the art of cutting metals and precious stones, and representing thereon figures, letters, or whatever device or design the artist fancies.

Engraving, properly a branch of sculpture, is divided into several other branches, according to the matter whereon it is employed, and the manner of performing it. For the rudest branch, that of

ENGRAVING on Wood, see Wood, Engraving on.

ENGRAVING on Copper, the making, correspondently to some delineated figure or design, such concave lines on a smooth surface of copper, either by cutting or corrosion, as render it capable, when charged properly with any coloured fluid, of imparting by compression an exact representation of the figure or design to paper or parchment.

Whether we consider the art of engraving, with regard to the utility and pleasure it affords, or the difficulty that attends its execution, we cannot but confess, that on every account it deserves a distinguished rank among the polite arts. It is by means of this art that the cabinets of the curious are adorned with the fine arts, portraits of the greatest men of all ages and all na-

tions; Engraving; that their memories, their most remarkable and most glorious actions, are transmitted to the latest posterity. It is by this art also, that the paintings of the greatest masters are multiplied to a boundless number; and that the lovers of the polite arts, diffused over the face of the whole earth, are enabled to enjoy those beauties from which their distant situations seemed to have for ever debarred them; and persons of moderate fortune are hereby enabled to become possessed of all the spirit, and all the poetry, that are contained in those miracles of art, which seemed to have been reserved for the temples of Italy, or the cabinets of princes. When we reflect, moreover, that the engraver, beside the beauties of poetic composition, and the artful ordinance of design, is to express, merely by the means of light and shade, all the various tints of colours and clear obscurity; to give a relief to each figure, and a truth to each object; that he is now to paint a sky serene and bright, and then loaded with dark clouds; now the pure tranquil stream, and then the foaming, raging sea; that here he is to express the character of the man, strongly marked in his countenance, and there the minutest ornament of his dress; in a word, that he is to represent all even the most difficult objects in nature; we cannot sufficiently admire the vast improvements in this art, and that degree of perfection to which it is at this day arrived. See the article Prints.

Engraving is an art, for the greatest part, of modern invention; having its rise no earlier than the middle of the 15th century. The ancients, it is true, practised engraving on precious stones and crystals with very good success; and there are still many of their works remaining equal to any production of the later ages. But the art of engraving on plates and blocks of wood, to afford prints or impressions, was not known till after the invention of painting in oil.

The different modes of engraving are the following:

In strokes cut through a thin wax, laid upon the copper, with a point, and these strokes bitten or corroded into the copper with aquafortis. This is called etching.

In strokes with the graver alone, unassisted by aquafortis. In this instance, the design is traced with a sharp tool, called a dry point, upon the plate; and the strokes are cut or ploughed upon the copper with an instrument distinguished by the name of a graver.

In strokes first etched and afterwards finished with the graver: by this expedient the two former methods are united.

In dots without strokes, which are executed with the point upon the wax or ground, bitten in with the aquafortis, and afterwards harmonized with the graver, by the means of which instrument small dots are made; or with the graver alone, as in the flesh and finer parts, unassisted with the point.

In dots first etched and afterwards harmonized with the dry point, performed by a little hammer, called opus mallei, or the work of the hammer, as practised by Lutma and others.

In mezzotinto, which is performed by a dark barb or ground being raised uniformly upon the plate with a toothed tool. The design being traced upon the plate, the light parts are scraped off by instruments for that purpose, in proportion as the effect requires.

In aquatinta, a newly invented method of engraving. The outline is first etched, and afterwards a fort of engraving-wax is laid by the aquafortis upon the plate, resembling drawings in Indian ink, bitter, &c.

On wood, performed with a single block, on which the design is traced with a pen, and those parts which should be white carefully hollowed out; and this block is afterwards printed by the letter-press printers, in the same manner as they print a book.

On wood, performed with two, three, or more blocks; the first having the outlines cut upon it; the second is reserved for the darker shadows; and the third for the shadows which terminate upon the lights; and these are substituted in their turn, each print receiving an impression from every block. This mode of engraving is called chiaro-scuro, and was designed to represent the drawings of the old masters.

On wood and on copper: in these the outline is engraved in a bold dark style upon the copper; and two or more blocks of wood are substituted to produce the darker and lighter shadows, as before.

Of all these modes of engraving, the most ancient is that on wood; or, to speak more properly, the first impressions on paper were taken from carved wooden blocks. For this invention it appears that we are indebted to the brief-malers or makers of playing-cards, who practised the art in Germany about the beginning of the 15th century. From the same source may perhaps be traced the first idea of moveable types, which appeared not many years after: for these brief-malers did not entirely confine themselves to the printing and painting of cards, but produced also subjects of a more devout nature; many of which, taken from holy writ, are still preserved in different libraries in Germany, with the explanatory text facing the figures; the whole engraved in wood. In this manner they even formed a species of books; such as, Historia sancti Johannis, ejusque Visions Apocalypticae; Historia Veteris et Novi Testamenti, known by the name of the Poor Man's Bible. These short mementos were printed only on one side; and two of them being pasted together, had the appearance of a single leaf. The earliest date on any of these wooden cuts is 1423. The subject is St Christopher carrying the Infant Jesus over the Sea, preserved in a convent at Buxheim near Memmingen. It is of a folio size, illuminated in the same manner as the playing cards; and at the bottom is this inscription, Christophori faciem die quacunque tueris, Illa nempe die morte mala non morieris. Millesimo CCCC° XX° tertio.

Upon the invention of moveable types, that branch of the brief-malers' business, so far as it regarded the Hist of En-making of books, was gradually discontinued; but the engraving art itself of engraving on wood continued in an improving state; and towards the end of the 15th and beginning of the 16th century, it became customary for almost every one of the German engravers on copper to engrave on wood also. The works of Albert Durer in this style of engraving are justly held in the highest esteem. Italy, France, and Holland, have produced many capital artists of this kind; but for boldness and spirit, we must see the prints of Christopher Jegher, who worked under the direction of Rubens, and was without doubt assisted by that great master.

The invention of that species of engraving distin-

R. 2 guished Engraving, entitled by the appellation of chiaro-scuoro, seems also to be justly claimed by the Germans, and first practised by Mair; one of whose prints of this kind is dated 1499. Many excellent works in chiaro-scuoro have been produced in France, and in Italy it was honoured with the performances of Titian and Parmegiano; but the attempts of Jackson, Kirkall, and others in England, have not been equally successful. A set of excellent prints in this way have lately been published by J. Skippe, Esq., a connoisseur and dilettante.

In Germany, about the year 1450, prints from engraved copper first made their appearance. The earliest date of a copperplate print is indeed only 1461; but however faulty this print may be with respect to the drawing, or defective in point of taste, the mechanical part of the execution of it has by no means the appearance of being one of the first productions of the graver. We have also several other engravings, evidently the work of the same master; in which the impressions are so neatly taken from the plates, and the engravings so clearly printed in every part, that according to all appearance they could not be executed in a much better manner in the present day, with all the conveniences which the copperplate printers now possess, and the additional knowledge they must necessarily have acquired in the course of more than three centuries. Hence we may fairly conclude, that if they were not the first specimens of the engraver's workmanship, they were much less the first efforts of the copperplate printer's ability. It is likewise to be observed, that Martin Schoen, who is said, with great appearance of truth, to have worked from 1460 to 1486, was apparently the scholar of Stoltzhius; for he followed his style of engraving, and copied from him a set of prints, representing the pallion of our Saviour. Now, allowing Stoltzhius to have preceded his disciple only ten years, this carries the era of the art back to 1450, as was said above. There is no ground to suppose that it was known to the Italians till at least ten years afterwards. The earliest prints that are known to be theirs are a set of the seven planets, and an almanack by way of frontispiece; on which are directions for finding Easter from the year 1465 to 1517 inclusive: and we may be well assured, that the engravings were not antedated, for the almanack of course became less and less valuable every year. In all probability, therefore, these prints must have been executed in the year 1464, which is only four years later than the Italians themselves lay any claim to. The three earliest Italian engravers are, Finiguerra, Botticelli, and Baldini. If we are to refer these prints to any of the three, we shall naturally conclude them to be the work of Finiguerra or Baldini; for they are not equal either in drawing or composition to those ascribed to Botticelli, which we know at least were designed by him; and as Baldini is expressly said to have worked from the designs of Botticelli, it will appear most probable that they belong to Finiguerra.

