Chapter IX: Engraving in the Nineteenth Century (3)

The great impetus which Bewick's genius gave to the art of wood engraving at the commencement of the present century was carried onwards by his distinguished pupils Luke Clennell, Charlton Nesbitt, and William Harvey, the latter of whom, in 1821, cut the large block of the death of Dentatus (15 in. × 11-1/4 in.) from the picture of the erratic genius B. R. Haydon, under whom he was at that time studying drawing. Robert Branston, John Thompson and his brother Charles,[70] Jackson, and W. J. Linton, are names of equal renown; in fact, during the first half of the century, England may be said to have been supreme in the art. Gradually, however, the various mechanical processes for facilitating the commercial extension of the art such as electrotyping,[71] photography, &c., brought here, too, their deteriorating effects, causing the engraver to become less of an artist and more of a mechanic. In delicacy of work and elaboration of detail, American artists now stand first among wood engravers; but they attempt too much with the means at their command, and try to produce upon the comparatively soft material, wood, the delicate fineness of line which can only be realised in perfection on metal. The extreme closeness of the lines, combined with the exigencies of rapid surface printing, dull more or less the minute interstices which ought to show pure white; effect is lost, and, notwithstanding the excellence of the workmanship, the result becomes monotonous and wearying rather than pleasurable to the satiated eye. In etching also America takes high rank; in addition to Mr. Whistler, the names of Messrs. J. Gadsby Chapman, Gifford, Duveneck, F. S. Church, Pennell, Stephen Parrish, and Mr. and Mrs. Moran, are well known in Europe.

In the complete styles of engraving, stipple, line, and mezzotint, although American engravers are little known out of their own country--a large enough field, however, in which to exercise their talents--some good work has also been done; in stipple, by David Edwin, Ion. B. Forrest, Gimbrede, and C. Tiebout; in mezzotint, by Charles Wilson Peale, A. H. Ritchie, and John Sartain, who, after having worked under the direction of William Young Ottley, went from London to America in 1830 at the age of twenty-two; and in line, by Asher Brown Durand; Joseph Andrews; the Smillies; and Charles Burt, who is said to have been the actual engraver of the fine plate of Leonardo's "Last Supper," copied from Morghen's print of the same subject, and bearing the name of A. L. Dick as engraver. The lives of these and others not mentioned were often eventful and picturesque, and would repay study. Some leaving England, Scotland, or Ireland in early life to settle in the land of their adoption, had to struggle with difficulties, often teach themselves, make their own tools, like John Cheney, or like Charles Wilson Peale, turn their hands to whatever duty might present itself. Peale was a captain of volunteers, dentist, lecturer on natural history, saddler, watchmaker, silversmith, painter in oil, crayons, or in miniature on ivory, modeller in clay and wax, engraver in mezzotint, and to crown all, as his son was wont to say, a mild, benevolent, and good man. Many also devoted their talents to bank-note engraving, a branch of the art highly cultivated in the United States, in which the skill of the inventor and mechanic has been united with the grace and genius of the artist. As engravers in this particular style may be specially mentioned W. E. Marshall, J. W. Casilear, M. J. Danforth, Gideon Fairman, and Jacob Perkins, the latter of whom, with Fairman and the ingenious Asa Spencer, came over to England in 1818 to compete for the premium of £20,000 offered by the Bank of England for a bank-note which could not be counterfeited. Although not successful, the Bank allowed them the sum of £5,000 in consideration of their ingenuity and the trouble and expense which they had incurred in the matter. While Asa Spencer is to be credited with inventing the method of applying the geometric lathe[72] to engraving the involved patterns on banknotes, Perkins has the honour of introducing the process of transfer by means of steel rollers. The portrait or other design is engraved in the usual manner on a die plate, which is then hardened; a soft steel roller or cylinder is now rolled over the die with great pressure by means of a powerful machine, causing the cylinder to take off in its course the impression of the design in relief; this roller is now hardened in its turn, and by the use of similar means made to impress another soft steel die; by repeating this process, any requisite number of plates can thus be reproduced the exact fac-similes of the original engraved die plate. Owing to the mechanical necessity that only a small surface of the roller should press on the die at a given moment, the diameter of the cylinder requires to be small, so that several of these dies, and consequently of the rollers, will be required to complete the entire plate from which the ultimate printing of the note is effected.

Finally it may be well to conclude this brief account of the British school of engraving by calling attention to the considerations which ought to govern buyers of engravings; buy only that which gives real personal satisfaction, distrust a seller's inducements, in price be ruled by the amount that can be justly afforded, reject alluring thoughts of future money gain (or be prepared to pay the sure penalty--destruction of natural artistic feeling and hope of further cultivation), and ever bear in mind the words of Constable to his engraver: "Tone, tone, my dear Lucas, is the most seductive and inviting quality a picture or print can possess; it is the first thing seen, and like a flower, invites to the examination of the plant itself."[73]

* * * * *

*** The writer of the Chapter on English Engraving desires to acknowledge the facilities kindly placed at his disposal by Mr. Sidney Colvin, Keeper of Prints and Drawings at the British Museum, and to express his recognition of the valuable aid afforded him by Mr. F. M. O'Donoghue, of the same department.

CHRONOLOGICAL TABLE

OF THE MORE IMPORTANT ENGRAVERS BELONGING TO THE BRITISH SCHOOL OF ENGRAVING.

_Foreign Engravers practising in England are marked with an asterisk._

b. stands for born; d., died; fl., flourished; c., about.

16th Cent.

RAYNALDE, Thomas. Published in 1540 a book called "The
Birth of Mankind," illustrated by
copperplate engravings.

GEMINUS, Thomas. Published in 1545 a translation of
"Vesalius' Anatomy," written and
illustrated with copperplates
engraved by himself.

*HOGENBERG, Francis. Engraved in line a portrait of Queen
Mary I. of England, bearing date 1555.
(There are doubts as to the
correctness of this date.)

*HOGENBERG, Remigius. Engraved in line portrait of Matthew
(Brother of above.) Parker, Archbishop of Canterbury,
bearing date 1573.

ROGERS, William. b. London c. 1545. Engraved in line a
fine whole-length portrait of Queen
Elizabeth, afterwards republished and
reduced in size.

17th Cent.

*DE PASSE, Crispin. b. Utrecht c. 1560. Line. Engraved and
drew from life.

*DE PASSE, Magdalen. b. Utrecht 1583. Line.
(Daughter of above.)

*DE PASSE, William. b. Utrecht c. 1590; fl. 1620-27. Line.
(Son of above.)

*DE PASSE, Simon. b. Utrecht 1591; d. c. 1644. Line. His
(Son of above.) earliest work in England dated 1613.

DELARAM, Francis. fl. c. 1620. Line.

ELSTRACKE, Reginald. fl. c. 1620. Line.

PEAKE, Sir Robert. b. c. 1592; d. 1645. Line. Also painted
portraits in miniature. Master of
engraver Faithorne and painter Dobson.

*HOLLAR, Wenceslaus. b. Prague 1607; d. London 1677. Etcher,
finishing, when necessary, with fine
graver.

*LOMBART, Peter. b. Paris 1612; came to England c. 1653,
remaining for considerable number of
years; d. Paris. Line. Engraved series
of twelve portraits called "The
Countesses."

FAITHORNE, William. b. London 1616; d. London 1691. Line.
(Pupil of Sir Robert
Peake.)

*VANDERBANK, Peter. b. Paris; of Dutch extraction; came to
(Pupil of De Poilly.) England c. 1674; d. Bradfield 1697.
Line.

BARLOW, Francis. b. Lincolnshire 1626; d. London 1702.
Etcher, line engraver, and animal
painter.

GAYWOOD, Robert. b. c. 1630; d. c. 1711. Etcher and line
(Pupil of Hollar.) engraver, chiefly of animal subjects.

