It is perhaps to some extent true that prints from mezzo plates lack somewhat in dignity of effect and fidelity of representation. They are suggestive rather than representative; yet, when the character of the work is suitable, this lack of dignity is more than compensated for by the soft and harmonious effects of light and shade already referred to. The peculiar beauty and brilliancy of these effects, when artistically rendered, impart to the prints an alluring charm, which appeals to the inartistic as well as the accredited artistic eye.
The fact that Sir Joshua Reynolds, West, Romney, and other famous artists allowed their paintings to be reproduced by the mezzotint process, is sufficient proof of their appreciation of its power. It was, as already stated, to English engravers that mezzo engraving owed its development and fame as a reproductive art, and for very many years after its invention it was practised chiefly in England and Holland. It is a remarkable fact that Germany, the birthplace of this art, had but a slight connection with its subsequent history; and equally remarkable that French engravers, who excelled in line engraving when mezzotint was at the zenith of its fame, should almost entirely neglect to appreciate its possibilities.
Another curious fact concerning mezzotint engraving is that it has ever been the art of the dilettanti. It was first of all invented by von Sigen, who followed the fine arts for pleasure rather than with any serious purpose. Prince Rupert brought it over to England with an enthusiastic, but certainly not a professional, interest, and at several periods of its history it has received encouragement and substantial help from like sources. One of the earliest and most ardent mezzo engravers in this country was Francis Place, a well-known Yorkshire country squire. H. Lutterel was another such exponent of the art. He was the first engraver to make any decided improvement in laying the ground. He evidently realised the importance of a good ground, and constructed a tool to ensure its evenness and regularity. Another Irishman, Captain Baillie, a retired cavalry officer, adopted a style of engraving similar to Rembrandt's, and copied some of that great artist's productions. He was one of the most enlightened art critics of his time.
A Modern Mezzo Engraver.—A brief outline sketch of the life of Samuel Cousins, one of the most successful of modern mezzotint engravers, will form a fitting conclusion to this chapter.
Samuel Cousins was born in 1800. The story of his precociousness in artistic matters is certainly extraordinary. Sir Thomas Ackland, an enthusiastic patron of the fine arts, saw the boy Cousins standing before a picture dealer's window, and sketching with all the eagerness and verve of a born artist. Even while yet a child of eleven years his exceptional ability manifested itself, for he won the silver palette, presented by the Society of Arts, and again the silver medal when twelve years. His rapid progress, both as an artist and engraver, was undoubtedly due to the influence and encouragement of his patron and friend, Sir Thomas Ackland. He engraved about two hundred plates, including pictures by Reynolds, Lawrence, Landseer, and Millais. Cousins died in 1887, after a most brilliant and purposeful career.
CHAPTER VI
THE ENGRAVER'S TASK—INARTISTIC WORK—CONSTRUCTIVE ELEMENTS—OUTLINE—EXTRANEOUS MATTER—COMPOSITION—LIGHT AND SHADE—EXPRESSION—PERSPECTIVE—EXECUTION
"The highest art is undoubtedly that which is simplest and most perfect, which gives the experience of a lifetime by a few lines and touches."