_METAL ENGRAVING_--THE INVENTION--EARLY ENGRAVERS--NATIONAL
CHARACTERISTICS--A PROGRESSIVE REVIEW
"The influence of the graver is so great and extensive that
its productions have constantly been the delight of all
countries of the world and of all seasons of life."
=Metal Engraving--The Invention.=--The engraving of metal plates for
pictorial reproduction was a direct development of ornamental engraving.
The Italian Niello work of the fourteenth and fifteenth centuries was
chiefly applied to the embellishment of metal ornaments and utensils
with elaborate engravings. To intensify their effect, the designs were
filled in with a black pigment known as _Niello_, L. _Nigellus_--Black.
Hence the name by which the process was generally known. Niello work was
practised chiefly by gold and silversmiths, and it is recorded that one
of these, Finiguerra by name, was filling up the lines of the engraving
with black composition in the usual way when he accidentally spilled
some hot wax over the plate. It rapidly cooled and hardened, and on
scaling off bore a distinct black impression of the engraving. Quick
to perceive the importance of his discovery, Finiguerra promoted a few
experiments which ultimately led to a full realisation of his hopes.
There is yet another account of the metamorphosis of metal engraving
which, if true, reflects much more credit upon Finiguerra than the
accidental discovery already described. To obtain a _proof_ of their
work, the Florentine metal-workers covered the ornamentation with some
fine plastic material. It was then a simple matter to convert the
impression into a mould, which they filled with melted sulphur. The
casts, when hard, formed exact replicas of the engravings, and
afterwards, when the incised lines were filled with a black pigment,
probably Niello, they presented an effective record of the original
work. It is not by any means improbable that Finiguerra made his
discovery when making such a cast.
It is a noteworthy fact that the idea of producing impressions from
engraved metal plates was not, as might readily be imagined, a
development of wood engraving or of the then well-known method of
printing from engraved wood blocks. It was a fortuitous discovery, and
probably the direct result of an accident. The true importance of this
transition, _i.e._ Niello work to engraving as a reproductive art, is
seldom fully appreciated. It was a momentous change, bristling with
possibilities, which subsequent developments amply proved. The time was
peculiarly propitious. The beneficent influence of the Renaissance was
at its flood, and a feverish spirit of progress swept over Europe.
The imitative instinct inherent in mankind reasserted itself with an
irresistible intensity, and new forms of pictorial expression were
eagerly sought after. The art of engraving provided a medium for the
extension of the artist's fame and the popularising of his creations.
It rapidly gained favour, and its ultimate development and expansion
fully justified the interest it aroused.
=Early Engravers.=--Baccio Baldine, another Florentine goldsmith, quickly
realised the value of Finiguerra's discovery, and endeavoured to produce
engraved plates for printing purposes. Being a somewhat indifferent
designer, his first efforts were not very successful. He was afterwards
assisted by Sandio Botticelli, and this partnership was the first clear
indication of progress in the art. These two engravers undertook the
illustration of an edition of Dante's works, in which the chief feature
was to be an original headpiece for each canto. They accomplished some
meritorious work in connection therewith, but never quite fulfilled
their task.
Some impressions from engraved plates were exhibited in Rome about this
time, and attracted the attention of the painter Andrea Mantegna. He
was so impressed with these examples of the new art that he determined
to reproduce some of his own pictures in a like manner. Mantegna's
engravings were not in any way remarkable, yet they were received with
considerable enthusiasm by his countrymen and by artists in various
parts of Europe.
Marc Antonio Raimondi was another famous Italian engraver of this
period. He first became notorious through copying some of A. Durer's
designs in the exact style affected by that great artist. He also added
Durer's signature to his piracies, and in other ways emphasised the
imitation.
It is doubtful whether he ever realised the gravity of the deception he
was guilty of, for he took no pains to conceal the fact from his fellow
artists. Apart from this, however, Raimondi was a fine engraver. He
reproduced a number of Raphael's pictures under that artist's direct
supervision, all of which show distinct traces of the great master's
influence. Raimondi engraved between three and four hundred plates.
It is a remarkable coincidence that the art of engraving in Italy, and
printing in Germany, should each receive the stimulus of a new discovery
about the same period. The art of printing was known to the ancient
Chinese, but movable types were first used by Gutenberg about 1454.
