Three Lectures on Engraving (Classic Reprint)

Excerpt from Three Lectures on Engraving: Delivered at the Surrey Institution in the Year 1809

Chalk Engraving, from its very name, implies a te presentation of drawings made in chalks; and the specimens of its powers and application are to be found in the celebrated Academic figures designed by Bouchardon: but this art has so far wandered from its original intention, that without referring to its first mode of application, the term has no precise signifi cation. The print of Mrs. Giddons after Reynolds, however different, may be completely considered as a chalk engraving; Although sonic would produce it as the finestexafnple of the mixed manner.

The business of Engraving is to give a faithful repre. Scutation 'of the painting to be copied, and in all the great essentials required for this end, the two modes are nearly equal. Outline, light and shadow, variety of stile, and the representation of different surfaces, are within the pom-ir of each. In some instances the advanta es will be with one mode, and in others with the other. W inan of feeling ever wanted the Maria of Sterne in rhyme, or the l'allegl'o of Milton in blank verse? The Kenna engraved by Collier, after S'ir' Joshua Reynolds in lines or the Lear by Sharp, after West, in chalk A great master breathes a soul into the materials he works with, that leaves taste nothing to wish for. Had the question among the engravers been, what object's Would be 'ihost naturally, and picturesquely by the difl'erent'modes A mixed style mi thavefieen adopted, Wh'ich many gxcbllefitjjudge's 0 art have com. Tended would be superior to either; in proof of whidh We may refer to the series' of portraits by Mdrin after Vandyke, When Chalk into thih country, its partisans insisted on its decisive superiority over the_ Line; of late, fashionable amateurs have given a contrary decision; and in both instances the multitude, who never think for themselves, have blindly followed those who had the presumption to take the lead: the engravers have arranged themselves on the side most conducive to their interests, and the pub lisbet, waiting the tide of popular prejudice, lay upon his oars ready to join the stronger party. In'all' thitdisgrseefnl contention, sound art with each party has equally been lost sight of; whilst the direction, clecrness and regularity of lines with' the one, and the placing dots at mechanical distances with the other, became the. Petty distinction which usurped and smile lowed. Up better and more dignified considerations The engravers entered warmly into these trifling dis; tinctions, and thou ht only of the means, whilst they last sight of the en hence have followed a swarm of mechanics, and a dearth of artists; a number of fine toolmen that cannot delineate a limb, and a smooth and laborious mode of execution, which in too many instances have destroyed the true spirit and essential principles of'genuine art. 'unremitting patience, and a microscopic eye, have become the first qualifications of an engraver; and his productions have been valued, like a tesselated pavement, for the portion of smooth-u ness'and quantity of labour they contain.

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