A short history of engraving [and] etching : for the use of collectors and students; with full bibliography, classified list and index of engravers . ers style and a brilliance of technique whichnever errs in exaggeration. But Vorstermans connexion withRubens was short : by the time he was about twenty-seven, in1622, it seems to have been rudely severed, and, if we are to believereport, not without attempted violence on the part of the enragedpupil, for what reason we know not. Then between 1624 and 1630 1 See Chapter VI. pp. 164-5, for etchings attributed to him. - in the Bibliotheq
A short history of engraving [and] etching : for the use of collectors and students; with full bibliography, classified list and index of engravers . ers style and a brilliance of technique whichnever errs in exaggeration. But Vorstermans connexion withRubens was short : by the time he was about twenty-seven, in1622, it seems to have been rudely severed, and, if we are to believereport, not without attempted violence on the part of the enragedpupil, for what reason we know not. Then between 1624 and 1630 1 See Chapter VI. pp. 164-5, for etchings attributed to him. - in the Bibliotheque Nationale, Paris. ^ S. Ampsing, Deschryving van Haarlem, 1628, p. 372. THE RUBENS SCHOOL 127 we find him working in England, brought thither perhai)S by thepersuasion of the great collector, the Earl of Arundel, for whom hedid several drawings and engravings. The enormous difference inhis work after the break with Rubens, shows how much he owed tothe masters direction. Most of his English prints have a certainsurcharge of black shadow, and an unrestful persistence of dot andflick work, and the sure hand and style did not return to him until. Fig. 50.—Lucas Vosterman. Susannah and the Elders, after Rubens (part). he came under the guidance of another master, Van Dyck, in hiswork for the Iconography. Paul Pontius, Vorstermans pupil and junior by some eight Paul , began to engrave for Rubens in the early twenties. Histechnique is even bolder than his masters, and he makes less useof short cross-lines, dots, and flicks, to aid the principal lines ofshading. The noble simplicity and breadth of handling of his styleare well exemplified in his Assumption (1624) and the large Marchto Calvary (1632). As with Vorsterman, some of his best work wasdone for Van Dyck. 128 THE DECLINE OF ORIGINAL ENGRAVING The Boisvverts. The two brothers BoiiTius and Schelte a Bolswert weresome years senior to either of the preceding, and though not trainedin the school of Rubens, were amon
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