=National Characteristics.=--Engraving is almost as old as the human
race, yet its full value as a reproductive art was not discovered until
1452, when Finiguerra made his discovery. For at least half a century
after this discovery engraving was held in the highest esteem in Italy.
From that country it passed to Germany, and thence into France. In each
of these countries it flourished for a time, until at last it claimed a
place, and that a high one, amongst the fine arts of our own country.
The leading characteristics of Italian art, and particularly Italian
engraving, were beautiful outlines and excellent drawing. "Nothing in
any stage of Italian art was carelessly or incompletely done. There is
no rough suggestion of design, no inexact record of artistic invention."
The lines, and especially the outlines, of the early Italian engravings
are indisputably exquisite in their expression of grace and beauty,
though perhaps weak and unsuitable for the portrayal of vigour and
strength.
The German engravers reached another extreme. Their drawings were
frequently deficient, and even grotesque; but this was more than
compensated for by a mingled force and freedom of delineation which,
added to a rich imaginative symbolism, was in every respect remarkable.
By means of flowing lines they indicated every fold of draperies,
emphasised the varied contour of features, or produced an intricate
and almost perplexing perspective in their pictures. They frequently
sacrificed artistic power for a mere show of dexterous execution, and
consequently the engravings of this period were rarely ever sublime
in their conceptions. Remarkable for their technique, they were yet
productive of a bewildering confusion of ideas and mannerisms. It was
undoubtedly this superiority of technique which attracted so much
attention to the old German engravers. Their portrait engravings display
abundant insight into human character, and in this respect at least
exhibit a rare power of pictorial expression. Indefatigable enthusiasm,
one of the racial characteristics of the French nation, was exemplified
in the reception accorded by her artists to the art of metal engraving.
French engraving was distinguished by a felicitous combination of good
drawing, skilful execution, and "an aptitude to imitate easily any
impression." Outlines were frequently suggested rather than delineated,
and although somewhat unconventional in style, French engravings of the
seventeenth century displayed few traces of a perfunctory art. Certain
vagaries of style, due no doubt to a natural vivacity, indicated an
artistic quality of design and execution which was their peculiar
inheritance. Of modern French engravers on metal, the Audran family were
by far the most notable. For four or five generations that remarkable
family showed artistic talent of a high standard of excellence. Gerard
Audran, who was born in 1640, was the best known and most gifted member
of this family. His productions were everywhere admired. His historical
pictures especially were very fine. He was appointed engraver to Louis
XIV. Died 1703.
=A Progressive Review.=--For a long period engraving was of the simplest
possible character. About the beginning of the sixteenth century an
effort was made to introduce perspective into the productions of both
brush and graver, and until this important development obtained complete
recognition, even the most skilful artists were guilty of faulty
draughtsmanship. Aerial perspective, or the suggestion of distance,
quickly followed this adoption of linear perspective. It is claimed for
Lucas van Leyden, a Dutch engraver, that he was the first to thoroughly
appreciate and give true value to foreground and distance; in other
words, to fully recognise the artistic value of perspective.
It has been frequently suggested that the fame of Durer, van Leyden, and
others of the same school, was so widespread as to create an artistic
bias, which other engravers, who were their equals in technical skill,
if not in fertility of design, found it difficult to overcome. One of
these engravers, Henry Goltzius, was determined to obtain recognition
of his merits, and engraved five plates in as many different styles,
copying the mannerisms and artifices of Durer and others. They were
at once accepted as productions of the great artists, and not until
Goltzius had heard the unqualified praise of art critics and patrons
did he reveal his purpose. His countrymen generously forgave him this
deception, and he certainly gained much credit thereby. These pictures
are now known as Goltzius' masterpieces.
During the seventeenth century Rembrandt's influence developed much of
that technique which modern engravers have copied, and in some instances
claimed to improve. He is also credited with the introduction of
more expressive gradations of tone, for the production and emphatic
suggestion of light and shade. The character of this, too, has been
retained in present day engravings. Rembrandt was more directly
associated with etching than with line engraving, but his influence was
far from exclusive. Encouraged by the influence of his example, the line
engraver endeavoured to add to the expressive power of his pictures by
the introduction of more daring perspectives, more suggestive form, and
infinitely greater diversity of texture.