ecessary materials. The eldest offers
her a drawing, either redded or whited on the back, and a point or
needle for tracing it on the plate; this drawing represents the design
he is going about. Others, in an inner apartment, are employed in
heating a plate on a chafing-dish, and laying the ground even with a
feather. Here, one is etching--there, another biting a plate; others
taking and reviewing proofs, with great attention and pleasure--while
Fame, having a proof of a portrait in her hand, with her trumpet sounds
out at a window the praises of masters or engravers. Honour, crowned
with laurel, and bearing a small pyramid, is entering the room, ushering
in Annona or Prosperity, who has a cornucopia, or horn filled with
fruits. Round the room are set on pedestals divers busts of famous
etchers and engravers; as Marc Antonio, Audlan, Edelinck, Vander Meulen,
and several other Italian and French, as well as Dutch and German
masters. In the off-skip, Europe, Asia, and Africa appear standing in
surprise at the sound of the trumpet." There is nothing like example!
Who sees in this prophetic enigma, in his "chair of ebony," other than
"Ebony" himself, the "_most accomplished Christopher_," beaming with
"sincerity," and placid in his "assiduity," with "Judgment" waiting upon
him at command, wielding neither crutch nor pen, but, in affable
condescension, the contemned needle etching the portrait of his own
"Colonsay," and his own famous exploit, to show that one needle in the
hand of genius can make a man and a horse too; though nine tailors and
nine needles scarcely make up the complement of a man--yet would these
nine in one, the renowned of Brentford, scarcely have matched
"Christopher on Colonsay!" And as for Fame blowing out of the window,
he, in spite of himself and his modesty, is his own trumpeter, and, as
_Maga_ reaches them, surprises "Europe, Asia, Africa," and America too.
Such is the emblematical representation of etching, and we have
embellished it with a first-rate performer.

And now let us turn to "Etched Thoughts by the Etching Club." We find a
new name or two added to the list--C.G. Lewis, the renowned and best of
etchers; and Severn, whose etchings are new to us, not so his other
works of art. We remember his "Ship of the Ancient Mariner," and his
expressive, sentimental, figures; and poor Fearnley--now no more--we
remember greatly admiring a somewhat large picture of his--"A
River-Scene in Norway,"--eviden