708 CATALOGUE OF GRAPHIC ART EXHIBIT. 



No. 40, Pierre Imbert Drevet (1697-1739), " Cardinal Dubois." See also 

 Screen 1, iu corridor: No. 47, Antoine Masson (1636-1700), "Le Comte 

 d'Harcourt (Le Cadet a la Perle)." 



Frame 10. — German-French engravers^ eighteenth century. — No. 41, G. 

 F. Schmidt (1712-1815), " Pierre Mignard," after H. Rigaud. No. 42, 

 J. G. Wille (1715-1818), " Parental Advice (The Satiu Gown)," after G. 

 Terbourg. (Proof before lettering.) 



Frame 11. — Italy. — English landscape engraving, eighteenth century. — 

 No. 43, G. M. Pitteri (1703-1786), his own portrait, after Piazetta. This 

 print is not to be taken as representative of Italian engraving at the 

 time, but as a specimen of the peculiar style developed by Pitteri. 

 No. 44, William Woollett (1735-1785), " Dido and ^neas," after Jonas 

 and Mortimer. The figures are engraved by Bartolozzi. 



Frame 12. — England^ eighteenth to nineteenth century. — No. 45, Eobert 

 Strange (1721 ?-1792), " Charles I," after Van Dyck. No. 46, William 

 Sharp (1746-1824), " Dr. John Hunter," after Reynolds. (Proof before 

 lettering.) 



Screen 2.— Nineteenth century.— Eo. 49, Friedrich Miiller (1782-1816) 

 " The Sistine Madonna," after Raphael. (Impression before the later 

 retouches.) 



Screen 1. — Nineteenth century, United States. — No. 48, Asher Brown 

 Duraud (1796-1886), "Ariadne," after John Vanderlyn, 1835. The 

 finest engraving of its size executed in America. 



3. ETCHING. 



A marked tendency is noticeable in the technical development of en- 

 graving to seek methods of work which will do away as much as pos- 

 sible with the drudgery of manual labor. Etching is the earliest in- 

 stance of the kind, and its ease of manipulation is one of the reasons 

 why it became the favorite process with artists who desired to multiply 

 their own designs. Like line engraving, it is an intaglio process, but 

 the cutting of the lines into the metal (copper, zinc, steel) is done by 

 chemical means. The plate is coated with a thin layer of a ground 

 composed mainly of wax and rosin. Upon this ground the design is 

 executed with steel needles or points, so that each stroke lays bare 

 the copper. The plate is then exposed to the action of an acid, which 

 does not act upon the ground, but bites into the metal where the point 

 has exposed it. The width and depth of the lines can be varied by the 