With respect to the invention of etching, it seems to be not well known to whom it is to be ascribed. One of the most early specimens is that print by Albert Durer, known by the name of the Canon, dated 1518, and thought by some, with little foundation, to have been worked on a plate of iron. Another etching by the same artist is Moses receiving the Tables of the Engraving-Law, dated 1524. It was also practised in Italy soon after this by Parmegiano, in whose etchings we discover the hand of the artist working out a system as if it were from his own imagination, and striving to produce the forms he wanted to express. We see the difficulty he laboured under; and cannot doubt, from the examination of the mechanical part of the execution of his works, that he had no instruction; and that it was something entirely new to him. If the story is true, that he kept an engraver by profession in his house, the novelty of the art is rendered so much the more probable. He died in 1540.

As to that species of engraving in which the modes of etching and cutting with the graver are united, it must have been found necessary immediately upon the invention of etching; it was, however, first carried to perfection by G. Audran, and is now almost universally practised, whether the work is in strokes or in dots.

Engraving in dots, the present fashionable method, is a very old invention, and the only mode discovered by the Italians. Agostino de Musis, commonly called Augustine of Venice, a pupil of Marc Antonio, used it in several of his earliest works, but confined it to the flesh, as in the undated print of An Old Man seated upon a Bank, with a cottage in the background. He flourished from 1380 to 1336. We also find it in a print of "A single figure standing, holding a cup and looking upwards," by Giulio Campagnola, who engraved about the year 1516. The back ground is executed with round dots, made apparently with a dry point. The figure is outlined with a stroke deeply engraved, and finished with dots, in a manner greatly resembling those prints which Demarteau engraved at Paris in imitation of red chalk. The hair and beard are expressed by strokes. Stephen de Launé, a native of Germany, followed the steps of Campagnola; and many of his flighty works are executed in dots only. John Boulanger, a French artist, who flourished in the middle of the last century, and his contemporary Nicholas Van Plattenberg, improved greatly on this method, and practised it with much success. It is only, however, of late, that it has been considered as an object worthy of general imitation. John Lutma executed this kind of work with a hammer and a small punch or chisel.

The method of engraving in mezzotinto was invented about the middle of the 17th century; and the invention has generally been attributed to Prince Rupert, though it has also been asserted that he learnt the secret from another. See Mezzotinto.

Of the method of engraving in aquatinta, a short and general account has already been given under that word. See Aquatinta. But as some farther information relating to this branch of the art of engraving has fallen into our way, we embrace this opportunity of laying it before our readers.

Engraving in aquatinta, was originally invented by Le Prince, a French artist. For a long time, his process was kept secret; and his prints, it is said, were at first sold for drawings. As a proof that the art rose at once to perfection, as has already been mentioned, the prints Engraving prints which were executed by him, are still admired as the finest and best specimens of the art. It appears, however, that he was only acquainted with the powdered grain, and the common method of stopping out. The first who practised this art in England, was Mr Paul Sandby. By him, we are informed, it was communicated to Mr Jukes, whose works afford excellent examples to what perfection the art has been carried; and although it is now generally practised all over Europe, yet in no country with greater success than in Britain.

The principle of this process consists in corroding the copper in such a manner, that an impression from it exhibits the appearance of a tint laid on paper, or a drawing in Indian ink. This is accomplished by covering the copper with some substance which affixes a granulated form, and prevents the acid from acting where the particles adhere; and thus the copper is only partially corroded. The more minute the particles are, it is obvious the impression from the plate will more nearly resemble a wash of Indian ink, or a drawing; but the larger the particles are, the granulation becomes more distinct. The powder or granulation is called the aquatinta grain. It is produced in two ways.

The process for using the powdered grain, which was first employed, is the following: The outline being etched on a copper plate, some substance which easily melts with heat, adheres to the plate when cold, and resists the action of the aquafortis, is to be finely powdered and sifted. Besides asphaltum, rosin, and gum sandarac, the substances which have been mentioned in the article already referred to, Burgundy pitch, gum copal, gum mastic, as well as some other resins and gum resins, may be employed. Gum copal, it is observed, produces a grain which resists the aquafortis extremely well. Whatever the substance is which is to be employed, the great object of the artist in its application is, to have it equally distributed over the plate. This is an essential part of the operation, and requires considerable attention. The usual method is, to tie up a quantity of the powder in a piece of muslin, and to strike it against a stick held at a considerable height above the plate. Thus managed, the powder settles equally over it, in the same uniform manner that hair powder settles on the furniture of an apartment, where the operations of the hair-dresser are performed. The plate being thus covered equally with the dust or powder, it is to be fixed upon it, by the application of a gentle heat, to melt the particles. This is usually done by holding lighted pieces of brown paper, rolled up, and moving them about till the whole of the powder is melted, which is known by its changing to a brown colour. It is now allowed to cool and after being examined with a magnifying glass, if the particles appear to be uniformly distributed, the artist proceeds to the next part of the process.

Those parts of the design or drawing to be engraved, which are perfectly white, are to be observed and marked, and the corresponding parts of the plate must be covered or stopped out. This is best done by means of mastic varnish, diluted to such a consistence with turpentine as to work freely with the pencil. To give it colour, lamp-black should be mixed with it, that the touches of the pencil may be distinctly seen. When those parts of the plate which are stopped out, are sufficiently dry, a border of wax is raised round the plate, in the same manner as in etching, and the aquafortis diluted with water is poured on. This being the most precarious part of the process, requires the greatest experience. When it is supposed that the aquafortis has remained on the plate for such a length of time, that when an impression is taken, it will produce the lightest shade in the drawing, it is poured off, and the plate is washed with water and dried. The lightest tints are then stopped out, and the aquafortis is again poured on; and this process is repeated as often as there are tints or shades to be produced in the plate.

Many plates are entirely etched in this way, by alternately stopping out and biting in. It is, however, found to be extremely difficult, and indeed impossible, to produce impressions of minute and complicated objects with the requisite degree of delicacy and freedom. To obviate this difficulty, another process has been proposed, by which the touches are laid on the plate, with equal ease and expedition as on drawings with Indian ink. Fine washed whitening is mixed with treacle or sugar, and diluted with water in the pencil, that it may work freely. This is laid on the plate covered with the aquatint ground, in the same way as ink on the drawing. When this is dry, the whole of the plate is varnished over with a thin turpentine or mastic varnish, and when this is dry, the aquafortis is poured on. The varnish immediately breaks up in those parts of the plate where the treacle mixture was laid, and thus they are exposed to the action of the acid, while the other parts of the plate remain untouched. Thus the touches or places of the plate where the treacle has been applied, are bit in deeper than the rest, and have the precision of touches done with Indian ink. The plate being thus completely bit in, the bordering wax is removed, by gently heating it with a piece of lighted paper. It is then cleared from the ground, and varnished by means of oil of turpentine; and being wiped clean with a rag and a little fine whitening, it is ready for the printer.

