 
 32 
 
 39 
 
 34 
 
 201 
 
 206 
 
 209 
 
 223 
 
 22S 
 
 231 
 
 200 
 
 20=; 
 
 208 
 
 219 
 
 225 
 
 228 
 
 260 
 
 277 
 
 280 
 
 142 
 
 144 
 
 147 
 
 164 
 
 167 
 
 170 
 
 188 
 
 193 
 
 196 
 
 185 
 
 190 
 
 193 
 
 186 
 
 191 
 
 194 
 
 181 
 
 186 
 
 189 
 
 lyq 
 
 184 
 
 187 
 
 178 
 
 183 
 
 186 
 
 211 
 
 216 
 
 219 
 
 25S 
 
 275 
 
 278 
 
 265 
 
 282 
 
 285 
 
 57 
 
 61 
 
 57 
 
 184 
 
 189 
 
 192 
 
 116 
 
 122 
 
 120 
 
 27 
 
 22 
 
 22 
 
 257 
 
 274 
 
 277 
 
 Si 
 
 84 
 
 79 
 
THE PRINT COLLECTOR. 
 
 279 
 
 Numbers in the Catalogues of 
 
 OS 
 
 
 
 h! 
 
 <j 
 
 
 
 
 
 n 
 
 
 103 
 
 74 
 
 112 
 
 82 
 
 176 
 
 146 
 
 126 
 
 98 
 
 230 
 
 330 
 
 223 
 
 324 
 
 74 
 
 49 
 
 253 
 
 346 
 
 237 
 
 337 
 
 8g 
 
 64 
 
 159 
 
 353 
 
 224 
 
 325 
 
 213 
 
 31b 
 
 218 
 
 319 
 
 235 
 
 335 
 
 236 
 
 336 
 
 227 
 
 328 
 
 217 
 
 318 
 
 282 
 
 174 
 
 330 
 
 256 
 
 272 
 
 t8o 
 
 42 
 
 15 
 
 53 
 
 2b 
 
 40 
 
 12 
 
 270 
 
 84 
 
 195 
 
 117 
 
 234 
 
 334 
 
 II 
 
 236 
 
 364 
 
 348 
 
 (57 
 
 39 
 
 4b 
 
 19 
 
 St. Jerome writing, seated near a large tree (Rembrandt 
 f. 164S) 
 
 Medea, or the Marriage of Jason and Creusa (Rembrandt 
 f. 164S) 
 
 Three beggars at the door of a house (Rembrandt f. ib48) 
 
 A Jew's Synagogue (Rembrandt f. 1648) 
 
 An Orchard with a barn 
 
 Landscape with a ruined tower and clear foreground . . . . 
 
 1649 
 
 Jesus Christ healing the sick, ' The Hundred Guilder ' . . . 
 
 The Bull (Rembrandt f. 1649) 
 
 Landscape with a cow drinking 
 
 1650 
 
 Jesus Christ in the midst of His disciples (Rembrandt 
 1650) 
 
 The Shell or the Damier (Rembrandt f. 1650) 
 
 An arched landscape with a flock of sheep (Rembrandt f. 
 1650) 
 
 A peasant carrying milk pails 
 
 A village with a square tower ; an arched plate (Rem- 
 brandt f. 1650) 
 
 Landscape with a canal and swans (Rembrandt f. ibso).. . 
 
 Landscape with a canal and large boat (Rembrandt f. 
 1650) 
 
 Landscape with an obelisk 
 
 The Three Cottages (Rembrandt f. ibso) 
 
 1651 
 
 Portrait of Coppenol ; a smaller plate 
 
 Bust of a young man ; lightly etched 
 
 Clement de Jonghe (Rembrandt f. 1651) 
 
 Tobit blind, with the dog (Rembrandt f. 165 1) 
 
 The flight into Egypt ; a night effect (Rembrandt f. ibsi). 
 
 The Triumph of Mordecai 
 
 Doctor Faustus 
 
 The Bathers (Rembrandt f. 1651) 
 
 The Goldweigher's Field (Rembrandt ibsi) 
 
 1652 
 
 Portrait of Titus, Rembrandt's son 
 
 A Copse and paling, with studies of a horse, etc 
 
 Jesus Christ preaching ; called the ' La Tombe ' 
 
 The Adoration of the Shepherds ; a night piece 
 
 124 
 170 
 122 
 221 
 215 
 
 75 
 S. 91 
 228 
 
 68 
 154 
 
 216 
 205 
 
 210 
 227 
 
 227 
 218 
 209 
 
 262 
 S. 125 
 
 252 
 41 
 53 
 39 
 
 250 
 
 187 
 
 226 
 
 15 
 
 330 
 
 66 
 
 45 
 
28o 
 
 THE PRINT COLLECTOR. 
 
 Jesus disputing with the Doctors ; a larger plate (Rem- 
 brandt f. 1652) , 
 
 David on his knees (Rembrandt f. 1652) 
 
 Jesus Christ entombed 
 
 The Star of the Kings (Rembrandt) 
 
 The Canal ; a landscape of irregular form 
 
 The Vista (Rembrandt f. 1652) 
 
 1653 
 
 Jan Antonides van der Linden 
 
 St. Jerome ; an unfinished piece 
 
 Our Lord crucified between two thieves ; otherwise 
 
 known as 'The Three Crosses' (Rembrandt f. 1653).. 
 
 The flight into Egypt, called 'in the style of Elzheimer'. . 
 
 The Sportsman, a landscape 
 
 1654 
 
 Our Lord and the disciples at Emmaus (Rembrandt f. 
 1654) 
 
 The Nativity (Rembrandt f.) 
 
 The Circumcision, with the cask and net (Rembrandt f. 
 1654) 
 
 The Flight into Egypt — the Holy Family crossing a rill 
 (Rembrandt 1654) 
 
 The Holy Family, with the Serpent (Rembrandt f. 1654). . 
 
 The Descent from the Cross ; a night piece (Rembrandt 
 1654) 
 
 The Presentation ; in Rembrandt's dark manner 
 
 Jesus and His parents returning from Jerusalem (Rem- 
 brandt f. 1654) 
 
 Jesus disputing with the Doctors ; the smaller print 
 (Rembrandt f. 1654) 
 
 The Sport of Kolef or Golf (Rembrandt f. 1654) 
 
 1655 
 The elder Haring 
 
 The j-^ounger Haring (Rembrandt f, 1655) 
 
 Doctor Arnolduz Tholinx 
 
 Abraham's Sacrifice (Rembrandt f. 1655) 
 
 'Four prints for a Spanish book (Rembrandt f. 1655) 
 
 Our Lord before Pilate (Rembrandt f. 1655) 
 
 St. Peter and St. John at the Gate of the Temple 
 
 The Goldsmith (Rembrandt 1655) 
 
 Numbers in the Catalogues of 
 
 >< 
 
 
 
 
 
 
 
 
 .S "5 
 
 'i 
 
 
 
 
 
 
 
 ?!o 
 
 <A 
 
 •§ 
 
 
 61 
 > 
 
 u 
 
 m 
 
 S 
 
 64 
 
 69 
 
 65 
 
 36 
 
 40 
 
 45 
 
 41 
 
 13 
 
 H7 
 
 90 
 
 86 
 
 61 
 
 112 
 
 "5 
 
 113 
 
 8s 
 
 213 
 
 218 
 
 221 
 
 322 
 
 214 
 
 219 
 
 222 
 
 323 
 
 244 
 
 261 
 
 264 
 
 181 
 
 104 
 
 107 
 
 104 
 
 75 
 
 80 
 
 81 
 
 78 
 
 53 
 
 56 
 
 60 
 
 56 
 
 29 
 
 203 
 
 208 
 
 211 
 
 314 
 
 90 
 
 91 
 
 87 
 
 63 
 
 44 
 
 49 
 
 45 
 
 18 
 
 46 
 
 51 
 
 47 
 
 20 
 
 .S5 
 
 59 
 
 55 
 
 28 
 
 62 
 
 b7 
 
 b3 
 
 34 
 
 86 
 
 87 
 
 83 
 
 58 
 
 50 
 
 54 
 
 50 
 
 23 
 
 54 
 
 64 
 
 60 
 
 38 
 
 63 
 
 68 
 
 64 
 
 35 
 
 121 
 
 127 
 
 125 
 
 97 
 
 254 
 
 271 
 
 274 
 
 178 
 
 2SS 
 
 272 
 
 275 
 
 179 
 
 264 
 
 281 
 
 284 
 
 188 
 
 33 
 
 36 
 
 35 
 
 6 
 
 S4 
 
 40 
 
 36 
 
 8 
 
 7Q 
 
 80 
 
 76 
 
 51 
 
 5B 
 
 98 
 
 95 
 
 65 
 
 119 
 
 125 
 
 123 
 
 94 
 
THE PRINT COLLECTOR. 
 
 Numbers in the Catalogues of 
 
 iSO 
 
 X 
 
 cc 
 
 276 
 
 273 
 
 29 
 
 182 
 176 
 
 2 
 
 75 
 107 
 
 50 
 
 78 
 
 32 
 
 283 
 
 228 
 
 175 
 
 70 
 no 
 201 
 
 45 
 
 80 
 
 164 
 
 199 
 
 163 
 
 197 
 205 
 
 161 
 169 
 
 94 
 203 
 
 66 
 167 
 
 202 
 
 166 
 
 1656 
 
 Johannes Lutma (Rembrandt f. 1656) 
 
 Abraham Fransz, or Francen 
 
 Abraham entertaining the angels (Rembrandt 1656) 
 
 1657 
 
 Our Lord in the Garden of Olives 
 
 St. Francis praying (Rembrandt f. 1657) 
 
 1658 
 
 Rembrandt on a high and narrow plate (Rembrandt f. 
 1658) 
 
 Portrait of Coppenol ; a large plate 
 
 Jesus and the Samaritan woman ; an arched print (Rem- 
 brandt 1658) 
 
 An Allegorical piece (Rembrandt 1658) 
 
 A woman with her feet in the water (Rembrandt f. 1658). 
 
 A woman preparing to dress after bathing (Rembrandt f. 
 1658) 
 
 A woman seated before a Dutch stove (Rembrandt f. 
 1658) 
 
 A negress lying down (Rembrandt 1658) 
 
 1659 
 
 St. Peter and St. John at the Gate of the Temple (Rem- 
 brandt f. 1659) 
 
 Antiope and Jupiter (Rembrandt f. 1659) 
 
 1660. 1661 
 
 The woman with an arrow (Rembrandt f. 1661) 
 
 256 j 273 
 253 1 270 
 
 30 I 35 
 
 78 
 107 
 
 II 
 
 263 
 
 71 
 112 
 192 
 
 191 
 
 189 
 197 
 
 94 
 195 
 
 194 
 
 199 
 
 278 
 
 275 
 
 36 
 
 79 
 112 
 
 32 
 
 285 
 
 74 
 114 
 197 
 
 196 
 
 194 
 
 202 
 
 98 
 200 
 
 199 
 
BIBLIOGRAPHY. 
 
BIBLIOGRAPHY. 
 
 A 
 
 Observations sur 1' Introduction au Catalogue d'Estampes de M. D. G. de A. 
 , 1861. 8vo. 
 
 The name of the author of this book, published under the above initials, is stated by the authorities of the 
 British Museum to be Rocheaux. 
 
 Alken CHenry). The Art and Practice of Etching; with Directions for other Methods of 
 Light and Entertaining Engraving. London: 1849. Svo. 
 
 Alvin. Les Commencements de la Gravure aux Pays-Bas. Bruxelles: 1857. 8vo. 
 
 Anleitung zur Holzschneidekunst. 8vo. pp. 143. 
 
 Argues (Gerard d'). Mani^re de Graver en taille-douce et k I'eau forte. 
 
 This is a practical manual of Engraving on Copper-plate and of the Etching Process. The author, who vifas 
 a geometrician, was bom at Lyons in 1597, and died there in 1661. 
 
 Arnauldet (Th.). Notes sur les Estampes satiriques, bouffonnes ou singulieres relatives a 
 Part ou aux artistes frangais pendant les xviie at xviiie siecles. Paris: 1859. Svo. Plates. 
 
 Arrest du Conseil d'Etat, qui maintient et garde Part de la Graveure de Taille-douce, au 
 burin et a I'eau forte et autre maniere telle qu'elle soit, et ceux qui font profession 
 d'icelui, tant r^gnicoles qu'^trangers, en la liberte qu'ils ont toujours eue de I'exercer dans 
 le royaume, sans qu'ils y puissent etre reduits en maitrise, ni corps de metier, ni sujets a 
 autre regie, ni controlle, sous quelques noms que ce soit. Du 26 Mai, 1660. Paris. 4to. 
 
 Articles des Statuts, R6glements et Ordonnances faits et accordez entre les maistres tailleurs 
 graveurs de la ville et fauxbourgs de Paris, pour etre a I'avenir gardez et observez 
 entr'eux, sous le bon plaisir de sa Majeste. 21 Juin, 1660. Paris: 1700. 4to. 
 
 Ashley (Alfired). Art of Etching on Copper. London : 1849. 4to. pp. vi. 18; with 14 
 
 Baker (W. S.). American Engravers and their Works. Philadelphia: 1876. 8vo. pp. 184. 
 
 Baker (W. S.). The Origin and Antiquity of Engraving. Boston: 1875. Svo. pp. 62. 
 
 Baker (W.S.). WiEiam Sharp, Engraver: His Life, and Catalogue of his Works. Phila- 
 delphia: 1875. Svo. pp. 121. 
 
 Baldinucci (Filippo). Cominciamento e progresso dell'arte di Intagliari in rame, con le 
 vite de' molti pid eccellenti maestri della stessa professione. Firenze : 1686. 4to. 
 
 Bartsch (Adam). Anleitung zur Kupferstichkunde. 2 vols. Wien: 1821. Svo. 11 Plates. 
 
286 THE PRINT COLLECTOR. 
 
 Bartsch (Adam). Anton Waterlo's Kupferstiche. Wien: 1795. i2nio. 
 
 Bartsch (Adam). Catalogue raisonn6 de toutes les Estampes qui forment I'ceuvre de Lucas 
 de Leyde. Vienne: 1798. 8vo. 
 
 Bartsch (Adam). Catalogue raisonne de toutes les Estampes qui forment I'oeuvre de Rem- 
 brandt. 2 vols. 8vo. Vienne: 1797. 
 
 Bartsch (Adam). Catalogue raisonn^ des Estampes gravies a I'eau forte par Guido Reni. 
 Vienne: 1795. l2mo. 
 
 Bartsch (Adam). Le Peintre-Graveur. Vienne: 1803-1821. 21 vols. i2mo, with Atlas in 
 quarto. 
 
 Bartsch. Supplements au Peintre-Graveur de Adam Bartsch, recueillis et publics par R. 
 Weigel. Leipzig: 1843. i2mo. 
 
 Bartsch. Zusatze zu Adam Bartsch's Le Peintre-Graveur, von Joseph Heller. Nuremberg : 
 1854. i2mo. 
 
 Basan (F. ). Dictionnaire des Graveurs, anciens et modernes, depuis I'origine de la gravure, 
 avec une notice des principales estampes qu'ils ont gravies, suivi des Catalogues des 
 CEimres de Jacques Jordaens et de Corneille Vischer. 3 vols. Paris : 1767. i2mo. 2d 
 edit, considerably enlarged. 2 vols. Paris: 1789. 8vo. 
 
 Some copies of the second edition were issued with a new title, dated 1809, to which was added "Notice 
 Historique sur I'Art de la Gravtire en France," by Chofiard. 
 
 Bate (John). Art of Engraving. \-a. Mysteries of Nature Mid Art. London: 1634-5. 4to. 
 
 Baudicour (Prosper de). Le Peintre-Graveur Frangais continue, ou Catalogue raisonne des 
 Estampes gravies par les peintres et les dessinateurs de 1' ecole Frangaise nes dans le 18^ 
 si^cle ; ouvrage faisant suite au Peintre-Graveur Frangais deM. Robert Dumesnil. 2 vols. 
 Paris: 1859-61. 8vo. 
 
 [Baverel (J. P. ) et Malpez. ] Notices sur les Graveurs qui nous ont laisse des Estampes 
 marques de Monogrammes, Chiffres, Rebus, Lettres initiales, etc., avec une description 
 de leurs plus beaux ouvrages et des planches en taille-douce, contenant toutes les marques 
 dont ils se sont servis ; suivies d'une table qui en donne I'explication. 2 vols. Besangon : 
 
 1807, 1808. 8vo. pp. XV. 360; 322, lix; 5 plates of engravers' marks. 
 
 Beaupre. Notice sur quelques Graveurs Nanc6ens du XVIIP Si^cle. Nancy : 1862. 8vo. 
 
 Becker (Carl). Jost Amman, Zeichner und Formschneider, Kupferatzer und Stecher. Nebst 
 Zusatzen von R. Weigel. Leipzig: 1854. 4to. 17 wood-cuts. 
 
 Becker (F. P.). Specimens of Engraving by the Omnigraph. London: n. d. 4to. 
 
 Becker (Rod. Zach.). Gravures en bois des anciens Maitres allemands, tiroes des planches 
 originales recueilles par Jean Albert de Derschau, publi^es avec un Discours sur la Nature 
 et I'Histoire de la Gravure en Bois, en AUemand et en Frangais. Three parts. Gotha: 
 
 1808, 1810, 1816. Folio. 
 
 Bell (John Gray). A descriptive and critical Catalogue of works illustrated by Thomas and 
 John Bewick, wood-engravers, Newcastle-upon-Tyne; with an appendix of their miscella- 
 neous engravings, brief sketches of their lives, and notices of the pupils of Thomas 
 Bewick. London: 1 85 1. 8vo. Portrait. 
 
THE PRINT COLLECTOR. 287 
 
 Bergellanus CJo. Arnold). De Chalcographise Inventione poema encomiasticum. Mogun- 
 tiae: 1541. 4to. 
 
 Bernard (A. J.)- Geofroy Tory, peintre et graveur, premier imprimeur royal, reformateur 
 de I'orthographe et de la typographe sous Fran9ois I«^ Paris: 1857. 8vo. pp. xvi. 246; 
 14 wood-cuts in the text. 
 
 This is the first edition of this celebrated work. It printers, as well as a king's printer, to which class 
 
 is dedicated to Ambroise Fimiin-Didot, who defrayed M. Didot belonged. The author mentions that he was 
 
 the expense of its publication, desiring to make known formerly an empioye in the Didot printing establish- 
 
 the history of one of the most illustrious of French ment. 
 
 Bernard (A. J.). Geofroy Tory, peintre-graveur, premier imprimeur royal, reformateur de 
 I'orthographe et de I'imprimerie sous Fran9ois I^'. Deuxi^me Edition, enti^rement refon- 
 due. Paris : 1865. Royal 8vo. 
 
