St. Johnsbury Caledonian. [volume] (St. Johnsbury, Vt.) 1867-1919, 1900-10-03

ponds on the facility with which some
kinds OF stone absorb either grease or
water, and on the natural antipathy
which grease and water have for. each
other. An even surface having been given
to the stone, drawing is made on it with
a greasy chalk. The stone is then wet,
and the printer passes over it roller
covered with printing ink, which adheres
to those parts which are drawn upon
with the chalk; damp paper is then
pressed upon it, and receives an impress
sion of the drawing. The process was
accidentally discovered in 1892 by Alois
Senefeder.
Of all the various kinds of engraving
line engraving stands prominently the
first. However it may be surpassed by
other branches of the art in the repre-
sentation of certain objects, yet, as
whole it is greatly superior to the rest.
1t cannot produce the velvety softness,
intense depth and harmonious mingiug
of light and shade which is given by
mezzotiut. Neither can it produce that
silvery clearness or deep transparent
tone preceived in aqua-tint, nor, like it
reproduce the dragging, sounding, and
accidental touches of the painters brush.
In crispness and briliancy it is far ex-
ceeded by wood-engraving. Still it
stands alone, beyond and above all
others, and above all Others is a triumph
OF art.
According to Longhi, an engraving is
not copy or imitation, as is sometimes
insisted, but translation. The
engraver translates into another
language, where light and shade supply
the place of colors. The duplication of a
book in the same Languages copy, and
so is the duplication of picture in the
same material. Evidently an engraving
is not a copy; it does not reproduce the
original picture except in drawing aud
expression, nor is it a mere imitation
but, as Bryant's Homer or Longtellow s
Dante are presentations OF the great
original in another language, so is the
engraving a presentation Of painting
in another material, which is another
language.
Much that belongs to the painter
belongs also to the engraver
who must have the same knowl
edge Of contours, the same power
of expression, the same sense of beauty
and the same ability to draw with sure
ness of sight as if, according to Michae
Angelo he had pair of compasses in hi
eyes"
These qualities in high degree, max
the artist, whether painter or engraver.
Mr.. Eastman related at this point al
incident of an auction sale where Rem
brandt's etching of Advocate Tolling'
was sold for 1910 pounds which is $3.50
more than had ever been paid for prin
before. In our money this was $3.50
This picture was bought for the sam
collector that had previously paid tn
highest price for print, which wa
$1,000 for print in the first state o
Rembrandt's Hundred Guilder Piece.
Seymour Haden, one of England's great
est etchers, and whose works are well re
presented in the present exhibition by
number of fine prints, paid $4,000 70
a print in the first state of Rembrandt
Gold Weigher." A print from thi
same plate is also in the exhibition; i
was etched in 1859 and is the only piec
of Rembrandt's work we have, but it i
work of the greatest master that eve
lovingly traced his thought upon tn
surface of the FURNISHED copper. Hi
name towers above all others and he i
still the idol at whose shrine all etcher
kneel.
Albert Diirer bears the same relation
ship to line engraving that Rembrandt
did to etching. Born in the quaint oil
city of Nuremberg in 1471, just thirty
one years after Fineguera's discovery, h
found the art Of engraving in its infanc
and carried the technical tlneness OF 1t t.
a perfection never vet surpassed.
Contemporary with him, was Marc
Antonio who was almost of equal fame
who engraved for Durer, Michael Angel
and Raphael. A perfect impression iror
one OF the best plates of either Durer 0
Marc Antonio would readily bring hir
from $500 to $500
This will show to you the very hig
esteem in which this art is held by tn
great collectors, and though we hay
none of the prints OF these great masters
yet we can show you great prints tror
other great masters.
Another contemporary of Rembrandt
was Cornelis Visscher, and here we ar
fortunate, for fine head, the work {
his hand, which we have to show yor
Few men have had greater technice
skill than he.
Leaving the Dutch and German schools
and turning to the France Of two bur
dred and twenty-five years ago, we fin
Louis XIV on the throne, and Corneillt
/ Racine, LaFontaine and, Moliere adorr
ing literature with their splendid work:
and we also find a school of engraver
who may claim fellowship with thos
immortal names.
These eminent artists chiefly excelle
in the delneation of the human face
: never before or since have such portrait
been produced. Art, at this period wa
elaborate and forid, as were literature
manners and dress, and those engraver
to whom no technical difficulty was a
obstacle, revealed in the reproduction {
, costume and accessories. The person
age represented is usually resplender
, with all the bravery of fur, lace, brocad
and velvet, while all the surrounding
! are rich and gorgeous.
OF these engravers Girard Edelinc
deserves the first place; he was patroi
t lied by the great minister Colbert, take
: into the service of the king, and receive
! a patent of nobility. We are tortunat
} in having one of his minor prints to sho'
, you how great he was.
t Soon after the death of Edelinck tt
: family of Drevet appeared. The eld'
Drevet produced some fine works, not
t bly, the large full.length portrait of tt