But in this method of aquatinting, it is found difficult to produce the necessary degree of coarseness or fineness in the grain; and plates which are engraved in this manner afford but a small number of impressions before they are worn out. On this account it is now more rarely followed.

The other method of producing the aquatint ground, which is most generally adopted, is the following. A resinous substance, as common resin, Burgundy pitch, or mastic, is dissolved in spirits of wine. This solution is poured all over the plate, which is inclined, till the whole of the superfluous fluid drains off, and what adheres to the plate becomes quite dry in a few minutes. The plate being then examined with a magnifying glass, it will appear that the whole of the spirit having evaporated, the resinous matter is left in a granulated state, or is cracked in every direction, and adheres strongly to the copper. In this way a regular and beautiful grain is easily produced, which will be found preferable, at least for most purposes, to that which is produced by the former method. The grain being thus formed, the other parts of the process are conducted in the same manner as before described. Such are the usual methods of conducting this process. We shall add a few hints which the young artist may find useful in the different parts of it. With regard to the materials which are employed, it is to be observed, that the spirits of wine should be rectified, and of the best quality. Resinous matters, as common resin, Burgundy pitch, and gum mastic, yield grains of a different appearance and form; so that advantage may be taken of this circumstance, by using them sometimes separately, and sometimes mixed in different proportions, according to the views and taste of the artist. Different proportions of resin may be employed, to produce grains of different kinds. When a coarse grain is intended, a greater proportion is to be employed; and when a fine grain is wanted, a smaller proportion of resin only is required. The proper proportions may be ascertained by providing a number of spare pieces of copper; on these the liquid may be poured, and the grain examined, before it is applied to the plate which is to be engraved. After the solution is made, it should remain undisturbed for a day or two, till the impurities of the resin have subsided, and the liquid becomes quite limpid. This is the best method of freeing it from impurities; for if it is strained through linen or muslin, it is mixed with hairs, which are extremely injurious to the grain. It may be added, that the apartment in which the fluid is poured on the plate, should be perfectly still, and entirely free from dust; for if any fall on the plate while it is wet, the grain forms a white spot which cannot be removed. Great care should be observed in cleaning the plate. This is done with a bit of rag and whitening. The smallest stain or particle of grease produces a streak or blemish in the grain. Still, however, with all the attention which can be employed, and with the utmost delicacy in the management, it is necessary to observe, that the process is extremely precarious and uncertain; and even the most experienced artists find themselves frequently subject to very unaccountable accidents.

Artists have frequently complained of the inconvenience from the fumes which proceed from the action of the acid upon the copper, when the plate is large. To remedy this inconvenience, the following arrangement, which seems well calculated to answer the purpose, has been suggested by Mr Cornelius Varley, a young artist who distinguishes himself less by his mechanical abilities than by the exquisite productions of his pencil in water colours.—Get a frame made of common deal or any kind of wood, three or four inches deep, covered with a plate of glass, and open at one side; and let the side opposite to this have a round opening communicating, by means of a common iron pipe, with the ashpit of any little stove or other fire-place, shut up from all other access of air but what must pass through the pipe. It is obvious that any fumes rising from a copper-plate laid under such a frame will be carried backward into the iron pipe by the current of air required to maintain combustion in the stove, and will by this means be carried up the chimney in place of being allowed to fly about in the apartment. The pipe may be very conveniently used by carrying it down through the table to the floor, and so along to the place where the chimney may chance to stand; and when the frame is not wanted, the pipe at one of the joints may be made to answer the purpose of a hinge, engraving, by which to turn up the frame against the wall, where it may be secured, while out of use, by a button or any other contrivance.

This method of engraving in aquatinta seems to be chiefly adapted for slight subjects in general, for imitations of sketches, and washed drawings. But for the production of prints from finished pictures, it is by no means calculated; because it is not susceptible of that accuracy in the nice management of the tints which is necessary for this purpose. It is equally unsuitable for book plates; because, without retouching the plates, the number of impressions that can be thrown off is very small. On these accounts, therefore, it is to be considered greatly inferior to the other modes of engraving. But as it is more expeditious, and may be attained with more facility, it is undoubtedly useful when it is confined to those subjects for which it is peculiarly calculated. This rapidity of execution, however, and facility in acquiring the practice of the art, are followed with the unfortunate circumstance, that they favour the production of an indiscriminate multitude of prints which, it is to be feared, may rather tend to vitiate the public taste.

Engraving with the tool was the kind originally practised, and it is yet retained for many purposes. For though the manoeuvre of etching be more easy, and other advantages attend it; yet where great regularity and exactness of the stroke or lines are required, the working with the graver is much more effectual: on which account it is more suitable to the precision necessary in the execution of portraits: as there everything the most minute must be made out and expressed, according to the original subject, without any license to the fancy of the designer in deviating from it, or varying the effect either by that matterly negligence and simplicity in some parts, or those bold falsities of the imagination and hand in others, which give spirit and force to history-painting.

The principal instruments used in engraving with the tool are, gravers, scrapers, a burnisher, an oil-stone, and a cushion for bearing the plates.

Gravers are made in several forms with respect to the points, some being square, others lozenge; the square graver for cutting broad and deep, and the lozenge for more delicate and fine strokes and hatchings. La Boffe recommends, as the most generally useful, such as are of a form betwixt the square and lozenge: and he advises, that they should be of a good length; small towards the point, but stronger upwards, that they may have strength enough to bear any stress there may be occasion to lay upon them: for if they be too small and mounted high, they will bend; which frequently causes their breaking, especially if they be not employed for very small subjects.

The burnisher is used to assist in the engraving on some occasions, as well as to polish the plates. It is seven inches in length, and made of fine steel well polished. The burnisher is formed at one end, and a scraper on the other, each about an inch and a half long from the point; betwixt them, about four inches of the instrument is made round, and serves as a handle; and is thicker in the middle than at the necks, where the burnisher and scraper begin, which necks are only one quarter of an inch in diameter. The princi- Engraving. pal application of it in engraving, besides its use in polishing the plates, is to take out any scratches or accidental defacings that may happen to the plates during the engraving; or to lessen the effect of any parts that may be too strongly marked in the work, and require to be taken down.

A cushion, as it is called, is likewise generally used for supporting the plate in such a manner, that it may be turned every way with ease. It is a bag of leather filled with sand, which should be of the size that will best suit the plates it is intended to bear. They are round, and about nine inches over, and three inches in thickness.

The cushion, made as above directed, being laid on the table, the plate must be put upon it; and the graver being held in the hand in a proper manner, the point must be applied to the plate, and moved in the proper direction for producing the figures of the lines intended; observing, in forming straight lines, to hold the plate steadily on the cushion; and where they are to be finer, to press more lightly, using greater force where they are to be broader and deeper. In making circular or other curve lines, hold your hand and graver steadily; and as you work, turn your plate upon the cushion against your graver, otherwise it will be impossible for you to make any circular or curved line with that neatness and command of hand you by this means may.

After part of the work is engraved, it is necessary to scrape it with the scraper or graver, passed in the most level direction over the plate, to take off the roughness formed by the cutting of the graver; but great care must be taken not to incline the edge of the scraper or tool used, in such a manner that it may take the least hold of the copper, as it would otherwise produce false strokes or scratches in the engraving; and that the engraved work may be rendered more visible, it may afterwards be rubbed over with a roll of felt dipped in oil. In using the graver, it is necessary to carry it as level as possible with the surface of the plate; for otherwise, if the fingers slip betwixt them, the line that will be produced, whether curve or straight, will become deeper and deeper in the progress of its formation; which entirely prevents strokes being made at one cut, that will be fine at their extremities, and larger in the middle; and occasions the necessity of retouching to bring them to that state. For this reason, it is very necessary for those who would learn to engrave in perfection, to endeavour, by frequent trials, to acquire the habit of making such strokes both straight and curving, by lightening or sinking the graver with the hand, according to the occasion. If, after finishing the design, any scratches appear, or any part of the engraving be falsely executed, such scratches, or faulty parts, must be taken out by the burnisher, and further polished, if necessary, by the above-mentioned roll.