*LOGGAN, David. b. Dantzic c. 1630; d. London 1693.
(Pupil of Simon de Line. Portrait and architectural
Passe.) engraver and painter.

RUPERT, Prince. b. 1619; d. 1682. Introduced mezzotint
into England, and engraved some fine
prints in the method, which were
probably executed abroad.

SHERWIN, William. b. c. 1650; d. c. 1714. Engraved
portrait of Charles II. 1669, the
earliest dated print in mezzotint
authentically engraved in England.

OLIVER, John. b. 1616; d. 1701. Glass painter; also
(Nephew and pupil engraved in mezzotint.
of Peter Oliver,
miniature painter
and etcher.)

PLACE, Francis. b. c. 1640; d. 1728. Mezzotint, line,
etching.

{ fl. 1670. A good many early mezzotint
{ prints bear these two names, but only
{ as publishers (_excudit_ not
TOMPSON, Richard. { _sculpsit_), and there is great doubt
BROWNE, Alexander. { if any were actually engraved by them.
{ Browne wrote the "Ars Pictoria" in
{ 1669, in which "The Manner or Way of
{ Mezo Tinto" is described; published by
{ himself, Tompson, and another.

*BLOOTELINGH, Abraham. b. Amsterdam 1634; d. c. 1695. Line and
(Pupil of Cornelius mezzotint. Came to England for a few
Visscher.) years 1673.

*VALCK, Gerard. b. Amsterdam c. 1626; d. c. 1720.
(Pupil of Mezzotint and line. Accompanied
Blootelingh.) Blootelingh to England, not leaving
until after 1680.

WHITE, Robert. b. London 1645; d. London 1704. Line.
(Pupil of David Portrait draughtsman from life.
Loggan.)

*VANDERVAART, John. b. Haarlem 1647; d. London 1721.
Mezzotinter and painter. Came to
England 1674.

*VAN SOMER, Paul. b. Amsterdam 1649; d. London 1694.
(Pupil of John Van Mezzotint.
Somer, probably
his brother.)

FAITHORNE, William, b. London 1656; d. London 1686.
junr. (Son of Mezzotint.
William
Faithorne.)

LUTTRELL, E. b. Dublin c. 1650; d. c. 1710.
(Said to have Mezzotinter and crayon portraitist.
learnt method of
mezzotint from
Blois, ground
layer to
Blootelingh.)

BECKETT, Isaac. b. Kent 1653; d. 1719. Mezzotint. Prints
(Attracted by all dated between 1681-88.
Luttrell's works,
learnt the method of
mezzotint from Lloyd,
a printseller, who is
said to have obtained
the secret from
Blois, ground layer
to Blootelingh.)

SMITH, John. b. Daventry 1652; d. Northampton 1742.
(Pupil of Beckett Mezzotint.
and Vandervaart.)

WILLIAMS, R. b. Wales. Mezzotint. Prints dated
c. 1680 to 1704.

*DORIGNY, Sir Nicholas. b. Paris 1657; d. Paris 1746. Line.
Settled in London 1711-24. Knighted by
George I. for his set of Raphael's
cartoons.

LENS, Bernard. b. London 1659; d. 1725. Mezzotint.

*GRIBELIN, Simon. b. Blois 1661; d. England 1733. Line.
Came to England 1680; engraved first
complete set of Raphael's cartoons.

LUMLEY, George. b. York latter part of 17th century.
(Friend of Francis Mezzotint.
Place.)

WHITE, George. b. 1671; d. 1731-2. Mezzotint.
(Son and pupil of Introduced slight etching into the
Robert White.) method. Engraved also in line, and
painted portraits.

18th Cent.

*SIMON, John b. Normandy 1675; d. London c. 1755.
(or Jean). First engraved in line, then came to
England and devoted himself to
mezzotint.

VERTUE, George. b. London 1684; d. London 1756. Line;
antiquary, wrote notes on the history
of arts and artists in England.
Manuscripts now in the British Museum.

*VAN BLEECK, Peter. b. Flanders; d. 1764. Came to England
1723 Mezzotint.

*FABER, John, sen. b. Holland; d. Bristol 1721. Mezzotint;
also miniature painter. Came to
England in 1687 with his son.

*FABER, John, jun. b. Holland 1684; d. London 1746.
(Son and pupil of Mezzotint. Amongst others, engraved
above.) Kit Cat Club and Hampton Court
Beauties.

HOGARTH, William. b. St. Bees, Durham, 1697; d. London
(First apprenticed 1764. Line engraver and painter.
to silversmith.)

SULLIVAN, Luke. b. co. Louth, Ireland, 1705; d. London
1771. Line. Assistant to Hogarth, and
engraved some of his pictures.

*BARON, Bernard. b. Paris c. 1700; d. London 1762. Line.
(Pupil of Tardieu, Came to England in 1712. Employed by
the French engraver.) Hogarth.

WORLIDGE, Thomas. b. 1700; d. Hammersmith 1766. Etcher and
portrait painter. Chiefly resided at
Bath.

BICKHAM, George. d. 1769. Line and etching, draughtsman.
Published "The Universal Penman;"
father of George, also an engraver and
draughtsman.

*RAVENET, François Simon, b. Paris 1706; d. Hampstead Road 1774.
A.E. Line. Came to England a little before
(Pupil of Le Bas.) 1745, and settled in London.

FRYE, Thomas. b. near Dublin 1710; d. London 1760.
Mezzotinter and portrait painter,
chiefly lifesize.

BROOKS, John. b. Ireland; d. London. Line and
mezzotint. Master of McArdell and R.
Houston. Left Dublin c. 1747, and set
up a china manufactory at Battersea.

McARDELL, James. b. Dublin c. 1729; d. London 1765.
(Pupil of John Brooks, Mezzotint. First made use of deep
Dublin.) etching to give effect to the method.

*CANOT, Peter b. France 1710; d. London 1777. Line;
Charles, A.E. chiefly sea views. Came to England
1740, where he remained for the rest
of his life.

CHATELAINE, John Baptiste b. London 1710; d. London 1771. Line and
Claude. draughtsman. Of French Protestant
parentage. Master of Vivares, for whom
also he worked later on.

*VIVARES, Francis. b. France 1709; d. London 1780. Line;
(Pupil of Chatelaine.) landscape engraver. Came to London at
the age of eighteen.

TINNEY, John. d. 1761. Practised in London 1740-50, in
line and mezzotint; chiefly known as
master of Woollett, Anthony Walker,
and John Browne.

MAJOR, Thomas, A.E. b. 1720; d. London 1799. Line. First
Associate engraver of the Royal
Academy.

COOPER, Richard. b. Yorkshire; d. Edinburgh 1764. Line
and mezzotint. Practised in Edinburgh
in 1730, and was the master of Strange.

STRANGE, Sir Robert. b. Pomona, Orkney, 1721; d. London 1792.
(Pupil of Richard Line.
Cooper, of
Edinburgh.)

HOUSTON, Richard. b. Ireland 1721; d. London 1775.
(Pupil of John Brooks, Mezzotint.
of Dublin.)

BAILLIE, William, b. Ireland 1723; d. 1810. Etching and
Captain. mezzotint. Came to London 1741. Some
years in the army.

*BARTOLOZZI, Francis, b. Florence 1725; d. Lisbon 1815.
R.A. Stipple and line. Came to England
(Pupil of Joseph 1764, remaining here till 1802.
Wagner, of Venice.)

OGBORNE, John. b. London c. 1725; d. c. 1795. Stipple
(Pupil of Bartolozzi.) and line.

WALKER, Anthony. b. Salisbury 1726; d. London 1765. Line
(Pupil of Tinney.) and etching.