 This is an elegantly printed volume from the print- ings by Tory and his pupils, and the trade-marks of 
 
 ing office of M. Jouaust, rue St. Honore, Paris. It is publishers and printers signed with the cross of Lop- 
 
 thus divided: i. Biography; 2. Bibliography; 3. Icon- raine. There are also given the verses in honor of 
 
 ography; \vith an appendix including a list of royal Tory, a note on his printing offices, on his introduction 
 
 printers who practised in Paris from 1530 to 1600. The of the apostrophe, the accent, and the cedilla in the 
 
 general contents include an account of the works writ- literature and printing of France, and memoranda on 
 
 ten or annotated by Tory, the Books of Hours edited bookbinders and royal libraries. Tory is worthy of 
 
 by him, his works printed for King Francis I., and the remembrance, not merely as an eminent printer, but as 
 
 other works printed by Tory for various patrons. the -vrntex oi tkic/lrst ieck7iicalhodk on printing that 
 
 Then follow a description of the manuscripts illumi- was ever published. This was the book called Champ- 
 
 nated by Torj', and the works ornamented with engrav- fleiuy, SeeToKV. 
 
 Berthiaud. Nouveau Manuel complet de I'Imprimeur en taille-douce, r^dige par Boitard. 
 Orn6 de planches. Paris: 1837. 24mo. 
 
 Bettoni (Nic). Vita di Marcantonio Raimondi. Padova: 1815. 4to, Portrait. 
 
 Blanc (Charles). Le Graveur en taille-douce : ou catalogues raisonn^s des Estampes dues 
 aux graveurs les plus cel^bres; I. Jean-Georges Wille, 2. Robert Strange. Leipzig: 
 
 1848. 8vo. 
 
 Blanc (Charles). Traits de la Gravure a I'eau forte. Paris : 1866. 8vo. 
 
 Blanc (Charles). L'Oiuvre complet de Rembrandt d^crit et commente. Catalogue raisonn6 
 de toutes les eaux fortes du maitre et de ses peintures. 3 vols. Paris : 1859. 8vo. 
 Wood-cuts and 40 etchings. 
 
 Bonnardot (Alf.). Essai sur I'art de restaurer les estampes et les livres. Paris: 1858. 
 i2mo. 
 
 Bonnardot (Alf.). Histoire artistique et arch^ologique de la Gravure en France. Paris: 
 
 1849. Royal 8vo. 
 
 BOSSE (Abraham). Traite des Mani^res de Graver en taille-douce, sur I'airain, par le moyen 
 des eaux fortes et des vermes durs et mols. Ensemble de la fagon d'en imprimer les 
 planches, et d'en construire la presse, et autres choses concernant les dits arts. Paris : 
 1645. 8vo. pp. 75. 19 plates. 
 
 This is the first edition of a work which is notable issued at Amsterdam, 1662, i2mo. The second edition 
 
 for its completeness for the time of its production, and was issued in 1 701, "augmentee de la nouvelle ma- 
 
 for its plates, which have been reproduced by most sub- niere dont se sert M. le Clerc, graveiu- du Roi." The 
 
 sequent writers on the ai-t. A Dutch translation was third edition bore the following title : 
 
288 THE PRINT COLLECTOR. 
 
 BOSSE (A. ). De la Maniere de Graver a I'eau forte at a burin, et de la Gravure en mani^re 
 noire, Paris: 1745. 8vo. with 19 plates. 
 
 The augmentations to this book were written by the celebrated engraver Cochin. A fourth edition was issued 
 with the following tide : 
 
 BosSE (A.). De la Maniere de Graver a I'eau forte et au burin, et de la Gravure en maniere 
 noire. Avec la fagon de construire les presses modernes et d'imprimer en taUle-douce. 
 NouveUe edition, augment^e de I'impression qui imite les tableaux, de la gravure en 
 maniere de crayon, et de celle qui imite le lavis. Paris: 1758. Svo. pp. xxxii. 207, 21 
 plates. 
 
 BosSE (A.). Sentimens sur la Distinction des diverses Manieres de Peinture, Dessein, et 
 Graveure, et des originaux d'avec leurs copies. Ensemble du choix des sujets et des 
 chemins pour arriver facilement et promptement a bien portraiture. Paris : 1649. l6mo. 
 pp. xvi. 115; frontispiece and tvs^o plates. 
 
 BOUTARD (M.). Dictionnaire des Arts. Paris: 1826. Svo. 
 
 BOUTON (V. M.). Trait6 Elementaire et Pratique pour appendre a graver sans maitre. 
 Paris : no date. Crown 8vo. pp. 53, numerous wood-cuts. 
 
 Breviere (A.). De la Xilographie ou Gravure sur Bois. Rouen: 1833. 8vo. 
 
 Brockett (J. T.). Memoir of Thomas Bewick. With a descriptive Catalogue of his 
 Works. Newcastle-on-Tyne : 1830. 8vo. 
 
 Contains a portrait and wood-cuts. Twenty-five copies only were printed, at the instance of the Newcastle-on- 
 Tyne Typographical Society. 
 
 Bromley (H.). Catalogue of Engraved British Portraits. London: 1793. 4^0' 
 
 Browne (Alexander). Ars Pictoria : or. An Academy teaching Drawing, Painting, Limning, 
 Etching: to which are added 31 copper-plates. London: 1675. Folio. 
 
 Brulliot (Frangois). Dictionnaire des Monogrammes. Munich: 1817. 8vo. NouveUe 
 edition. 3 vols. Munich: 1832-34. 4to. 
 
 Brulliot et Locherer. Copies photographiques des plus rares Gravures criblees, Estampes, 
 Gravures en bois, etc., des XV^ et XVI^ Siecles, qui se trouvent dans la collection Royale 
 des estampes a Munich. Munich: 1854-55. Folio. 
 
 Bryan (Michael). Dictionary of Painters and Engravers. 2 vols. London: 1816. 4to. 
 New edition, revised and complete to the present time, by George Stanley. London: 
 1849. Imp. Svo. Plates of monograms. 
 
 Burnet (John). Rembrandt and his Works. London: 1859. 4to. Plates. 
 
 Bylaert (Jean Jacques). NouveUe maniere de graver en cuivre des estampes colorizes, 
 de fagon que, quoique imprimees dans une presse ordinaire, elles conserveront Pair et le 
 caractere du dessin. Traduit du HoUandaise par L. G. F. Kerraux. Leyde: 1772. 
 Svo. 2 plates. 
 
 Campe (Friedrich). Reliquien von A. Duerer. Niirnberg: 1828. i2mo. Portrait. 
 
 Carpenter (WiUiam Hookham). Pictorial notices ; consisting of a memoir of Sir Anthony 
 Van Dyck, with a descriptive catalogue of the etchings executed by him. London : 1844. 
 4to Portrait. 
 
THE PRINT COLLECTOR. 289 
 
 CAni.i.'iKi.n (James). Chalcographiana. The printseller's chronicle and collector's guide to 
 the knowledge and value of engraved British Portraits. London : 1814. 8vo. 
 
 Chatto (William Andrew). A Treatise on Wood-Engraving, Historical and Practical. 
 With upwards of 300 illustrations, engraved on wood by John Jackson. London : 1839. 
 
 8vo. pp. xvi. 751. Second edition, with a new chapter on the Artists of the present 
 
 day, by Plenry G. Bohn, with 145 additional wood-engravings. London: i86i. 8vo. 
 pp. xvi. 664. 
 
 Preface, dated London, 5th December, 1838, is appended a full description of the practice of wood- 
 signed by W. A. Chatto; and there is an introductory engraving. Incidentally there arc given some useful 
 address, dated 15th December, 1838, signed by John remarks on printing woodcuts; for, as Mr. Bohn justly 
 Jackson. This, with Ottley's book {see Ottley), may says, " A good engraving without good printing is 
 be taken as the standard works in English on wood- like a diamond without its polish." The chapter on 
 engraving. The following is a synopsis of the con- the invention of typography, which, together with all 
 tents: Antiquity of engraving; progress of wood- the historical portion of this work, was written by Mr. 
 engraving ; the invention of typography ; wood-engrav- Chatto, is extremely well done. 
 
 ing in connection with the press; wood-engraving in The respective shares of Jackson and Chatto in the 
 
 the time of Albert Diirer; further progress and decline origination or compilation of this work were the sub- 
 
 of wood-engraving ; revival of wood-engraving ; artists ject of much disagreement, and caused the issue of the 
 
 and engravers on wood of the present day. There is following pamphlet : 
 
 Chatto (W. A.). A Third Preface to "A Treatise on Wood-Engraving, Historical and 
 Practical," exposing the fallacies contained in the first, restoring the passages suppressed 
 in the second, and containing an account of Mr. John Jackson's actual share in the com- 
 position and illustration of that work. In a Letter to Stephen Oliver. By Wm. A. 
 Chatto, author of the first seven chapters of the work, and the writer of the whole, as 
 originally printed. London: printed for the Author. 1839. 8vo. pp. 36. 
 
 Chatto ( W. A. ). The History and Art of Wood-Engraving, with Specimens of the Art, 
 Ancient and Modern. London : 1848. Foho. 55 wood-engravings ; text, 28 pp. 
 Republished the following year, with extra illustrations and the following title : 
 
 Chatto (W. A.). Gems of Wood- Engraving from the Ilbistrated London News, with a 
 History of the Art, Ancient and Modern. London : 1849. Folio. 93 plates : text, 28 pp. 
 
 The chief value of this work consists in its plates, slight, but interesting. It originally appeared in the 
 
 reprinted from the Illustrated London News, which Illustrated Lo?idon News between the 20th of April 
 
 show the perfection that the art of wood-engraving, as and the 6th of July, 1844. The illustrations of this 
 
 applied to pictorial journalism, had attained in 1S49. portion are mostly given, in smaller size, in Chatto and 
 
 The sketch of the history and processes of the art is Jackson's " Treatise." 
 
 Chaubry de Troncenord (M. le Baron). Notice sur les Artistes Graveurs de la Cham- 
 pagne, lue dans ja stance du i^"" Juillet, 1857. Chalons : 1858. 8vo. 
 
 Chelsum (James, D. D.). A History of the Art of Engraving in Mezzotinto, frorn its origin 
 to the present time, including an account of the works of the Earliest Artists. Winches- 
 ter: 1786. 8vo. 2 leaves, pp. 100; index, etc., 6 leaves. 
 
 Dr. James Chelsum, a learned English divine, was to pass without distinct notice, for in this country it has 
 
 bom at Westminster about 1740, and died 1801. He been chiefly cultivated, has received its highest improve- 
 
 says that the art of engraving in mezzotint had, vvithin ments, and therefore deserves the name of '• The Eng- 
 
 a few years previously, attained to so high a degree of lish manner." The work treats of the nature of the art 
 
 perfection that its history may justly claim to be sepa- of mezzotint, its supposed origin and invention, and of 
 
 rately recorded. In England, especially, it ought not the several successive artists who have practised it. 
 
 Chevreul (Michel Eugene). Considerations sur la reproduction, par les precedes de M. 
 Niepce de Saint Victor, des images gravees, dessinees ou imprimes. Paris : 1847. 8'^'°- 
 
2go THE PRINT COLLECTOR. 
 
 Choffard (Pierre Philippe). Notice historique sur I'art de la Gravure en France. Paris : 
 1804. 8vo. 
 
 Choffard, a French engraver, was born at Paris, in many of the charming vignettes to be found in the 
 
 1730, and died there 1809. Engaged from the age of French books of that period. This Notice was 
 
 ten in the service of a map-engraver, he devoted his reprinted in Basan's "Dictionnaire des Graveurs." 
 
 attention to more artistic work, and to his fancy we owe (See Basan.) 
 
 Christ (J. F.). Dictionnaire des monogrammes, chiffres, lettres initiates, logogryphes, 
 r^bus, etc., sous lesquel les plus c^lebres peintres, graveurs et dessinateurs ont dessine 
 leur noms. Traduit de I'AUemand, et augmentee. Paris : 1750. 8vo. 
 
 Chronological (A) Series of Engravers, from the Invention of the Art to the beginning of 
 the present century. Cambridge: 1770. i2mo. 
 
 CiCOGNARA. Catalogo ragionato, dei libri d'arte e -d'antichitd possedatio del conte Cicognari. 
 Pisa: 1 82 1. 8vo. 
 
 CiCOGNARA (el Commendatore Lepoldo). Lettera intorno ad alcune nuove Scoperte e Pratiche 
 applicate all' Arte dell' Intaglio e deU' Impressione. n. d. 8vo. 
 
 CiCOGNARA. Memorie spettanti alia Storia della Calcografia. Prato: 1831. 
 
 The text is contained in an octavo volume, pp. 262. da giuoco." The third, "della litograiia," with an 
 
 The first part treats "dell' origin e, composizione e appendix and full index. The plates of engravings 
 
 decomposizione de nielli;" "descrizione dei nielli; " illustrating the work are contained in a folio volume of 
 
 "nielli in commercio." The second part, "delle carte 16 leaves. 
 
 Claussin. Catalogue raisonne de toutes les Estampes qui forment I'oeuvre de Rembrandt, et 
 des principales pieces de ses eleves compose par les sieurs Gersaint, Helle, Glomy et Yver. 
 Nouvelle Edition, corrig^e et considerablement augmentee par le Chevalier de C. Paris : 
 1824. 8vo. Supplement. Paris : 1828. 8vo. 
 
 COMBE (Charles, M. D.). A Catalogue of his collection of prints, formed with a view to 
 elucidate and improve the History of Engraving, from the earhest period of the art tiU the 
 year 1700. London: 1803. 8vo. 
 
 Complete (The) Aquatinter ; being the whole process of Etching and Engraving in Aquatinta 5 
 the use of aquafortis, with all the tools necessary. London. 4to. 
 
 COMTE (Florentele). Cabinet des Singularitez d' Architecture, Peinture, Sculpture, et Graveure. 
 3 vols. Paris: 1 669-1 700. 8vo. 
 
 CORRARD DE Breban. Les Graveurs Troyens. Recherches sur leur vie et leurs oeuvres, 
 avec facsimile. Paris et Troyes : 1868. 8vo. pp.94. 
 
 Only 170 copies printed of this work, which gives whom is assigned an origin in the same place. At the 
 a list, with biographical notices, of all the engravers of end is a plate containing representations of the marks 
 Troyes, in chronological order, as well as those to or monograms of the engravers referred to. 
 
 Craig (William Marshall). A Course of Lectures on Drawing, Painting, and Engraving, 
 considered as branches of Elegant Education. Delivered in the Saloon of the Royal 
 Institution. London: 1821. 8vo. Plates. 
 
 Cumberland (George). An essay on the utility of collecting the best works of the ancient 
 engravers of the Italian school ; accompanied by a critical Catalogue, with interesting 
 anecdotes of the engravers, of a chronological series of rare and valuable Prints, from the 
 earliest practice of the art in Italy to the year 1549, now deposited in the British Museum 
 and Royal Academy, in London. London: 1827. 4to. Portrait. 
 
THE PRINT COLLECTOR. 29I 
 
 Dairaine (I'Abb^). Catalogue de I'ceuvre de J. F. Beauvarlet. Abbeville: i860. 8vo. 
 
 Daulby (Dan. ). Descriptive Catalogue of the Works of Rembrandt. Liverpool : 1 796. 8vo. 
 
 Davenport (S. T.). Engraving and other reproductive Art Processes. In the Journal of 
 f/ie Society 0/ A ris, January i^, 186^. London. 8vo. 
 
 Davenport (S. T.). Engraving. [In "British Manufacturing Industries," edited by G. 
 Phillips Bevan, pp. 75-124.] London: 1876. Crown 8vo. 
 
 The late Mr. Samuel Davenport was an amateur of raphy, and all allied or correlated arts. Some of the 
 much e.\perience. The history begins with the Del- outlines, especially that of the origin of Nature Print- 
 uge, and embraces tjqpography, lithography, chalcog- Lng, are inaccurate. 
 
 Declaration du Conseil d'Etat du Roy, rendue en faveur de la communaut^ des maitres 
 graveurs de la ville de Paris. Du 28 Juin, 1705. Paris : 4to. 
 
 Ordering six master engravers to be added to the working engravers were only to work under the master 
 Community, and that the fund they bring in go toward engravers, 
 
 the balance due to the exchequer; also that the 
 
 Delaborde (Henri). La gravure depuis son origine. In the Revue des Deux Mondes, 
 1850-51. 8vo. 
 
 Delaistre (L.). Notice ndcrologique sur feu Jean-Louis-Toussaint Caron, graveur. 
 [Paris: 1847.] 8vo. 
 
 Extract from the " Memoires de la Societe libre des Beaux-Arts." 
 
 Deleschamps (Pierre). Des Mordants, des Vernis, et des Planches dans I'Art du Graveur; 
 ou Traite complet de la Gravure. Paris: 1836. 8vo. pp. xv. 271. 
 
 A practical work on every branch of the art of raphy, and a variety of other curious processes. At 
 
 engraving for the copper-plate, lithographic, or letter- the end are four folding plates of the appliances, appa- 
 
 press printing processes. It includes stereotyping, and ratus, etc. , described in the book. The French Society 
 
 automatic or chemical engraving in relief, as well for the Encouragement of National Industry awarded 
 
 as machines for the purpose of making engravings, the author its medal of honor, in 1835, for a new 
 
 pantography, diagraphy, glyphography, electrotypog- etching process which he invented. 
 
 Delessert (Benjamin). Notice sur la Vie de M. A. Raimondi, graveur Polonais, accom- 
 pagnee de reproductions photographiques de quelques-unes de ses estampes. Paris : 1853. 
 Folio. 
 
 Dembour (A.). Description d'un nouveau Precede de Gravure en relief sur cuivre, dite 
 Ectypographie metallique. Metz: 1835. 4to. pp. 31, vs^ith 8 pages of specimens. 
 
 The book describes a new style of etching, in which the lines are raised or in relief, instead of being depressed or 
 sunk in. The system would now be called, not " ectypography," but "typographic etching." 
 
 Dembour (A.). Die Metall-Ektypographie. Aus dem Franzosischen von Heim. Meyer. 
 Braunschweig : 1835. 4to. 
 
 Dennistoun (James) of Dennistoun. Memoirs of Sir Robert Strange, engraver, member of 
 several foreign Academies ; and of his brother-in-law, Andrew Lumisden, private secre- 
 tary to the Stuart princes. 2 vols. London : 1855. 8vo. 
 
 Denon (V.). Notice sur Gerard Audran. Folio. 
 
 Desmaretz (M.). Eloge historique de CaUot. Nancy: 1828. 8vo. 
 
292 
 
 THE PRINT COLLECTOR. 
 
 Destailleur (Hip.). Notices sur quelques artistes Frangais, architectes, dessinateurs, gra- 
 veurs, du seizieme au dix-huitieme siecle. Paris : 1862. 8vo. 
 
 DiDOT (A. F.). Essai Typographique et Bibliographique sur I'Histoire de la Graviire sur 
 Bois. Paris : 1863. 8vo. 
 
 This treatise on wood-engraving was prefixed to a sumptuous edition, published by Didot Freres, of VecilUo's 
 " Costumes anciens." Didot's Essay occupies five preUminary pages. 
 
 DoissiN (Ludovico). Sculptura: Carmen. Parisiis: 1752. i2ino. 
 