The plate being thus engraved, it is proper to round off the edges, by using first a rough file, and afterwards a smoother; and to blunt the corners a little by the same means: after which, the burnisher should be passed over the edges to give it a farther polish.

The dry point, or needle, which has been of late much used in engraving, is a tool like an etching point, which being drawn hard on the copper, cuts a stroke, and raises a burr; the burr is scraped off, and there remains a stroke more soft and delicate than can be produced in any other way.

In the conduct of the graver and dry point consists all the art; for which there are no rules to be given; all depending on the habitude, disposition, and genius, of the artist. However, besides the explanations already given, some general observations and directions may not be improper. As the principles of engraving are the same with those of painting, a person cannot expect to attain any considerable degree of perfection in this art who is not a good master of design; and therefore he ought to be well acquainted both with perspective and architecture: for the former, by the proper gradations of strong and faint colours, will enable him to throw backwards the figures and other objects of the picture or design which he proposes to imitate; and the latter will teach him to preserve the due proportion of its several orders, which the painter often entrusts to the discretion of the engraver. In order to preserve equality and union in his works, the engraver should always sketch out the principal objects of his piece before he undertakes to finish them. In working, the strokes of the graver should never be crooked too much in a lozenge manner, particularly in the representation of flesh, because sharp angles produce the unpleasing effect of lattice-work, and take from the eye the repose which is agreeable to it in all kinds of picturesque designs: we should except the case of clouds, tempests, waves of the sea, the skins of hairy animals, or the leaves of trees, where this method of crooning may be admitted. But in avoiding the lozenge, it is not proper to get entirely into the square, which would give too much of the hardness of stone.

In conducting the strokes, the action of the figures, and of all their parts, should be considered; and it should be observed how they advance towards, or recede from the eye; and the graver should be guided according to the risings or cavities of the muscles or folds, making the strokes wider and fainter in the light, and closer and firmer in the shades. Thus the figures will not appear jagged; and the hand should be lightened in such a manner, that the outlines may be formed and terminated without being cut too hard; however, though the strokes break off where the muscle begins, yet they ought always to have a certain connection with each other, so that the first stroke may often serve by its return to make the second, which will show the freedom of the engraver.

In engraving the flesh, the effect may be produced in the lighter parts and middle tints by long pecks of the graver, rather than by light lines; or by round dots; or by dots a little lengthened by the graver; or, best of all, by a judicious mixture of these together.

In engraving the hair and the beard, the engraver should begin his work by laying the principal grounds, and sketching the chief shades in a careless manner, or with a few strokes; and he may finish it at leisure with finer and thinner strokes to the extremities. When architecture or sculpture is to be represented, except it be old and ruinous buildings, the work ought not to be made very black; because, as edifices are commonly constructed either of stone or white marble, Engraving the colour, being reflected on all sides, does not produce dark or brown shades as in other substances. White points must not be put in the pupils of the eyes of figures, as in engravings after paintings; nor must the hair or beard be represented as in nature, which makes the locks appear flowing in the air; because in sculpture there can be no such appearances.

In engraving cloths of different kinds, linen should be done with finer and closer lines than any other sorts, and be executed with single strokes. Woollen cloth should be engraved wide, in proportion to the coarseness or fineness of the stuff, and with only two strokes; and when the strokes are crossed, the second should be smaller than the first, and the third than the second. Shining stuffs, which are generally of silk or satin, and which produce flat and broken folds, should be engraved more hard and more straight than others, with one or two strokes, as their colours are bright or brown; and between the first strokes other smaller must be joined, which is called interlining. Velvet and plush are expressed in the same manner, and should always be interlined. Metals, as armour, &c., are also represented by interlining, or by clear single strokes.

In architecture, the strokes which form the rounding object should tend to the point of sight; and when whole columns occur, it is proper to produce the effect as much as possible by perpendicular strokes. If a crofs stroke is put, it should be at right angles, and wider and thinner than the first stroke. In engraving mountains, the strokes ought to be frequently discontinued and broken, for sharp and craggy objects; and they should be straight, in the lozenge manner, and accompanied with long points or dots; and rocks should be represented by crofs strokes more square and even. Objects that are distant towards the horizon should be kept very tender, and slightly charged with black. Waters that are calm and still are best represented by strokes that are straight, and parallel to the horizon, interlined with those that are finer: omitting such places as, in consequence of gleams of light, exhibit the shining appearance of water; and the form of objects reflected from the water at a small distance upon it, or on the banks of the water, are expressed by the same strokes, retouched more strongly or faintly as occasion may require, and even by some that are perpendicular. For agitated waters, as the waves of the sea, the first strokes should follow the figure of the waves, and may be interlined, and the crofs strokes ought to be very lozenge. In cascades, the strokes should follow the fall, and be interlined. In engraving clouds, the graver should sport when they appear thick and agitated, in turning every way according to their form and their agitation. If the clouds are dark, so that two strokes are necessary, they should be crossed more lozenge than the figures, and the second strokes should be rather wider than the first. The flat clouds, that are lost infinitely in the clear sky, should be made by strokes parallel to the horizon, and a little waving; if second strokes are required, they should be more or less lozenge; and when they are brought to the extremity, the hand should be so lightened, that they may form no outline. The flat and clear sky is represented by parallel and straight strokes, without the least turning. In landscapes, the trees, rocks, earth, and herbage, should be etched as much as possible; nothing should be left for the graver but perfecting, softening, and strengthening. The dry point produces an effect more delicate than the graver can, and may be used to great advantage in linen, skies, distances, ice, and often in water, especially in small engravings. In most things it is proper to etch the shadows, only leaving the lighter tints for the dry point, graver, &c.

To imitate chalk-drawings, a mixture of varied and irregular dots are used, made more or less soft, so as to resemble the grain produced by the chalks on paper. Every stroke of the chalks on paper may be considered as an infinite number of adjoining points, which are the small eminences of the grain of the paper touched by the chalk in passing over it. When the copperplate has been polished and varnished, or properly prepared, as in the common method of engraving, the drawing to be imitated may be counterposed on the varnish of the plate. If this cannot be conveniently done, black lead pencil, or red chalk, must be applied to varnished or oiled paper; and by means of this chalk or pencil, all the traces of the original will be transferred to the varnish. The outlines of the object must be formed in the etching by points, whose magnitude and distance must be determined by the quality of the strokes in the original drawing. The artist may be provided with pointed instruments or needles of various sizes with single or double points. In forming the light and shade, he should distinguish between those hatches which serve to express the perspective of the object and those which form the ground of it. The principal hatches should be more strongly marked; the middle tints, if etched, should be marked lightly, or they may be left till the varnish is taken off, and be perfected with a greater degree of softness by needles or the point of the graver, as the original may require. There is nothing peculiar in the method of applying the aquafortis in this kind of engraving; but it may be observed, that it should not be left too long as to corrode the lighter parts too much: if the lighter parts are sufficiently corroded, they may be stopped up with turpentine varnish and lamp-black mixed together, and the aquafortis may be applied again to the stronger parts; for it will be no detriment to them, if the points which compose the shade burst into one another, provided the extreme be avoided. When the work of the aquafortis is finished, and the varnish taken off the copper, it will be necessary in the softest parts, such as the flesh, &c., to interflipple with proper points; as an effect will be thus produced more delicate than it is possible to attain with the aquafortis only; and the strongest shades will require additional strength to be given them with small strokes of the graver. Drawings made with chalks of different colours may be imitated in this manner, if a plate be provided for every colour.—This method of engraving is intended to form a kind of deception, so that the connoisseur may not be able, on the first inspection, to distinguish between the original drawing and the engraving made in imitation of it; and it is extremely useful, as it serves to multiply copies of drawings left by those masters who excelled in the use of chalks, and thus to form and improve young artists, who could not have access to the originals in the practice of drawing. To this account of the history and practice of the art of engraving, we shall annex the following ingenious observations by an eminent living artist (a). We present them to our readers without alteration or abridgement.

