1887.] PROCEEDINGS OF UNITED STATES NATIONAL MUSEUM. 707 



Kliukicht. No. 16, Waldlieim's Xylogr. Anstalt, Vienna. No. 17, K. 

 Oertel. No. IS, A. Closs. 



Frame 4:.—Mo(leru French icood-engraving. — Nos. 19, U. Fournier ; 20, 

 A. Doms ; 21, Panuemaker ; 22, H. Pisan, from designs by Dor6. Nos. 

 23, Ch. Baude ; 24, Froinent ; 25, Docliy ; 26, H. Thiriat, newspaper 

 work. 



2. INTAGLIO ENGRAVING. 



Intaglio engraving (burin work, line engraving) is the most difficult 

 of all processes of engraving, and is usually executed on metal (cop- 

 per, steel), although wood has also been used lately. The lines and 

 dots of the drawing are cut into the metal with steel instruments, called 

 burins or gravers, so that they form furrows and pits in the plate. 

 These are then tilled with printer's ink and the surface is carefully 

 cleaned. When the impression is taken, the paper lifts the ink out of 

 the furrows and pits. 



The origin of intaglio engraving, like that of engraving in relief, can 

 not be fixed. with certainty, but it also reaches back to at least the fif- 

 teenth century. The development of the art from the sixteenth century 

 is fairly well shown in the specimens exhibited. 



Frame 5. — Germany and the Netherlands, fifteenth and sixteenth cen- 

 turies.— ISo. 27, Martin Schongauer (?-1488), "Christ before Pilate." 

 Nos. 28 and 29, Diirer (1471-1528), "St. Jerome in his Cell " and " The 

 Great Horse." No. 30, Lucas van Leyden (1494-1533), "David Playing 

 the Harp before Saul." Nos. 31 and 32, Hans Sebald Beham (1500- 

 1550), "Hercules Killing Kakus " and " A Mascaron " (representative 

 of the Little Masters of Germany). 



Frame G. — Italy, fifteenth and sixteenth centuries. — No. 33, Andrea 

 Mantegna (1431-150G), " Christ Descending into Limbo." No. 34, Marc- 

 autonio (1475f-1534), " Madonna on Clouds." 



Frame 7. — The Netherlands, sixteenth and seventeenth centuries. — No. 

 35, Hendrik Goltzius (1558-1616), " The Son of Frisius." No. oC), Cor- 

 nelius de Visscher (1618!-1658), " GelUus de Bouma." 



Frame 8.— The school of Bubens.—No. 37, Schelte a Bolswert (1586- 

 1659), " Christ Crowned with Thorns," after Van Dyck. No. 3S, Paul 

 Pontius (1603-1658), " Thomiris Commanding the Head of Cyrus to be 

 Immersed in Blood," after Rubens. 



Frame 9. — French portrait engravers, seventeenth and eighteenth cen- 

 turies.— :^o. 39, Robert Nanteuil (1630-1678), " Pompone de Bellievre.'* 



