40 



Processes and Schools of Engraving. 



In the XlXth century the traditions of the best contemporary 

 engravers of Reynolds were carried on by : 



William Ward. London. 1766-1826. 



James Ward. London. 1769-1859. 



George Dawe. London, St. Petersburg. 1781-1829. 



Charles Turner. London. 1774-1857. 



S. W. Beynolds, the elder. London, Paris. 1773-1835. 



Others, such as William Say, George Clint, Thomas Lupton, 

 Henry Meyer and Thomas Hodgetts, did good work, but seldom up 

 to the level of the x^i'eceding group. Say is interesting, but hardly 

 praiseworthy, for his introduction of the use of the steel plate. 



Later mezzotinters, of whom Samuel Cousins (1801-87) and William 

 Walker (1791-1867) may be mentioned, often combined line or stipple 

 with mezzotint, and their plates almost invariably lack the richer quality 

 of the earlier mezzotinters. The influence of Lawrence, and the attempt 

 to reproduce his rather metallic brilliance of tone, probably helped to 

 weaken the mezzotinters' style. 



The most characteristic work of the XlXth century are landscape 

 mezzotints by and after Turner (chiefly for his Liber Studiorum, to 

 which we have referred in the section on Etching), and a wonderful 

 series of plates after Constable by David Lucas (1802-81). Some of 

 the best modern work, e.g. by Seymour Haden, has been in the field of 

 original landscape, and now that photogravure has done its best to oust 

 mezzotint from the reproduction of pictures, though it can never achieve 

 a fraction of the rich quality of mezzotint, it is in original design, 

 whether in landscape or portrait, that one hopes to see the further 

 development of the art. 



