ption of the needle, and showed the advantages
which, in some important respects, it has over the graver. Etching, as
it is less mechanical, is more expressive. We have from it the immediate
impress of the painter's mind; that peculiar autographic character which
marks every turn and shade of thought, even transition of thought and
feeling, in what may, at first view, seem vagaries of lines; which, we
know not how, (nor is the artist himself at the time conscious of the
operation,) discriminate innumerable niceties, each having its own
effect, and yet tending to one whole. We rarely come at once, _uno
ictu_, to a decision. The operation is progressive--from conception to
conception, from feeling to feeling, from many shades of uncertainty to
decision. The first fresh hand upon any work is obedient to the mind in
this process; and hence it is that we so value, so admire, the sketches
and drawings of the great masters. We see not only the full complete
sentiment of the subject, but how they came to it; we trace it back
through all its varieties, and feel a sensible delight in being in
possession of the very mind of the master. Were this not the case, how
are we to account for the charm felt in turning over a portfolio of old
drawings? How exquisitely beautiful are those of Raffaelle and Titian!
The sale of the collection of Sir Thomas Lawrence proves the high
estimation in which these are ever held. Thousands of pounds for a few
drawings! What sums were given for Claude's "Liber Veritatis!" and
why?--Because these original drawings of the old masters possess this
very autographic character that we have described. And this is precisely
the case with etching. Nor is it only the case with those of the
Italian, but those of every school; and, singularly enough, the Flemish
and Dutch painters, whose high finish and elaborate colouring give such
great value to their works, were eminently successful in the free and
expressive style of etching. Rembrandt we need not speak of--wondrous
indeed are his works of the needle. How exquisite are the etchings of
Berghem, Both and Karel du Jardin! and, to show how characteristic they
are, how different are they from each other! It is to be regretted that
this art is of modern invention. What treasures might we not have
possessed, had this inestimable secret been known to the ancients! We
should not be left to conjecture the merits of Apollodorus, Zeuxis,
Parrhasius, Timanthes, Apelles. We mi