WALKER, William. b. Thirsk 1729; d. Clerkenwell 1793.
(Pupil of his Line; introduced the process of
brother Anthony.) rebiting into the practice of etching.

*CUNEGO, Domenico. b. Verona 1727; d. Rome 1794. Line. Came
to England and engraved some plates
for the Boydells.

GREENWOOD, John. b. Boston, America, 1729; d. Margate
1792. Mezzotint, etching, and painter.
Afterwards became an auctioneer.

SPILSBURY, John. b. 1730; d. London 1795. Mezzotint.
Portrait painter. Gained premiums for
mezzotint 1761 and 1763 from Society
of Arts; also printseller.

DAWE, Philip. d. c. 1802. Mezzotint and painter, said
to have worked under Hogarth. Was a
pupil of the painter Henry Morland.

BASIRE, James. b. 1730; d. London 1802. Line. His
(Pupil of Richd. father Isaac, his son James, and his
Dalton, a grandson James, were also engravers.
draughtsman and
engraver of
moderate note.)

TAYLOR, Isaac. b. Worcester 1730; d. 1807. Line. His
son Isaac was also an engraver.

FISHER, Edward. b. Ireland 1730; d. London c. 1785.
Mezzotint.

FINLAYSON, John. b. c. 1730; d. c. 1776. Mezzotint.
Resided in London. Gained premiums
from Society of Arts 1764 and 1773.

*HAID, Johann Gottfried. b. Wurtemburg 1730; d. 1776. Mezzotint.
(Pupil of his father, Came to England when young, and worked
J. Jacob Haid.) for Boydell, afterwards returning to
Germany. His father, Johann Jacob, and
his brother, Johann Elias, were also
good mezzotinters.

*JACOBE, Johann. b. Vienna 1733; d. 1797. Came to London
to learn mezzotint, engraved some fine
plates, 1779-80, and then returned to
Vienna.

PETHER, William. b. Carlisle 1731; d. 1821. Mezzotint.
(Pupil of Thomas Frye.) Painter in oil and miniature
draughtsman.

WOOLLETT, William. b. Maidstone 1735; d. London 1785. Line.
(Pupil of Tinney.)

WATTS, John. Mezzotint. Engraved in London 1770-86;
also a printseller.

BROOKSHAW, Richard. b. 1736; d. c. 1804. Mezzotint. Went to
Paris about 1772, where his works were
greatly esteemed.

PURCELL, Richard. b. Dublin c. 1736; d. London c. 1766.
(Pupil of John Brooks.) Mezzotint. Came to London c. 1755.
Also worked under the names of C.
Corbutt and (probably) H. Fowler.

PHILLIPS, Charles. b. 1737. Mezzotint. Worked chiefly after
the old masters.

RYLAND, William Wynne. b. London 1738; d. London 1783. Line and
(Pupil of Ravenet.) stipple; also a printseller. Visited
Paris c. 1760, and is said to have
studied under Le Bas. Was hanged for
forgery.

GREEN, Valentine, A.E. b. near Birmingham 1739; d. London 1813.
Mezzotint. Engraved over twenty plates
from Düsseldorf Gallery.

HALL, John. b. near Colchester 1739; d. London 1797.
(Pupil of Ravenet.) Line.

BLACKMORE, Thomas. b. London c. 1740; d. c. 1780. Mezzotint.
Engravings bear date about 1769-71.

DIXON, John. b. Dublin c. 1740; d. early 19th century.
Mezzotint. Practised in London,
studied in Dublin under the painter F.
West, a draughtsman of great power.

LAURIE, Robert. b. London 1740; d. c. 1804. Mezzotint;
also printseller. Gained premium
Society of Arts 1771, and one in 1776
for facilitating printing by mezzotint
in colours. Spells his name Lowry,
Lowery, Lowrie, Lawrie, and finally
Laurie.

OKEY, Samuel. fl. 1765-70. Mezzotint. Awarded premiums
by Society of Arts in 1765 and 1767.
Went to America in 1771, and settled
at Rhode Island.

WATSON, James. b. Ireland 1740; d. London 1790.
Mezzotint. Father of Caroline Watson.

BROWNE, John, A.E. b. Essex 1741; d. Walworth 1801. Line.
(Pupil of Tinney and Landscape engraver.
Woollett.)

WATSON, Thomas. b. London 1743; d. Bristol 1781.
(Apprenticed to Mezzotint and stipple. Engraved
engraver on plate.) "Windsor Beauties" after Lely; has
been stated to be the brother of James
W., but no relation; partner with
Dickinson as printseller.

*TASSAERT, Philip J. b. Antwerp; d. London 1803. Mezzotint,
also line. Came to England very young.
Assistant to T. Hudson the painter.

BYRNE, William. b. London 1743; d. London 1805. Line.
(Pupil of his uncle, a Landscape engraver. His son John and
heraldic engraver, daughters Letitia and Elizabeth also
then of Aliamet and engraved, and helped him in his plates.
of Wille, at Paris.)

EARLOM, Richard. b. London 1743; d. London 1822.
Mezzotint and stipple. Used etching
with vigorous effect. Engraved a few
plates under name of H. Birche; some
time a pupil of Cipriani.

DUNKARTON, Robert. b. London 1744; d. early part of 19th
(Pupil of Pether.) century. Mezzotint. Engravings bear
dates 1770-1811.

COOK, Thomas. b. c. 1744; d. c. 1818. Line. Engraved
(Pupil of Ravenet.) amongst others Hogarth's works under
title "Hogarth Restored."

DICKINSON, William. b. London 1746; d. Paris 1823. Mezzotint
and stipple. Awarded premium Society
of Arts 1767. For some time partner
with Thomas Watson as printseller.

TOWNLEY, Charles. b. London 1746. Mezzotint and stipple,
also miniature painter. Worked at
Berlin 1786-92, then returned to
London.

RYDER, Thomas. b. 1746; d. 1810. Stipple. His son
(Pupil of Basire.) Thomas also engraved.

WALKER, James. b. 1748; d. London 1808. Mezzotint. In
(Pupil of Val. Green.) 1784 went to St. Petersburg, became
engraver to Empress of Russia, and
returned to England in 1802.

MURPHY, John. b. Ireland 1748; d after 1820. Mezzotint
and stipple.

*GAUGAIN, Thomas. b. Abbeville 1748; d. beginning 19th
(Pupil of Houston.) century. Stipple. Came very young to
London.

HOLLOWAY, Thomas. b. London 1748; d. 1727. Line. Known
chiefly from his series of Raphael's
cartoons.

COLLYER, Joseph, A.E. b. London 1748; d. 1827. Line and
(Pupil of Anthony stipple.
Walker.)

SHARP, William. b. London 1749; d. Chiswick 1824. Line.
(Pupil of Barak
Longmate, engraver
on plate.)

SHERWIN, John Keyse. b. Sussex 1749; d. London 1790. Line,
(Pupil of Bartolozzi.) stipple, and painter.

BURKE, Thomas. b. Dublin; d. London 1815. Stipple and
(Pupil of Dixon.) mezzotint.

STRUTT, Joseph. b. Essex 1749; d. London 1802. Stipple.
(Pupil of W. Wynne Author of "Dictionary of Engravers,"
Ryland.) "Sports and Pastimes of the English,"
&c.

DOUGHTY, William. b. York; d. Lisbon 1782. Mezzotinter,
also portrait painter. Engravings
mostly dated 1779. Was a pupil of Sir
Joshua Reynolds. Sailed for Bengal
1780, but, captured by French and
Spanish squadrons, was taken instead
to Lisbon.

HUDSON, Henry. b. London; d. abroad; fl. 1782-92.
Mezzotint.

DEAN, John. b. c. 1750; d. London 1798. Mezzotint.
(Pupil of Valentine Prints dated 1776-89 at three
Green.) addresses in Soho, at the last of
which a fire destroyed nearly all
his plates and stock.