 The second edition of this poem on engraving, published in 1753, had a French translation. 
 
 DoNLEVY (John). The Rise and Progress of the Graphic Arts, including notices of illumina- 
 tion, chalcography, wood-engraving, lithography, chromography, and intagliography, 
 elucidating the new art of Chromoglyphotype, invented by John Donlevy, New York : 
 1854: 4to. pp. 24. 
 
 This work gives a rapid but interesting sketch of 
 the origin of the several graphic arts, but appears to 
 have been written to introduce some new processes 
 of printing which the author had invented, and 
 which he called Chemitype Transfer, Typographic 
 ModeHng, and Chromoglyphotype Copying. He 
 says that "he discovered the principle oi aiiiagotiis- 
 tic tmioii — that is, a chemical medium in which acids, 
 alkalies, greasy and resinous substances, which pre- 
 viously repelled each other, are compelled to unite and 
 change their character, and their union, or portions of 
 them, in a peculiar manner, constitutes a solvent by 
 which he is enabled to transfer and print manuscript, 
 written on ordinary paper, with greater ease than it 
 could be transferred if written on lithographic paper; 
 as well as wood-cuts, engravings, new and old books, 
 and printed matter of every description. " He also in- 
 vented a new litho press and a cylindrical machine for 
 chemical printing. In regard to ''Chromoglypho- 
 type," it is stated that " the principal characteristic of 
 this mode is the exclusive use of intagliotypes instead 
 of the ordinary relief tj'pes generally used by printers, 
 in combination vAxh peculiar plastic processes, by which 
 polychromatic plates, adapted to every variety of chromo- 
 
 graphic effect, can be produced and printed by the eco- 
 nomical operation of the typographic press in a style of 
 art immeasurably superior to anytliing which it is pos- 
 sible to produce by engraving or hthography. Intag- 
 liotjrpes have hitherto been much neglected by printers. 
 * * * Their extraordinary capacitj^ for polj'chromatic 
 production has been entirely overlooked for four centu- 
 ries — from the invention of printing by John Gutten- 
 berg to the invention of chromoglyphotype by John 
 Donlevj^" The patents for these new methods of 
 printing were held by Horace Greeley, New York, by 
 whom a printing office and stereotype foundry, based 
 on this invention, were established. We do not know 
 the exact nature of Mr. Donle^'y's invention, or whether 
 it was ever carried out. We find, however, in search- 
 ing the specifications of American patents, that on Jan. 
 3, 1854, Mr. John Donlevy was awarded a patent for 
 " a method of producing intagliographic printing and 
 other plates, firom forms of type, by surrounding the 
 types, whilst in contact with a glass plate, or its equiva- 
 lent, with plaster of Paris, or some equivalent therefor ; 
 so that when set the surface of the plaster will be on the 
 same plane with the surface of the tj^pes, and then ster- 
 eotyping the form of types thus surrounded." 
 
 Drugulin. Allgemeiner Portrait- Katalog. Leipzig: i860. 8vo. 
 
 Duchesne (Jean). De la Gravure sur m6tal et sur bois, et de ses divers procede 
 
 Duchesne ain6 (Jean), 
 cle. Paris : 1826. 
 
 Although this work chiefly concerns itself with 
 niello, it embraces a large amount of information upon 
 the different kinds of engraving on wood, stone, and 
 metal. The historical part begins with a chapter on 
 engraving among the nations of antiquity, on the print- 
 ing of playing-cards, on xylography, and on the first 
 books printed in movable characters. The book is well 
 illustrated with plates of the objects described. The re- 
 lation of Jizello to copper-plate engraving is little under- 
 stood. The latter art is of comparatively recent origin, 
 and it was foreshadowed in the former, an ancient 
 method much in use, and extremely popular in the 
 Italian States, and especially in Florence, in the fifteenth 
 
 8vo. 
 
 Essai sur les Nielles, Gravures des Orf^vres Florentins du XV^ Si^- 
 8vo. pp. xii, 381. Six copies printed on large paper in quarto. 
 
 century. The workers in tiiello used to cut the deWce 
 or ornament in intagUo, with the chisel, in a silver plate. 
 These intaglie, or sunken portions of the plate, were 
 then filled up with an alloy or composition of silver and 
 lead. This mixture, from its dark color, was called 
 nigellum. Being melted into the intaglio de^^ces and 
 reduced to a uniform surface, it caused the ornaments 
 or figures to appear in dark relief on a silver ground, 
 and gave to the work the appearance of a picture in 
 chiaroscuro at once rich and harmonious in effect. 
 Maso Finiguerra, or Finguera, a goldsmith of Florence 
 and a proficient in the art of niclh, has obtained the 
 honorable distinction of being considered the inventor 
 
THE PRINT COLLECTOR. 293 
 
 of the art of copper-plate engraving. The above work deep, and it has been found that excellent prints may be 
 
 contains a portrait of him and many specimens of his obtained in this manner. M. Duchesne is also the au- 
 
 works in niello. Some of these are taken from the thor of the article " Gravurc," in the " Moycn Age et 
 
 original plates, for the engraving in this style was not la Renaissance." 
 
 Duchesne ain^. Description des estampes expos^es h. la Bibliotheque Imp^riale. Paris : 
 1855. 8vo. 
 
 DUERER (Albert). Albert Durer. Chemnitz: 1802. 8vo. pp. 62. 1823. 8vo. 
 
 An account of the life and works of Duerer. 
 
 DuERER. Von dem Leben und den vorziiglichsten Werken des beriihmten Meister Albrecht 
 Diirer von NUrnberg. Basle : 1855. 4to. pp. 8 and 2 lithog. plates. 
 
 Durer. Zu Diirer's Ehre. Am 7. April, 1828. Sacularfeier. NUrnberg : 1828. 4to. 
 
 Duerer (Albert). See Arend, Campe, Eye, Galichon, Haussmann, Held, Heller, 
 Hesse, Hussgen, Marggraff, Nagler, Roth, Schober, Thausing, Weise. 
 
 DUMESNIL (A. p. F. Robt.). Le Peintre-graveur frangais, ou Catalogue raisonn^ des 
 estampes gravies par les peintres et les dessinateurs de I'^cole frangaise, 1 1 vols. Paris : 
 1835-1871. 8vo. 
 
 This fine work gives not only a list of the produc- work of reference. It is intended as a sequel to the 
 tions of the modem French masters of engraving, but similar production of M. Bartsch. 
 
 memoirs, and therefore becomes of great value as a 
 
 DUPLESSIS (Georges). Essai de Bibliographie, contenant I'indication des ouvrages relatifs a 
 I'Histoire de la Gravure et des Graveurs. Paris : 1862. 8vo. pp. 38. 
 
 This very accurate list of books, relating to the his- liography of the subject. The very complete " Kunst- 
 tory of engraving and memoirs of engravers, extends , Catalog " of R. Weigel and the Bibliography which 
 
 to nearly 700 items. The Essay of M. Duplessis found M. P. Cheroa contributed to the Gazette des Beaux- 
 
 its origin in a mere catalogue of the private collection Arts have, however, been utilized. A very small 
 
 of books belonging to the author. When these became number of copies of this essay were printed, and it is 
 
 increased, another Ust was required, and it assumed consequently of rare occurrence, 
 such dimensions as to suggest its publication as a bib- 
 
 DuPLESSis (Georges). Essai d'une Bibliographie gen^rale des Beaux-Arts. Paris: 1866. 
 8vo. 
 
 Duplessis (Georges). Les Graveurs sur Bois contemporains. Paris : 1857. 8vo. 
 
 Duplessis (Georges). De la Gravure de Portrait en France. Paris : 1875. 8vo. 
 
 Duplessis (Georges). Histoire de la Gravure en France, ouvrage couronnd par I'Institut de 
 France, Acad^mi6 des Beaux-Arts. Paris: 1861. 8vo. pp. 408. 
 
 This is the standard work on the history of French sired except, perhaps, some illustrations, for the book 
 engraving. The memoirs, as well as the descriptions, is very dry reading indeed, 
 are laboriously accurate, and leave nothing to be de- 
 
 Duplessis (Georges). Mdmoires et Journal de J. G. Wille, graveur du roi. Publics d'apr^s 
 les manuscrits autographes de la Bibliotheque imp^riale. Avec une preface par Edmond 
 et Jules de Goncourt. Paris : 1857. 8vo. vol. i. pp. xvii. 5845 vol. ii. pp. 437. 
 
 M. Duplessis disinterred the diary of this celebrated royal engraver, which abounds in valuable historical mat- 
 ter and is otherwise exceedingly interesting. 
 
 Duplessis (Georges). Les Merveilles de la gravure. Ouvrage illustre par P. Sellier. 
 Paris : 1869. 8vo. pp. 419. 2d ed., Paris : 1871. 8vo. 
 
294 
 
 THE PRINT COLLECTOR. 
 
 DuPLESSis (Georges). The Wonders of Engraving. Illustrated with ten reproductions in 
 autotype and 34 wood-engravings by P. Sellier. London : 1871. 8vo. pp. x. 338. 
 
 This work does not attain to the dignity of being those who require this kind of information dished up 
 an historical account of the origin of wood-engrav- in the very lightest style, 
 
 ing, but is rather intended for popular use and for 
 
 DuPLESSis (Georges). Notice sur la Vie et les Travaux de Gerard Audran, graveur ordinaire 
 du roi. Lyon : 1858. 8vo. Only 100 copies printed. 
 
 DUPLESSIS (Georges). Catalogue de I'oeuvre de Abraham Bosse. Paris : 1859. 8vo. 
 
 DuRAZZO (Conte Jacopo). Descrizione della Raccolta di Stampe, esposta in una dissertazione 
 sull' arte dell' intaglio in stampa. Parma: 1784. 4to. 
 
 Ebner (L.). Verzeichniss der von Johann Adam Klein, Maler und Kupferstecher, gezeich- 
 neten und radirten Blatter (vom Jahre 1805 bis 1846). Stuttgart: 1853. ^^o. 
 
 Ektypographie : oder, die Kunst Zeichnungen auf Kupferplatten hoch zu atzen. Quedlin- 
 burg: 1840. 8vo. 
 
 Emeric-David (Toussaint Bernard). Discours Historique sur la Gravure en Taille-douce et 
 sur la Gravure en Bois. Paris : 1808. 8vo. pp. 83. 
 Extract from the Moniteur Universel, October 1808. 
 
 Emeric-David. Histoire de la Peinture au Moyen Age, suivi de I'Histoire de la Gravure. 
 Paris : 1863. i2mo. 
 
 Engelmann (Wilhelm). Daniel Chodowiecki's sammtliche Kupferstiche. Leipzig: 1857. 
 8vo. Supplement. Leipzig: i86o. Svo. 
 
 Engravers (Society of). The Rules, Orders, and Regulations of the Society of Engravers, 
 instituted at London, 1802, giving a list of the Governors, Officers, and Committee, 
 pp. 70. London : 1804. 
 
 The same year was published an "Abstract of the Rules, Orders, and Regulations of the Society of Engrav- 
 ers," etc. 
 
 Ephrussi (Charles). Notes biographiques sur Jacopo de Barbarj dit le Maitre au caduc^e, 
 Peintre-Graveur Venitien de la fin du XV ^ Si^cle. Paris : 1876. 4to. 7 facsimile etchings. 
 
 Ernesti (J. A.). Prolusio, in qua quseriter, quibus litterarium disciplinis, et quatenus, 
 Chalcographia prosit. Lipsiae: 1740. 4to. 
 
 Evans (A. and E.). Catalogue of a collection of engraved Portraits. 2 vols. London. Svo. 
 
 Evelyn (John). Sculptura, or the History and Art of Chalcography and Engraving on Cop- 
 per, with an ample Enumeration of the most renowned Masters and their Works. To 
 which is annexed a new manner of Engraving, or Mezzotinto, communicated by his High- 
 ness Prince Rupert to the author of this treatise. London : 1662. l2mo. 2d Edition, 
 
 corrected and enlarged, with Memoir and Portrait of the Author. London: 1755. pp. 
 xxxvi. and 140. 8vo. London: 1769. 8vo. 
 
 The engraved plate by Prince Rupert has in many Prince Rupert for having brought the art into England ; 
 
 copies been cut out to enrich the collections of the but there is no doubt that the inventor was a German 
 
 curious. It is, however, the principal singularity of officer named L. von Siegen, who ser\'ed in the army 
 
 the book, which speaks for the first time, and with of the Landgrave of Hesse, and who imparted his 
 
 mystery, of engraving in mezzotinto as a secret which secret to Prince Rupert. A list of engravings by 
 
 had not before been made public. All praise is due to Prince Rupert will be found at p. 131. 
 
THE PRINT COLLECTOR. 295 
 
 Eye (k. von). Leben und Wirken Albrecht Diirer's. Nordlingen : i860. 8vo. pp. 525. 
 2d Edition, with appendix. Nordlingen : 1869. 8vo. pp. 533. 
 
 Faithorne (William). The Art of Graveing and Etching, wherein is exprest the true 
 way of gi-aveing in Copper. Also the manner and metliod of Callot and Mr. Bosse in 
 their severall ways of etching. London: 1662. 8vo. 1702. i2mo. 10 plates. 
 
 William Faithorne, a celebrated engraver, was 1650, he commenced business as printseller and engrav- 
 
 bom in London in the year 1616, and died in the same er near Temple Bar, where he remained till the year 
 
 city in 1691. He was a pupil of Peak, the painter. 1680, when he left his shop and retired to Printing- 
 
 In the civil war Faithorne espoused the cause of the house Yard, where he still continued to work for the 
 
 Royalists, and was taken prisoner, but released with booksellers. His son, William, did not follow his 
 
 permission to retire to the Continent. In France he father's mode of engraving; he engraved in mezzotint, 
 
 met with protection and encouragement from the Abbe and might have acquired some celebrity, but, neglect- 
 
 de MaroUes, and associated himself with the celebrated ing his business, he fell into great distress, and died at 
 
 Nanteuil. On his return to England, about the year the early age of thirty. 
 
 Faucheux (L. E.). Catalogue des Estampes vendues plus de 1000 francs. Bruxelles: i860. 
 8vo. 
 
 Faucheux (L. E.). Catalogue raisonn^ de toutes les Estampes qui forment I'oeuvre de 
 Israel Silvestre precede d'un notice sur sa vie. Paris: 1857. 8vo. Portraits. 
 
 Faucheux (L. E.). Catalogue raisonne de toutes les Estampes qui forment I'oeuvre grav6 
 d' Adrian van Ostade. Paris : 1862. 8vo. 
 
 Ferajdiny (J. F.). Memoire pour Jean-Frangois Feradiny, graveur en estampes, detenu es 
 prisons de la Conciergerie du Palais, intim6, contre M. le Procureur-Gen^ral, appellant. 
 [Paris: no date.] 4to. 
 
 Ferrario (Giulio). Le classiche Stampe dal Cominciamento della Calcografia fino al pres- 
 ente. Milano: 1836. 8vo. pp. cxiii. 401. 
 
 Fielding (Theodore H.). The Art of Engraving, with the various modes of operatii,on. 
 Illustrated with specimens of the different styles of engraving. London : 1841. Royal 
 8vo. pp. vii. 109. 
 
 FiORiLLO (Johann Dominik). Geschichte der zeichnenden Kiinste in Deutschland und den 
 Vereinigten Niederlanden. 4 vols. Hanover : 1815-20. 8vo. 
 
 Floding (P.). Handlingar vorande en ny upfinning i Gravuren. Stockholm: 1766. 4to. 
 
 Flouhoffer (Ludwig). Ueber das Studium der Kupferstecherey. 8vo. 1781, 
 
 FouRNiER le Jeune. Dissertation sur I'origine et les progr^s de I'art de graver en bois. 
 Paris: 1758. 8vo. 
 
 FRAN501S (Jean Charles). Lettre de M. Fran9ois, graveur des dessins du cabinet du roi. 
 . . . a M. Saverien sur l'Utilit6 du Dessin et sur la Gravure dans le gout du crayon. 
 Paris: 1760. 8vo. 
 
 Fran?ois. Au Sujet du nouveau Mode de Gravure invent6 par J. C. F. An article in the 
 " Registres de I'Acad^mie Royal de Peinture et de Sculpture," 26th March, 1757, and 
 again, 26th Nov., 1757. 
 
 Frauenlob (Rudolph). Die graphischen Kiinste auf der Pariser AussteUung. Separatab- 
 druck aus dem k. k. officieUen Ausstellungsberichte. Wien : 1868. 8vo. pp. iv. 68. 
 
 A special edition of the Report on the Graphic Arts at the Paris Exhibition, 1867. 
 
296 THE PRINT COLLECTOR. 
 
 FUESSLI (Joh. Caspar). Raisonniren des Verzeichniss der vornehmsten Kupferstecher und 
 ihrer Werke. Zurich: 1771. 8vo. pp. 360 and 12 pp. of Register. 
 
 Galichon (Emile). Albert Diirer, sa Vie et ses CEuvres. Paris : 1861. 8vo. pp. 84. 
 Wood-cuts. 
 
 Reprint from the Gazette des Beaux-Arts. 
 
 Galichon (Emile). Jacopo di Barbari, dit le Maitre au Caduc^e. Paris : 1861. 4to. 
 
 Galimard (Aug. ). Les grands Artistes contemporains. Aubry-Lecomte, dessinateur-litho- 
 graphe, 1 797-1858. Paris: 1859. 8vo. pp. 24. 
 
 Gandellini (Giovanni Gori). Notizie Istoriche degP Intagliatori. 3 vols. Siena: 1771. 
 8vo. Siena: 1808. 8vo. 
 
 Gandellini. Notizie del' Intagliatori, con Osservazione critiche raccolte da varj scrittori ed 
 aggiunte a G. G. Gandellini dal Luigi de Angelis. 12 vols. Siena: 1808-16. 8vo. 
 
 Garzonus (Thomas). Piazza Universale, das ist Allgemeine Schauplatz oder Markt und 
 Zusammenkiinfte aller Professionen, Kiinsten, Geschafften, Hanseln und Handwercken 
 in der gantzen Welt, wann, und von w^emste erfunden, zugenommen, verbessert, etc. 
 Frankfort: 1626. Folio. 
 
 Gatteaux. Considerations sur la Gravure en Taille-douce et sur Gerard Audran. [Paris :] 
 1850. 4to. 
 This notice was reprinted in the Artiste, for January, 1851. 
 
 Gaucher (Charles Etienne). Essai sur I'Origine et les Avantages de la Gravure, lu a 
 la Stance publique de la Societe libre des Sciences, Arts, et Belles-Lettres de Paris, le 9 
 vendemiaire de Pan VI. [Paris: 1805.] 4to. 
 
 Gaucher (C. E.). Lettre a M. Quatremere de Quincy, sur la Gravure. (Paris: 1791.] 
 i2nio. 
 
 This writer contributed the article, considered a Charles Etienne Gaucher was a French engraver 
 
 very valuable one, on "Engravers," in Fontenay's and man of letters. He was bom at Paris, 1740, where 
 
 " Dictionary of Artists," 1770. he died, 1804. 
 
