New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1904-12-17

bers, represents a body of engravings which. II
not on a level with the achievements of men
like Valentine Green or John Raphael Smith,
have a brilliance of their own justifying the
warm appreciation expressed by Mr.. Whitman
in his memoir of Cousins The latter was born
in 1901 and thus grew up in period which
still influenced by the masters of the epoch to
which we have referred. He was by nature
good draughtsman and while in his teens made
some pencil portraits which show character as
well precision. Mr. Whitman reproduces
head of Edmund Kean which the lad drew and
engraved in the studio Of 5. ". Reynolds in
1915. 1t has remarkable merit. considering the
age of the artist. In his old age. speaking of
one Of these youthful sketches of his, Cousins
said of It that it was as pure Ill drawing as
Hobein," adding, there's brag for a modest
man" 1t was brag, indeed. But it Is true that
his draughtsmanship was far above the avera ge.
II counted for much in his mezzotnts but he
suffered as an engravec from a handicap the i'm
portanCe OF which greater than might be
inferred at first glance. As Mr.. Whitman points
out, Cousins was not engaged in Interpreting the
works of the great eighteenth century PAINTERS
It was only late in his life that he scraped two
or three plates after Reynolds In 1876 he I'M
dertook to engrave GainsborOughs famous
Duchess Of Deyonshire." hut as history tells.
that picture disappeared on the eve Of his be-
ginning 10 fulfil his contraes, and was recov-
cred only the other day. Lawrence was the only
painter Of his generation who approached the
style Of the brilliant Georgian galaxy. and Law
renee had polish rather than breadth
This Cousinss own limitation. His nIa+As
have not the weight and noble suavity so char
acte1istic of the eighteenth century. They have
kind Of artificial elegance instead These
qualities, however. seem Of minor significance
only when they are contrasted with those Of the
earlier men, who worked in the grand style
Cousins may not have been a great master. bur
he was master in his way, a workman of Won
derful accomplishments The almost excessive
HhIsh which he put upon his plates tells really
I" Their advantage when he is reproducing
LaWreHce's portraits Of the ringletted beauties
Ct tho early nineteenth century. For the some
what nIincing sentimental grace of those dainty
ladies' Cousins had genuine sympathy. and
they make brave show in his rezzotnts. Mr..
Whitman thirty-fve or forty excellent couo-
type reproductions include Illustrations OF the
engraVer's more robust manner. notably his
plate after RaeDum's sir Michael Shaw
stewart" which shows that painterIi,xA
breadth vas sometimes within his scope Rr+
the bulk Of the reproductions are from his mora
characteristic mezzotints after Lawrence, Land
see ana Mlliais They are we'll worth having
Though Cousins wanted the ample sweeD of the
9---i'-i century men, ne was, as We have
said, not altogether unworthy Of them. and we
are glad TO welcome a defuitive record of his life
and work,
MI Edward DilIon's Porcelain is tho seq
ohd volume 70 appear in The Connoisseur's
Library 50 well inaugurated about year ago
by Mr.. Cyril Davenport's "Mezzotints,, u &c
like its predecessor. a scholarly work 1vr,,+ar
nevertheless. not much 10 please The sne-
clalist as to assist the serious collector Tho
author goes 10 the root Of the matter In b,e
nrSt four chapters he treats OF the tecbnics1
sue OF MS subject. showing what the materials
OF porcelain are. and how they are used. and
III the bulk Of the book he goes systematicau,,
through the historical DEVELOPMENTS of The