On motion of Mr. Sumner, the resolution was ordered to lie on the table, and be printed. THE BEST PORTRAITS IN ENGRAVING. ARTICLE IN “THE CITY,” AN ILLUSTRATED MAGAZINE, NEW YORK, JANUARY 1, 1872. Engraving is one of the Fine Arts, and in this beautiful family has been the especial hand-maiden of Painting. Another sister is now coming forward to join this service, lending to it the charm of color. If, in our day, the “Chromo” can do more than Engraving, it cannot impair the value of the early masters. With them there is no rivalry or competition. Historically, as well as æsthetically, they will be masters always. Everybody knows something of engraving, as of printing, with which it was associated in origin. School-books, illustrated papers, and shop-windows are the ordinary opportunities open to all. But, while creating a transient interest, or perhaps quickening the taste, they furnish little with regard to the art itself, especially in other days. And yet, looking at an engraving, like looking at a book, may be the beginning of a new pleasure and a new study. Each person has his own story. Mine is simple. Suffering from continued prostration, disabling me from the ordinary activities of life, I turned to engravings for employment and pastime. With the invaluable assistance of that devoted connoisseur, the late Dr. Thies, I went through the Gray Collection at Cambridge, enjoying it like a picture-gallery. Other collections in our country were examined also. Then, in Paris, while undergoing severe medical treatment, my daily medicine for weeks was the vast cabinet of engravings, then called Imperial, now National, counted by the million, where was everything to please or instruct. Thinking of those kindly portfolios, I make this record of gratitude, as to benefactors. Perhaps some other invalid, seeking occupation without burden, may find in them the solace that I did. Happily, it is not necessary to visit Paris for the purpose. Other collections, on a smaller scale, will furnish the same remedy. In any considerable collection Portraits occupy an important place. Their multitude may be inferred, when I mention that in one series of portfolios in the Paris Cabinet I counted no less than forty-seven portraits of Franklin and forty-three of Lafayette, with an equal number of Washington, while all the early Presidents were numerously represented. But in this large company there are very few possessing artistic value. The great portraits of modern times constitute a very short list, like the great poems or histories; and it is the same with engravings as with pictures. Sir Joshua Reynolds, explaining the difference between an historical painter and a portrait-painter, remarks that the former “paints man in general; a portrait-painter a particular man, and consequently a defective model.”[143] A portrait, therefore, may be an accurate presentment of its subject without æsthetic value.