 Gautier. Lettre concernant le nouvel art de Graver et d'Imprimer les Tableaux. Paris : 
 1749. i2mo. pp. xvi. 22, and colored plates. 
 
 Gautier. Lettre al'Auteur du Mercure sur ITnvention et I'Utilit^ de I'Art d'imprimer les 
 Tableaux. [Paris: 1756.] i2mo. 
 
 Gautier. Seconde letter ^ I'Auteur de Mercure sur I'Invention et I'Utilit^ de I'Art d'im- 
 primer les Tableaux, et Reponse a celle de M. Robert. [Paris : 1756.] l2mo. 
 
 Gehrken (Dr. F. J.) Heinrich Aldegrever, Goldschmied, Maler, Kupferstecher, und Prag- 
 schneider, biographisch und kunsthistorisch dargestellt. Miinster: 1841. 8vo. 
 
 Gersaint (E. F.) Catalogue raisonn^ de toutes les pieces qui forment I'ceuvre de Rem- 
 brandt, mis au jour par Helle et Glomy, Paris: 1751. i2mo. Portrait. 
 
 Gersaint. Supplement au Catalogue raisonn6 de MM. Gersaint, HeUe et Glomy, de toutes 
 les pieces qui forment I'ceuvre de Rembrandt, par P. Yver. Amsterdam ; 1 756. 8vo. 
 
 Geschichtliche Uebersicht der Kupferstechkunst. 3 parts. Leipzig: 1841. 8vo. 
 
THE PRINT COLLECTOR. 297 
 
 GlLKS (Thomas). The Art of Wood-Engraving. A Praclical Handbook. With numerous 
 illustrations by the Author. 2d edition. London: 1867. 8vo. pp.84. 
 
 Mr. Thomas Gilks was a practical wood-engraver explains the different processes involved in wood-en- 
 
 of reputation. He died in June, 1S77. This work, graving, describes the tools and materials used, the 
 
 which forms one of a scries of books on art published mode of using the graver, preparation of the wood, the 
 
 by Winsor & Newton, Rathbone Place, completely jointed and amalgamated blocks, etc. 
 
 GlLKS (Thomas). A Sketch of the Origin and Progress of the Art of Wood-Engraving. 
 London : 1868. 8vo 
 
 A resume of the history of wood-engraving, from its origin down to our times, full of accurate information 
 and with excellent illustrations. 
 
 GiLLOT (Veuve et Fils). Album de Gravure Paniconographique et Photogravure. Paris : 
 1875. Oblong 4to. 
 
 Gilpin (William). An Essay on Prints, containing remarks upon the principles of picturesque 
 beauty, the different kinds of prints and the characters of the most noted masters ; illus- 
 trated by criticisms upon particular pieces ; to which are added some cautions that may 
 be useful in collecting prints. London : 1 768. 8vo. 
 
 GOBIN (Henri). Etude sur la Gravure. [Nos. 26 and 27 of " Etudes sur I'Exposition de 
 1867, publiees sous la direction d' E. Lacroix."] Paris : 1868. 8vo. 
 
 Gould (John). Biographical Dictionary of Painters, Sculptors, Engravers, and Architects, 
 fi-om the earliest ages to the present time. 2 vols. London : 1838. i2mo. 
 
 Granger (James) and Noble (Mark). A Biographical History of England, from Egbert the 
 Great to the End of George I. 's reign. With upvsrards of 600 engraved portraits by 
 Richardson and others. 5th edition, with additional lives by Caulfield. 6 vols. Lon- 
 don: 1824. 8vo. 
 
 Graphic (The) Portfolio, a selection from the admired engravings which have appeared in 
 the Graphic, and a description of the art of wood-engraving, with numerous illustrations. 
 London: 1876. Folio. 
 
 The description of the art of engraving is very meagre. Its facts are derived from Jackson & Chatto's treatise. 
 
 Gravures de 1468 (Les). Les Armoiries de Charles le Temeraire, gravees pour son mariage 
 avec Marguerite d'York. Liege : 1877. i6mo. 
 
 Green (J. H. ). A Catalogue and Description of the whole of the works of the celebrated 
 Jacques Callot. London: 1804. i2mo. 
 
 Green (J. H. ) The complete aquatinter ; being the whole process of etching and engraving 
 in aquatinta. The second edition, with additions. London : 1804. 4to. 
 
 Guetle (Johann Conrad). Kunst, in Kupfer zu stechen, zu radiren und zu aetzen, in schwar- 
 zer Kunst und punktirter Manier zu arbeiten. Ehemals durch Abraham Bosse etwas 
 davon herausgegeben, jetzo aberganz neu bearbeitet und mit den neuesten Erfindungen 
 der heutigen Kiinstler beschrieben, zur Belehrung fiir angehende Kiinstler und Liebha- 
 ber. 3 vols. Niirnberg und Altdorf : 1795-6. 8vo. 
 
 Vol. I., pp. xxii., 552 and 19 copper-plates, treats of plates, of the After-Treatment of the Plate ; Vol. III., 
 the preparation of the Copper-Plate and Art of En- pp. xxiv. 135, 13 copper-plates, of the Printing, De- 
 
 graving on it; Vol. II., 8 leaves, pp. 350, 2 copper- scription of Presses, etc. 
 
298 THE PRINT COLLECTOR. 
 
 GuYOT. Plan sommoire d'un conservatoire, ou museum de Gravures. Paris: [1800.] 8vo. 
 
 GuYOT. Plan d' un conservatoire d' Estampes et ^cole nationale de Gravure. Paris : an V. 
 [1797.] Svo. pp. 30. 
 
 Haacke. Praktisches Handbuch zur Kupferstichkunde, oder Lexicon derjenigen vorziig- 
 lichsten Kupfersteclier, so wohl der alteren, als bis auf die neueste Zeit, deren Werke sich 
 zu einer schonen Zimmerverzierung eignen. Magdeburg: 1840. Svo. 
 
 Haden (F. Seymour). The Etched work of Rembrandt, a Monograph. London: 1879. 
 
 Svo. 3 plates. 
 Hamerton (Phihp Gilbert). Etching and Etchers. London: 1S68. Svo. 
 
 Hamerton (P. G.). Etching and Etchers. A new edition, illustrated. London: 1876. 
 Svo. pp. XXX. 459. 12 etchings by the Author. 
 
 The most comprehensive treatise, practical as well as historical, on the recentiy revived art of etching, by one 
 of its acknowledged masters. 
 
 Hamilton (Edward). A Catalogue raisonn6 of the engraved works of Sir Joshua Reynolds. 
 
 London: 1874. Svo. pp. viii. 143. 
 Hammann (J. M. Herman). Des arts graphiques destines a multipher par I'impression, 
 
 consideres sous le double point de vue historique et pratique. Geneve: 1857, i2mo. 
 
 pp. xii. 4S9. 
 Hanckwitz (J. ). An Essay on Engraving and Copper-plate Printing ; to which is added — 
 
 Albumazar: or, the Professors of the Black Art, a Vision (a Poem). London: 1732. 
 
 4to. 
 Handbuch, Praktisches, zur Kupferstichkunde oder Lexikon derjenigen vorziiglichen Kup- 
 
 ferstecher, sowohl der alteren, als bis auf die neueste Zeit. Magdeburg : 1840. Large Svo. 
 
 Handmaid to the Arts. Vol.1. London: 1764. Svo. Vol. IL Teaching. .. IL The art of 
 engraving, etching, and scraping mezzotintos ; with the preparations of the aquafortis, 
 varnishes, or other grounds, etc., in the best manner now practised by the French; as 
 also the best manner of printing copper-plates ; an improved method of producing vvashed 
 prints, and of printing in chiaro-oscuro, and vnth colors, in the way practised by M. Le 
 Blon. London: 1764. Svo. 
 
 Hartzheim (J. ). Vitse Pictorum Chalcographorum, et Typographorum celebrium nostratium. 
 [In "Bibliotheca Coloniensis." Col. Aug. Agripp. : 1747. Foho.] 
 
 Hasper (Wilhelm). Galvanoplastik. Griindliche Anleitung fiir Buchdrucker, Schriftgieszer, 
 Kupferstecher und Holzschneider, auf die einfachste und biUigste Art Typen und Kupfer- 
 platen darzusteUen. Carlsruhe: 1855. Svo. pp. viii. 56- 
 
 Hausmann (B.). Albrecht Duerer's Kupferstiche, Radirungen, Holzschnitte und Zeichnun- 
 gen unter besonderer Beriicksichtigung der dazu verwandten Papiere und deren Wasser- 
 zeichen. Hanover: 1861. 4to. 
 
 Hawes (Stephen). Bibliography; or, the History of the Origin and Progress of Printing 
 and Bookmaking, embracing the various substitutes for Printed Literature, the Invention 
 of Type, Paper, and Printing. Newspaper and Book Publishing in all their varieties ; 
 rare old Books and Manuscripts ; the Discovery and Progress of Engraving, Lithog- 
 raphy, Photography, Photo-Engraving, Printing in Colors, and a general review of the 
 Literature of the day. New York: 1S74. Svo. 
 
THE PRINT COLLECTOR. 299 
 
 Heaton (Mary). History of the life of Albert Uuerer, with a Translation of his Letters and 
 Journals and some account of his works. London: 1871. Royal 8vo. 31 illustrations. 
 
 Hecquet (R.). Catalogue des Estampes gravies d'apr^s Rubens, auquel on a joint I'oeuvre 
 de Jordaens et celle de Vischer. Paris: 1751. lamo. 
 
 Hecquet (R.). Catalogue de I'ceuvre de F. de Poilly, graveur ordinaire du roi; avec un 
 extrait, de sa vie. Paris: 1752. i2mo. 
 
 Heinecken (Karl Heinrich, Baron von). Dictionnaire des Artistes dont nous avons des 
 estampes, avec une notice detaill^e de leurs ouvrages gravies. Vols i. to iv. Leipzig : 
 1778-80. 8vo. 
 
 The publication of this dictionary was arrested at the fourth volume, which extended to Diz, by the death 
 of the author. The original manuscript is in the Library of Dresden. 
 
 Heinecken (Karl Heinrich, Baron von). Id6e generale d'une Collection complette 
 d'Estampes, avec une dissertation sur I'Origine de la Gravure, et sur les premiers livres 
 d'images. Leipsic et Vienne : 1 771. 8vo. 
 
 Heinecken (Karl Heinrich, Baron von). Nachrichten von Kiinstlern und Kunstsachen. 
 Two parts. Leipzig: 1768-69. 8vo. Part I. pp. xxiv. 436 and index; Part IL pp. 
 xxxviii. 524 and index. 
 
 In the second part, pp. 85-240 comprise a disserta- been the first engravers of historical subjects inter- 
 
 tion on the earliest forms of wood-cutting as applied to mingled with* texts. All his attempts to cut single let- 
 
 the illustration of books ; pp. 222-237 describing the ters at Strasburg proved ineffectual, and brought ruin 
 
 "Speculum Humanse Salvarionis," with several fac- both upon himself and his partners, without producing 
 
 simile woodcuts; pp. 241-314, account of the earliest a clean, legible leaf. This failure induced him to quit 
 
 Dutch writers on chalcography, by whom Koster is Strasburg and return to his native city, where he 
 
 credited with the invention of printing. Heinecken joined Fust. Here their endeavors were crowned with 
 
 conjectures that Gutenberg took the idea of printing complete success. Heinecken is of opinion that their 
 
 from the playing-card makers, who are said to have first productions were taken firom wooden blocks. 
 
 Heinecken (Karl Heinrich, Baron von). Schreiben an J. P. Krause iiber die Beurtheilungen 
 der Nachrichten von Kiinstlern und Kunstsachen. Leipzig: 1 771. 8vo, 
 
 Heinecken's name stands deservedly high among cution of many important missions. He devoted the 
 typographical antiquaries. He was bom at Liibeck, whole of his leisure time to the culture of the fine arts, 
 in 1706, and died at Alt-Doelem (basse Lusace), Jan- and his collection of engravings was one of the finest 
 uary 23d, 1791. He studied law at Leipzig, after- to be found in Germany. A number of most interest- 
 wards became secretary to Count Briihl, minister at ing articles written by this author will be found in the 
 the court of Saxony, and was entrusted with the exe- Leipziger Bibliothek der schoenen Wissenschaften. 
 
 [Held]. Ehrengedachtniss unsers ehrwiirdigen. Ahnherrn A. Duerer's von einem kunst- 
 liebenden klosterbruder ; herausgegeben von H. D. Nuremberg: 1797- ^vo. 
 
 Heller (Jos.) Geschichte der Holzschneiderkunst von den altesten bis auf die neuesten 
 Zeiten, nebst zwei Beilagen, enthaltend den Ursprung der Spielkarten und einVerzeich- 
 niss der sammtlichen xylographischen Werke. Bamberg : 1823. 8vo. 
 
 One of the best German works on xylography, with a history of the origin of pla3ting-cards. It contains 
 many wood-engravings, and is now very scarce. 
 
 Heller (Jos.). Das Leben und die Werke Albrecht Diirer's. Tome H. Bamberg: 1827. 
 8vo. pp. viii. 945 and 2 plates. 
 The first volume of this work was never published. A Supplement was issued in 1831. 
 
300 THE PRINT COLLECTOR. 
 
 Heller (Jos. ). Monogrammen- Lexicon, enthaltend die bekannten, zweifelhaften und unbe- 
 kannten Zeichen sowie die Abkiirzungen der Namen der Zeichner, Maler, Formenschnei- 
 der, Kupferstecher, Litliographen, mit kurzen Nachrichten iiber dieselben. Bamberg : 
 1 83 1. 8vo. 
 
 A dictionary of the monograms used by engravers and others, including those known, doubtful, and un- 
 known. 
 
 Heller (Jos.). Praktisches Handbuch fur Kupferstichsammler, oder Lexicon der vorziig- 
 lichsten und beliebtesten Kupferstecher, Formschneider, und Lythographen. 2 vols. 
 Leipzig: 1823-25. Svo. Second edition, 3 vols. Leipzig: 1850. Svo. 
 
 A supplement to the first edition was issued with the following tide: — 
 
 Heller (Jos.). Lexikon fiir Kupferstichsammler iiber die Monogrammisten, Xylographien, 
 Niello, Galleriewerke. Bamberg : 1838. i2mo. pp. vii. 226. 
 
 Heller (Jos.). Versuch iiber das Leben und die Werke Lucas Cranach's. Bamberg: 1821. 
 8vo. pp. xvi. 532, with folding genealogy at page 36. Second edition augmented. Niirn- 
 berg: 1854. Svo. 
 
 Joseph Heller, a German writer, bom at Bamberg, cities and towns of Germany, Italy, and Switzer- 
 
 on the 22d of September, 1798, died in the same city, land. His productions are held in great esteem by 
 
 on the 4th of June, 1849. He visited the principal those engaged in the study of the fine arts. 
 
 Henrici (M.). Die Kupferstecherkunst und die Stahlstich, Leipzig: 1834. Svo. 
 
 Herluison (Henri). Artistes OrManais peintres, graveurs, sculpteurs, architectes. Liste, 
 sous forme alphabdtique, des personnages n^s pour la plupart dans la province de I'Orl^- 
 anais; suivie de documents in^dits. Orleans: 1863. Svo. 115 copies printed. 
 
 History and Art of Ingraving. 1 747. i2mo. 
 
 HODSON (Thomas). The Cabinet of the Arts, or a complete System of Drawing, Etching, 
 Engraving, etc. London : 1805. 4to. 
 
 HoLLOWAY. Memoir of the late Mr. Thomas Holloway, by one of his Executors ; and most 
 respectfully dedicated to the Subscribers to the Engravings from the Cartoons of Raphael. 
 London: 1S27. 80 pp. (with Appendix, pp. x.) 
 
 The first great work on which this celebrated en- splendid press of Bensley." Holloway had the pleas- 
 graver entered was the English publication of Lava- ure of seeing the only remaining plate of the seven 
 ter's "Physiognomy," a work containing seven hun- cartoons of Raphael fairly commenced before his death, 
 dred plates, and extending to five volumes imperial which took place in his eightieth year, at CottishaU, 
 4to, the letterpress of which was executed at "the near Norwich, in February, 1827. 
 
 Holt (H. F. ). Observations on Early Engraving and Printing. In Notes arid Queries, Octo- 
 ber 3, 1868. 
 
 HOLTROP (J. W. ). Monuments Typographiques des Pays-Bas au XVe Siecle. Collection de 
 facsimile d' apr^s les originaux conserves a la Bibliotheque royale de la Haye et ailleurs. 
 La Haye: 1857. 4to. 
 
 Huber (Michael). Manuel des Curieux et des Amateurs de I'Art, contenant une Notice 
 abr^g^e des principaux Graveurs et un Catalogue Raisonn^ de leurs ouvrages. 9 vols. 
 Zurich: 179 7- 1 808. Svo. 
 
 Inspiteofitsimperfections, a very useful work, but volume having been published some years after the 
 seldom met with in a complete form, owing to the ninth previous eight. 
 
THE PRINT COLLECTOR. 301 
 
 HUBER (Michael). Notices g^ncJrales des Graveurs, divises par nations, et des Peintres ranges 
 par ^coles. Pr^c^d^es de I'Histoire de la Gravuie et de la Peinture depuis I'origine de 
 ces Arts jusqu'^ nos jours, et suivies d'un Catalogue raisonnd d'une Collection choisie 
 d'Estampes. 2 parts. Dresde et Leipsic : 1787, 8vo. pp. xlviii, 701. Allegorical front- 
 ispiece. 
 
 This is the first edition of the more generally well-known and standard book of reference by Huber bearing 
 the following title : 
 
 HuBER (Michael). Handbuch fiir Kunstliebhaber und Sammler iiber die vornehmsten Kup- 
 ferstecher und ihre Werke, vom Anfange der Kunst bis auf gegenwartige Zeit ; chrono- 
 logiscli und in Schulen geordnet, nach der franzosischen Handschrift des Michael Huber 
 bearbeitet von C. C. H. Rost. Bde. 6-9 von C. G. Martini. 9 vols. Zurich : 1 796-1808. 
 8vo. 
 Michael Huber was bom at Frontenhausen, Bavaria, in 1727, and died at Leipzig, April 15th, 1804. 
 
 [Humbert]. Abrege historique de I'Origine et des Progres de la Gravure et des Estampes 
 en bois et en taille-douce, par le Major H . . . . Berlin: 1752. l2mo, pp. 62. 
 
 Humphreys (Henry Noel). Masterpieces of the Early Printers and Engravers. A series 
 of facsimiles from rare and curious books remarkable for illustrative devices, beautiful 
 borders, decorative initials, printers' marks, elaborate title-pages, etc. London: 1870. 
 Folio, pp. vi. 81 examples, and 81 leaves of descriptive letterpress. 
 
 Hussgen (G. S.). Raissonniren des Verzeichniss aller Kupfer und Eisenstiche, so durch die 
 geschickte hand Alb. Duerer's selbst verfertigt wordem. Frankfurt : 1 778. 8vo. 
 
