New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1892-12-20
FNGEAvINGS AT THE GROTIER CLUB

In r,olin, selections for the exhibition Of en-
craving, az the Grolicr Club Nj. Frederick h'plc'
had to practise the difficult art Of leaving ON J"
had much TO illustrate and little space in which to
do Il. The collection II stands Is h'N'T'"''''
comprehensive and. with all its omissions on is
heod il vet fulfil, It's purpose Of acquain'inS ue
uniniatod with the leading points In the hs'ory o'
,nc1-,ving The art was not long In p,rcctnF Itself.
Between the first engraving, proofs OF designs IN
nIco taken in The middle II the fifteenth century win
no thought o. creating now art and the W"IhS OF '"e
italians Of whom Baccio Baldni and Andrea MAN
tacno have been chosen for representation In TINS cA
bldtion rlore is an interval q but few year. ana
before the death. in 1906, OF Mincena whose vigorous
drausht manShlp fitted him 10 be- the precursor ol
Martin scAonpaucr and Mbcoht Durer both the A''f'
Rad been born into the world h0ne:H'r u al
vance engraving an immense distance and Dnr"r ~
lIn (, 70 an umapprOachabie pinnacle. Duier was
fo.n I'm l47I and died Gfy-scyen years later Inc
leap from the early Italians 10 the early Germans III
,li, collection Is abrupt Mantcgnas style IN lis
.rrrayincs wa, no; elastic. The famous EnPmn-
meut Of Christ" and sin more, tn" FIac'llalon'
reveal the same nncXibillty in contours which J.
,ome mes felt but not often, In his painted wor''
With Martin schongaucr the line becomes OF finer
nuolty nor, suaye. with Durcr all ricdi'y o. ic"l
Ing disappcars. even though the "a SIN N'"H mas
Stiffness q, I'm the architecture I'm No. H. "le
Prodigal SON Considering Durers POSITION We must
~ocre, that II was impossible show NOR" than ionF
one. the st, hubert +, among his masterpieces
Marc Antonio Raimondl needed TO be represented
otherwise than as Ic is show that he did not always
s,op short Of perfect freedom aud hn"n''s o!
ine His "Luciecc." after Raphael, Is. We
Think a smoother plate, though los I'm
portant than any OF those shown H'huil'"
Ciotzius born in tie middle of the sixteenth century,
comes next TO Dur"r III inc hiDl'''a' anu ""''"'
Of his line
Alter him sthclte Bolswcrt and Cornelis
yl-schcr. engravers who worked admirably hous"
with losses In simplicity and drcctne''' prepare ln'
way for the French school Of tac seventeenth century
a scboI of whose greatest MASTER, Nant"ll. Na'sQh
Farlnch and i,rrrc Drcvct the younger u. cup VI
ulays some beautiful example. The men OF VA, M
l l' yre interiors I'm originality Of design ana IN
bcer strength OF workmanship, but III the lat refine
ments of iechniqu" they are his equals, a'u VI , &
thcr mode. nifty Their G'es"ngci svc must be- men
Toned as q sound English chsiaNrr u M Nni ns
great period; lIouhrahen ss1nGi on an" ,ppnr,n,Iy
Teuronc rs personnel, Wa sim frc ~
III ,ri ,b ,hc mon 10 whom Lave referred ana
with Engll-hmG Germans and lai,as W ninynie
no IT, Ike translation Of textures and n hr r,pVd"
t!Un 81 r' unn Mmch was gained In vcracity ana III
P"InS W u, nnI n. The nirric.nh ccniuIy D"nri1ucI
nniont and Ferdinand GIillard BON ucau' "'' @
W & In mo tribune recently that the onl son ol
Hii in mis- Inhibition was efious on" ana sinre
men w; W.. rp hcen unsicccs,ful. or Gaard's re-
Inar,,,,le nate fonr are exhibited me D"m,ro
Gntamelaa" the sister IioS1lic' ana I"' o NEW
,orr,'s r,oy show thnt IN" AT Is oaplDio. =" un
p"d wonderful things Now only twb ,oWp.'V,
"neravcrS are living william f. MarS haYn ann
~ To- b". s,,ner.<cA cngavlna En- lh' Dra" :,
- ,ho i.ttr &c nes hni-tihc and viii always nav 10
admirers. TINS eAhni.'o", ,.,,iion
Tho scene Of the exhibition ana ~ ~ from The
and chaplin collections. and Of the picns ,r0n I'm in
a Tharnr State was accidentally left nnmcn"'" rha
The announcement Of those cvem,S W, ,tii hr hung
| Tribune last sunday. Inc p''"""e' WIZ
lfallcrleS