When compared with painting, the art of engraving is but a recent invention, being coeval only with that of printing; and like that noble art, it possesses not only a similar but a greater power, of multiplying and extending the productions of genius over the world; for its language is universally understood.

It would have been well for the arts, if it could boast of a more remote date, as we might then have had many more of the finest designs of the first painters of antiquity, now doomed to oblivion, saved from the rude ravages of time.

But this invention seemed to be reserved for the fourteenth century, and its improvements for the age of Louis XIV., an age in which a number of artists, who may be said to have invigorated the art, and invested it with beauty, arose both in France and Italy.

Lines, in the first state of the art, like every other pursuit, whose excellence is progressive, were comparatively rude and unmeaning, and had nothing more to recommend them, than merely representing a particular sort of markings, or slight hatchings with the pen, without any other apparent degree of execution or expression. Although it is our pride to acknowledge, that it has not been a little beholden to the elegant etchings of the great masters in painting, as well as to their drawings in pen and ink, in its early stages, by which means an eminent degree of taste was introduced into the art, particularly in the department of linear disposition. Amongst these, the drawings of Raphael, Michael Angelo, and the learned da Vinci; some of which we have occasionally seen and admired. Some by da Vinci were hatched in a figure and delicate manner, with a white fluid, on dark coloured paper. Those of Michael Angelo and Raphael inclined more to the lozenge, in black or brown ink. They even carried this style of hatching with the pencil into their pictures, some of which adorn the Vatican; and in the famous cartoons in his majesty's collection by Raphael. Baccio Bandinelli generally hatched his lines in one direction, particularly a Taking down from the Crofs, which was sold in London at the sale of the late Sir Joshua Reynolds' drawings. Vicenzo Dante, hatched in a similar way about the year 1550. Julio Romano used also to draw in this style with the pen, several of which are still to be found in the most select cabinets of men of taste; and for near a century and a half after the invention of etching, it is rare to mention a painter of eminence, who was distinguished in drawing, who did not annex this art to that of painting. But with the application of the burin, the art has been gradually improving till the present period. (b) Linear engraving is nothing more than drawing elegantly on copper. It became more studied as it was found capable of representing the various appearances of nature. The texture or surface of objects became proportionally discriminated by such peculiar modifications of the line, as seemed most suitable to the subject represented, although, at the same time, it rendered it much more arduous in the execution. Hence arose that diversity of style, and that scope for succeeding excellence, which, by combining elegance with simplicity and beauty, distinguished those artists who have been most conspicuous in its improvement.

It has been said, that we are indebted for the origin of this art to an ingenious Florentine, Maestro Finiguerra, the sculptor. He was succeeded by a number of other ingenious men, among whom we rank Botticelli, Andrea Mantegna, and other able designers; and in Germany, Albert Durer, Aldgrave, and Lucas Van Leyden, who feverishly contributed their labours. But in the fifteenth century, the works of the divine Raphael began to be multiplied by the correct graver of Marc Antonio, an artist whose prints were the delight of that great painter. Antonio had many imitators, but none who equalled him for justness of contour, for which his works will be ever highly appreciated among the early productions of the art.—Having had occasion to mention a few of the principal artists who reared the scaffolding of this elegant art, we shall proceed to those who have so much distinguished themselves in finishing the superstructure. Among these, Augustino of Venice began to introduce a better disposition of line in his shades, as well as the ingenious Bolognese, Augustino Carrachi; whilst Egidius Sadeler displayed no less zeal in Germany. In the sixteenth century, the art displayed still more vigour and taste, and seemed to have but little more wanting; for all that meagre dryness of line began to disappear, which so manifestly marks the early works of H. Tedesco, Aldgrave, and other artists of a former period. Their works became consequently more rich in style, by embracing the best productions of the pencil; and as they were applied to a greater number of ideas, they became still more interesting and successful.

Patrons were numerous and liberal; and it is but proper to remark, that the various artists, on their part, actuated by a becoming zeal which was highly creditable to themselves, were indefatigable. This is a circumstance not less worthy of imitation, than the many admirable monuments of the art which they produced. Few but admired the works of Maillon, Poilly, Nanteuil, and Rousselot; and some time after the death of the ingenious Cornelius Bloemart, who had given a grace to his lines, hitherto unknown at Rome, the matchless Audran and Edelneck displayed their excellent productions at Paris. But arts are liable to fluctuate; and when the art of engraving began to decline abroad, it gradually displayed a high degree of lustre in our own country; and the variety of styles which has since sprung from the original manner of engraving shall be the subject of the following sketch.

We shall therefore treat more particularly of the disposition of the lines and their consequent effects, distinguished

(a) Francis Legat, Esq. historical engraver to his royal highness the prince of Wales, and F. A. S. E.

(b) The author has taken the liberty of here adopting the word linear, from its strict analogy to this mode of engraving, and with the approbation of some of the first professors, both in painting and engraving. Engraving distinguished by the terms, linear expression, imitation, disposition, and harmony; with a strict investigation of the first and most approved subjects, either in etching or engraving; and of their essential beauties, as far as they may tend to illustrate the subject.

As the great object of this mode of engraving is, to adopt those lines the most expressive of the form and character of whatever happens to be represented, by maturely investigating not only the action but the cause and correspondent effects of the original picture; in order that the artist may avail himself of all that is most beautiful in his translation, and efficient in the aggregate, either with respect to the expression, spirit, or sentiment.

When historical subjects consist of several figures, where there is generally a variety of draperies, some of them appearing thick and cumbersome, others more thin and flexible, fitting close and elegant on the limbs, being composed of a finer texture, or thread; the coarser stuffs are consequently more effectually represented by a bolder line, as the thinner sort, by the application of a fine line, gives a more lively representation; a discrimination which has been observed of late, by the most approved modern artists in linear engraving. Observations of this description, when treated in a liberal manner, not only superadd a degree of truth, but even render the subjects sweeter to the eye of fancy. In the early stages of the art, some excellent artists have been led into particular and limited systems. In the works of such as have affected to describe every subject in the same line indiscriminately, even the arms of the most delicate women are often engraved as if perfectly polished, by approaching to a metallic appearance, a mode not uncommon among the second or third class of artists about the beginning of the last century; by which manner, all that softness and delicacy was neglected, which is so happily effected in the linear productions of Bartolozzi, Morgan, Sharp, Heath and others, at present of the first masters in Europe. Those who are acquainted with the works of the ingenious Chaffard, must with pleasure have perceived in his foliage, how even the texture of flowers are imitated from the delicate line-like fibres of which they are composed, issuing from the stem, and spreading their filken beauties to the sun; and in this class of imitation, the clear transparency of glass, the rough texture of woollen, the thinness of lawn, the flickerings of satin, or the lightnings of steel, as well as the rude rock, the lucid lake, or the foaming of the torrent, are all admirably adapted to linear effect by the almost infinite diversity in their construction, and general constituent principles, strictly observing on what laws the beauty of lines consists, by ever keeping in view the due balance of taste, and a noble simplicity of style throughout. It is the business of the skilful artist to overpower and subdue the difficulties in his profession; for no excellence in art is of cheap or vulgar acquisition. Let it be remembered that with forming steel, even the enchanting graces of the Venus de Medicis were hewn from a rock, and the almost breathing Apollo, from a block of Parian stone.