 Husson (F.). Eloge historique de Callot, noble Lorrain, celebre Graveur. Bruxelles : 1 766. 
 8vo. Portrait, 
 
 Immerzeel (J. ). De Levens en Werken der Hollandische en Vlaamsche Kunstschilders, 
 Beeldhouw^ers, Graveurs en Bouwmeesters, van het begin vijftiende eeuw tot heden. 3 
 
 vols. Amsterdam: 1842-43. 8vo. woodcut portraits. De Levens . . . van den 
 
 vroegsten tot op onzen tijd, door Christian Kramm. Strekkende tevens tot vervolg op 
 het Werk van J. Immerzeel, Jr. 6 vols. Amsterdam: 1864. 8vo. 
 
 The standard work of authority for the lives of Dutch and Flemish painters and engravers. 
 
 Ireland (John). Graphic Illustrations of Hogarth. 4 vols. London: 1794-99. 8vo. 11 1 
 plates. 
 
 Ireland (J.). Hogarth, Illustrated. 3 vols. London: 1791-98. 8vo. 133 plates. 
 
 Jackson (John Baptist). An Essay on the Invention of Engraving and Printing in Chiaro- 
 Oscuro, as practised by Albert Diirer, Hugo di Carpi, etc., and the application of it to the 
 making of Paper Hangings of Taste, Duration and Elegance. Illustrated with prints in 
 proper colors. London: 1754. 4to. pp. 19, with 8 plates. 
 
 This is an essay, not written ostensibly by Mr. says he, has printed these sheets to induce gentlemen 
 
 Jackson, but by some one else, to eulogize the inven- of taste to look into and give vigor to "his invention 
 
 tion of "Mr. Jackson, of Battersea." It begins with and infant art . . . Mr. Jackson has not spent less 
 
 the somewhat trite obsen'ation that the inventors of time and pains, applied less assiduity, or travelled to 
 
 particular arts are those who draw the least advantage fewer distant countries in search of perfecting his art 
 
 from the discovery, and that a whole nation is often than other men, having past twenty years in France 
 
 indebted to the ruin of one man for the subsistence of and Italy to complete himself in drawing after the best 
 
 many thousands of its inhabitants. " The author of masters in the best schools, and to see what antiquity 
 
 that paper-manufactory now carrying on at Battersea," had most worthy the attention of a student in his par- 
 
302 
 
 THE PRINT COLLECTOR. 
 
 ticular pursuits. After all this time spent in perfecting blocks of wood to be cut by the engravers, practised 
 himself in his discoveries, like a true lover of his native the art in its rudiments. It is claimed that this is an 
 country, he is returned with a design to communicate "art recovered," as no writings are to be found by 
 all the means which his endeavours can contribute to which the former methods can be ascertained. The 
 enrich the land where he drew his first breath, by add- essay asserts that the prints are unchangeable by time 
 ing to its commerce, and employing its inhabitants ; or damp, but the copy in the British Museum sadly 
 and yet, like a citizen of it, he would willingly enjoy belies this statement. Every leaf is stained and mil- 
 some little share of those advantages before he leaves dewed, and some of the prints have turned to almost a 
 this world, which he must leave behind him to his copper color. 
 
 countrjTnen when he shall be no more." The "dis- Savage ("Decorative Printing," p. 15) says that 
 
 covery" seems to have been a kind of color-printing "Jackson began at Venice, in 1744, with the publi- 
 
 from wood-engravings, as it is stated that Albert cation of six landscapes, and ended with printing 
 
 Diirer, as well as Titian, Salviati, Campagniola, and paper-hangings in printing-ink — all failures." 
 other Italian painters who drew their own works on 
 
 Jackson (John R. ). On Box and other Woods used for Engraving. An article in the Leis- 
 iire Hour, January 9th, 1875. 
 
 The author, who is the curator of the museum at use of engravers. He offers some suggestions for the 
 the Royal Botanical Gardens, Kew, gives an account utilization of various other woods for the same pur- 
 of boxwood, and its manufacture into blocks for the pose, there being a deficient supply of good boxwood. 
 
 Jacoby (L. D.). Schmidts Werke oder beschreibendes Verzeichniss samttHcher Kupferstiche 
 und Radirungen welche der beriihmte Kunstler G. F. Schmidt. BerHn: 1875. 8vo. 
 Portrait. 
 
 Jacques (Charles). " Gravure sur bois." Articles in Z^ Magasin Fittoresque, 1852, pp. 
 188, 236, 292, 331, 372. 
 
 Jakob Y (Prof.). Plate Engraving and Printing at the Vienna Exhibition. An article trans- 
 lated from the German, in the Lithographer, March 15th, 1874. 
 
 Jansen (Hendrik). Essai sur I'origine de la Gravure en Bois et en Taille-douce, et sur la 
 Connoissance des Estampes des XV^ et XVI^ siecles, ou il est parle aussi de I'origine des 
 cartes a jouer et des cartes geographiques. Suivi de recherches sur I'origine du papier 
 de coton et de lin ; sur la calligraphie depuis les plus anciens manuscrits ; sur les Fili- 
 granes des papiers des XlVe, XV^ et XVI^ siecles ; ainsi que sur I'origine et le premier 
 usage des signatures et des chifires dans I'art de la typographie. 2 vols. Vol. I. — Paris : 
 1808. 8vo. 5 leaves, pp. iv. 404, 2 leaves of table and errata, 19 plates of nielli, old 
 wood-cuts and engravings, monograms and watermarks. Vol. II. — Paris : 1808. 8vo. 
 PP- 373- Large paper. 
 
 Jeunesse (Aug.). L'Art de Peindre la Parole. Etudes sur I'lmprimerie, la Librairie, les 
 Cartes et Globes, la Fonderie en Caractferes, la St^r^otypie, la Polytypie, la Lithographie, 
 la Gravure, sur bois, sur cuivre, sur pierre, etc. Par MM. Gobin (H.), Jeunesse (A.), 
 Kseppelin (D.), et Pieraggi, r^dacteurs des Annales des Gfeie Civil. Paris: 1874. 8vo. 
 With cuts. 164 pp. 
 
 JOMARD. Rapport fait a la Soci^t6 d'Encouragement sur les Machines a Graver en TaiUe- 
 douce. 4to. Wood-cuts. 
 
 JOMBERT (Ch. Ant.). Catalogue de I'oeuvre de Charles Nicolas Cochin fils. Paris : 1770. 8vo. 
 
 JouBERT. Manuel de I'amateur d'estampes. 3 vols. Paris : 1821. 8vo. 
 
 JouLLAiN (C. F.). Reflexions sur la Peinture et sur la Gravure. Metz : 1786. i2mo. 
 
 Kerrich (Thomas). A Catalogue of the Prints which have been engraved after Martin 
 Heemskerck ; or, rather, an Essay towards such a Catalogue. Cambridge: 1829. 8vo. 
 Portrait. 
 
THE PRINT COLLECTOR. 
 
 Z^l 
 
 KlNDLiNGER (N.). Nacliricht von einigen nech unbekannten Ilolzschnitten Kupferslichen 
 und Steinaboriicken aus dem 15 jahrhundert. Frankfurt: 1819. 8vo. 
 
 KOBELL (Franz von). Die Galvanographie, eine Methode, gemalte Tuschbilder durch 
 galvanische Kupferplatten im Drucke zu verviefaltigen. Miinchen: 1842. 4to. pp. 18. 
 7 plates. 
 
 KoBELL (Franz von). Ueber die Biklung galvanischer Kupferplatten, vorziiglich zum Zweck 
 der Galvanographie, mittelst des Trommel-Apparates. (In the Abhandhingen der kon. 
 Bayer' schen Akademie der Wissenscha/ten, vol. 6. ) 4to. 
 
 Kress (Georg Ludwig von). Die Galvanoplastik fiir industrielle und kiinstlerische Zwecke. 
 Frankfurt-am-Main : 1867. 8vo. pp. viii. II2. 
 
 Krueger (Julius). Die Zinkograviire, oder das Aetzen in Zink zur Herstellung von 
 Druckplatten aller Art, nebst Anleitung zum Aetzen in Kupfer, Messing, Stahl u. a. 
 Metallen. VVein : 1878. 8vo. pp. vii. 142. 
 
 Labitte (A.). Gravures sur bois tirees des livres Fran9ais du XV^ Siecle. Paris: l858. 
 4to. 
 
 A series of fac-similes of wood-engravings of the isth century, with some valuable typographical information, 
 elucidations of old printers' marks, etc. 
 
 Laborde (L^on Emmanuel Simon Joseph, Marquis de). Les Dues de Bourgogne. Etudes 
 sur les lettres, les arts, et I'industrie pendant le XV^ Siecle, et plus particulierement dans 
 les Pays-Bas et le Duch^ de Bourgogne. 3 vols. Paris : 1849. 8vo. 
 
 In Vol. I. there is an account of the engravers and der Goes, and Alart du Hameel, 1482. In the third 
 printers, beginning with " Laurent Coster, 1425," volume are given the illuminators, writers, cop5dsts, 
 and ending with Wynken de Worde, Matthias van publishers, bookbinders, etc. 
 
 Laborde (Leon Emmanuel Simon Joseph, Marquis de). Essais de gravure pour servir a 
 une histoire de la gravure en bois. Premiere livraison [all that was published]. Paris : 
 1833. Small 4to. 25 plates. 
 
 Laborde (Leon Emmanuel Simon Joseph, Marquis de). Histoire de la gravure en maniere 
 noire. Paris : 1839. Royal 8vo. pp. vi. 413, and leaf of table, 300 copies printed. 
 
 This voltmae is the fifth and only one issued of a sonne of hooks, on the art of etching. The work it- 
 projected series in eight volumes : " Histoire de la self consists of biographical notices of engravers in 
 decouverte de I'impression et de son application a la mezzotint, with fac-similes of their marks, and an ac- 
 gravure, aux caracteres mobiles et a la lithographie. " count of some of their chief works. 
 In the introduction there is a good catalogue rai- 
 
 Laborde (L^on Emmanuel Simon Joseph, Marquis de). La plus ancienne gravure du 
 Cabinet des Estampes de la Bibliotheque Royale, est-elle ancienne ? [Extract from 
 V Artiste. 1^ Paris: 18 — . 4to. pp. 9. 
 
 There are four fac-similes at the end. i. The St. The Marquis Leon Emmanuel Simon Joseph de 
 
 Bernard, engraved in relief on a plate of metal, and Laborde was bom at Paris, June 12, 1807. He 
 
 bearing the date of 1454 ; 2. Copy of the original im- studied at Gottingen, and afterward travelled extens- 
 
 pression of the St. Christopher of 1423, in the pos- ively in the East. He subsequently held several 
 
 session of Lord Spencer ; 3. A fac-simile of a copy of diplomatic positions, and was curator of the antiqui- 
 
 the same, made in 1775 by S. Roland; 4. The Vir- ties of the Louvre from 1848 to 1854, and director of 
 
 gin and the child Jesus, an ancient engraving cut the Archives of the Empire from 1856 to his death, 
 
 on wood, and preserved in the French Cabinet des on March 30, 1869. He wrote a large number of 
 
 Estampes. works relating to archaeology and art. 
 
304 
 
 THE PRINT COLLECTOR. 
 
 Lacroix (Paxil), FouRNiER (Edouard), et Sere (Ferdinand). Le Livre d'or des nietiers. 
 Histoire de rimprimerie et des arts et professions qui se rattachent a la typographie, 
 calligraphie, enluminure, parcheminerie, librairie, gravure sur bois et sur metal, fonderie, 
 pap^terie et reliure; comprenant I'histoire des anciennes corporations et confreries 
 d'ecrivains, d'enlumineurs, de parcheminiers, d'imprimeurs, de libraires, de cartiers, de 
 graveurs sur bois et sur m^tal, de fondeurs de caracteres, de papetiers et de relieurs de 
 la France, depuis leur fondation jusqu'a leur suppression en 1 789. Paris: 1852. 4to. 
 pp. 160, with 19 plates. 
 
 Lalanne (Maxime). Traite de la gi-avure a I'eau forte, texte et planches. Paris : 1866. 
 
 Svo. pp. 106. 2me edit. nouv. corrigde et augment^e. Paris : 1878. 8vo. pp. xii. 
 
 112 and 10 plates. 17 copies on papier de Hollande and 100 on ordinary paper. 
 
 Lancesseur. Memoire pour les graveurs et marchands d'estampes a Paris ayant des fonds 
 de planches gravies, contre les jurez de la communaute des imprimeurs en taille-douce. 
 M. Lancesseur, avocat. 1734. Folio. 
 
 Landseer (John). Lectures on the Art of Engraving, delivered at the Royal Institution 
 of Great Britain. London : 1807. 8vo. pp. xxxviii. 341. 
 
 This book is printed by J. McCreery, Blackhorse Court, Fleet Street. 
 
 Langalerie (Charles de). Notice sur I'art de nieller. Orleans : 1858. Svo. Cuts. 
 
 Leber (C). Essai d'une pantographie comparee, ou collection d'estampes originales de toute 
 nature et de toutes les ^coles representees par leurs principaux maitres, et compar^es par 
 dpoques, depuis la premiere moitie du XVe Siecle jusqu'au commencement du XIX^ , pour 
 servir a I'histoire de la gravure par ses produits. [In " M^moires de la Societe Arch- 
 eologique de rOrleanais." Tome I. pp. 31-74.] 1851. 8vo. 
 
 Leber (C). Histoire de la gravure par ses produits. Catalogue d'une collection d'estampes 
 originales de tout nature et de toutes le ^coles, repr^sent^s par leurs maitres et compares 
 par epoque, depuis la i^ moitie du XV^ Siecle jusqu'au commencement du XIX^, suivie 
 des proc^dds employes pour graver et pour nettoyer les estampes. Orleans : 1872. 4to. 
 PP- 39- 
 
 Lempertz CHeinrich). Bilder-Hefte zur Geschichte des Biicherhandels und der mit demsel- 
 ben vervirandten Kiinste und Gewerke. Cologne : 1853. foho. 
 
 Lenormant (Ch. M.). Les Johannot. Paris: 1858. Svo. 
 
 Leppel (Guillaume de). Oeuvre de Claude Gelee, dit le Lorrain, Dresde: 1806. Svo. 
 
 Leprince (J. Bpt.). D^couverte d'un procMe de gravure en lavis. [A prospectus.] 17S0. 4to. 
 
 LiPOWSKY (F. J.). Baierisches Kiinstler lexicon. 2 vols. Miinchen: iSio. Svo. 
 
 LOEDEL (Johann Heinrich). Des Strassburger Malers und Formschneiders Johann 
 Wechtlin, genaant Pilgrim, Holzschnitte in Clair-Obscur in Holz nachgeschnitten. Leip- 
 zig: 1863. 4to. 
 
 Lombard (Lambert). Lettre a Vasari. Notes sur la premier ecole de gra\Tire. Li^ge : 
 1874. Svo. pp. 146. 
 
 LoNGHi (G). La Calcografia propriamente detta, ossia I'Arte d'Incidere in rame coll' acqua 
 forte, col bulino, e coUa punta. Vol. I. concernante la Teorica dell' Arte. Milano : 
 1833. Svo. All that was published. 
 
rilE PRINT COLLECTOR. 305 
 
 LoNGHi (Guiseppej. Die Kupferstecherei, oder die Kunst in Kupfer zu stechen und zu 
 titzen. I' Theoret. Theil von J. l,onghi aus deni Italian, iiberstezt von C. Barth; 2° Prak- 
 lischer Theil von C. Barth. Hildburghausen : 1837. 8vo. 
 
 LucANUS (F. G. H. j. Anleitung zur Erhaltung, Reinigung und Wiederherstellung der Ge- 
 nialde, zur Bereitung der Firnisse, so wie audi zum Aufziehen, Bleichen, Reinigen und 
 
 Restauriren der Kupferstiche. Leipzig: 1812. i2mo. 2d edition. 1835. i2mo. 
 
 3d edition. 1842. 8vo. 
 
 LuEDEMANN fW.). Geschichte der Kupferstechkunst und der damit verwandten Kiinste, 
 Holzschneide und Stemdruckkunst. Dresden: 1828. 8vo. 
 
 [Maberly (Joseph).] The Print Collector, and Introduction to the knowledge necessary for 
 forming a collection of ancient Prints. London: 1844. 4to. 
 
 Malaspinadi SannazaroCM.). Catalogue di un raccolta di stampe antiche. 5 vols. Milano: 
 1824. 8vo. 
 
 Marcenay DE Ghuy ( Antoine de). Idee de la Gravure. In " Le Mercure" April, 1 756. 
 
 Second edition. Paris: 1764. 4to. pp. 16 and 10. 
 
 Marggraff (And.). Erinnerungen au A. Duerer und seiner Lehrer Michael Wohlgemuth. 
 Nuremberg: 1840. 8vo. 
 
 Mariette (P. J.). Abecedario de P. J. Mariette et autres notes inedites de cet amateur sur 
 les arts et les artistes, ouvrage public d'apres les manuscrits autographes, conserves au 
 cabinet des estampes de la Bibliotheque Imperiale, et annote par MM. Ph. de Chenne- 
 vi6res et A. de Montaiglon. 6 vols. Paris: 1851-62. 8vo. 
 
 Marolles"( Michel de, abb^ de ViUeloin). Le Livre des Peintres et Graveurs. Nouvelle Edi- 
 tion revue par G. D. Paris: 1855. l2mo. pp. iii. Second edition, Paris : 1872, 
 
 vs^ith new biographical, critical, and other notes. 
 
 The Abb]£ Marolles was in his day a distin- identity is indicated by the initials on the title-page, 
 
 guished litterateur and collector of prints. He wrote has reprinted several of these in the above little vol- 
 
 a number of poetical eulogies on different engravers, ume (which forms one of the " Bibliotheque Elzeve- 
 
 painters, sculptors, etc., some of them displaying great rienne"), along with various prose pieces on the same 
 
 literary ability, and others a deep knowledge of the subject. — See Duplessis. 
 history of the chalcographic art. M. Duplessis, whose 
 
 [Marsand (Ant.).] II fiore dell' arte dell' intaglio neUe stampe, con singolare studio rac- 
 colte dal Sig. Luigi Gandio. Padova : 1823. 4to. 
 
 Martial (A. P.). Nouveau traite de la Gravure a I'eau forte. Paris: 1873. 8vo. With 
 13 engravings. 
 
 Martial (A. P.). Lettre sur les elements de la Gravure a I'eau forte. Paris : 1864. 
 
 Masson (Georges). Les arts graphiques a I'Exposition de Vienne, 1873 (Groupe xii.): im- 
 primerie et librairie, lithographie, gravure en taille-douce, sur bois, etc. Paris : 1875. 
 8vo. pp. 140, 2 leaves. 
 
 Reprint of the report published by the "Commission superieure." 
 Meadows (Robert Mitchell). Three Lectures on Engraving, delivered at the Surrey Insti- 
 tution in 1809. London: l8ll. 8vo. With a preface by J- H. 
 
