characteristic of the masters than the works which succeeded them. But
we speak here only of imitation. It is in the original handling of
artists themselves, not in translated works, and according to the
translating phraseology, "done by different hands," that we are to look
for the real beauty and power of the art. It is this handwriting of the
artist's original mind that constitutes the real beauty; we would not
have a touch of the graver to any work professing to be an etching--the
graver cannot be used with impunity. If it will admit of any
adventitious aid, it may perhaps be, in a very subordinate degree,
mezzotint and aquatint. But etching rather improves Prince Rupert's
invention than is advantaged by it. The sootiness of mezzotint is
dangerous--in bad hands it is the "black art" of Prince Rupert, though
the term was applied to a metal of the prince's invention, not to his
discovery of mezzotint.

Modern times have brought the art of engraving to a wonderful
perfection. Its mechanical work is most exquisite, and reaches the whole
effect of picture surprisingly. If the publishing public knew as well
what to engrave as our engravers know how to engrave, we should not see
our printsellers' windows teem with worthless works beautifully
executed. We often wonder, as we stop occasionally to look at the
display, where the purchasers are found for things that pain the eye and
weary the mind to see--history, or landscape, or familiar life, it
matters not, nearly all without feeling, elaborate nothings--obtrusions,
unless we are disposed to examine only the work of the engraver; and
even then we must lament to see it thrown away, or rather employed in
disseminating bad taste. How rarely is it we see even a subject of any
value or interest attempted! It is, as in our play-writing, not the
subject, but the peculiarity of some actor, that is to be written up to;
so the peculiarities of some few flashy favourite artists employ our