60 
House & Garden 
BASE Upholstery 
The Ideal 
"M/iAe tfhi/tkkinmostrespt 
> ^/n s canere^xxts 'tts Aetten^ 
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i for Furniture & Motor-Cars 
Shabby seat cushions and trimmings detract 
from the beauty of your car. Improve 
this fault by upholstery of beautiful Chase 
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Don't accept substitutes. -^Just as good as 
Chas^ won't do." 
Scores of wonderful patterns from plain 
neutral shades to quaint Spanish effects. 
Samples and Details on Request 
L, C. CHASE & CO., BOSTON 
YORK DETROIT SAN FRANCISCO CHICAGO 
Leaders m SManufactunn^, Since t8^y 
Masterpieces in Mezzotint 
{Continued from page 58) 
1753 Copley himself engraved a mezzo¬ 
tint after one of his own paintings, a 
portrait of the Reverend William Wel- 
steed of Boston. John Smibert, a 
Scotch painter, who traveled in Italy 
and lived some time in England, came 
to America in 1728 in the company of 
his friend, Bishop Berkeley of Cloyne. 
Tne Bishop returned to England in 1731 
and Smibert remained behind, settling 
in Boston as a portrait painter. Prob¬ 
ably he and Pelham were friends, as 
Pelham engraved a number of mezzo¬ 
tints after his portraits. Mention is 
here made of Smibert, as occasionally 
the statement has been made that he 
was the first European artist of ability 
emigrating to America, whereas that 
honor should be accorded to Pelham, 
who preceded his advent here by at 
least two years. It is not believed that 
Smibert engraved. 
William Burgis, who was publishing 
maps and charts in Boston in 1729, tried 
his hand at mezzotint, as a mediocre 
Boston Harbor view signed by him at¬ 
tests. Richard Jennys at the beginning 
of the Revolution, Samuel Okey of 
Newport, R. I., Benjamin Blyth (born 
in 1740), Charles Willson Peale, who 
designed and engraved in mezzotint ex¬ 
cellent portraits of Washington, Frank¬ 
lin and Lafayette, John Greenwood, 
born in Boston in 1727 but who learned 
mezzotinting in Holland and died in 
England in 1792, Edward Savage, work¬ 
ing in 1800, William Hamlin of Provi¬ 
dence (1772-1869) are some of the pio¬ 
neers of the art of mezzotint in America. 
The English Engravers 
Returning to the English mezzotint 
engravers, there was Valentine Green 
(1739-1813), who engraved the first 
genuine portrait of Washington pub¬ 
lished in Europe (an engraving after the 
Washington portrait of John Trumbull, 
now owned by Mr. Charles Allen Munn 
of New York, a connoisseur in whose 
collections are also to be found some of 
the finest impressions of early American 
mezzotints), Richard Earlom (1743- 
1822), whose flower pieces are unsur¬ 
passed, John Raphael Smith (1730- 
1812), a print of whose mezzotint, “Mrs. 
Carnac,” in First State brought £950 in 
one sale and which fetched 1,160 guineas 
at the Edgcumjae Sale in 1901, James 
Watson, the Irishman, Caroline Watson, 
his daughter (1760-1814), William Ward, 
John Dean, John Greenwood, Edward 
Fisher, John Jones, David Martin, Wil¬ 
liam Pether, William Dickinson, James 
Walker, John Young, Turner, David 
Lucas,—how one might go on with the 
catalogue of famous British mezzotint- 
ers! In the works of Samuel Cousins 
(1801-1887) etching came to be almost 
an equal contributor to the plate, but 
the glory of the work of the earliest 
masters had departed. 
Later years have witnessed a revival 
in mezzotint. Sir Frank Short, John D. 
Miller, Gerald P. Robinson, William 
Strang, Miss E. Gulland, Mrs. M. Cor- 
mack, R. S. Clouston, Norman Hirst, 
Max Rosenthal, S. Arlent Edwards, 
James D. Smillie are but a few names 
among the many that have preserved 
and are perpetuating the process of the 
mezzotint. 
Color in Mezzotints 
Of color in mezzotinting, Arthur Hay¬ 
den says: “A mezzotint in color is a 
contradiction in terms. The mezzotint 
engravers themselves rejected the color 
printer for their finest plates. Valentine 
Green absolutely refused to have any of 
his work printed in such a manner. A 
colored mezzotint is always a dangerous 
possession. Even in eighteenth-century 
days it was the worn plate that proceed¬ 
ed to its next page as a color print. But 
nowadays hundreds of thin impressions 
worthless to the collector of mezzotints 
have been colored by hand, and this 
simple operation has increased their 
value twenty-fold. With other engrav¬ 
ing the fraud of coloring by hand is 
fairly easy to discover, but in mezzotint 
the cheat has the decided advantage 
over the connoisseur.” Sir John Rey¬ 
nolds colored some mezzotints, using ( 
transparent color. The mezzotints in I 
color after paintings by George Morland 
were always popular and eagerly sought ( 
for, and I have seen beautiful prints in i 
color by MacArdell, Earlom, Ward j 
Dawe and others. 
The story of the mezzotint is almost ; 
as endless as the fascination of these 
prints, but there has been room here for 
the briefest outline only of a subject 
which the reader is left to himself to ex¬ 
plore further. May he find a bit of the 
enjoyment experienced by the writer in 
his own explorations, for then he will 
not have thought this half-hour a 
wasted one. 
The Music Room ^and the Musical House 
{Continued from page 35) 
study while they give you pleasure. 
Is that suggestion too far afield? 
Then what’s the matter with the player- 
piano and the phonograph J The mod¬ 
ern instruments are for all people. You 
never studied, but you can play with the 
masters. You press a button and Caruso 
sings. Heifetz plays. Player-pianos as 
played to-day look like the regular 
pianos, in grand or upright form, and 
can be played as such. Nobody but 
yourself and your family need know 
that the instrument is easily transformed 
into a piano the non-musician can op¬ 
erate. 
Quite apart from all other considera¬ 
tions, a phonograph should be consid¬ 
ered as necessary to every music room. 
I can take you to the homes of cele¬ 
brated musicians, Galli-Curci, Caruso, 
Paderewski, Cadman, Leoncavallo, and 
you will see that the phonograph is used 
a great deal. You need not be ashamed 
of yours, rather proud of it. Even 
though Caruso, Heifetz and Galli-Curci 
themselves appear personally in your 
music room—their records on the pho¬ 
nograph would be in the. nature of a 
fine compliment to them. 
Phonographs are made to fit into any 
period decoration. Period designs are 
quite the rage now among the better 
makers of phonographs and the taste 
and spirit are authentic and beautiful. 
Piano cases are also made in various 
finishes and designs. I once came upon i 
a case which cost $10,000—it was done ;i 
in gold and was finely carved. 
Personally, I prefer the simple ebony ' i 
case for the piano. It appeals to my ■'i 
sense as being more truly the piano in 
that form. So, too, I personally have no i 
liking for the marble and plaster repre¬ 
sentations of Wagner, Liszt and Beetho¬ 
ven, or the group pictures of composers 
or of St. Cecilia playing at the organ in 
ecstasy. They are all right, I presume, i 
and for some tastes are quite the thing. : 
But to me they are in the nature of 
begging the question. There is no rea- > 
son why the music room cannot be hung i 
with paintings of the most foreign 
character. You don’t need to label the 
music room. What is in the room of a 
musical nature will do. Your pictures 
will harmonize if they are up to the 
standard of the music to which you j ' 
{Continued on page 62) ' 