JONES, John. d. 1797. Mezzotint and stipple. Father
of George Jones (b. 1786), R.A., the
painter.

PARKER, James. b. 1750; d. London 1805. Line. Joined
(Pupil of Basire.) Willaim Blake in keeping a print shop
in 1784.

SIMON, Peter J. b. c. 1750; d. c. 1810. Stipple.

*FACIUS, George } b. Ratisbon c. 1750. Stipple. Came to
Sigmund. } London in 1766 at the request of
*FACIUS, John }Brothers. Boydell.
Gottlieb. }

MORRIS, Thomas. b. c. 1750; fl. 1795. Line. Engraved
(Pupil of Woollett.) Views of St. Paul's and the Monument.

MIDDIMAN, Samuel. b. 1750; d. London 1831. Line.
(Pupil of Byrne.) Landscape engraver.

SAUNDERS, J. fl. 1772-74. Mezzotint.

*MARCHI, Giuseppe b. Rome 1752; d. London 1808.
Filippo Liberati. Mezzotint. Brought to England 1769
by Sir J. Reynolds, who employed
him as an assistant.

SMITH, John Raphael. b. Derby 1752; d. Doncaster 1812.
Mezzotint and stipple. Painter in
miniature and crayons and printseller.
Father of Emma Smith the engraver.

BEWICK, Thomas. b. Northumberland 1753; d. Gateshead
(Pupil of Beilby, an 1828. Wood engraver; also copperplate.
engraver at His brother John was likewise a wood
Newcastle.) engraver.

NUTTER, William. b. 1754; d. London 1802. Stipple.
(Pupil of J. R. Smith.)

YOUNG, John. b. 1755; d. London 1825. Mezzotint.
(Pupil of J. R. Smith.) Published catalogues with etchings
of the Grosvenor (1820), Leigh Court
(1822), Angerstein (1823), and
Stafford (1826) Galleries.

GROZER, Joseph. fl. 1786-97. Mezzotint.

POLLARD, Robert. b. Newcastle-on-Tyne 1755; d. 1838.
(Pupil of a Etching, aquatint, and painter; last
silversmith.) surviving member of Incorporated
Society of Artists; in 1836 gave over
to Royal Academy the papers of the
Society.

LEGAT, Francis. b. Scotland 1755; d. London 1869. Line.
Studied under Alex. Runciman, the
Edinburgh painter.

GILLRAY, James. b. Lanarkshire 1720; d. London 1815.
(Pupil of heraldic Etcher and line. Caricaturist.
engraver.)

HEATH, James, A.E. b. London 1757; d. London 1834. Line.
(Pupil of Collyer.) Father of Charles Heath.

BLAKE, William. b. Broad Street, Golden Square, London,
(Pupil of Basire.) 1757; d. Fountain Court, Strand;
2nd of the name. buried Bunhill Fields, 1827. Line,
stipple, and etching. Poet and painter.

HAWARD, Francis, A.E. b. 1759; d. London c. 1797. Mezzotint
and stipple.

THEW, Robert. b. Yorkshire 1758; d. Herts 1802.
Stipple.

SMITH, Anker, A.E. b. London 1759; d. London 1819. Line.
(Pupil of James Taylor,
who was brother and
uncle respectively of
the two Isaac
Taylors, engravers of
some note.)

SHEPPEARD, George. b. c. 1760; fl. 1794. Mezzotint and
stipple.

TOMKINS, P. W. b. London 1760; d. 1840. Stipple.
(Pupil of Bartolozzi.) Designer.

PARK, Thomas. b. 1760; d. Hampstead 1835. Mezzotint.
Author.

CHEESEMAN, Thomas. b. 1760; d. after 1820. Stipple.
(Pupil of Bartolozzi.) Draughtsman.

WATSON, Caroline. b. London 1760; d. Pimlico 1814. Stipple.
(Daughter of James
Watson.)

JUDKINS, Elizabeth. fl. 1772-75. Mezzotint. Engraved "Mrs.
(Said to be pupil of Abingdon" and "Careful Shepherdess,"
James Watson.) amongst others, after Sir J. Reynolds.

KEATING, George. b. Ireland 1762; fl. London 1784-97.
(Pupil of William Mezzotint. Stipple.
Dickinson.)

*RAMBERG, John Henry. b. Hanover 1763; d. c. 1840. Aquatint,
etching, stipple. Painter. Came early
in life to England, but is said to
have died at Hanover.

*SCHIAVONETTI, Luigi. b. Bassano 1765; d. Brompton 1810. Line,
stipple. Draughtsman. Came to England
in 1790, and joined Bartolozzi.

KNIGHT, Charles. fl. latter part of 18th century. Stipple.

SUMMERFIELD, John. d. Buckinghamshire 1817. Line.
(Pupil of Bartolozzi.)

SKELTON, William. b. London 1763; d. Pimlico 1848. Line.
(Pupil of Basire and
Sharp.)

NUGENT, Thomas. b. Drogheda; fl. end of 18th century.
Stipple.

DUPONT, Gainsborough. b. 1767; d. London 1797. Mezzotint.
Painter. Nephew and pupil of Thomas
Gainsborough.

BROMLEY, William, A.E. b. Isle of Wight 1769; d. 1842. Line.
(Pupil of Wooding, a Father of John Charles, and James
line engraver in Bromley, the mezzotint engravers.
London.)

WARREN, Charles. b. London 1767; d. Wandsworth 1823.
Line. Perfected a process of engraving
on steel plates tried by Raimbach.
Awarded gold medal Society of Arts.

WARD, William, A.E. b. London 1766; d. London 1826.
(Pupil of J. R. Smith.) Mezzotint. Married sister of George
Morland, father of William Ward,
junior.

19th Cent.

WARD, James, R.A. b. London 1769; d. 1855. Mezzotint.
(Nine years pupil of Animal painter.
his brother William,
J. R. Smith.)

LANDSEER, John, A.E. b. Lincoln 1769; d. 1852. Line. Father
(Pupil of William of the painters Charles and Sir Edwin,
Byrne.) R.A.'s, and of the engraver Thomas.

SAY, William. b. near Norwich 1768; d. London 1834.
(Pupil of James Ward.) Mezzotint. Engraved first successful
mezzotint on steel.

COOPER, Robert. fl. early part of 19th century. Stipple.

HODGES, Charles Howard. b. England; d. Amsterdam 1837. Mezzotint
and painter. Went to Holland c. 1794.

*CARDON, Anthony. b. Brussels 1773; d. London 1813.
(Pupil of Stipple. Came to England in 1790.
Schiavonetti.)

GODBY, James. fl. beginning 19th century. Stipple.

SMITH, Benjamin. d. London 1833. Stipple.
(Pupil of Bartolozzi.)

CLINT, George, A.R.A. b. London 1770; d. Kensington 1854.
Mezzotint; also portrait and miniature
painter.

REYNOLDS, Samuel Wm. b. 1773; d. Bayswater 1835. Mezzotint,
(Pupil of Hodges.) portrait, and water-colour painter.
Father of Elizabeth, mezzotint
engraver and miniature painter, and
Samuel William, mezzotint engraver
and portrait painter.

TURNER, Charles, A.E. b. Woodstock 1773; d. London 1857.
Mezzotint and stipple.

SCOTT, John. b. Newcastle-on-Tyne 1774; d. Chelsea
(Pupil of Pollard.) 1828. Line, animal engraver.

SCRIVEN, Edward. b. Alcester 1775; d. London 1841.
(Pupil of Thew.) Stipple.

RAIMBACH, Abraham. b. London 1776; d. Greenwich 1843.
(Pupil of J. Hall.) Line.

NOBLE, George. fl. beginning of 19th century. Line.