306 THE PRINT COLLECTOR. 
 
 Meaume (Edonard). Recherches sur la y\& et les Ouvrages des Jacques Callot, suite au 
 Peintre-Graveur Fran9ais de R. Dumesnil. 2 vols. Nancy : i860. 8vo. 
 
 Meynier (J. Ch.), Anleitung zur Aetzkunst besonders in Crayon und Tuscliinanier. Hof: 
 
 1804. 8vo. With twelve tables. 
 
 MiDDLETON (Charles H. ). A Descriptive Catalogue of the Etched works of Rembrandt, with 
 life and introductions. London : 1879. 8vo. Wood-cuts. 
 
 MILIZIA (Francesco). DeUa Incisione della Stampe, Articolo tratto dal Dizionario delle arti 
 deldisegno. 2 vols. Bassano: 1797. 8vo. 
 
 MiLLiN (A. L.). Dictionnaire des Beaux- Arts. 3 vols. Paris: 1806. 8vo. 
 
 MONNIN. De la Gravure, (Articles in the February, March, and April numbers of the An- 
 nales des Artes.) Paris: 1 818. 8vo. 
 
 MONTAIGLON (Anatole de). Catalogue raisonne de I'oeuvre de Claude Mellan. Abbeville : 
 1856. 8vo. 
 
 MoiiENO DE Tejada (Juan). Excelencias del Pincel y del Buril, que en cuatro silvas cantaba. 
 Madrid: 1804. 8vo. 
 
 MURR (Christoph Gottlieb von de). Bibliothfeque de Peinture, de sculpture, et de Gravure. 
 2 vols. Frankfort and Leipzig : 1770. i2mo. 
 
 MuRR (C. G. von). Bejrtrage zur Geschichte der altesten Kupferstiche. Augsburg : 1804. 
 4to. 5 plates. 
 
 MUSSAULT (J. C. L.). Manuel des amateurs d' Estampes. Paris: 1821. l2mo. 
 
 Nagler (G. K.). Albrecht Duerer und seine Kunst. Munich: 1857. 8vo. 
 
 Nagler (G. K.). Die Monogrammisten und diejenigen bekannten und unbekannten Kiinst- 
 ler aller Schulen. 2 vols. Munich : 1858. 8vo. 
 
 Nagler (G. K.). Neues allgemeines Kiinstler-Lexikon, oder Nachrichten von dem leben und 
 den Werken der Maler, Bildhauer, Baumeister, Kupferstecher, Formschneider, Litho- 
 graphen, Zeichner, Medailleure, Elfenbeinarbeiter, etc. 22 vols. Munchen : 1835-52. 8vo. 
 
 Napione (G. F. G.). Deir origine delle Stampe delle Figure in legno ed in rame. Turin: 
 
 1805. 4to. 
 
 Narrey (Charles). Albert Diirer a Venise et dans les Pays-Bas. Autobiographie, Lettres, 
 Journal de Voyages, Papiers divers. Traduits de I'Allemand avec des Notes et une In- 
 troduction. Paris : 1866. 4to. pp. 164. 27 engravings on India paper. 
 
 Naumann (Rob.). Archiv fiir die Zeichnenden Kiinste mit besonderer Beziehung auf Kup- 
 ferstecher und Holz-Geschichte. Leipzig: 1855. 8vo. 
 
 Neumayr (Antonio). Cenni suUe antiche Stampe classiche da Maso Finiguerra e Fed. 
 Baroccio. Venezia: 1832. 8vo. 
 
 Nichols (John). Biographical anecdotes of William Hogarth ; and a Catalogue of his works 
 chronologically arranged ; with occasional remarks. London: 1781. 8vo. 
 
 NiEPCE DE St. Victor (Claude). La Gravure hehographique sur acier et surverre. Paris: 
 1856. 8vo. 
 
THE PRINT COLLECTOR. 307 
 
 O'lTLEY (William Young). An Inquiry into the Origin and Early History of Engraving upon 
 Copper and in Wood. With an account of Engravers and their works, from the Inven- 
 tion of Chalcography, by Maso Finiguerra, to the time of Marc Antonio Raimondi. 2 vols. 
 London: I Si 6. 4to. 
 
 Ottley (W. Y.). 129 Fac-similes of Scarce and Curious Prints Illustrative of the History of 
 Engraving. Eondon : 1S28. 4to. 
 
 Ottley (W. Y.). Notices of Engravers and their works, being the commencement of a new 
 Dictionary, which it is not intended to continue, containing some account of upwards of 
 three hundred masters, with more complete catalogues of several of the more eminent 
 than have yet appeared, and numerous original notices of the performances of other artists 
 hitherto little known. London: 1831. 8vo. 
 
 Palmerini (Nic). Opere d' intaglio del cav. Raffaello Morghen. Firenze: 1824. 8vo. 
 
 Papillon (J. M. ). Memoire sur la vie de Fran9ois Chauveau, peintre et graveur. Paris : 
 1S54. 8vo. 
 
 Papillon (J. M. ) Traits Historique et Pratique de la Gravure en Bois, ouvrage enrichi des 
 plus jolis morceaux de sa composition et de sa Gravure. 3 vols. Paris : 1766. 8vo. 
 
 Parkes (Mrs. Mary). The Electrotype, as misapplied to Engraving in the National Art- 
 Union. A letter to Mr. Moon, of Threadneedle Street, London : 1842. 8vo. 
 
 Partington (C. F.). The Engi-avers' Complete Guide, comprising the theory and practice 
 of Engi-aving, with its modern improvements, in steel plates, lithography, etc. London : 
 
 1825. 8vo. 
 
 Passavant (Johann David). Le Peintre-Graveur, contenant I'histoire de la Gravure sur 
 bois, sur m^tal, et au burin jusqu^e vers la fin du 16^ Siecle, I'histoire du nielle, etc. 6 
 vols. Leipzig : 1860-64. Royal 8vo. 
 
 Peignot (Gabriel). Recherches historiques et litt^raires sur les Danses des Morts et sur 
 I'origine des Cartes a Jouer. Dijon : 1826. 8vo. 
 
 Pernetty (A. J.). Dictionnaire de Peinture, Sculpture et Gravure. Paris: 1757. 8vo. 
 Plates. 
 
 Perrot (A. M.). Manuel de Graveur, ou trait6 complet de Part de la gravure en tous 
 genres d'apres les renseignements fournis par plusieurs artistes. Paris : 1830. 8vo. 
 Plates. 
 
 PiCART. Catalogue des estampes qui composent la plus grand partie de I'oeuvre de B. Picart. 
 No date. 8vo. 
 
 Poublon (P. A.). Projet d'un Institut de Gravure a Anvers. Bruxelles : 1802. 4to. 
 
 QUANDT (J. G. von). Entwurf zu einer geschichte der Kupferstecherkunst. Leipzig : 
 
 1826. 8vo. 
 
 Quandt (J. G. von). Verzeichniss meiner Kupferstichsammlung, als Leitfaden zur Geschichte 
 der Kupferstecherkunst und Malerei. Leipzig: 1853. 8vo. 
 
 QUATREM^RE DE QuiNCY (A. C). Reflexions nouvelles sur la Gravure. Paris: 1791. 
 8vo. pp. 8. 
 
 4 
 
3o8 - THE PRINT COLLECTOR. 
 
 Raimbach (Abraham). Memoirs and Recollections of the late Abraham Raimbach, Esq., 
 Engraver, Corresponding Member of the Institute of France, and Honorary Member 
 of the Academies of Arts of St. Petersburg, Geneva, and Amsterdam. Including a 
 Memoir of Sir David Willde, R. A. Edited by Mr. T. S. Raimbach. London : 1843. 
 Small 4to [not published]. Portrait by Freebairn engraved by Bates's patent anaglyp- 
 tograph. Pp. viii. 203. 
 
 Redgrave (Samuel). A Dictionary of Artists of the Enghsh School, Painters, Sculptors, 
 Architects, Engravers and Ornamentists, with notices of their lives and work. New 
 edition, revised to the present date. London : 1878. 8vo. pp. xvi. 498. 
 
 Reiffenberg (Le Baron de). La plus ancienne Gravure connue avec une date. Bruxelles : 
 1845. 4to. 
 
 Renouvier (Jules). Des Gravures en bois dans les livres d'Anthoine Verard, maitre libraire, 
 imprimeur, enlumineur et tailleur sur bois, de Paris, 1485-1512. Paris: 1859. 8vo., 
 pp. 52, with two large plates on wood. Only 200 copies printed. 
 
 Renouvier (J.). Des Gravures sur bois dans les livres de Simon Vostre, libraire d'Heures. 
 Avec un avant-propos par Georges Duplessis. Paris : 1862. 8vo., pp. viii. and 23, 
 with 8 vignettes. 
 
 In the preface M. Duplessis shows how necessary The books, too, of his own country he considers 
 it becomes for the investigator into the history of especially suitable for the prosecution of such an in- 
 wood-engraving to acquaint himself vnth the devo- quiry. This little work is exceedingly interesting, R 
 tional works known as Books of Hours, and how con- and can not be overlooked by any futiwe historian, 
 siderable is the light they throw upon its progress. 
 
 Renouvier (J.). Histoire de I'origine et des progres de la Gravure dans les Pays-Bas et en 
 x\llemagne, jusqu'a la fin du quinzieme siecle. Bruxelles: i860. 8vo., pp. 317, vdth 
 monograms. 200 copies printed. 
 
 Renouvier (J.). Des Types et des Manieres des Maitres Graveurs, pour servir a 
 I'histoire de la Gravure en Italic, en AUemagne, dans les Pays-Bas et en France. 
 Montpellier: 1853-56. 4to. 
 
 Roth (J. F.). Leben A. Duerer's nebst alphabetischem Verzeichniss der Orte an denen 
 seine Kiinstwerke auf bewahrt werden. Leipzig: 1 791. 8vo. 
 
 RUEDA (Manuel de). Instruccion para Gravar en Cobre, y perfeccionarse en el gravado a 
 buril al agua fuerte, y al humo, con el nuovo methodo de gravar las planchas para 
 estampar en colores a imitacion de la Pintura, y un compendio Historico de los mas 
 celebres Gravadores, que se han conocido desde su invencion hasta el presente. Madrid : 
 1 76 1. i2mo. 
 
 RUMOHR (C. F. von). Hans Holbein der jlingere in seinem Verhaltniss zum Deutschen 
 
 Formschnitteresen. Leipzig: 1836. 8vo., pp. iv. 127. 
 On the tide is a fac-simile of one of the Dance of Death series of wood-cuts. 
 RuMOHR (C. F. von). Zur Geschichte und Theorie des Formschneidekunst. Leipzig: 
 
 1837. 8vo. Illustrations. 
 
 RUSKIN (John). Ariadne Florentino. Six Lectures on Wood and Metal Engraving, given 
 before the University of Oxford, in Michaelmas term, 1872. 6 parts. Orpington: 
 1873-75. 8vo, 
 
THE PRINT COLLECTOR. 309 
 
 Saint-Arroman (Raoul de). La Gravure h. I'eau forte, essai historique. Comment je 
 devins graveur ^ I'eau forle par le Comte Lepic. Paris: 1876. 8vo., pp. 115. 
 Portrait. 
 
 Salmon (William). Polygraphice ; or, the Arts of drawing, engraving, etching, limning, 
 painting, washing, varnishing, coloring, and dyeing. 2 vols. London: 1701, i2mo. 
 
 SCHELLENBERG (Johann Rudolf). Kurze Abhandlung iiber die Aetzkunst. Winterthur: 
 1795. 8vo. Plates. 
 
 SCHELTEMA (Dr. P.). Rembrandt. Redevoering over het leven en de verdiensten van 
 Rembrandt van Rhyn. Amsterdam : 1853. 8vo. Portrait. 
 
 SCHELTEMA (Dr. P.). Rembrandt. Discours sur sa vie ef son genie, avec un grand nombre 
 de documents historiques, traduit par A. Willems, revu et annote par W. Burger. 
 Bruxelles: 1859. 8vo. 
 
 ScHOEBER (D. G.). Albrecht Duerers, eines der grossesten Meister und Kiinstler seiner 
 Zeit, Leben, Schriften und Kunstwerke, aufs neue und viel vollstandiger als von andern 
 ehemals geschehen. Leipzig: 1779. Svo. 
 
 SCHUCHARDT (Ch.). Revision der Akten liber die Frage; Gebiihrt die Ehre der Erfindung 
 des Papierabdruckes von gravirten Metallplaten der Deutschen oder den Italienern? 
 Leipzig: 1858. 8vo. 
 
 ScHWEGMAN (H.). Het overbrengen von een tekening op een koperenplat. Harlem: 
 1793. Svo. 
 
 ScHWEGMAN (H.). Verhandeling over het gravuren in de manier von gewassen tekeningen 
 of acquatinta, op twee verschillende wyzen. Harlem: 1806. 8vo. 
 
 Scott (William B.). Albert Diirer, his life and works. London: 1869. Svo. 
 
 ScuLPTURA Historico-Technica ; or, the History and Art of Engraving. Containing : I. 
 The Rise and Progress of Engraving; II. Of Engraving in General ; HI. Of Engraving, 
 Etching, and Scraping on Copper, as now Practised ; IV. An Idea of a Fine Collection 
 of Prints ; V. The Repertorium of a Collection of various Marks and Cyphers, with 
 additions. To which is now added a chronological and historical series of the Painters, 
 from the Eleventh Century. Extracted from Baldinucci, Florent le Compte, Faithorne, 
 the Abecedario Pittorico, and other authors. With copper-plates. The fourth edition. 
 London: 1770. cr. Svo. 
 
 Seroux d'Agincourt. Histoire de I'Art par les monuments depuis sa decadence au 
 IV^ Siecle jusqu'^ son renouvellement au XVI^ . 6 vols. Paris: 1823. Large folio. 
 325 plates. 
 
 Silvestre (E. de). Renseignements sur quelques peintres et graveurs des XVII^ et 
 XVIIIe Siecles. Israel Silvestre et ses descendants. Paris : 1868. Svo. 
 
 Simoneau (Louis). Recueil d'Estampes gravees en taiUe-douce pour servir a I'histoire de 
 I'art de I'Imprimerie et de Gravure. 1694. Folio. 
 
 Singer (Samuel Weller). Researches into the History of Playing Cards. With Illustrations 
 of the Origin of Printing and Engraving on Wood. London : 181 6. 4to. 
 
 Siret (Adolphe). La Gravure en Belgique, sa situation, son avenir. Gand : 1852. Svo. 
 
3IO 
 
 THE PRINT COLLECTOR. 
 
 SOYER (L.). Coup d'ceil sur la Gravure et son histoire. Paris : 1839. i2mo. 
 
 [Spilsbury (F.).] The Art of Etching and Aqua-Tinting, strictly laid down by the most 
 approved masters, sufficiently enabling Amateurs in Drawing to transmit their works to 
 posterity ; or as amusements among their circle of friends. To which is added the most 
 useful liquid colors, well adapted for staining and coloring the above, etc., etc., with a 
 specimen of Landscape and Profile, by F. Yrubslips. London: 1794. l2mo. 
 
 Stapart. L'art de Graver au pinceau, nouvelle methode qu'on peut excecuter sans avoir 
 I'habitude au burin. Paris: 1773. i2mo. 
 
 Strutt (Joseph). A Biographical Dictionary, containing an Historical Account of all the 
 Engravers from the earliest Period of the Art of Engraving to the present time, and a 
 short list of the most esteemed works, vrith the cypher, monograms, and particular marks 
 used by each master accurately copied from the originals and properly explained. 2 vols. 
 London: 1785-6. 4to. 
 
 SuLZER (J. G.). AUgemeine Theorie der Schoenen Kiinste. 2 parts. Biel: 1779. 8vo. 
 
 Ter Bruggen (Edouard). Histoire metallique et histoire de la Gravure d'Anvers, appuyees 
 par des pieces et documents. Anvers : 1875. 8vo, Supplement. Anvers : 1875. 8vo. 
 
 Thausing (Moritz). Diirer, Geschichte seines Lebens und seiner kunst, mit Illustrationen. 
 Leipzig: 1876. 8vo. 
 
 Thon (Theodor). Lehrbuch der Kupferstecherkunst. 183 1. 8vo. 
 
 Ticozzi (Stef.). Dizionario degli architetti, scultori, pittori, intagliatori, etc., d'ogni eta e 
 d'ogni nazione. 4 vols. Milano : 1830-33. 8vo. 
 
 Tissandier (G.). Histoire de la Gravure Typographique. Conference faite au Cercle de la 
 Librairie. Paris: 1875. Imp. 8vo. 'R.e^r'mtQdiixova.lAie Jotirnal General de la Libraire. 
 
 Tissier (Louis). Historique de la Gravure Typographique sur Pierre et la Tissierographie. 
 Paris: 1843. 8vo. 
 
 Tory (Geoffrey). Champfleury, auquel est contenu l'art et science de la deue et vraye pro- 
 portio des Lettres Attiques, quo dit autremo Lettres Antiques, et vulgairement Lettres 
 Romaines proportionees selon le Corps et Visage humaine. Paris : 1529. 4to. Small 
 folio. Folios 8 and Ixxx. 
 
 This very curious work is by the engraver who brought to the greatest perfection the beautiful Books of Hours 
 issued in France in the sixteenth century. 
 
 Umbreit ( A. E. ). Ueber die Eigenhandigkeit der Malerformschnitte. Leipzig: 1840-1843. 
 8vo. 
 
 Vallardi (F. S.). Manuale del raccoglitore e del negoziante di Stampe. Milano: 1843. 
 8vo. 
 
 Vallardi (G.). Catalogo dei piri celebri intagliatori in legno ed in rame e capiscuola di 
 diverse eta e nazioni. Milano: 1821. 8vo. 
 
THE PRINT COLLECTOR. jjl 
 
 Van der Kellen (J. P.). Le Peintre-Graveur HoUandais et Flamand, ou Catalogue raisonnc 
 des Estampes gravees par les peintres de 1' ccole HoUandaise et Tlamande. Ouvrage 
 faisant suite au Peintre-Graveur de Bartsch. Utrecht: 1867. 4to. Plates. 
 
 Vasari (Giorgio). Le Vite de piil eccellenti architetti, pittori, et scultori Italian!, da Cimahue 
 insino a' tempi nostri. 3 parts. Firenze : 1550. 4to. pp. 992 and 22 unnumbered pages. 
 
 Vasari (Giorgio). Vite di pifi excellente Pittori, Scultori, ed Architetti, edizione arricchita di 
 note oltra quelle dell' Edizione Illustrata di Roma. 7 vols. Livorno: 1767-72. 8vo. 
 Numerous portraits. 
 
 Vasari. Lives of the most eminent Painters, Sculptors and Architects. Translated from the 
 Italian by Mrs. J. Foster, with Notes selected from various commentators. 5 vols. Lon- 
 don : 1878. Post 8vo. Porti-ait. 
 
 Vertue (George). A catalogue of Engravers who have been born, or resided, in England; 
 digested by Horace Walpole, Earl of Oxford, from the MSS. of Mr. George Vertue ; to 
 which is added an account of the life and works of the latter. London : 1 794. 8vo. Por- 
 traits. Pp. 230, and two leaves of index. 
 
