TO THOSE
WHO HELPED ME MAKE THIS BOOK
IN GRATEFUL RECOGNITION
NOTE
The lectures presented in this volume comprise the twelfth series delivered at the Art Institute of Chicago on the Scammon Foundation. The Scammon Lectureship is established on an ample basis by bequest of Mrs. Maria Sheldon Scammon, who died in 1901. The will prescribes that these lectures shall be upon the history, theory, and practice of the Fine Arts (meaning thereby the graphic and plastic arts), by persons of distinction or authority on the subject on which they lecture, such lectures to be primarily for the benefit of the students of the Art Institute, and secondarily for members and other persons. The lectures are known as “The Scammon Lectures.”
CONTENTS
| PAGE | |
| LECTURE I | |
| German Engraving: From the Beginnings to Martin Schongauer | [13] |
| LECTURE II | |
| Italian Engraving: The Florentines | [51] |
| LECTURE III | |
| German Engraving: The Master of the Amsterdam Cabinet and Albrecht Dürer | [95] |
| LECTURE IV | |
| Italian Engraving: Mantegna to Marcantonio Raimondi | [139] |
| LECTURE V | |
| Some Masters of Portraiture | [181] |
| LECTURE VI | |
| Landscape Etching | [227] |
LIST OF ILLUSTRATIONS
| PAGE | |
| Master of the Amsterdam Cabinet. Two Lovers | [ Frontispiece] |
| Master of the Playing Cards. St. George | [15] |
| Man of Sorrows | [16] |
| Master of the Year 1446. Christ Nailed to the Cross | [19] |
| Master of St. John the Baptist. St. John the Baptist | [20] |
| Master E. S. of 1466. Madonna and Child with Saints Marguerite and Catherine | [23] |
| Ecstasy of St. Mary Magdalen | [24] |
| Design for a Paten | [27] |
| St. John on the Island of Patmos | [28] |
| Martin Schongauer. Virgin with a Parrot | [31] |
| Temptation of St. Anthony | [32] |
| Death of the Virgin | [33] |
| Pilate Washing His Hands | [34] |
| St. John on the Island of Patmos | [37] |
| Christ Appearing to the Magdalen | [38] |
| Virgin Seated in a Courtyard | [39] |
| Angel of the Annunciation | [40] |
| The Miller | [43] |
| Censer | [44] |
| Master L Cz. Christ Tempted | [47] |
| Christ Entering Jerusalem | [48] |
| Anonymous Florentine, XV Century. Profile Portrait of a Lady | [53] |
| Wild Animals Hunting and Fighting | [54] |
| Triumphal Procession of Bacchus and Ariadne | [57] |
| Jupiter | [58] |
| Mercury | [63] |
| Lady with a Unicorn | [64] |
| The Christian’s Ascent to the Glory of Paradise. From “Il Monte Sancto di Dio,” Florence, 1477 | [67] |
| Dante and Virgil with the Vision of Beatrice. From the “Divina Commedia,” Florence, 1481 | [68] |
| Assumption of the Virgin (After Botticelli) | [71] |
| Triumph of Love. From the Triumphs of Petrarch | [72] |
| Triumph of Chastity. From the Triumphs of Petrarch | [75] |
| Libyan Sibyl | [76] |
| Anonymous North Italian, XV Century. The Gentleman. From the Tarocchi Prints (E Series) | [79] |
| Clio. From the Tarocchi Prints (S Series) | [80] |
| The Sun. From the Tarocchi Prints (E Series) | [83] |
| Angel of the Eighth Sphere. From the Tarocchi Prints (E Series) | [84] |
| Cristofano Robetta. Adoration of the Magi | [87] |
| Antonio Pollaiuolo. Battle of Naked Men | [88] |
| Master of the Amsterdam Cabinet. Ecstasy of St. Mary Magdalen | [97] |
| Crucifixion | [98] |
| Stag Hunt | [101] |
| St. George | [102] |
| Albrecht Dürer. Virgin and Child with the Monkey | [107] |
| Four Naked Women | [108] |
| Hercules | [111] |
| Anonymous North Italian, XV Century. Death of Orpheus | [112] |
| Albrecht Dürer. Death of Orpheus | [113] |
| Battle of the Sea-Gods (After Mantegna) | [114] |
| Adam and Eve | [117] |
| Apollo and Diana | [118] |
| St. Jerome by the Willow Tree (First State) | [121] |
| Holy Family | [122] |
| Knight, Death and the Devil | [125] |
| Melancholia | [126] |
| St. Jerome in His Cell | [129] |
| Virgin Seated Beside a Wall | [130] |
| Christ in the Garden | [133] |
| Erasmus of Rotterdam | [134] |
| Andrea Mantegna. Virgin and Child | [141] |
| Battle of the Sea-Gods | [142] |
| The Risen Christ Between Saints Andrew and Longinus | [147] |