ENGLEHEART, Francis. b. London 1775; d. 1849. Line.
(Pupil of Collyer.)

NESBITT, Charlton. b. near Durham 1775; d. Brompton 1838.
(Pupil of Beilby and Wood engraver.
Bewick.)

BRANSTON, Robert. b. Lynn 1778; d. Brompton 1827. Wood
(Pupil of his father, a engraver.
copperplate engraver.)

CLENNELL, Luke. b. near Morpeth 1781;
(Pupil of Bewick.) d. Newcastle-on-Tyne 1840. Wood
engraver, water-colour, and miniature
painter.

COOKE, William b. 1778; d. 1855. Line. Brother of
Bernard. (Pupil of George and uncle of E. W. Cooke, R.A.
Angus, an engraver in
line of some note.)

COOKE, George. b. London 1781; d. Barnes 1834. Line.
(Pupil of Basire.) Brother of Wm. Bernard, and father of
E. W. Cooke, R.A.

LEWIS, Frederick b. London 1779; d. Enfield 1856. Stipple
Christian. or chalk; water-colour painter.
Father of J. F. Lewis, R.A., and C. G.
Lewis the engraver.

DAWE, George, R.A. b. London 1781; d. 1829. Mezzotint;
(Son and pupil of painter. Brother of Henry. Painted
Philip Dawe.) in Russia for the Emperor 1819-28.

DAWE, Henry. b. London 1790; d. Windsor 1845.
(Son and pupil of Mezzotint and painter.
Philip Dawe.)

PYE, John. b. Birmingham 1782; d. London 1874.
(Pupil of James Heath.) Line and stipple. Landscape engraver.

WEDGWOOD, John Taylor. b. 1783; d. London 1856. Line.

MEYER, Henry. b. London c. 1783; d. 1847. Mezzotint;
(Pupil of Bartolozzi.) and stipple. Nephew of J. Hoppner,
R.A.

LE KEUX, John } b. London 1783; d. 1846. { Line,
}Brothers. { architectural,
LE KEUX, Henry } b. London 1787; d. 1868. { and landscape
(Pupils of Basire.) { engravers.

ARMSTRONG, Cosmo. fl. early part of 19th century. Line.

RADCLYFFE, William. b. Birmingham 1782; d. Birmingham 1855.
Line, landscape engraver; practised in
Birmingham all his life. Father of
Edward, landscape engraver.

BURNET, John, F.R.S. b. Edinburgh 1784; d. Stoke Newington
1868. Line and mezzotint. Painter and
author.

HEATH, Charles. b. 1785; d. 1848. Line; excelled in
(Son of James Heath.) small plates.

GOLDING, Richard. b. London 1785; d. Lambeth 1865. Line.
(Pupil of J. Parker.)

WOOLNOTH, Thomas. b. 1785; d. c. 1854. Stipple and line.
Small theatrical portraits and
architectural views.

THOMPSON, John. b. London 1785; d. London 1866. Wood
(Pupil of Branston.) engraver. Brother of Charles and
Charles Thurston.

ROMNEY, John. b. 1786; d. Chester 1863. Line.

THOMPSON, Charles. b. London 1791; d. near Paris 1843. Wood
(Pupil of Bewick engraver; better known in Paris, where
and Branston.) he went in 1816, and introduced the
practice of cutting out the end of the
wood, then unknown abroad.

BOND, William. fl. beginning of 19th century. Stipple.

CHAPMAN, J. fl. beginning of 19th century. Stipple.
(Pupil of Bartolozzi.)

WEBB, J. b. c. 1790; d. 1832. Line. Engraver of
animals.

FINDEN, Wm. } Brothers. b. 1788; d. 1852. { Stipple and line.
FINDEN, E. F. } b. 1792; d. 1857. { Landscape and
(Pupils of J. Mitan, an { book illustrators.
engraver of some
note.)

WALKER, William. b. Midlothian 1791; d. London 1867.
(Pupil of Thomas Stipple and mezzotint. Married
Woolnoth, and Elizabeth, daughter of S. W.
Mitchell and Reynolds.
Stewart, two
engravers of
moderate note.)

LUPTON, Thomas Goff. b. Clerkenwell 1791; d. 1873. Mezzotint.
(Pupil of Clint.) Established the use of steel in place
of copper in mezzo engraving. Received
for this gold Isis medal from Society
of Arts in 1822.

LINNELL, John. b. 1792; d. c. 1880. Mezzotint; painter.

CRUIKSHANK, George. b. London 1792; d. London 1878. Etcher
(Son of Isaac, also and caricaturist.
caricaturist and
engraver.)

WORTHINGTON, Wm. H. b. c. 1795; d. 1826. Line. Worked in
London.

GOODALL, Edward. b. Leeds 1795; d. London 1870. Line.
Engraved after J. M. W. Turner,
through whose influence he became an
engraver. Was self-taught.

LANDSEER, Thomas, A.E. b. c. 1795; d. 1880. Line. Brother of
(Son and pupil of Sir Edwin.
John Landseer, A.E.)

HOPWOOD, James. b. 1795. Stipple.
(Son of James; also
an engraver,
self-taught, but
helped by Heath.)

ROLLS, Charles. fl. early part of 19th century. Line.

BROMLEY, John b. Chelsea 1795; d. 1839. Mezzzotint.
Charles. (Son of His son Frederick was also an engraver.
Wm. Bromley, A.E.)

HARVEY, William. b. Newcastle-on-Tyne 1796; d. Richmond
(Pupil of Thomas 1866. Wood engraver and designer. Cut
Bewick and B. R. one of the largest English wood-cuts.
Haydon.)

ROBINSON, John. b. Bolton 1796; d. Petworth 1871. Line.
Henry, R.A. (Pupil of
James Heath.)

GRAVES, Robert, A.E. b. London 1798; d. Highgate 1873. Line.
(Pupil of John Romney.)

WATT, James Henry. b. London 1799; d. 1867. Line.
(Pupil of Charles
Heath.)

BROMLEY, James. b. 1800; d. 1838. Mezzotint.
(Son of William
Bromley, A.E.)

WARD, William, junior. b. c. 1800; d. 1840. Mezzotint.
(Son of William Ward,
A.E.)

WILLMORE, James b. Erdington, Staffordshire, 1800;
Tibbetts, A.E. d. London 1863. Line. Engraved after
(Seven years pupil J. M. W. Turner.
of W. Radclyffe, and
three years of C.
Heath.)

RADDON, W. fl. 1830. Line.

HODGETTS, J. fl. 1830. Mezzotint.

JACKSON, John. b. Ovingham 1801; d. 1848. Wood
(Pupil of Bewick engraver. Published with Chatto "A
and Harvey.) Treatise on Wood Engraving," 1838.

GIBBON, Benjamin b. 1802; d. London 1851. Line.
Phelps. (Pupil of
J. H. Robinson and
Scriven).

SHENTON, Henry b. Winchester 1803; d. London 1866.
Chawner. (Pupil of Line.
Charles Warren.)

GILLER, W. fl. 1835. Mezzotint.

BRANDARD, Robert. b. Birmingham 1805; d. 1852. Line,
(Pupil of E. Goodall.) landscape engraver. Came to London
1824. Engraved after J. M. W. Turner.

LEWIS, Charles George. b. 1807; d. 1880. Line, etching.

LUCAS, John. b. London 1807; d. London 1874.
(Pupil of S. W. Mezzotint; portrait painter.
Reynolds.)

RADCLYFFE, Edward. b. Birmingham 1809; d. London 1863.
(Son and pupil of Line.
William Radclyffe.)

JOUBERT, Jean b. 1810; d. 1884. Line.
Ferdinand.

ZOBEL, George. b. c. 1815; d. London 1881. Mezzotint.

