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The Best Portraits in Engraving

Chapter 2: FOOTNOTES:
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About This Book

An essay surveys portrait engraving as a fine art, examining its technical relation to painting and arguing that engravings act as translations that convey drawing and expression through light and shade. The author reflects on personal consolation found in studying prints and describes major collections visited, while assessing the artistic merit of engraved portraits versus copied pictures. Discussions highlight the work of major masters and eminent engravers, the scarcity of truly great engraved portraits, and engraving's historical role in disseminating likenesses and preserving artists’ and notable figures’ images for wider audiences.

FOOTNOTES:

[1] Discourses before the Royal Academy, No. IV.

[2] De Groote Schonburgh der Nederlantsche Konctschilders en Schilderessen.

[3] This rare volume is in the Congressional Library, among the books which belonged originally to Hon. George P. Marsh, our excellent and most scholarly minister in Italy. I asked for it in vain at the Paris Cabinet of Engravings, and also at the Imperial Library. Never translated into French or English; there is a German translation of it by Carl Barth.

[4] Les Hommes Illustres, par Perrault, Tome ii., p. 97. The excellent copy of this work in the Congressional Library belonged to Mr. Marsh. The prints are early impressions.

[5] Panégyrique Funébre de Messire Pompone de Bellièvre, Premier Président au Parlement, pronouncé á l'Hostel-Dieu de Paris, le 17 Avril, 1657, par un Chanoine régulier de la Congrégation de France. The dedication shows this to have been the work of F. Lallemant of St. Geneviève.

[6] La Calcografia, p. 176.

[7] La Calcografia, pp. 165, 418.

[8] Les Arts au Moyen Age et à l'Epoque de la Renaissance, par Paul Lacroix, p. 198.

[9] Longhi, La Calcografia, p. 199.