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. Aërial 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.