JEENS, Charles Henry. b. 1817; d. 1879. Stipple. Miniature
book illustrations.

JACKSON, John b. Portsmouth 1819; d. Southsea 1877.
Richardson. (Pupil of Mezzotint and line.
R. Graves, A.E.)

COUSINS, Henry. fl. 1840. Mezzotint.
(Brother of Saml.
Cousins, R.A.)

WARD, George fl. 1840. Mezzotint.
Raphael. (Son
of James Ward.)

There are still living three engravers eminently representative of the old schools:--

DOO, George, R.A., F.R.S. b. c. 1800. Line.

POSSELWHITE, J. Stipple.

COUSINS, Samuel, R.A. b. 1801. Mezzotint. The present T. L.
Atkinson was a pupil of Cousins.

FOOTNOTES:

[1] At the present day line engravers sometimes work on steel plates,
as they are capable of supplying without damage a much greater number
of proofs than can be printed from copper plates. It more frequently
happens that a copper plate is coated with steel before being submitted
to the action of the press, in order to preserve it, and to increase
the number of copies without taking off the edge of the workmanship.
That is to say, that by means of "electrotyping" a thin coat of metal
is superimposed, which, since it considerably increases the power of
endurance, increases the productiveness of the plate and the number of
proofs that can be taken.

[2] Papillon, "Traité de la Gravure en Bois," 1766, vol. i., ch. 1.

[3] Pliny, "Hist. Nat.," xxxv., c. 2.

[4] "Materiali per servire alla Storia dell' Incisione," &c., p. 83 and
following.

[5] That is the "Treatises on Latin Syntax" by Ælius Donatus, a
grammarian of the fourth century. In the Middle Ages these treatises
were much used in schools.

[6] Published by John Koelhoff under the name of "Cronica van der
hilliger Stat van Coellen," p. 31 and after.

[7] "Essai historique et critique sur l'Invention de l'Imprimerie."
Lille, 1859.

[8] This, at any rate, is what we feel tempted to do as regards the
"Biblia Pauperum," a book containing xylographic illustrations, whose
date has been variously estimated, and which we are disposed to believe
even older than the first edition of the "Speculum." Heinecken, as
usual, claims for Germany the production of this precious collection,
which Ottley, with more appearance of reason, regards as the work of an
artist of the Low Countries, who worked about 1420. In this way Germany
would only have the right to claim the plates added in the German
editions published forty years later, and which are far less perfect in
point of style and arrangement than those of the original edition.

[9] The Dutch word _coster_ means churchwarden, or beadle.

[10] "Ideé générale d'une Collection d'Estampes, 1771," p. 305.

[11] "Discours Historique sur la Gravure." Paris, 1808.

[12] See in "L'Artiste," 1839, an article entitled "La plus ancienne
Gravure du Cabinet des Estampes de la Bibliothèque royale est-elle
ancienne?"

[13] "Notice sur deux Estampes de 1406, et sur les Commencements de la
Gravure en Criblé." "Gazette des Beaux-arts," t. I^{er}, 2^e période,
1869.

[14] "Le Peintre-Graveur," Leipzig, 1860, vol. i., p. 84.

[15] "Une Passion de 1446. Suite de Gravures au Burin, les premières
avec Date." Montpellier, 1857.

[16] "Archiv für die Zeichnenden Künste," 1858.

[17] The "Pax" is a metal plate which, at high mass and during the
singing of the "Agnus Dei," the officiating priest gives to be kissed
by the clergy and the devout, addressing to each of them these words:
"Pax tecum." The "Pax" made by Finiguerra for the Baptistery of St.
John has been removed from thence to the Uffizi, where it still is.

[18] It is useless to adduce the fine "Profile of a Woman," discovered
a few years ago at Bologna, and now the property of the Berlin Museum,
as an argument against the poverty we are trying to prove. This very
important document is not only of uncertain date, but, as we have
remarked elsewhere, the nature of its execution and style forbid one to
look upon it as the work of any Florentine artist.

[19] Martin Schongauer was born at Colmar, in which town his father
had settled as a goldsmith; there he passed the greatest part of his
life, and there he died in 1488. Vasari sometimes speaks of him as
"Antwerp Martin," or "Martin the Fleming." This is easily explained: a
German or Flemish artist would be all one in the eyes of a Tuscan of
the fifteenth century, as strangers were all barbarians to the ancient
Romans.

[20] This is by no means universally admitted to be a genuine work by
Martin Schongauer.

[21] He had no fewer than eighteen children; Albert was the third.

[22] Herr Moriz Thausing has treated this question exhaustively in his
important work on Albert Dürer.

[23] The oldest known dated engraving by Marc Antonio, the "Pyramus and
Thisbe," bears the date of 1505. If Marc Antonio, as we have reason to
think, was born about 1480, he must have been already over twenty when
he published this extremely commonplace print.

[24] Michael Huber ("Manuel des Curieux et des Amateurs de l'Art," t.
iii.) says, word for word: "All that is wanted in these prints is a
richer handling and that general aspect which we admire in the subjects
engraved from Rubens." One might as well say that Petrarch's style
would be improved by being Ariosto's.

[25] Agostino Caracci, who deserves to be numbered amongst the
cleverest engravers of the end of the sixteenth century, did not
blush to devote his talents to a similar publication, serious in
style, but of most obscene intention. The Bolognese artist, like his
celebrated countryman, seems to have wished to display at once his
science and his shamelessness. The one only serves to make the other
more inexcusable, and it is even still more difficult to tolerate this
austere immodesty than the licentiousness, without æsthetic pretension,
which characterises the little French prints sold under the rose in the
eighteenth century.

[26] Passavant: "Le Peintre-Graveur," iii. 5.

[27] "Les Maîtres d'Autrefois," p. 165.

[28] In the National Library at Paris a collection of over a hundred
trial proofs, retouched by Rubens himself, exists to bear witness
to the careful attention with which he overlooked the work of his
engravers.

[29] At the time of Callot's birth Lorraine was not yet French
territory; but as it was during his life that Nancy was taken by the
king's army, we have a right to include him among French artists.

[30] He was in all twelve years in Italy: three in Rome, and nine in
Florence.

[31] William Faithorne, the first line engraver worth mentioning in
the history of English art, did not even begin to be known till after
Charles I. After the king's fall, Faithorne, who was a Royalist, went
to France, where, under Nanteuil, he perfected himself in his art, and
did not finally settle in England till near the end of 1650.

[32] Hollar is not merely one of the most distinguished of German
engravers. There are few artists in any country who have handled the
needle with so much skill and intelligence; there is probably none who
has so greatly excelled in rendering the details of apparel and of the
daintiest objects. His achievement numbers more than 2,000 prints,
which, in spite of their small size, and the generally trifling nature
of the subjects, deserve to be classed amongst the most remarkable
etched work of the seventeenth century.

[33] His first plates are sometimes signed "De Leeuw," sometimes
"Tomaes de Leu," which has led many writers--M. Robert-Dumesnil among
them--to suppose that he migrated to Paris from a town in Flanders.

[34] It represents a "Holy Family," with this inscription on a stone,
to the right: "R. Nanteuil Philosophiæ Auditor Sculpebat Rhemis An^o
dni 1645."

[35] These flights were not Nanteuil's last. There is extant a sort of
petition in verse, which he one day presented to Louis XIV. to excuse
himself for not having finished in time a portrait ordered by the king.
These rhymes, quoted by the Abbé Lambert in his "Histoire Littéraire du
Règne de Louis XIV.," and some others composed by Nanteuil in praise of
Mlle. de Scudéry, are not such to make us regret that he did not more
frequently lay aside the graver for the pen.

