Evening star., 1941-04-06
Large Collection of Fine Prints Attrae
Attention of National GalleryS Visitors
Works on Display
Are Outstanding
Masterpieces
By Leila MechHn.

VIII oluulOuolS ChdAlllllCu lllC Uullu-
ing and its collections not only with
evident pleasure, but with desire to
learn, seeking knowledge from the
works themselves. Especially re-
markable was the attention given to
the collection of prints, the gift of
Miss Ellen T. Bullard and three
anonymous donors, supplemented by
some anonymous loans, because,
rare as are the works shown, COM
paratively little has been said about
them, and the supposition is that
the appeal of engravings and etch-
ingS is much less than that of paint
ings.
OF the 300 prints given to the Ma
tional Gallery, about one-third are
now on view, framed and hung in a
series of galleries in the northeast
section of the great building. Prac-
tically all of these are outstanding
masterpieces by the greatest en-
gravers and etchers of all time
treasures of utmost value, collectors
items which, in the aggregate, illus
trate the history of engraving from
the 18th century to the present day,
or. at least to the last of the 10Th
century, a matter of over 400 years.
Earliest Print.
Probably the earliest print in the
present showing is that of the Virgin
and Child" enthroned, surrounded by
saints and angels, set in an elabo-
rate engraved frame with decorative
designs on the border, the work of
18th century Italian goldsmith
whose identity is unknown. 1t is to
such a one-Tommaso Finiguerra,
Florentine-that we owe the inven-
ton Of engraving, which was, how
ever. largely accidental. That was
in 144O, at which time it was GUS
toInary for goldSmithS to ornament
their designs cut on gold and silver
plates by filling in the lines with
black enamel, or niello, that they
might be more clearly seen and
hence decorative. Before applying
this filling, it was customary to rub
into the lines a black substance
made of SCOT and oil as test of effect
and correctness. One such plate
was, by chance, laid face-down on
a piece of white paper and some
thing heavy laid upon it, with the
result that, when taken up, the i'm
preston was found on the paper.
Thus, the great art of engraving was
born. The little engraving for
niello in the National Gallery's COL
lection must have come into exist
ence about this time, and it is of
utmost interest as evidencing skill to
which the Italian GoldsmithS had
brought the art of engraving on
metal even before the possibility
of printing therefrom had been dis
covered. Also, it follows closely in
spirit and style the painting prac-
ticed in Italy in the 18th century
and shows the characteristically
Italian love for decoration.
Likewise associated with the very
early days of engraving in Italy are
two "Tarocchi cards" one of Thalia,
Muse of comedy and idyllic poems,
the other of Apollo, both OF which
come from the set of 10 devoted to
Apollo and the Muses., now very rare.
The entire series embraced five sets
of 10 each and was supposed to have
been used for games, such as pres
ent-day Authors" and the like. The
name of the engraver is not known,
but the works are supposed to have
been produced in Ferrara about 1867.
Greek Influence.
The influence which, after long
slumbering, swept from Greece to
Italy and profoundly affected the
latter's art, is shown not only in the
National Gallery paintings, given by
Samuel H. Kress, but in these prints.
Greek mythology was revived, the
Greek ideal of perfection in the
human body subscribed to. Take,
for example, not only the two prints
by Andrea Mantegna, entitled Bat
tie of the Sea Gods" but Battle of
Naked Men" by Antonio Pollaiuolo;
-Four Women Dancing" by an un-
known artist of the school OF
Mantegna and, later still, Mars,
Venus and Cupid" by Marcantonio
Raimondi. The human figure was
never more superbly drawn than IN
these engravings made on copper by
these gifted artists, two of whom also
were great painters. None can say
that these works, done under claS-
sical influence, are not as vital and
as full of action as those Of any
period before or since. Neither do
they lose force through correctness
of craftsmanship and craftsmanship
of impeccability. The models they
chose approximate physical perfec-
ton.
The prints of the "Sea Gods" are
two of only seven prints positively
known to be by Mantegna. The
Battle of Naked Men" is the only
known engraving by Pollaiuolo,
painter, goldsmith and sculptor
who is. by the way, represented by
a portrait of a young man in the
Kress collection. The -Four Women
Dancing" which has been ascrloeo
by some to zoan Andrea, is un-
doubtedly based on a study by
Mantegna for a group IN MS
"Parnassus" in the Louvre-a most
graceful and lovely composition.
The discovery of the art of en-
craving has been ranked in import
ance with that of printing, for. as
Gregory the Great wrote in the 9th
century, What writing is to those
who read, that a picture is to those
who have eyes," adding: For the
people especially, pictures stand In
the place of literature" Painters,
printmakers and, to some extent,
even sculptors, were, in the CEN
turies when these arts reached great
heights, primarily illustrators, sery-
ing the Christian religion through
the church and finding their chief
themes in the Old and New Testa-
ments. The discovery of engraving
made in Italy, and that OF the
wood cut, made in Germany-put in
the hands of the people, at very
small cost, beautiful works OF art
which conveyed to them the message
Of the gospel.
Martin Schongauer, born in Col