. Prints; a brief review of their technique and history . y ECHOCH£PR£STO NEVfRRA. QVELDIE0 CHEIVaRALETENEERE SERRATEtSCOGLERAS SI NODI E PROFETIEDELLAGftANSENAGWOGA PitVEDPvASSl ERE DEVrVEom tlVENlRSVO H CHECOS1MOSTR>.£LC^ELOEOGN1SPERA SIBILLA SAMIAFlorence, ISth Ceutury. CLIO, FROM THE SO-CALLED TAROCCHINorthern Italy, 15th Century THE EARLY DAYS OF ENGRAVING of the painter. If we compare Italian andGerman graver-work of those days, a plateof Mantegna, for instance, and a plate ofSchongauer, we shall readily perceive that i
. Prints; a brief review of their technique and history . y ECHOCH£PR£STO NEVfRRA. QVELDIE0 CHEIVaRALETENEERE SERRATEtSCOGLERAS SI NODI E PROFETIEDELLAGftANSENAGWOGA PitVEDPvASSl ERE DEVrVEom tlVENlRSVO H CHECOS1MOSTR>.£LC^ELOEOGN1SPERA SIBILLA SAMIAFlorence, ISth Ceutury. CLIO, FROM THE SO-CALLED TAROCCHINorthern Italy, 15th Century THE EARLY DAYS OF ENGRAVING of the painter. If we compare Italian andGerman graver-work of those days, a plateof Mantegna, for instance, and a plate ofSchongauer, we shall readily perceive that inengraving the German master thinks in Italian painter thinks, not in line, but inmasses of light and shade, in terms of theantique marbles, which he has studied withsuch enthusiasm. His design goes on thecopper as it would be jotted down on paperwith the pen, without consideration of thegraver, except that it seems a useful imple-ment for multiplying his sketches, which arewanted in many studios and workshops. Asimple, even outline, and for shading, parallellines, straight and close together, generallyin a uniform diagonal direction, — that isall. Fine early impressions from plates ofthis character have quite the charm of adrawing; deep shadow-tones are then visible,caused by a system of slight, tone-giving linesover the
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Keywords: ., bookcentury1900, bookdecade1910, bookpublis, booksubjectengravers