An elegant English poet, in a critical essay on poetry, observes, that the sound should seem an echo to the sense; so should the lines in a fine print seem to harmonize with the subject, by flowing with the external cast of the features, and the predominant passion expressed in the original picture; for the same character and disposition of the lines that suit the action of the muscles in one passion, will be found to appear more vacant and less expressive when applied to others, however graceful they may appear.

As this is a point of view to which the art has never yet been fully extended, perhaps it may meet with some degree of attention, as it will be found of utility in forming a principle respecting disposition, more particularly in historical subjects, where the passions are required to be nicely expressed; and although it may admit of some slight exceptions, it is a principle that will in general be found to be true.

For example, let it be supposed, that the passion of the figure represented, is that of joy; the lines should seem to expand and swell, with every aiding muscle, in the most delicate manner possible.

But, on the contrary, if the subject displays deep sorrow, they should rather incline downward, partaking somewhat of the half straight, seeming to act apparently in perfect unison and conformity with the features of the face, with all due subordination to the general effect of light and shadow.

Various observations may be made in this manner on the principal passions expressed in the human countenance, which are but few comparatively, even from the slightest movement to the boldest action. We often find, on examining the works of those masters who are not so conspicuous for great clearness of execution, that they have been occupied by the disposition and energy of the lines, as in the magnificent and matterly prints of the battles of Alexander, from the pictures of Carlo le Brun, engraved by Gerrard Audran; where the executive department is no less conspicuous from the burin of the Chevalier Edelinck in the fine print of the tent of Darius: whilst Audran displays the true spirit of art, but rarely avails himself of much of the mechanical principles. The field, and tumult of battle, seemed admirably calculated to call forth his rapid powers, particularly in works of magnitude.

The least active scenery of the tent of Darius, was equally appropriated to the splendid talents of Edelinck, as he seems to have been better qualified to display subjects of that nature in general. This is sufficiently obvious from the beautiful and interesting groups of the queen mother, and her illustrious family, kneeling at the feet of the conqueror; his impressive print of the magdalene, or his most admirable portraits of the dignified clergy, distingued authors, and eminent artists. These, in point of engraving, are no less remarkable for taste in the execution, than for truth and nature in expression.

In one of the battles of Alexander, the groups where Porus is wounded and supported by the soldiers, the rough discrimination of line finely accords with that bold deportment of character in the grim visage of that gigantic prince, whilst a more delicate line marks the youthful countenance of Alexander; a discrimination which is totally lost in the large Dutch copy by de Vos.

In the same print, the figures of Alexander and Clytus, are finely relieved from the distant scenery by the varied description of engraving on their armour, drapery, and horses. The latter are managed with such freedom and spirit, that it is difficult to say whether the horses or figures seem the most with matterly execution; particularly Engraving; particularly the white war-horse on the right extremity of the print (c).

Had Audran superadded a still greater portion of the delicacy and clearness of handling so conspicuous in Edelinck and other eminent artists since that period, it would undoubtedly have given an additional beauty to his other transcendent acquisitions; namely the vast spirit of his lines, and power in drawing.

But it is seldom the lot of an individual to combine every excellence. Arts too have their infancy; for they generally require the labour of ages to bring them to maturity and perfection, and it yet remained to unite and ameliorate the polish of Edelinck, to the spirited style of Audran. Without prejudice or partiality, a considerable degree of this excellence will be found in the best works of British art, as we shall hereafter exemplify.

Another fine specimen of lineal engraving, and of a different class, is the celebrated storm by Balechow, from a picture of the famous Vernet. In this print he has transmitted with the graver a certain fluidity and action in representing the liquid element, to which the art had never before attained. To a grandeur of style in the bold swelling of the waves, he has superadded the utmost transparency of line; at the same time, having attended to all that light reflexes spray which seems sporting to the gales as they roll along. In a fanciful mood, one might almost imagine they heard the motion of the water; so finely did this discriminating artist translate, (if I may be allowed the expression) this admirable picture.

When we consider the period in which this distinguished work was engraved, and that little or nothing had been previously done in that department of a similar excellence; it is hoped it will be a sufficient apology for the degree of admiration here expressed: for, as Lord Verulam truly observes, "we are too prone to pass those ladders by which the arts are reared, and generally reflect all the merit to the last new performer." We have already observed, they are seldom reared with rapidity, and oftentimes that which is considered an invention, is only a long succession of trials and experiments, which have gradually followed each other, and ought rather to be considered as a series of human mind than the knowledge of an individual, being the works of ages. In any point of view, the present subject will ever be considered as a high improvement and an elegant acquisition in the annals of the linear art. But in historical subjects this artist is by no means equal in point of taste or discrimination. His print of St Genevieve undoubtedly ranks high in the first classes of engraving. Had his taste in other respects been equal to his powerful clearness of execution, it would have been almost unparalleled; but it betrays a want of that essential, even in his mode of thinking. Patience and labour are everywhere too prevalent. It remained for Woollet to excel both in figures and in landscape.

In the various styles and modifications of this expressive art, from the NEAT to the FEEBLE, and from the BOLD to the EXTRAVAGANT, Taste stands sole arbiter; in brief, it is she who distributes variety with spirit, and conceals the appearance of intricacy and labour; who, by a due modification of line, unites clearness to softness, arresting the hand of the skilful artist, from every effort inconsistent with her powers; producing at once to the mind all that agreeable finished combination or harmony which ever accompanies and constitutes the perfection of true art.

In the execution of subjects of imagination, there is a perpetual scope for calling forth the fancy of the engraver, as the various combinations of lines are inexhaustible, uncommon effects, such as aerial spirits, or celestial beings blended with the light, or ghosts commingled with the gloom, or fairy elves by moonlight, who trip the lands, and yet no footing seen; or wood-nymphs, laying their taper limbs in the limpid element. Such subjects, in point of style, depend entirely upon the beauty, lightness, and transparency of execution; for those that are merely ornamental or grotesque, demand a style of a different cast from that of the serious or historical, as they require a less degree of truth even from the burin. In these cases the style may be as capricious as the subjects. Those of Raphael, in the Vatican, display an uncommon degree of taste, and particularly in the elegant flow of line with which they are composed.

In all works of taste and genius, those which may appear the most simple at a transient glance, will be often found to contain the most art on a more mature investigation. The first impression may strike the fancy, but the second generally calls up the discriminating powers of the judgment.

Arts generally rise in our esteem according to the degree of exertion of the mental powers which they require; and, as lines are capable of various styles, those which are most congenial to the subject represented ought to be adhered to in preference to every other consideration. Teniers, and Gerrard Douw, demand all the fidelity and delicacy of the burin in describing the various draperies and individualities which belong to that class of painting; but, in proportion as the contour is composed of fewer parts, and the forms more full and elegant, the beautiful flowing qualities of the graver is increased, and its lines glide more gracefully over the figures, as may be found in the works of Strange and others from Guido and Corregio. This distinction will not appear so obvious on a superficial view of the art. But, on a due investigation, it will be found, that not only a different modification of lines is necessary to the various classes of painting, but that even a different description of style is requisite to characterize some of the matters in each particular class, from the sublime and elevated figures of a Raphael and Michael Angelo, to the simple cottagers of Adrian Ottade.

