308 EEP0KT3 FEOM THE SECTIONS. 



Mr. Moutefiore tlien proceeded to describe tlie various pro- 

 cesses used bj the etcher — viz., pure etching, dry point, aqua-tint, 

 and soft ground etching. That these processes might be more 

 clearly understood by the members present, he exhibited the 

 various tools used in the different processes, and explained their 

 uses, showing the plates in different states of progress. He also 

 gave a lengthened and interesting account of the method of pre- 

 paring the copper plates used in etching. As showing the 

 necessity of reversing the drawing where accuracy was required, 

 he instanced a curious error in an etching of the Life School of the 

 Eoyal Academy, by Cope, the Eoyal Academician, in which the 

 whole of the students are seen drawing with their left hands^ 

 whilst the model is drawing a sword from his right side. 



Mr. Montefiore proceeded to observe that etching was believed 

 to have been invented about forty years later than engraving, and 

 was commonly practised in Grermany in 1512 ; but that the great 

 master of etching, whose name would always be associated with 

 the art, was Eembrandt, who flourished in the early part of the 

 17th century. He then expatiated at some length on Eem- 

 brandt's marvellous skill as an etcher, the great apparent negli- 

 gence of his etchings, their remarkable boldness and freedom, and 

 wonderful distribution of light and shade. He stated that essays 

 had been written on them in Erance, Holland, Grermany, and 

 England, and that Adam Bartsch, himself an engraver, keeper of 

 the print room in the Yienna Museum, writing of him in 1797, 

 said — " However great may be the reputation Eembrandt has 

 acquired by his paintings, he is no less celebrated by his etchings, 

 which have at all times excited the admiration of connoisseurs ; a 

 vagabond liberty, a picturesque disorder, an easy touch, the rarest 

 perception of chiaroscuro, and the talent of expressing the char- 

 acter of the different ages and subjects he was treating, by 

 touches thrown in as it were by chance. Such are some of the 

 elements, and there are many others, which constitute the merit 

 of Eembrandt as an engraver, which give such an inexpressible 

 charm to his prints." Eembrandt, it was said, would never etch 

 in any person's presence, so that many of his processes are 

 unknown. As showing Eembrandt's wonderful rapidity, Mr. 

 Montefiore related the following anecdote : — That being at table 

 with his great friend and patron Burgomaster Six, the mustard- 

 pot was asked for, and not being on the table, the servant wa» 

 sent to fetch it. Eembrandt, knovring the tardiness of the 

 domestic, laid a wager with his friend that he would commence 

 and finish an etching before he returned, a feat he actually 

 accomplished, the plate being known as " Six's Bridge, or the 

 Mustard Pot." Eemarking on the large sums given for Eem- 

 brandt's etchings, Mr. Montefiore started that an impression of 

 his portrait of the Burgomaster alluded to, which was generally 



