The sun., 1916-11-19

n,,, ,of,,, u-,.r~ a.. raoSto a,6,,sed
49,,
's"'' "a ''ny s'a'rcaSe 'ea"S W ""''-
FERROUS retreats where. francs hke'
may be deserted still other gal
,or,o.. h,,, ,o, ro,,,od nv tho nr,s.
~ 80. ...r
oe VI liz ~
A familiar voice n q FAMILIAR race
welcome the visitor, who. weary Of the
| noise and monotonous mobs on the
49, - a.. . r
-
by the ihgratlatlng ART oi
Dlack ana e.cnirs'
ithograph ana ! can
soothe his soul ana rest MS bones
Inc colo scheme Is Daih
paneiilng. II Tor the smaiier ga.
ieries a more cheerlul thoush heutr1
tone IL observed. MOVING slowly no
sees many black spots on tho walls.
They resolve themselves INTO ingenious
patterns at close range. stacked IN
portfolios are prints. On large taoies
sprawl more. And IN the rear room
Is an exhibition, perhaps etchings' OF
mezzotints' out never line
y young Scotsman shows his mettle
with the needle-the scotch take 10
the needle as ducks do 10 grass. But
inc e~ngravings are seldom SHOWN
nowaday why! taste mas
you are told, since the golden age
or engraving ruled our walls. ana
changed for the worse. thinks the
fanatic OF pure line.
fonder. above "a huge bin. In when
are stored prints OF value, hangs the
Moses of Philippe de Champagne,
engraved by Edelinck. 1t is a largely
moulded composition: the Hebrew law
giver. on who's noble features fingers
the reflection Of Jehovah's divine H.
Elimination. horns of light from Mount
Sinai, holds the rod in one hand, sup
porting with the other the table OF the
laws. A picture in the grand manner.
Therefore to be passed by In favor OF
some cryptic scratches on a small
plate. a signed proof by an artistic
nobody who designs n etches In a
mediocre fashion. Yet his work Is
eagerly snapped up. whilo the
rhythmic line of EdelinclS Is not even
ooked at, rich as II Is as an interprc-
tation and as an artistic performance.
Engraving il 80 mechanical. don't
you hin SOP is the usual reason
advanced for the neglect of this branch
of black and white. Iet not so me
chanical as the myriad fussy mean
insIess little plates of the etchers'
amateurs Tor the most part, without
distinction in style or temperament.
n FrenCnman called the theatre a
book reversed. 1t is a happy epigram.
By a similar analogy the engraving
or mczzotnt may be described as a re-
versed picture. And, with still more
propriety, black and white productions
could he compared to the pianoforte,
CIder the hands o: II skilful artist the
planoforte can in cooler tones interpret
orchestral scores II gives in It's Ill
formal severity the line: the color is
only suggested. But such IA the pres
cnt tendency or modern music towaTd
painting that the success OF "A piano.
.or;e vir;uuso depends on his ability 10
arouse IN the minds eye, in the 'mag!-
nation Of his listeners. the idea OF
color; in reality, an emotional element
for color IS emotional or II is nothing
The enSraNcr evokes color with hAi
cunning interplay of lice 1ni cross
~hatchlnSs; the mezZot.ntcr by his dis
position Of dark masses and white
spacing. Indeed, the m'Hlotlnt De-
cause or IFS warmer, more sympathetic
and ductIle medium seems more color
ful than the engraved plate, tAoust
much j. SACRIFICED IN the EFFORT 10 Sc
cure sharply ContraSted Lights anC
shadows. To avoid total delpuescence
In a certain sense IN" %,fal'.r beats
tie BURN, while The ctcher, II he he ar
artist. attRins "A moro personal vision
than can be- found In either OF the otheI
processes. II "th" stone was made io'
the mystics.' as say The Penncl.s, ther
scr.hh.ers and d~..ettantes. And tn
revival or typography by contempt
rary artists is n welcome thing,
Above all else, the appeal or blac(
and white IS TO eiin taste. II II
an art IF a peculiarly intimate char
acter. just as some prefer the eNquis
lite ional purity OF the kneisei Strin'
Quartet to the more scnsuous AM
rhetorical temptations or grand opera
just as some prefer IN silence choice
prose t. our crude drama, so the Low
ers ui black and white are in "A elias
apart. At their elbow they may hav
disposed in portfolios or on walls IN
eloquent portraiiure, the masterpiece
of landscapes, marines. conVersatio
pieces or genre work ihere Is II
better way to study painting h!storl
F., ing collector. For, Invested OF bad O
49, IL. $50 .Lt rt - 49, sAtn go mot "a Ea