"Quite determined to put a stop to all experiments, in view of typographic drawings."
Here is an important entry, August 19, 1875:—
"RESOLVED in future to confine myself exclusively to oil-painting and etching in all artistic work done for the public, except the designs for the bindings of my books, which may be done in water-colors.
"RESOLVED also that there shall be as little as possible of copying and slavery in my artistic work, but that Etching shall be Etching, and Painting Painting."
He had been working very hard, copying etchings for the new edition of "Etching and Etchers," and was thoroughly tired of it. I see in his diary:—
"Finished my plate after Rembrandt. N.B.—Will never undertake a set of copies again."
"Felt it a great deliverance to be rid of plates for 'Etching and
Etchers.'"
A later note:—
"There is no technical difficulty for me in etching. I ought therefore to direct my energies against the artistic difficulties of composition, drawing, light and shade. Haden's 'Agamemnon' is the model for the kind of work I should like to be able to do in etching. Comprehensive sketching is the right thing."
Meanwhile our boys were growing, and giving great satisfaction to their father by their application to and success in their studies; they always kept at the head of their class, and carried off a great number of prizes at the end of every scholastic year. The younger boy, Richard, evinced an early taste for the pictorial arts, and was gifted with a sure critical faculty and a natural talent for drawing. Although he had never taken regular drawing-lessons, he had often watched his father at work, had occasionally sketched and painted under his direction, and was receiving a sort of artistic education by what he saw at home of illustrated periodicals, engravings, and etchings sent for presentation or criticism. He was early tempted to try etching, and of course received encouragement and help; the first attempt was a success, as far as it went, and Mr. S. Palmer wrote about it:—