. Engraving and etching : a handbook for the use of students and print collectors . 39), if he actually didwork in Zwolle, is an isolated instance. Out of the dark-ness that wraps the history of Netherlandish engravingtill after 1500 Lucas Jacobsz van Leyden steps suddenlyinto the light. Born possibly in 1494, working at Leydenand also at Antwerp till his death in 1533, he occupieda position in the Netherlands like that of Diirer inGermany. Many-sided and active, with an easy, certainstyle, he lacked the depth and soul of his Nurembergcontemporary. Yet he played one of the most importantparts
. Engraving and etching : a handbook for the use of students and print collectors . 39), if he actually didwork in Zwolle, is an isolated instance. Out of the dark-ness that wraps the history of Netherlandish engravingtill after 1500 Lucas Jacobsz van Leyden steps suddenlyinto the light. Born possibly in 1494, working at Leydenand also at Antwerp till his death in 1533, he occupieda position in the Netherlands like that of Diirer inGermany. Many-sided and active, with an easy, certainstyle, he lacked the depth and soul of his Nurembergcontemporary. Yet he played one of the most importantparts in the development of Netherlandish art, for hestarted the art of his country, in ideas and in choice ofsubjects, along those lines on which Dutch painting of theseventeenth century found expansion. The Dutch typesof religious and profane genre subjects may be tracedback to Lucas van Leyden as their originator. If tradition is right as to the year of his birth, Lucasvan Leyden was a capable artist at the age of fourteen,for his engraving of Mohamed killing the Monk Sergius, 134. Fig. 62. Lucas van Leyden : the great Ecce Homo (detail).135 136 ENGRAVING IN THE LOW COUNTRIES showing fully developed technique, is dated i 508. Anotherapparently very early plate, The Raising of Lazarus,appears to have been conceived quite in the spirit ofOuvvater, the father of Dutch painting. Leydens work,amounting to about a hundred and eighty prints, showssignificant changes of style. Particularly at the beginningof his career, he had a poor knowledge of the anatomy andmotion of the human figure, but this was counterbalancedby the liveliness and actuality of his conceptions. Heaccentuates only what is characteristic in his subject ; forwhat is merely pleasing he cares nothing. In his early days Lucas van Leyden worked on thecopper plate with the greatest ease and simplicity. Hisgraver lines are sharp and delicate, with stronger emphasishere and there, while the whole effect of his prints is clear
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