 Vertue (George). A description of the works of the ingenious delineator and engraver, Wen- 
 ceslaus Hollar, disposed into classes of different sorts ; with some account of his life. Second 
 edition, with additions. London: 1759. 4to. pp. vi. 151. Portrait in title. 
 
 Voiart (J. P.). Eloge historique de Claude Gelee, dit le Lorrain. Nancy: 1839. 8vo. 
 
 VoisiN (A.). Josse Lambert, imprimeur, graveur, poete et grammarien Gantois du XVIe 
 Siecle. Gand: 1842. Royal 8vo. pp. iv. 48. Frontispiece of marks. Only 53 copies 
 printed. 
 
 Vosmaer(C.). Rembrandt, sa Vie et ses GEuvres. Paris: 1869. 8vo. 
 Walpole (Horace). See Vertue. 
 
 Wedmore (Frederick). Masters of Etching. A series of Articles in " Macmillan's Maga- 
 zine.''^ London: 1874. 8vo. 
 
 Weichmann Kadow. Die Meklenburgischen Formschneider des sechszehnten Jahrhunderts. 
 Schwerin: 1858. 8vo. 
 
 Weigel (Rudolphe). Holzschnitte beriihmter Meister; eine Auswahl von schonen, charac- 
 terischen und seltenen Original-Formschnitten oder Slattern, welche von der Erfindern, 
 Malern und Zeichnern eigenhandig geschnitten worden sind. Leipzig: 1851-54. Folio. 
 
 Weise (Adam). A. Duerer und sein Zeitalter. Leipzig: 1819. 4to. Portrait. 
 
 Willshire (William Hughes). An Introduction to the Study and Collection of Ancient 
 Prints. Second edition, revised and enlarged. 2 vols. London: 1877. 8vo. 
 
 Wilson (Thomas). A Catalogue raisonn^ of the select collection of engravings of an amateur. 
 Illustrated with Etchings. London: 1828. 4to. 
 
312 THE PRINT COLLECTOR. 
 
 Wilson (Thomas). A descriptive catalogue of the prints of Rembrandt, by an amateur. Lon- 
 don: 1836. 8vo. Portrait. 
 
 Winter (Hendrick de). Beredeneerde catalogus van alle de prenten von Nicolaas Berchem. 
 Amsterdam: 1767. 8vo. 
 
 WOLTMANN (Alfred). Holbein und seine Zeit. 2 vols. Leipzig: 1866. Royal 8vo. 31 
 wood-cuts and a plate. 
 
 WoLTMANN. Holbein and his Time; from the German, by F. E. Burnett. London: 1872. 
 Small 4to. 60 wood-cuts. 
 
 WoRNUM (R. N.). Some Account of the Life and Works of Holbein, painter of Augsburg. 
 London : 1867. Impl. 8vo. 2 portraits and 34 engravings. 
 
 WussiN (Johann). Jonas Suyderoef. Verzeichniss seiner Kupferstiche. Leipzig: 1861. 
 Svo. 
 
 Zaleski (Bronislaus). Chefs-d'oeuvres de Jacob Ruysdael, notice et eaux-fortes, avec le 
 Catalogue detaill^e des peintures et estampes du maitre. Paris : 1868. 4to. 
 
 Zanetti (Alexandre). Le premier siecle de la Chalcographie ou catalogue raisonn^ des 
 estampes du Cabinet du Comte Leopold Cicognara. Venise : 1837. 8vo. 
 
 Zani (Pietro), Enciclopedia metodica critico-ragionata deUe Belle Arti. 28 vols. Parma : 
 1819-24. 8vo. 
 
 Zani (Pietro). Materiali per servire alia Storia dell' Origine e de' progress! dell' Incisione 
 in rame, e in legno, e sposizione dell' interessante scoperta d'una stampa originale del 
 celebre Maso Finiguerra fatta nel Gabinetto Nazionale de Parigi. Parma : 1802. 8vo., 
 pp. vi. 248. 
 
 ^ 
 
INDEX. 
 
 "Address," a criterion of early inapressions, 
 36 ; meaning of the term, 36. 
 
 Aeneas Vico, print of, 125. 
 
 Agostino da Musis, called Veneziano, 124. 
 
 Alberti, Cherubino, 126. 
 
 Aldegrever, Henry, 136. 
 
 Altdorfer, Albert, 135. 
 
 Ancient Prints, increasing value of, 150 ; 
 rarity of, 61 ; scarcity of, 150 ; their se- 
 curity from rivalry, in respect to the 
 higher qualities, 151. 
 
 Andrea Andreani, 127. 
 
 Andrea Mantegna, 121. 
 
 Anonymous Artist, known as ' ' The Master 
 of 1466," 132. 
 
 Antiquity of the Art of Engraving, 28 ; of 
 articles generally questioned, 17 ; the 
 charm of, 17 ; a collection of prints has 
 the charm of, in large degree, 18. 
 
 Aquatint Engraving, 223 ; invention of, 223 ; 
 the process of, 224; liquid ground, 224; 
 high degree of polish necessary in the 
 plate, 225 ; laying on of the ground, 226 ; 
 French method of laying on the ground, 
 227; the brushes necessary, 228; stopping 
 out, 228; transferring the subject to the 
 plate, 229; the first bite, 230; the second 
 bite, 232 ; feathering, 233 ; rebiting grounds, 
 233 ; imitating Sepia or India ink sketches, 
 235- 
 
 Aquatint and mezzotint, difficulty of uniting 
 the two styles, 239. 
 
 Art, alliance of, with commercial specula- 
 tion, 166 ; plans for encouragement of, 
 165 ; the study of, i. 
 
 Art of Engraving, antiquity of, 28 ; the 
 invention of, 129 ; perfection of, at the 
 beginning, 28 ; rapid growth of, 27. 
 
 Artists of an early period, known only by 
 marks and monograms, 122. 
 
 Artists their own engravers, 26. 
 
 Art sales, London the center for, 62. 
 
 Astley, Sir Jacob, 83. 
 
 Auction sales of prints, 58. 
 
 Audran, Gerard, 142. 
 
 B. 
 
 Baroccio, 125. 
 
 Bartolozzi, 145. 
 
 Bartsch, Adam. " Le Peintre Graveur." 
 The most complete, correct, and usefial 
 text-book on engraving, 47, 183. 
 
 Bega, 140. 
 
 Beham, Bartholomew, 135. 
 
 Beham, Hans Sebald, 135. 
 
 Berghem's etchings, 80. 
 
 Bewick, Thomas, 39. 
 
 Bibliography, 283. 
 
 Bibliothfeque Royale, Paris, "estampes ex- 
 posees, 109. 
 
314 
 
 INDEX. 
 
 Binck, James, 136. 
 
 Binding prints in folio books objectionable, 
 106. 
 
 Biting-in, rules for, 212. 
 
 Block-books, the earliest specimens of the 
 art of printing, 130. 
 
 Block-printing, early specimens of, 130. 
 
 Block, treatment of after the drawing is 
 finished, 244. 
 
 Bolswert, Scheltius, 139. 
 
 Bonasoni, Julio, 124. 
 
 Books on Engraving, 168. 
 
 Books of little practical use to the young 
 collector, 19. 
 
 Borgononi, the battle painter, 141. 
 
 Both, John, 140. 
 
 Boydell, the first pubhsher of the engravings 
 of others, 154. 
 
 Bracquemond, 275. 
 
 British Museum, marks used by, 87. 
 
 Burghmair, Hans, 135, 
 
 Burnishing the plate, methods of, 234. 
 
 "Burr," meaning of the term, 37; a print 
 estimated by it, 38. 
 
 Bylaert, inventor of stipple engraving, 239. 
 
 Callot, 126, 
 
 Campagnolo, Julio, 122. 
 
 Caracci, Agostino, 125 ; his engraving of 
 " The Ecstasy of St. Francis," after Fran- 
 cis Vanni, 160. 
 
 Caracci, Annibal, 126. 
 
 Caracci, Ludovico, p. 125. 
 
 Caraglio, 125. 
 
 Castellani collection, engravings upon cop- 
 per in the, 28. 
 
 CastigHoni, 126. 
 
 Catalogue of Diirer's engravings on copper, 
 and etchings, 259. 
 
 " Catalogue raisonn^ des estampes du cabinet 
 de M. le Comte Rigal," by Mr. de la 
 Lande, 172. 
 
 Catalogue raisonnd of all the prints of Rem- 
 brandt, by Gersaint, 193. 
 
 Catalogues, ridiculous errors in, 98 ; of sale 
 by auction, 1 72 ; utility of priced, 56 ; of 
 the works of individual engravers, 1 72, 192. 
 
 Cataloguing, the system of, in England, 62. 
 
 Chalk Engraving, invention of, 239; pro- 
 cess of, 241. 
 
 Chalk and Stipple Engraving, 239. 
 
 Chalk, lithographic, 251. 
 
 Characteristics of early German school of 
 engraving, 130. 
 
 Characteristics of early impressions from 
 plates, 34. 
 
 Chemical agents used for cleaning prints, 1 13. 
 
 Cherubino, Alberti, 126. 
 
 Chiaroscuro drawings, 247. 
 
 Chiaroscuro, mode of producing drawings 
 in, Ugo da Carpi, the inventor, 127. 
 
 Chronology, the best basis for forming a col- 
 lection, 117.. 
 
 Ciphers, monograms, initials, 85. 
 
 Classification of artists' works among them- 
 selves by dates and subjects, 30; of prints, 
 19 ; of prints into schools, 24 ; of prints, 
 variety of methods for, 24 ; of prints, the 
 chronological method, 27 ; of prints, 
 method of, into schools, 24, 121. 
 
 Claude Lorraine, 141. 
 
 Claude Mellan, his peculiarity of style, 141. 
 
 Cleaning prints, best mode of, 112. 
 
 Cleaning injures the print, 45. 
 
 Coins and medals, forgeries in, 11. 
 
 Collecting, a general propensity of human 
 nature, 7. 
 
 Collecting British portraits, the fancy for, 64; 
 all the different states of a print, 93 ; dif- 
 ferent styles of the same artist, 118; the 
 entire works of one master, objections to, 
 92 ; prints, increasing love for the pursuit, 
 as it progresses, 146 ; of works of nature 
 or art, proper motive for, 8 ; selection of a 
 department in which to form a, 8 ; formed 
 
INDEX. 
 
 315 
 
 by Hugh Howard, sale of, 71 ; national Drawing from nature, practice of, the best 
 
 and private, different purposes of, 94 ; method for the engraver, 246. 
 
 national, increased activity displayed by, 
 
 150 ; of prints, limit or extent of, 91 ; of Drawing on wood, process of, 243. 
 
 prints, how to commence one, 116; of ^^ . . . , , ^ , . 
 
 frints, the skeleton of a, 118; of prints, l^r^wing or writmg, method of transferrmg 
 
 limiting it to ancient prints, 127 ; of prints, *° ^^^ stone, 252. 
 
 an investment of money, 149. Drevet, father and son, 143. 
 
 Collector, advantage of attending sales to Durer Albert 132. 
 the, 59 ; advice to a, 147. 
 
 Copies of original plates, 47. 
 
 Copies of pictures, substituted for the orig- 
 inal, II. 
 
 Copies of prints, 94. 
 
 Copper-plate engraving, invention of, I2g. 
 
 Copper-plate engraved by Marc Antonio, 
 41. 
 
 Copper or steel plates, polishing of, 206. 
 
 Copyright of the painter in his own work, 
 163. 
 
 Cort, Cornelius, 125. 
 
 Counter-proof, 49. 
 
 Cross-hatchings, 33. 
 
 Cruikshank, George, anecdote of, 100. 
 
 DeBrye, Theodore, 136. 
 
 Deceptions in prints easily detected, 12. 
 
 Deceptions practised with regard to plates no 
 longer in existence, or worn out, 35. 
 
 Delia Bella, 126. 
 
 Dictionaries of Strutt, and Bryan, 119. 
 
 Die trice, 137. 
 
 Dorigny, Sir Nicholas, his engravings of the 
 Cartoons of Raffaelle, 144. 
 
 Diirer, Albert, designer and engraver of his 
 own works, 26. 
 
 Diirer's engravings on copper, and etchings, 
 catalogue of, 259 ; engravings copied by 
 Marc Antonio, 94 ; engravings, moral 
 character of, 134 ; engravings, number of 
 desirable in a collection of prints, 133; 
 "The Little Passion," copies of, by Marc 
 Antonio, 123. 
 
 Dust-grounds, for aquatint engraving, 224. 
 
 Dutch etchers, the school of, 139. 
 
 Dutch and Flemish school of engraving, 137. 
 
 Duvet, called "The Master of the Unicorn," 
 141. 
 
 Earlom and McArdel, mezzotint© engravers, 
 145. 
 
 Early impressions from a plate not always 
 good ones, 41. 
 
 Edelinck, Gerard, 142. 
 
 Edward the Fourth, hair of, 17. 
 
 " Electro-tint," by Thomas Samson, 173. 
 
 English school of engraving, 144. 
 
 Engraved plates, printing from, date of its 
 beginning, 28. 
 
 Engravers in ancient times, 159 ; catalogue 
 of the works of individual, 172, 192; de- 
 grading position of, under the modern 
 system, 157 ; dependence of on print- 
 sellers at the present day, 154; paper 
 used by early, 48. 
 
3J6 
 
 INDEX. 
 
 Engraver, the practice of drawing, the best 
 method for, 246. 
 
 Engravings, classification of, founded on the 
 modes of working, 23. 
 
 Engraving and print, precise definition of 
 the terms, 20. 
 
 Engraving, antiquity of the art of, 28 ; inven- 
 tion of the art of, 129 ; perfection of the 
 art at its beginning, 28 ; books on, 168 ; 
 extracts from a celebrated work upon, 220 ; 
 modern works on, 1 70 ; " Le Peintre- 
 Graveur," by Adam Bartsch, 183; the 
 ancient and the modern system of, con- 
 trasted, 154; ancient system of, detailed, 
 159; under the modern system reduced 
 to a manufacture, 156 ; a plate, process of, 
 under the present system, 157; the modern 
 system of is universal, 153 ; Dutch and 
 Flemish school of, 137; French school of, 
 141; the German school of, 129; and 
 etching of the present day, 261 ; in dis- 
 tinction from etchings, 22 ; and etchings of 
 Diirer, catalogue of, 289 ; of Albert Diirer, 
 moral character of, 134; of "Niobe," by 
 Woollett, 162 ; from Raffaelle's designs, by 
 Marc Antonio, 124 ; in aquatinta, inven- 
 tion of, 223 ; in aquatinta, the process of, 
 224 ; with chalk, invention of, 239 ; with 
 chalk and stipple, 239 ; upon copper, in 
 Castellani collection, 28 ; upon metal, 
 modes of worlcing, 20 ; upon metal, the 
 impression, 20 ; line, pre-eminence of, 
 216 ; printing of, on vellum in the 13th 
 century, 29 ; upon steel or iron plates, 
 133 ; how to represent various objects, 
 221 ; in mezzotint, 235 ; in mezzotinto, Lud- 
 wig von^Siegen, inventor of, 137 ; in pure 
 mezzotirit, 236 ; on wood, 241; upon wood, 
 method of, 20 ; on wood, history of, 241 ; 
 on wood and steel, difference between, 
 242 ; on wood, kinds of wood used, 242 ; 
 on wood, tools used for, 243 ; on wood, by 
 the old masters, 39 ; on wood, modern 
 school of, 39 ; a treatise on wood-engrav- 
 ing, by John Jackson, 242. 
 
 " Estampes exposees " at the Bibliotheque 
 royale, Paris, 109. 
 
 Etchers, a class of, called the " Dutch 
 Etchers," 139. 
 
 Etchings, in distinction from Engravings, 
 22. 
 
 Etching, the invention of attributed to Albert 
 Diirer, 133 ; as executed by painters, 201 ; 
 how performed, 20 ; the process of, 201 ; 
 
 materials for, 202 ; transparent etching 
 ground, 202 ; turpentine varnish, 203 ; 
 materials for iDordering ware, 203 ; mate- 
 rials for Brunswick black, 203 ; mate- 
 rials for the gravers, 203 ; materials for 
 etching-needles, 203 ; materials for a hand- 
 vice, 203 ; materials for bridge or rest, 
 205 ; materials for the bhnd or shade, 205 ; 
 materials for camel's hair brush, 205 ; ma- 
 terials for charcoal, 205 ; materials for the 
 dabber, 205 ; method of reducing a pict- 
 ure for transferring to a smaller plate, 
 208; instructions in the mode of, 210; 
 on glass, 215; on soft-ground, 215; on 
 soft-ground, process of, 216; rules for 
 biting-in, 212. 
 
 Etchings by Berghem, 80 ; by Rembrandt, 
 23 ; of Rembrandt, chronological table 
 of, 271. 
 
 Etching-ground, how it is laid, 208 ; how 
 to transfer the outline to, 209. 
 
 Everdingen, 140. 
 
 Exchange of prints, 63. 
 
 Exhibition of prints, best mode of, 112. 
 
 Expense of a collection, how to determine, 
 116. 
 
 Experience the only guide for a collector of 
 prints, 55. 
 
 Extent or hmit of a collection, 91. 
 
 Fac-simile style of engi-aving, 244. 
 Faithorne, William, 144. 
 False margin, 43. 
 Feathering, method of, 233. 
 
 Fielding, T. H., 3. 
 
 Flemish and Dutch school of engraving, 
 137- 
 
 Florent le Comte, 172. 
 
 " Fond sale," or smearing on a print, 44. 
 
 Forgeries in coins and medals, 11. 
 
 " Four prints for a Spanish book," etching 
 by Rembrandt, 79. 
 
INDEX 
 
 317 
 
 Framing and hanging of a print, precau- 
 tions necessary, 108. 
 
 Francia, drawings of Marc Antonio, while 
 the pupil of, 123. 
 
 Frey, Giacomo, 136. 
 
 G. 
 
 Geminus, Thomas, the earliest copper-plate 
 engraver in England, 144. 
 
 Gems, difficulty of ascertaining the genuine- 
 ness of, 12. 
 
 H. 
 
 Hair of Edward the Fourth, 17. 
 
 Handling of prints injurious, iii. 
 
 Harding's drawings, 235, 
 
 Hogarth, William, 145. 
 
 Hogenberg, Remigius, 144. 
 
 Hollar's prints, increased value of, 73. 
 
 Hollar, the works of, 53. 
 
 Hollar, Wenceslaus, 144. 
 
 Hopper family, 136. 
 
 Houbraken, 141. 
 
 Howard's collection, sale of, 71. 
 
 "Hundred guilder print," by Rembrandt 
 van Rhyn, 67. 
 
 Hudson and Benjamin Wilson, anecdote 
 of, 12. 
 
 Genuineness of prints can be ascertained 
 with certainty, 10. 
 
 German school of engraving, 129. 
 
 German school, characteristics of early, 
 130. 
 