[36] The greater part of Nanteuil's drawings are in three crayons,
made out in places with light tints in pastel. The colour is sober
and delicate, and offers a good deal of resemblance to the charming
French crayons of the sixteenth century. Nanteuil doubtless produced
many portraits which he never engraved, but he engraved very few
that he had not previously produced. It must also be remarked, that
in his achievement, which is composed of more than two hundred and
thirty pieces, there are not more than eighteen subject pictures or
illustrations. It is worthy, too, of special note that there are only
eight portraits in which the hands are seen, and in six of these only
one hand is shown.

[37] "Édit de Saint Jean-de-Luz," 1660.

[38] Claude, it is true, was still alive in 1667; but after his second
installation in Rome (1627), he never saw France again.

[39] Vitet: "Eustache Lesueur."

[40] It is said that Lebrun one day proclaimed that Audran had
"improved his pictures." It is possible he may have said, "that he
had not spoilt them." Such an expression in the mouth of such a man
is quite modest enough; but it is difficult to imagine Lebrun so far
humbling himself in public.

[41] We said that Edelinck was born at Antwerp; but as he was very
young when he took up his abode in France, and as he never returned
to his native country, we may be allowed to include him in the French
school with as much right as his countryman, Philippe de Champaigne.

[42] Amongst Audran's most distinguished scholars, we need only mention
the following names: Gaspard Duchange; Dorigny, summoned to London by
Queen Anne; Louis Desplaces; and Nicolas Henri Tardieu, founder of a
family of clever engravers, the last of whom died in 1844, worthy of
the name he bore.

[43] Engraver of the "Assumption" of Philippe de Champaigne. He must
not be confused with another Bartholomew Kilian, his ancestor, and the
head of a family in which there are no less than twenty engravers.

[44] Some of these little unpretentious amateur prints are not without
charm; some even show a certain amount of talent in the execution, and
the portraits drawn and engraved by Carmontelle, the author of the
"Proverbes," deserve, amongst others, to be mentioned on that account.

[45] In his landscapes, Woollett makes use of etching, line, and the
dry-point, all three. Philippe Le Bas was the first to make use of
dry-point to render the misty tones of distances and the clearness of
skies. This mode of engraving, improved by Vivarès, was carried to its
highest perfection by Woollett. Certain English artists of the same
period tried to apply the process of mezzotint to landscape engraving;
but the landscapes engraved in this way by Watson and Brookshaw, after
the German Kobell, will not bear comparison with Woollett's.

[46] In a work dedicated to Pitt, "On the Origin of Trade and its
History to the Present Times" (London, 1790), we read that the prints
exported from England at that time were, as compared with those
imported from France, in the proportion of "five hundred to one by the
most exact computation," and that the trade in English engravings, far
from being restricted to one or two countries, extended all over Europe.

[47] The credit of the invention is really due to Jean Charles
François, born at Nancy in 1717. But the application that François made
of his discovery was--if we consider the improvements introduced soon
afterwards by Demarteau--still so incomplete that it seems only fair to
attribute to the latter a principal share in the original success.

[48] "Lettre de Cochin, Secrétaire perpétuel de l'Académie, au Sieur
François," 26th November, 1757.

[49] Before giving himself up almost exclusively to the practice of
aquatint, Debucourt produced a large number of engravings in colour:
"Le Jardin" and "La Galerie de Bois au Palais Royal," the "Promenade
aux Tuileries," "L'Escalade," and so forth. We know the ardour, verging
on mania, with which these prints, albeit of little value from an
artistic point of view, are now collected.

[50] This important publication contains, in four sections, the most
remarkable pictures and sculptures of the Louvre, as it existed after
Napoleon had enriched it with masterpieces from every school. Begun in
1802, it was continued till 1811.

[51] This fine cathedral, burnt with so many other churches in the
great fire, was 690 feet in length, 130 feet broad, and 520 feet high
at the top of the spire.

[52] The tear-shaped pieces of glass (Lachrimæ Vitreæ), which resist
hard blows applied at the thick end, yet fly to pieces the moment a
fragment is broken off the fine end, were first brought to England by
Prince Rupert, and are called popularly "Prince Rupert's drops."

[53] This print represents a tall, powerful-looking man, standing with
naked sword in one hand, and holding up in the other the head of St.
John the Baptist.

[54] Other names given to mezzotint out of England are: Schwarzkunst,
black art; La manière anglaise, L'incisione a foggia nera, engraving in
black fashion or manner.

[55] This engraver must not be confused with John Keyse Sherwin, whose
line engravings produced a century later are well known.

[56] This Club was instituted in 1703, the year after the accession
of Queen Anne, to promote the Protestant succession, the members
meeting at the "Cat and Fiddle" in Shire Lane, Fleet Street, kept
by Christopher Kat, from whom it took the name. The particular size
known amongst artists as Kit-cat, just below the waist and not quite
three-quarter length, also acquired its name from this series of
portraits, which were painted their particular length to suit the walls
of Tonson's villa at Barn Elms.

[57] John Riley, Jonathan Richardson, Michael Dahl, John Closterman,
John Vanderbank, and Thomas Hudson.

[58] The date of McArdell's birth is often erroneously given as 1710
instead of 1728-9 according to the above authority.

[59] James Walker must not be confused either with Anthony and his
brother William, or with the stipple and mezzotint engraver William
Walker of the present century. James Walker's prints are not numerous,
a great number of his plates and prints having been lost from the
foundering of the vessel which was bringing them back to England
from Russia, where Walker had lived for seventeen years, having been
appointed in 1784 engraver to the Empress Catherine.

[60] A painter more generally known as Langen Jan, born at Munster in
1610, the correct name being John or Johann van Bockhorst; the name,
however, appears as above in the engraving.

[61] On the foundation of the Royal Academy in 1768, Bartolozzi, to the
exclusion of Strange and Woollett, was admitted one of the first forty
members with full membership; all engravers afterwards up to the year
1855 could only be elected as associate members.

[62] This engraver was in no way related to the better-known stipple
and historical engraver of the same name who flourished in the present
century.

[63] Woollett was buried in Old St. Pancras Churchyard; on a plain
tombstone which marks the spot were found one day written in pencil the
two lines--

"Here Woollett rests, expecting to be sav'd,
He graved well, but is not well engrav'd."

Shortly afterwards a subscription was raised, to which Benjamin West and John Boydell contributed, for the purpose of erecting the above-mentioned tablet which now stands in the West Cloister.

[64] Opie painted a life-size head of S. W. Reynolds, and of his daughter Elizabeth as "Red Riding Hood" (exhibited at the winter exhibition of the Royal Academy, 1876); this portrait of herself Elizabeth engraved in mezzotint at the age of fourteen.

[65] Father of the late E. W. Cooke, R.A.

[66] Walker engraved the portrait of Raeburn with the special purpose of proving the contrary.

[67] John Lucas, the well-known portrait painter and also engraver in mezzotint, was likewise a pupil of Reynolds.

[68] The plate of Salisbury Cathedral was engraved at Constable's expense and published in 1837 by Messrs. Hodgson, Graves and Co., for the painter. After his sudden death in the same year it was sold at Foster's, Pall Mall, in 1838, and bought in for eighty guineas, hardly the price of two proofs at the present time.

Through the kindness of Mr. Algernon Graves, the writer has had access to many manuscript notes written by David Lucas.

[69] Brother of Samuel Cousins, R.A.

[70] Better known in France, where he settled in 1816, he died in the neighbourhood of Paris in 1843, and introduced there the mode of cutting on the end of the grain instead of with the grain as was before the practice.

[71] First introduced in 1840, although not in general practice until some years later.

[72] On the principle of that which is known as "engine turning," as seen on the back of watch-cases.

[73] It is also necessary to point out that no impression damaged from course of time or printed from a worn-out plate can give any idea of the original engraving as a work of art. Other things being equal, proofs are primâ facie likely to be the best impressions, but a good print (that is a later impression), if in good condition, is far more valuable than a damaged or rubbed proof, however early the state may be.

