ROBERT NANTEUIL. By Louis R. Metcalfe. 12 illustrations. The Print-Collector’s Quarterly, Vol. 1, No. 5, pp. 525-561. Boston. 1911. NANTEUIL; SA VIE ET SON OEUVRE. _By Abbé Porrée._ Rouen: Cagniard. 1890. THE DRAWINGS AND PASTELS OF NANTEUIL. _By T. H. Thomas._ 15 illustrations. The Print-Collector’s Quarterly, Vol. 4, No. 4, pp. 327-361. Boston. 1914. LEGROS, ALPHONSE (1837-1911) ALPHONSE LEGROS. _By Elisabeth Luther Cary._ 10 illustrations. The Print-Collector’s Quarterly, Vol. 2, No. 4, pp. 439-457. Boston. 1912. CATALOGUE RAISONNÉ DE L’ŒUVRE GRAVÉ ET LITHOGRAPHIÉ DE M. ALPHONSE LEGROS, 1855-77. _By Paul Auguste Poulet-Malassis and A. W. Thibaudeau._ 3 plates. Paris: J. Baur. 1877. WHISTLER, JAMES ABBOTT McNEILL (1834-1903) (see Bibliography under “Landscape Etching,” p. 277). ZORN, ANDERS (1860- ) DAS RADIERTE WERK DES ANDERS ZORN. _By Fortunat von Schubert-Soldern._ Illustrated. Dresden: Ernst Arnold. 1905. ANDERS ZORN. _By Loys Delteil._ 328 reproductions. Paris: L’auteur. 1909. (Le Peintre-graveur illustré, XIXᵉ et XXᵉ siècles. Vol. 4.) ANDERS ZORN. _By Mrs. Schuyler Van Rensselaer._ 5 illustrations. The Century, Vol. 24, p. 582 (New Series). New York. 1893. ANDERS ZORN: PAINTER-ETCHER. _By J. Nilsen Laurvik._ 18 illustrations. The Print-Collector’s Quarterly, Vol. 1, No. 5, pp. 611-637. Boston. 1911. LANDSCAPE ETCHING In landscape, as in portraiture, we are greeted on the threshold by ALBRECHT DÜRER. From his many drawings, water-colors, and the beautifully engraved backgrounds in a number of his plates, we know him to have been a profound student of natural forms and of atmospheric effects, sensitive to the character of the country he portrays; and it is a matter of regret that _The Cannon_ is the only plate in which the landscape element outweighs in interest the figures. _The Cannon_, which is dated 1518, is etched upon an iron plate, not necessarily because Dürer was unacquainted with a suitable mordant for copper, but rather, one is inclined to believe, because, etching having been used in the decoration of arms and armor, iron would naturally suggest itself as the most appropriate metal for the purpose. Although the cannon (“The Nuremberg Field Serpent”), to the left, and the five Turks, to the right, are the main motives of the composition, they are drawn and bitten with lines of exactly the same weight and character as the landscape itself, and we can, if we will, consider them as accessory figures, concentrating our attention upon the altogether delightful village, its church spire pointing heavenwards, while in the distance wooded hills rise towards the sombre sky, and to the left a seaport is indicated. Dürer either ignored or was unaware of the effects to be obtained by repeated rebitings, and consequently the plate is of a uniform tone. Within his self-imposed limits he has thoroughly understood the possibilities of the medium and has availed