Burlington weekly free press. [volume] (Burlington, Vt.) 1866-1928, 1876-03-10
Tlaneug's Copy OF the " Hundred-6uildeF
Print"

We copy from the Portfolio, Mr.. Hamer-
tons first notice of this now famous etch-
ing
The illustrations etched by NJ. Flameug
for NJ. Charles Blanc's catalogue of the
works of Rembrandt have long been fam
liar to every student of the art. Still 1t
Is probable that the art public will not be
quite prepared for the great technical trl-
umph which NJ. Flameng has just aehieT-
ed. lie has produced copy of one OF Rem
brandt's most difficult and complicated
etchings-a copy which, If We balance one
quality against another, certainly far ex-
ceeds the most perfect photograph IN ac-
curaey. whilst, at the same time, it pos
sesses as piece of execution IN etching
ali those technical merits fJr which Rem
brandt himself was famous
1t may be difficult to convey 10 the
atechnic reader that full apprehension oi
the wonder of such work as this, which
will seize upon every etcher when he ex-
amlnes it. In certain sense 1t may be
boldly affirmed that, as a technical per-
formance merely, such a copy as this IS
even more wonderful than the Original
plate itself There is a freedom from res
traInt in all original artistic labor which
is not compatible with the duties OF the
cOyyIst The freedom Of original art i due
II the impossibility of comparing the work
Of the artist with that which he processes
to represent; but the copyist knows that the
very first thing any one will do when be has
an opportunity will be TO put his copy side
by side with the original, and test it by two
cOmparisons-one for the general eAec; and
the other for every detail.
Now it so happens that this Handred-
GuIlder Print offers every conceivable d ih-
Guilty to the cOpyist. The process offers the
peculiar difficulty that the artist does not
see his work during its progress. exee2t at
occasional intervals, when the etching
| ground is removed from the plate and the
proof taken between one state. land aDother
| Then he has TO draw every line in reverse,
and, though he is aided by tracing paper
and the mirror, this il still! a very serious
| inconvenience.
There are passages in work like this
which put 10 the severest test the eapablli-
ties Of the executant, because if you cannot
conquer them at the first stroke you
| cannot conquer them at all. There are
faces which do not contain more than
dozen lines and upon the exactness with
which these are placed depends the whole
expression of the countenance. Let the
hand tremble never 50 little, and It's uncer-
tainty will be at once transferred To the
copper in the weakness of a false and Ill
regulated line.
VI. Flameng has been prepared for his
task by training much more complete
than that which etchers have usually re-
ceiyed. NJ. Flemeng has had thorough
engrayer's education, and is indeed. at
this moment, one of the best burln-engrss-
ers in Europe; and besides this. he has
from childhood been a passionate admlrer
of the great artist etchers. Having studied
Rembrandt all his life. and copied HIM not
little, he came to this plate prepared Tor
his great task by the thoughts and labors
Of many previous years !,
The value of copy in e caseof this KIND
is greater than might be supposed. A fac
impression from fine copy Is nearer to the
thought of Rembrandt than an impression
taken directly from one of his own ccpPers
when they have been worn by too much
printing. A fine impression from plate
etched by a copyist who can etcb, Is lar
nearer in quality to the original work than
any Photographic reproduction ever can
be and besides this ,copperplate printing ~
: much more regular and reliable than pho-
togrsphic printing. so that satisfactory
proofs in an edition are likely to be lar
r more numerous.
Few plates of Rembrandt illustrate 80
completely as this one the various ana very
} different qualities which in their union
have given him his supreme rank as an
aq usfortist The chiaroscuro Is arbitrary
, and of course Rembrandt's chiaroscuro
: usually tcas arbitrary, and it would be easy
{ to point out impossible hts and snaaors
. But whatever Rembrandt had q mind to do
, that he did in most efficient and mastery
manner. If he wanted a shade to be liquie
and transparent, it became merely SO muct
, partial darkness, and you see through i
Just what you ought to see, and no more
: II he wanted a light to sparkle, it oeeam'
4 luminous, like jewel. But enough o
9 these ttechnical considerations; There i
i one pale, plain, grave face in the centre Q
q the composition. surrounded by nlmoa
5 Of dim glory. which is more affecting !
+ this earnest Northern Art than IN 10
stately design Of Raphael.