 Gersaint — catalogue raisonne of all the 
 prints of Rembrandt van Rhyn, 193. 
 
 Ghisi, George, 125. 
 
 Ghisi, the Mantuan family of, 125. 
 
 Gilpin on prints, 120. 
 
 Illustration of printed books, 64. 
 Imperfections and soils in prints, 44. 
 Impressions, " address," a criterion of early, 
 
 36- 
 Impressions, characteristics of early, 34. 
 
 Impression from engraving on metal, mode 
 of taking, 20. 
 
 Impressions, experience is necessary to the 
 judgment of, 39. 
 
 Impression, importance of an early, 33. 
 Impressions, modes of taking, 41. 
 Glass globe filled with water, use of, for Impressions from nieUi, 129. 
 
 working by lamplight, 246. Impurities in paper or ink used in printing, 
 
 4!2. 
 Goltzius, Henry, 138. ,,..,, . , , , , 
 
 India ink dra\vings on the block, 245. 
 
 India paper, 42. 
 
 Initials, ciphers, monograms, 85. 
 Grayer, the use of, in producing different Ink for use in lithography, 250. 
 
 Invention of aquatint engraving, 323, 
 
 Grainger's " Biographical History of En: 
 land," 64. 
 
 effects, 220. 
 
 Guido, 126. 
 
 Italian school of art, 121. 
 
3ii 
 
 INDEX. 
 
 J- 
 
 Jegher, Christopher, 138. 
 Julio Campagnolo, 122. 
 
 K. 
 
 Kilian, Lucas, 136. 
 
 Knocking up, the process of, 206. 
 
 Lautensack, Hans Sebald, 136. 
 
 Le Prince, Jean Baptiste, 223. 
 
 Limit or extent of a collection, 91. 
 
 Limits of a collection, fixed at an asra, 127. 
 
 Line engraving, 216; cause of deterioration 
 of, 217; process of, 218; ruling machine, 
 219; the point or pen, 219. 
 
 Lithography, the art of, 21, 247; discovery 
 of, 248 ; application of to the printing of 
 music, 248; history of, 248; the process 
 of, 247; stones used in, 249; transfer 
 paper, 25 1 ; making the drawing on the 
 stone, 252 ; etching in, 253 ; directions for 
 cleaning the drawing while printing, 256 ; 
 imitating pencil sketches on colored paper, 
 254 ; " the complete course of," by Alois 
 Senefelder, 173. 
 
 Lithographic chalk, 251. 
 
 Lithographic ink, 250. 
 
 Loggon, David, 144. 
 
 London, the centre for art sales in Europe, 
 62. 
 
 Lorraine, Claude, 141. 
 
 Lowering, the principle of, 245. 
 
 Lucas van Leyden, 30, 40, 159. 
 
 M. 
 
 ** Madonna and child," by Maso Finiguerra, 
 its discovery and sale, 66. 
 
 Malvasia's catalogue of the works of Bona- 
 son, 172. 
 
 Mantegna, Andrea, 121. 
 
 Marc Antonio, the engraver, 62. 
 
 Marc Antonio Raimondi, 123 ; and his con- 
 temporaries, 28 ; a copyist of Albert Dii- 
 rer's work, 94 ; copies of " The Little 
 Passion," by Albert Diirer, 123 ; increased 
 value of prints by, 72. 
 
 Marco da Ravenna, 124. 
 
 ]\Iargin, its value in a print, 43. 
 
 Mariette's mark upon prints, 83. 
 
 Marking prints, a protection against embez- 
 zlement, 82. 
 
 Marks and monograms, 5. 
 
 Marks and monograms, names of collectors 
 represented on plates on page 5, 88. 
 
 Marks of proprietorship on prints, 82. 
 
 Marks upon prints, Leo the Tenth, 85. 
 
 Marks upon prints, Prince Rupert's, 85. 
 
 Marks used by the British Museum, 87. 
 
 Martin Schoen, first engraver on metal 
 plates, of the German school, 131. 
 
 Maso Finiguerra, inventor of art of engrav- 
 ing, 66. 
 
 Maso Finiguerra, print by, story of its 
 sale, 66. 
 
 Masson Anthony, 143. 
 
 Master of the die, an anonymous engraver, 
 
 125- 
 
 McArdel and Earlom, mezzotinto en- 
 gravers, 145. 
 
 Medals and coins, forgeries in, 11. 
 
 Mellan, Claude, 141. 
 
 Mercantile value of prints, 69. 
 
INDEX. 
 
 319 
 
 Metnl, modes of engraving upon, 20. 
 
 Method of classification into schools, 121. 
 
 Methods of the same artist, collecting the dif- 
 ferent, 118. 
 
 Mezzotinto, 21. 
 
 Mezzotinto engraving, Ludvvig von Siegen 
 inventor of, 137; invention of, 235 ; pro- 
 cess of, 235 ; instruments used, 236 ; lay- 
 ing in the ground, 236 ; tracing in the 
 subject, 237; etching in the outline, 238. 
 
 Mezzotint and aquatint, uniting the two 
 styles, 239. 
 
 Mezzotint print, the first published, 137. 
 
 Modern school of wood engraving, 39. 
 
 Monograms, 36 ; and marks, 5 ; and marks, 
 names of collectors represented in plates 
 on pages 5, 88 ; used by some early 
 artists, names unknown, 122. 
 
 Monograms, initials, ciphers, 85. 
 
 Morghen, Raphael, and William Sharp, 145. 
 
 Morin, Jean, 141. 
 
 Mounting papers, 106. 
 
 Mounting prints, method of, 48, 104. 
 
 Milller, Ferdinand, engraver of Madonna di 
 San Listo by, 35. 
 
 Miiller and Rittner, 35. 
 
 " Murder of the Innocents," engraved by 
 Marc Antonio, 40. 
 
 N. 
 
 Names most frequently met with, on prints, 
 84. 
 
 Nanteuil, Robert, 142. 
 
 National collections, increased activity and 
 interest displayed by, 151. 
 
 Niello, 128. 
 
 Niello, impressions from, 129, 
 
 " Nuremberg Chronicle," 130. 
 
 Ostade, Adrian, 140. 
 
 P. 
 
 Painter's etchings, 201. 
 
 Painter's etchings, meaning of the term, 23. 
 
 Painters their own engravers, 26. 
 
 Painter, copyright of, (the) in his own work, 
 163. 
 
 Paper used by early engravers, 48. 
 
 Parmegiano, the first of the Italian school to 
 make etchings, 125. 
 
 Passe, the family of, 144. 
 
 Peculiarities which increase the value of a 
 print, 73. 
 
 Peins, Gregory or George, 136. 
 
 " Peintre-Graveur," by Bartsch, 47. 
 
 Photography, the art of, 22. 
 
 Pictures, copies of, have been substituted for 
 the original, 11. 
 
 Pierre Mariette's mark, 83. 
 
 Piranesi, 126. 
 
 Plates, copies of original, 47. 
 
 Plates, deceptions practised with regard to, 
 35- 
 
 Plate, high degree of polish necessary, for 
 aquatint engraving, 225. 
 
 Plate, how to efface scratches from the, 206. 
 
 Plates, copper or steel, how to pohsh, 206. 
 
 Plates of steel or iron, engraving upon, 133. 
 
 Plate, retouching of, 33, 158. 
 
 Plates of Rembrandt, examples of frequent 
 proof impressions of, 98. 
 
 Pleydenwurff, WiUiam, 130. 
 
 Poilly, Francis, 141. 
 
 Point or pen used for line engraving, 219. 
 
 Pontius, Paul, 139. 
 
 Popularity of prints, 14. 
 
 Portefohos for prints, 106. 
 
 Portraits, the fancy for collecting, 64. 
 
 Preserving ink, 25 7. 
 
 Prestel, Madame Catliarine, 224. 
 
320 
 
 INDEX. 
 
 Prices of Prints, 51. 
 
 Prices of prints, circumstances governing, 
 
 52- 
 Prices of prints, affected by popular favor, 
 
 54- 
 
 Prices paid for some of Rembrandt's works, 
 70. 
 
 Price of prints, in time of ancient artists, 75. 
 
 Priced catalogues, utility of, 56. 
 
 " Principia Typographica," 49. 
 
 Print, collecting all the different states of a, 
 93- 
 
 Print collector, forbearance necessary to- 
 ward the untrained, 16. 
 
 Print collector, necessity of technical knowl- 
 edge to the, 4. 
 
 Print discovered by Zani, its great value, 66. 
 
 Print, estimation of, by the burr, 38 ; pecu- 
 liarities increasing its value, 73 ; reputation 
 of, how acquired, 81 ; value of, depreciated 
 by " laying down," 45 ; and engraving, 
 definition of the terms, 20 ; value of mar- 
 gin in a, 43. 
 
 Prints, circumstances governing price of, 52 ; 
 classification of, 19; classification of chron- 
 ologically, 27 ; classification of, into 
 schools, 24 ; a collection of, has in large 
 degree the charm of antiquity, 18 ; collect- 
 or of, experience his only guide, 55 ; the 
 condition of, 43 ; copies of, 94 ; deceptions 
 easily detected, 12 ; designed by the en- 
 graver, 26 ; different methods of mounting, 
 104 ; from engraving on wood, 38 ; exam- 
 ination of the best, the best instruction for 
 the beginner, 223 ; exchange of, 63 ; gen- 
 uineness of, can be ascertained with cer- 
 tainty, 10; handhng of, injurious, iii ; of 
 a high class increase in value, 149 ; by 
 Hollar, increased value of, 73 ; imperfec- 
 tions and soils in, 44. 
 
 Print publishers of to-day, policy of, 155 ; 
 their defence of the modern system of 
 engraving, 164. 
 
 Print-sellers, reliability of, 55. 
 
 Printed books, illustration of, 64. 
 
 Printing, accidents in, 42 ; how it was per- 
 formed at the beginning, 129 ; block-books 
 the earliest specimens of the art of, 130 ; 
 in colors, invention of, 239 ; double, 42 ; 
 
 of engraving on vellum, m the 13th cen- 
 tury, 29 ; impurities in paper or ink, used 
 in, 42; on paper from engi-aved plates, 
 date of its beginning, 28; from wood 
 blocks, 242. 
 
 Prints, auction sales of, 58 ; best mode of 
 cleaning, 112; best mode of exhibiting, 
 112; bound together in folio books, 106; 
 at the British Museum, in cases with a 
 glazed top, 109; care of, 106; increased 
 cost in the production of, in modern times, 
 compared with the ancient, 162 ; injured 
 by cleaning, 45 ; Mr. Maberly's book 
 upon, 2 ; of Marc Antonio Raimondi, 123 ; 
 by Marc Antonio, increased value of, 72 ; 
 marks of proprietorship upon, 82 ; of 
 Martin Schoen, 131; mercantile value 
 of, 69; method of mounting, 48; names 
 of collectors most often met with, upon, 
 84; popularity of, 14 ; portfoHos for, 
 107; precautions necessary in framing 
 or hanging, 108; prices of, 51; price 
 of, in time of ancient artists, 75 ; price 
 of, affected by popular favor, 54; pur- 
 loining of, 82; qualifications to be 
 looked for in, 32 ; repairing of, 46 ; sales 
 of, by Sotherby, 74; scarcity of ancient, 
 150; security of ancient from rivalry, in 
 respect to the higher qualities, 151; se- 
 lected for exposition in national collec- 
 tions, should be rare ones, no; selection 
 specimens of, 32 ; value of fine, increasing, 
 67 ; the value of, can be justly estimated, 
 10; variety of methods for classification of, 
 24; washing over of, 46; from wooden 
 blocks, 127. 
 
 Print-sellers, dependence of engravers upon, 
 155- 
 
 Process of stipple engraving, 240. 
 
 Proofs, 34 ; or first states, 36 ; second state, 
 36; third state, 36 ; false, 158; great num- 
 ber taken, 158; before letters, 157; open- 
 letter, 157; or impressions taken in va- 
 rious states of a work, 95. 
 
 Proof impressions, frequent taking of, in the 
 progress of a work, customary with Rem- 
 brandt, 95. 
 
 Pure mezzotint engravings, 236. 
 
 Qualifications necessary in a print for a col- 
 lection, 32. 
 
INDEX. 
 
 ?2I 
 
 R. 
 
 Kaimondi, Marc Antonio, 123. 
 
 Rarity of ancient prints, 61. 
 
 Rarity of valuable prints, 147. 
 
 Rebiling ground, 213. 
 
 Rebiting grounds, 233. 
 
 Rebiting grounds in aquatint engraving, 233. 
 
 Reducing a picture, method of, for transfer- 
 ring to a smaller plate, 208. 
 
 Regnault de la Lande, F. L. "Catalogue 
 raisonne des estampes du cabinet de M. 
 le Comte Rigal," 172. 
 
 Reliability of print-sellers, 55. 
 
 Rembrandt, 139; etching of a little dog, 76; 
 etchings, 23 ; etchings, chronological table 
 of, 299 ; habit of taking frequent proof 
 impressions in the progress of a work, 95 ; 
 his own printer, 42 ; " Hundred Guilder 
 print" (Christ healing the sick), 67; 
 " Four Prints for a Spanish Book," 79 ; 
 Mill, copy of, 50 ; portrait of himself, ten 
 impressions of, 96 ; portrait of " Advocate 
 Tolling," 69 ; print, " Christ presented to 
 the people," record of proprietorship 
 upon, 88; print, "The Gold Weigher," 
 the " white face " impression, 102. 
 
 Rembrandt van Rhyn, 67 ; the works of, 54; 
 the works of, the favorite of to-day, 54. 
 
 Repairing prints, 46. 
 
 Reputation of a print, how acquired, 81. 
 
 Resch, Jerome, engraver of the designs of 
 Albert Diirer, 134. 
 
 Retouching a plate, 33. 
 
 Ridinger, 137. 
 
 Rittner and Miiller, 35. 
 
 Rolling-press, 41. 
 
 Rubens, 138. 
 
 Ruling-machine, used in line engraving, 
 219. 
 
 Sadeler, John, 138. 
 
 Sales of prints by Sotheby, 74. 
 
 Salvator, Rosa, 126. 
 
 Samson, Thomas, " Electrotint," 173. 
 
 Scarcity of ancient prints, 150. 
 
 Schaufflein, Hans, 135. 
 
 Schmidt, George Friedrich, 137. 
 
 Schoen, Martin, the earliest engraver on cop- 
 per-plate, 26. 
 
 Schoen, Martin, first copper-plate engraver 
 of the German school, 131. 
 
 Selection of a department in which to form a 
 collection, 8. 
 
 Selection of specimens of prints, 32. 
 
 Senefelder, Alois, discoverer of lithography, 
 248; "The Complete Course of Lithog- 
 raphy," 173. 
 
 " Shake," explanation of the term, 42. 
 Sharp, William, anecdote of, 145. 
 Soft-Ground Etching, 215. 
 Soft-Ground Etching, process of, 216. 
 Soils and imperfections in prints, 44. 
 Solanders, 107. 
 Soils, Virgil, 136. 
 Sotheby's sales of prints, 74. 
 Soutman, Peter, 138. 
 Spagnioletti, 126. 
 
 States of a print, collecting all of the, 93, 
 Stereotyping, process of, 39. 
 Stipple and chalk engraving, 239. 
 
 Stipple engraving, invention of, by Bylaert, 
 of Leyden, 239. 
 
 Stipple engraving, process of, 240. 
 
 Stones prepared for chalk drawings, 249, 
 
 Stones prepared for writing or ink drawings, 
 250. 
 
 Stones used in lithography, 249. 
 Strange, 26. 
 
 Strange, Sir Robert, 145. 
 Style of execution of Albert Diirer's plates, 
 133- 
 
INDEX. 
 
 Subjects repeated by same artists, 31. 
 " Sudarium," of Claude Mellan, 141. 
 Suyderhoof, 1380 
 Swanewelt, 140. 
 
 Technical knowledge, necessity of, to the 
 print collector, 4. 
 
 Thefts of prints, 82. 
 
 Tracing-paper, how made, 209. 
 
 Transfer-paper, 251. 
 
 U. 
 
 Ugo da Carpi, inventor of the mode of pro- 
 ducing prints in chiaroscuro, 127. 
 
 Utihty of priced catalogues, 56. 
 
 V. 
 
 Value of iine prints increasing, 67. 
 
 Value of prints can be justly estimated, 9. 
 
 Value of prints of a high class, increase of, 
 149. 
 
 Value of margin in a print, 43, 
 
 Value of a print depreciated by "laying 
 down," 45. 
 
 Vandyke, 138. 
 
 Van Leyden, Lucas, 30, 135. 
 
 Vellum, used in 13th century, for printing of 
 engravings, 29. 
 
 Veneziano, or Agostino da Musis, 124. 
 
 Vertue, 145. 
 
 Vico Aeneas, print of, 125. 
 
 Villamena, 126. 
 
 Visscher, Cornelius, 141. 
 
 Von Mechelen, Israel, 132. 
 
 Von Siegen, Ludwig, inventor of engraving 
 in mezzotint o, 137. 
 
 Vorstermann, 26, 139. 
 
 W. 
 
 Washing over of prints with India ink, 46. 
 
 Waterloo, his beautiful etchings of trees, 140, 
 
 Water-marks used by artists, 48. 
 
 Water-marks used by Diirer, 48. 
 
 Wenceslaus of Olmutz, 135, 
 
 "White face" impression of Rembrandt's 
 print, " The Gold Weigher," 102. 
 
 White, Robert, 144. 
 
 Wierimo, John and Jerome, 138. 
 
 Wierimo, Jerome, precocious talent of, 30. 
 
 Wille, John George, 143. 
 
 Wilson and Hudson, anecdote of, 12. 
 
 Wohlgemuth, Michael, 130. 
 
 Wood-block, to prepare a, for drawing, 243. 
 
 Wood-blocks, number of impressions possi- 
 ble from, 38. 
 
 Wood-blocks, printing of, 242. 
 
 Wood-cuts, imitation of, on stone, 254. 
 
 Wood-engraving, 127, 129, 241 ; history of, 
 241 ; introduced into Europe by the 
 Germans, 128 and 129; a treatise on, by 
 John Jackson, 242; kinds of wood used 
 for, 242 ; tools used for, 243 ; the principle 
 of lowering, 245 ; Indian-ink drawings 
 upon the block, 245 ; how to obtain the 
 proof, 246; the mechanical part done by 
 subordinates, 134; method of engraving, 
 20; modern school of, 39. 
 
 Wood-engravings, peculiarity of earliest spec- 
 imens, 130; by the old masters, 39. 
 
 WooUett, WiUiam, 145. 
 
 WooUett's engraving of " Niobe," 162. 
 
 Works of one master, objections to collect- 
 ing the entire, 92,, 
 
 Works of Rembrandt, the favorite of the pres- 
 ent day, 54. 
 
 Zagel, Matthew, 135 
 
 Zani, discovers a print by Maso Finiguerra,. 
 66. 
 
 Zincography, 256. 
 
 £> I3« i Sa HAR '40. 
 
H 
 
 GETTY CENTER LIBRARY 
 
 3 3125 00131 1931