When we take a more comprehensive view of the art, we often find, that the styles which are adopted in the different countries in Europe by the artists where the art has in any degree been cultivated, are generally regulated by the modes of painting, drawing, and even the colouring respectively in each, whether historical, portrait, or landscape, and is proportionally appreciated according to the effective beauty and elegance of the execution.

(c) Whenever Mr Bartolozzi happened to speak of those prints to me, he always expressed himself with a great degree of enthusiasm, thinking himself extremely fortunate in having works of such excellence in his possession. It is not improbable that the clear mode, which at present constitutes the modern German school, is a refinement on the simple style of Cornelius Bloemart.

In Italy, Jacchino Frey, that astonishing Swift, from his masterly expertise in drawing, and a rapid use of the etching steel and the nitre, almost produced an entire revolution in the art. The unprecedented richness and ease, the freedom and energy of his style, and the number and magnitude of his works, attracted all Italy, and tended greatly to improve the Roman school. About the year 1672, we find him working jointly with the nervous Dorigny Frezza, and Vanauden Aird. From this source we can perceive the style of Wagner, of Cars in France, and various masters now living; namely, Francesco Bartolozzi, Giovanni Volpato, Dominicus Cunigo, and some of the early works of the excellent Raphael Morghen.

In many instances Frey indicates, that if he had considered it of sufficient consequence to the art, he could have engraved with more clearness, particularly by his curious copy from the celebrated print by Edelinck, of the Madonna and Child, with St John and Angels, from Raphael; and although but an imitation of another style, tends to show the versatility of his talents, when the judgment is for a while suspended to know which is the original. We find a performance of Frey's, entitled La Charité Humaine, dated 1723; a print was afterwards engraved from the same subject at Paris by Daille, dated 1763, in which he has rather been too profuse in the mere mechanical part of the art, and defective of that ardour which a well engraved work should not only inspire but maintain.

It is not enough for lines to be only well disposed, but also full of expression: neither is it enough for a line to be only clearly cut, but it must also be free; for in a certain free light spirited lines convey an idea of animation, and are suited to subjects of that description, while the long sweeping and bold lines are better adapted to the solemn and majestic productions of the pencil.

A fine print, like a miniature picture, ought to be viewed near the eye; as in itself, from the nature of the art, will be found a due subordination of effect, ever receding from the bold and articulated lines in the foreground to those which are more evanescent and remote.

The graceful birch, the mountain ash, and the oak, have each their peculiar bark and texture; and these, when freely indicated, stamp their mark and character most completely to the eye. Much of this, as has been formerly mentioned, depends upon, and is regulated by, the peculiar style of the picture and the skill of the engraver.

As lines seem to partake of motion, in proportion as they deviate in gentle bendings from the straight and precise; even so also, in the motion of water seemingly increased, whether they undulate with the simplest wave, or swell with the fierce and tempest-curling surge. This character is sufficiently illustrated in the works of Balechow and Woollet.

In the late Mr Brown's large print of St John preaching in the wilderness, no engraver has ever more fully displayed the true spirit of Salvator Rosa, particularly in the original mode of treating the rocks, and the bold style of the surrounding scenery; in short, in the aggregate it is a chef d'œuvre unparalleled in any country. This is freely acknowledged, not only by every man of taste, but by the first landscape engravers. (D)

But Brown was perhaps less happy in the companion to the above, from the celebrated Bouch, by adapting a similar mode to that finished and delicate painter. For the style should ever vary with the subject.

"Whate'er Lorrain light touched with softening hue, Or savage Rosa daft'd, or learned Poussin drew."

THOMSON'S Castle of Indolence.

His admirable etchings of the cottager and its companion, and the Celadon and Amelia, are fine specimens of his discriminating powers, and characterized with so near an approach to truth, that we cannot help exclaiming with the poet,

"He sees no other, nature's self who sees."

The engraving of the above subjects was finished by the matchless Woollet, with the same happy taste. And it must be acknowledged that it is but seldom that we see so many excellencies united; for it is equally rare to see the finest engraving united to the finest drawing, as to find it in painting combined with the choicest colouring; yet each have their decided fascinations in the gallery, the cabinet, or the portfolio.

Woollet, whose works abound with nerve and intelligence in point of character, his style of landscape is delightfully descriptive; whether rocks, water, trees, or sky; as the Niobe, the Ceyx, and Alcyone, and other master-pieces from the great Wilson evince. In the winter scene from Smith of Chichester, he has admirably contrived to convey the effect of the drifted snow, by delicate dotting, and with no less precision he has described the transparent ice with clear lines. Of trees, he was the first that ever faithfully characterized the graceful larch; as may be seen in his views of the nobleman's seats. In the print of the fishery, he is indebted to the masterly etching of John Brown, particularly the shipping, in which there is perhaps no subject more articulate and perspicuous. The engraving of this subject is finished by himself. In his figures he was the founder of a style, most happily adapted for modern dresses, and historical portraiture; a style in which he moved with unrivalled reputation. His print of the death of General Wolfe, painted by Mr Woff, is an admirable example, and does honour to the British nation. It occupied him no less than four years. The print of the battle at La Hogue is another fine specimen of his knowledge of linear discrimination. In short, when we consider the talents of this artist, it is difficult to decide whether he most excelled in modern history or landscape. The art has to regret that he, who was so eminently qualified to adorn any line of the profession, has left no works in ancient history. We have little doubt from his knowledge, and a real love of the art, he would have left a sufficient monument in that department also, for the pleasure and contemplation of

(D) Were I at liberty to mention eminent living artists, I would have been induced here among others, to have mentioned the subject of the Tempest in the Twelfth Night, from the late ingenious Wright of Derby, engraved by Mr Middleman, in the Messrs Boydell's large edition of the immortal bard of Avon. Engraving, the real connoisseur and of posterity. Engraving in this country sustained a heavy loss when he died; and if the death of so excellent an artist may be considered as a public loss, it is certainly the more felt with respect to Woollet, who died while he was yet improving in that excellence (E).

Chattelaine has been termed a mannerist in his drawings, but he must certainly be allowed to be an excellent one: his etchings are variety itself. Perhaps in the department of etching no artist has so happily translated the pictures of Claude de Lorraine as Francis Vivares; that is, with respect to aerial perspective, the peculiar characteristic of Claude. But his merits are not confined to this matter alone; for he followed Ruydalle, Berghem, Gainborough, and Cuyp, with great success. He has such a free delivery of style, that almost every one who examines his works is irresistibly impressed with an idea of performing the very same. Few artists, it has been mentioned, have excelled in the etching department. We cannot, however, omit the name of Peranezzi; who, to originality of style, which is apparently spontaneous, joins a certain grandeur which had never been surpassed. He has transmitted to posterity so faithful a representation of the Greek and Roman edifices and ruins, that travellers have often confessed that they have raised their ideas beyond the magnitude of the superstructures themselves. It is certain that in works of this stupendous nature, a degree of ruggedness in the execution corresponds with the sublimity of the subjects; and thus produces a still greater power over the mind, than if they had been more polished. Some have censured his figures, and not without cause. This defect has been ingeniously palliated by an excellent artist, Mr Bartolozzi. "For (said he) if the purchasers of the works of Peranezzi, get so much for their money in the building way, the figures may be supposed to be given for nothing." Doubtless those vast piles of perilishing grandeur, were never more judiciously presented to the eye, than by this astonishing artist, or better calculated to affect the mind by calling forth its most sublime ideas.

We have another striking instance of spirited etching in a different pursuit of the art, in the works of Ridinger, a name which brings along with it all the savage scenery of nature.