| School of Andrea Mantegna. Adoration of the Magi | [148] |
| Zoan Andrea (?). Four Women Dancing | [151] |
| Giovanni Antonio da Brescia. Holy Family with Saints Elizabeth and John | [152] |
| School of Leonardo da Vinci. Profile Bust of a Young Woman | [155] |
| Nicoletto Rosex da Modena. Orpheus | [156] |
| Jacopo de’ Barbari. Apollo and Diana | [159] |
| St. Catherine | [160] |
| Giulio Campagnola. Christ and the Woman of Samaria | [163] |
| Ganymede (First State) | [164] |
| St. John the Baptist | [167] |
| Giulio and Domenico Campagnola. Shepherds in a Landscape | [168] |
| Marcantonio Raimondi. St. George and the Dragon | [171] |
| Bathers | [172] |
| St. Cecelia | [173] |
| Death of Lucretia | [174] |
| Philotheo Achillini (“The Guitar Player”) | [177] |
| Pietro Aretino | [178] |
| Master . Head of a Young Woman | [183] |
| Albrecht Dürer. Albert of Brandenburg | [184] |
| Philip Melanchthon | [187] |
| Anthony Van Dyck. Portrait of Himself (First State) | [188] |
| Frans Snyders (First State) | [191] |
| Lucas Vorsterman (First State) | [192] |
| Rembrandt. Jan Cornelis Sylvius | [195] |
| Rembrandt Leaning on a Stone Sill | [196] |
| Clement de Jonghe (First State) | [197] |
| Jan Lutma (First State) | [198] |
| Claude Mellan. Virginia da Vezzo | [201] |
| Fabri de Peiresc | [202] |
| Jean Morin. Cardinal Guido Bentivoglio | [205] |
| Robert Nanteuil. Pompone de Bellièvre | [206] |
| Basile Fouquet | [211] |
| Jean Loret | [212] |
| J. A. McN. Whistler. Annie Haden | [215] |
| Riault, the Engraver | [216] |
| Anders Zorn. Ernest Renan | [219] |
| The Toast | [220] |
| Madame Simon | [221] |
| Miss Emma Rassmussen | [222] |
| Albrecht Dürer. The Cannon | [229] |
| Augustin Hirschvogel. Landscape | [230] |
| Rembrandt. The Windmill | [233] |
| Three Trees | [234] |
| Six’s Bridge | [237] |
| Landscape with a Ruined Tower and Clear Foreground | [238] |
| Landscape with a Haybarn and a Flock of Sheep | [239] |
| Three Cottages | [240] |
| Goldweigher’s Field | [243] |
| Jacob Ruysdael. Wheat Field | [244] |
| Claude Lorrain. Le Bouvier | [249] |
| Charles Jacque. Troupeau de Porcs | [250] |
| Storm—Landscape with a White Horse | [253] |
| Charles-François Daubigny. Deer in a Wood | [254] |
| Deer Coming Down to Drink | [257] |
| Moonlight on the Banks of the Oise | [258] |
| Camille Corot. Souvenir of Italy | [261] |
| Jean-François Millet. The Gleaners | [262] |
| Seymour Haden. Cardigan Bridge | [265] |
| By-Road in Tipperary | [266] |
| Sunset in Ireland | [267] |
| Sawley Abbey | [268] |
| J. A. McN. Whistler. Zaandam (First State) | [271] |
| Rembrandt. View of Amsterdam from the East | [272] |
TO THE READER
When that most sensitive of American print-lovers, the late Francis Bullard, learned that I was to deliver at Harvard, each year, a course of lectures on the History and Principles of Engraving, he wrote me one of those characteristic letters which endeared him to his friends, concluding his wise counsels with these words: “Nothing original—get it all out of the books.”
In these six lectures I have endeavored to profit by his suggestion. In them there is little original: most of it is out of the books. Books, however, like Nature, are a storehouse from which we draw whatever is best suited to our immediate needs; and if in choosing that which might interest an audience, to the majority of whom engravings and etchings were an unexplored country, I have preferred the obvious to the profound, I trust that the true-blue Print Expert will forgive me. These simple lectures make no pretense of being a History of Engraving, or a manual of How to Appreciate Prints. My sole aim has been to share with my audience the stimulation and pleasure which certain prints by the great engravers and etchers have given me. If I have succeeded, even a little, I shall be happy. I would add that the lectures are printed in substantially the same form as they were delivered. Consequently they must be read in connection with the illustrations which accompany them.