INDEX.

PAGE

Agesilaus, King of Sparta, 8

Agostino, Veniziano, 106

Aldegrever, 93

Ambling, Gustave, 209

Amman, Jost, 175

Andrea, Zoan, 74

Andreani, Andrea, 111

Andrews, J., 328

Antonio da Brescia, Giovanni, 74

Ardell, 172, 300, 301

Aretino, Pietro, 109, 110, 136

D'Argenville, 224

Atkinson, 324

Aveline, 216

Audran, Gérard, 6, 178, 194-202, 207, 211, 216, 237

Baillie, Will, 310

Baldini, Baccio, 60-65

Balechou, 229-231

Barbari, Jacopo de', 74

Barlow, F., 291, 292

Bartolozzi, 237-239, 305, 313, 314

Battista del Porto, 77

Baudet, Étienne, 189

Beatrizet, Nicolas, 151

Beauvarlet, 226

Beckett, Isaac, 297, 298

Beham, Bartholomew, 93, 94

Beham, Hans Sebald, 93, 94

Bella, Stefano della, 162

Berghem, 139

Bernard, Auguste, 12

Bernhardinus, Milnet, 44

Bernini, 168

Bertinot, 278

Bervic, 249, 252-255, 259, 260, 274

Bewick, 315, 326

Binck, Jacob, 94

Biot, 285

Blackmore, 302

Blake, W., 310, 311

Blanchard, 278

Blootelingh, Abraham, 297

"B M", 85

Bochelt, Franz von, 84

Boldrini, Nicolò, 116

Bolswert, 132, 133, 149, 177

Bonasone, da Bologna, 106

Bonnet, 242

Bonzonnet, Claudine, 189

Borromini, 168

Bosse, Abraham, 164, 166, 169, 207

Both, Jan, 139

Botticelli, 60, 62

Boulanger, 237

Boydell, 315

Boyvin, René, 151

Branston, R., 326

Brauwer, Adrian, 139

Breughels, 134

Bromley, 320

Brookshaw, 234, 302

Browne, John, 307

Bruyn, Nicolas van, 131

Burgkmair, Hans, 113

Burke, 314

Burnet, John, 320

Burt, 328

Calamatta, 269

Callot, Jacques, 138, 156-166, 175-177, 205

Canta-Gallina, 158, 162

Cantarini, 162

Caracci, Agostino, 110, 138, 158

Caracci, Annibale, 168

Caraglio, Giovanni, da Verona, 106

Cardon, Anthony, 313

Carmona, 226

Carmontelle, 224

Carpi, Ugo da, 111, 112

Cars, Laurent, 213-216

Casilear, 329

Caylus, Count, 224, 240

Cerceau, du, Adrian, 155

Chapman, 327

Chauveau, 204

Chedel, 217

Cheesman, 314

Cheney, 328

Chevreuse, Duc de, 224

Chodowiecki, 228

Church, 327

Cipriani, 237

Claessens, Alart, 130

Clennell, 326

Clint, George, 320

Cochin, 218, 219, 240

Coigny, Marquis de, 224

Cooke, George William, 320

Copia, 252

Corneille, Claude, 153

Cornelis, 134

Cornelius, 94

Cort, Cornelius, 130

Cortona, da, Pietro, 198

Coster, Laurence, 14, 16, 22, 28

Cousin, 150, 151

Cousins, Henry, 324

Cousins, Samuel, 266, 267, 322

Cranach, Lucas, 113

Cunego, Domenichino, 228

Cunio, Cavaliere Alberico, 9

Dagoty, Gautier, 243

Danforth, 329

Danguin, 278

Daullé, 226

David, Emeric, 10, 31

David, Louis, 248, 250

Dawe, Henry, 320

Dean, John, 302

De Bry, 287

Debucourt, 245

De Kaiser, 285

Delaram, François, 289

Delaune, Étienne, 151, 153, 154

De Leu, Thomas, 156, 157, 179

Demarteau, Gilles, 239-242

De Passe, Crispin, 288

De Passe, Magdalen, 288

De Passe, Simon, 288

Desnoyers, Boucher, 249, 259, 260, 270, 274

Desplaces, Louis, 201

Deuchar, David, 310

Dick, 328

Dickinson, 172, 302

Dienecker, Jost., 111

Dixon, John, 302

Domenichino, 168

Doo, 324

Dorigny, 201

Drevet, Claude, 211

Drevet, Imbert, 211

Drevet, Pierre, 211

Duchange, Gaspard, 201

Duflos, 216

Du Jardin, Karel, 140

Dumonstier, Geofroy, 151

Dupuis, 216, 226

Durand, 328

Dürer, Albert, 17, 87-95, 97-100, 102, 106, 112, 113, 116, 120, 122,
128, 176, 177

Duveneck, 327

Duvet, Jean, 151, 152

Earlom, 172, 302, 303

Edelinck, 184-186, 189, 191-196, 200, 220

Edwin, David, 328

Elstracke, Reginald, 289

Faber, John, senior, 298, 299

Faber, John, junior, 298, 299

Fairman, 329

Faithorne, Will, 170, 289

Felsing, 263

Finiguerra, 35, 38, 47, 52-56, 62, 76

Fiquet, 218, 220, 222, 223

Fisher, Edward, 301

Flipart, 217

Forrest, J. B., 328

Francia, Francesco, 102

Francia, Jacopo, 74

Franck, 285

François, Alphonse, 278

François, Jean Charles, 239-242

François, Jules, 276

Frye, Thomas, 300, 301

Füst, 29

Gaillard, 278

Gantrel, 189

Garnier, Noel, 151

Gaugain, Thomas, 313

Gaultier, Leonard, 156, 179

Gaywood, R., 292

Geminus, Thomas, 288

Gherardo da Modena, 82

Ghisi, Diana, 106

Gifford, 327

Giller, William, 324

Gilli, 282

Gimbrede, 328

Giolito da Ferrari, 115

Giotto, 53

Girard, 246

Glockenton, 85

Golding, Richard, 320

Goltzius, Hendrik, 130, 131

Gomboust, Jacques, 203

Gourmont, Jean de, 153

Goya, 139

Grateloup, 220

Gravelle, de, President, 224

Graves, Robert, 324

Greche, Domenico delle, 116

Green, Valentine, 172, 302

Greenwood, John, 301

Greuze, 216

Grün, Baldung, 93

Gutenburg, 8, 13-15, 17, 18, 28, 35, 47, 49, 51, 53, 54, 60, 76-78,
82, 86, 176

Haden, Seymour, 282, 325, 326

Haid, 304

Hainzelmann, Johann, 208

Hamerton, 326

Hardouin, 82

Harvey, Will, 326

Heath, Charles, 320, 329

Heath, James, 309, 315

Henriquel-Dupont, 271-277

Hogarth, William, 231-233, 300, 304

Hogenberg, François, 288

Hogenberg, Remigius, 288

Hollar, 170, 171, 177, 287, 290-292

Hopwood, James, 320

Houbraken, J., 228

Houston, Richard, 301

Huot, 278

Il Vecchio da Parma, 106

Ingram, 226

Jackson, 324, 326

Jacobe, 304

Jacobi, 285

Jacquemart, 280-283

Jazet, 245, 246

Jeens, C. H., 314

Jeens, J. H., 325

Jones, John, 302

Kauffmann, Angelica, 237

Kaulbach, 94

Keller, Franz, 262

Kilian, Bartholomew, 209

Kirkall, Edw., 311-313

Klaus, 285

Kobell, 234

Laborde, Léon, 12, 36-38

Landseer, John, 320

Larmessin, Nicolas de, 216

Lasne, Michel, 180

Lastman, 243

Laugier, 276