APPENDIX.
ARTICLE I.
NOTES ON THE PRESENT STATE OF ENGRAVING IN ENGLAND.
229. I have long deferred the completion of this book, because I had hoped to find time to show, in some fullness, the grounds for my conviction that engraving, and the study of it, since the development of the modern finished school, have been ruinous to European knowledge of art. But I am more and more busied in what I believe to be better work, and can only with extreme brevity state here the conclusions of many years' thought.
These, in several important particulars, have been curiously enforced on me by the carelessness shown by the picture dealers about the copies from Turner which it has cost Mr. Ward and me[BL] fifteen years of study together to enable ourselves to make. "They are only copies," say they,—"nobody will look at them."
230. It never seems to occur even to the most intelligent persons that an engraving also is 'only a copy,' and a copy done with refusal of color, and with disadvantage of means in rendering shade. But just because this utterly inferior copy can be reduplicated, and introduces a different kind of skill, in another material, people are content to lose all the composition, and all the charm, of the original,—so far as these depend on the chief gift of a painter,—color; while they are gradually misled into attributing to the painter himself qualities impertinently added by the engraver to make his plate popular: and, which is far worse, they are as gradually and subtly prevented from looking, in the original, for the qualities which engraving could never render. Further, it continually happens that the very best color-compositions engrave worst; for they often extend colors over great spaces at equal pitch, and the green is as dark as the red, and the blue as the brown; so that the engraver can only distinguish them by lines in different directions, and his plate becomes a vague and dead mass of neutral tint; but a bad and forced piece of color, or a piece of work of the Bolognese school, which is everywhere black in the shadows, and colorless in the lights, will engrave with great ease, and appear spirited and forcible. Hence engravers, as a rule, are interested in reproducing the work of the worst schools of painting.
Also, the idea that the merit of an engraving consisted in light and shade, has prevented the modern masters from even attempting to render works dependent mainly on outline and expression; like the early frescoes, which should indeed have been the objects of their most attentive and continual skill: for outline and expression are entirely within the scope of engraving; and the scripture histories of an aisle of a cloister might have been engraved, to perfection, with little more pains than are given by ordinary workmen to round a limb by Correggio, or imitate the texture of a dress by Sir Joshua,—and both, at last, inadequately.
231. I will not lose more time in asserting or lamenting the mischief arising out of the existing system: but will rapidly state what the public should now ask for.
1. Exquisitely careful engraved outlines of all remaining frescoes of the thirteenth, fourteenth, and fifteenth centuries in Italy, with so much pale tinting as may be explanatory of their main masses; and with the local darks and local lights brilliantly relieved. The Arundel Society have published some meritorious plates of this kind from Angelico,—not, however, paying respect enough to the local colors, but conventionalizing the whole too much into outline.