"Assembling wolves in raging troops defend, They fasten on the fleed and pierce his mighty heart."

Thomson's Winter.

For we shall ever find some peculiar beauty to admire, even in the slightest productions of genius, as well as in the most perfect productions of the burin.

There are few artists who do not regret, that etching was unknown to Bolswert, who has done so much without its aid; from which we may easily suppose how much more he could have effected with this charming acquisition. For the truth of this remark we may appeal to his landscapes from Rubens, his animated portraits from Vandyke, and his productions from the Flemish school of history, particularly his large print of the Engraving, taking down from the erots from Rubens.

There is a fine instance of linear effect in a print of a Flemish conversation piece by Wille. One of the figures is drinking out of a glass, and the artist has most deceivingly described the texture of the drinker's face through the glass. In the same print, a female figure shows great skill in this way, even the floor is characterized by lines; and the whole strongly marks the most proper mode of treating subjects of a mere local nature. The beautiful print of the Petit Physicien, is also an admirable imitation, particularly the little pellucid globule which has just mounted from the shell. When lines are engraved in a square acute method of cropping, they generally convey the idea of hardness to the subject represented. The scientific Picart seems to have been so much aware of this, that in a print of his engraving of a large marble group of horses, from the animated chisel of Perriere, he adopted this style in order to heighten the imitation.

Mafon's print of Marshal Harcourt, is one of the many fine efforts of portrait engraving; and although it was executed at an early period of the art, it abounds with no small degree of taste. The celebrated print (called the table-cloth) from Titian, of the Last Supper, also contains a considerable degree of linear discrimination, although he sometimes carries it to affectation. He is ratheringular in his mode of engraving hair. Yet the portraits of Marshal Harcourt and Brissiere the secretary may be deemed exceptions.

Wille, by the magic of his tooling, is too apt at times to give his works indiscriminately the appearance of bronze; and we frequently find the same in the figures of Balechow; but it seems to have been reserved for Strange to give the softness of carnation to copper; and to Woollet, to give force and clearness with discriminating taste. Bartolozzi in his lines elegance delicacy and drawing; while the works of Audran team with boldness and simplicity. In the prints of Sir Robert Strange, the greatest excellence is perhaps his rich and harmonious tones, as well as the whole effect, which is supported by an expressive style; which he seems in a great measure to have invented for his most favourite painters, Corregio, Titian, Guido, and Guercino. The softness, the gusto, and the flowing draperies in the works of these masters, were his delight. His sleeping Cupid from Guido, and the prints of the Venus and Danae from Titian, will ever be esteemed as chefs d'oeuvres in the linear art.

Having thus attempted to fulfil our original intention of discriminating the most expressive combinations of lines, and of analyzing and illustrating their various powers and effects in engraving, we shall now conclude these observations; and if, from the nature of the subject, and from the limits of the sketch, we have failed in marking every brilliant star in the galaxy of the art; it must at least be acknowledged, that we have not omitted some of those of the first magnitude.

Engraving upon Glass. See Glass, Engraving on.

(£) Although we are now contemplating linear engraving, it is but proper here to observe, that chalk engraving, mezzotinto, and aquatinta, have also made ample improvements in this country, in their various styles of excellence. Engraving on Precious Stones, is the representing of figures, or devices, in relievo, or indented, on divers kinds of hard polished stones.

The art of engraving on precious stones is one of those wherein the ancients excelled; there being divers antique agates, cornelians, and onyxes, which surpass any thing of that kind the moderns have produced. Pyrgoteles among the Greeks, and Dioforides under the first emperors of Rome, are the most eminent engravers we read of; the former was so esteemed by Alexander, that he forbade any body else to engrave his head; and Augustus's head, engraven by the latter, was deemed so beautiful, that the succeeding emperors chose it for their seal.

All the polite arts having been buried under the ruins of the Roman empire, the art of engraving on stones met with the same fate. It was retrieved in Italy at the beginning of the 17th century, when one John of Florence, and after him Dominic of Milan, performed works of this kind no way to be despised. From that time, such sculptures became common enough in Europe, and particularly in Germany, whence great numbers were sent into other countries: but they came short of the beauty of those of the ancients, especially those on precious stones; for, as to those on crystal, the Germans, and, after their example, the French, &c. have succeeded well enough.

In this branch of engraving, they make use either of the diamond or of emery.

The diamond, which is the hardest of all stones, is only cut by itself, or with its own matter. The first thing to be done in this branch of engraving is, to cement two rough diamonds to the ends of two sticks big enough to hold them steady in the hand, and to rub or grind them against each other till they be brought to the form desired. The dust or powder that is rubbed off serves afterwards to polish them, which is performed with a kind of mill that turns a wheel of soft iron. The diamond is fixed in a brass dish; and, thus applied to the wheel, is covered with diamond dust, mixed up with oil of olives; and when the diamond is to be cut facet-wise, they apply first one face, then another, to the wheel. Rubies, sapphires, and topazes, are cut and formed the same way on a copper wheel, and polished with tripoli diluted in water. As to agates, amethysts, emeralds, hyacinths, granites, rubies, and others of the softer stones, they are cut on a leaden wheel, moistened with emery and water, and polished with tripoli on a pewter wheel. Lapis-lazuli, opal, &c. are polished on a wooden wheel. To fashion and engrave vases of agate, crystal, lapis-lazuli, or the like, they make use of a kind of lathe, like that used by pewterers, to hold the vessels, which are to be wrought with proper tools: that of the engraver generally holds the tools, which are turned by a wheel; and the vessel is held to them to be cut and engraved, either in relievo or otherwise; the tools being moistened from time to time with diamond dust and oil, or at least emery and water. To engrave figures or devices on any of these stones, when polished, such as medals, seals, &c. they use a little iron wheel, the ends of whose axis are received within two pieces of iron, placed upright, as in the turner's lathe; and to be brought closer, or set farther apart, at pleasure: at one end of the axis are fitted the proper tools, being kept tight by a screw. Engraving Lastly, The wheel is turned by the foot, and the stone applied by the hand to the tool, and is shifted and conducted as occasion requires.

The tools are generally of iron, and sometimes of brass; their form is various, but it generally bears some resemblance to chisels, gouges, &c. Some have small round heads, like buttons, others like ferrets, to take the pieces out, and others flat, &c. When the stone has been engraven, it is polished on wheels of hair-brushes and tripoli.

Engraving on Steel is chiefly employed in cutting seals, punches, matrices, and dyes, proper for striking coins, medals, and counters. The method of engraving with the instruments, &c. is the same for coins as for medals and counters: All the difference consists in their greater or less relievo; the relievo of coins being much less considerable than that of medals, and that of counters still less than that of coins.

Engravers in steel commonly begin with punches, which are in relievo, and serve for making the creux or cavities of the matrices and dyes: though sometimes they begin with the creux or hollows; but then it is only when the intended work is to be cut very shallow. The first thing done, is that of designing the figures; the next is the moulding them in wax, of the size and depth they are to lie, and from this wax the punch is engraven. When the punch is finished, they give it a very high temper, that it may the better bear the blows of the hammer with which it is struck to give the impression to the matrix.

The steel is made hot to soften it, that it may the more readily take the impression of the punch; and after striking the punch on it in this state, they proceed to touch up or finish the strokes and lines, where by reason of their fineness or the too great relievo they are anything defective, with steel gravers of different kinds; chisels, flatters, &c. being the principal instruments used in graving on steel.

The figure being thus finished, they proceed to engrave the rest of the medal, as the mouldings of the border, the engrailed ring, letters, &c. with little steel punches, well tempered, and very sharp.