=A Progressive Review.=--For a long period engraving was of the simplest possible character. About the beginning of the sixteenth century an effort was made to introduce perspective into the productions of both brush and graver, and until this important development obtained complete recognition, even the most skilful artists were guilty of faulty draughtsmanship. Aerial perspective, or the suggestion of distance, quickly followed this adoption of linear perspective. It is claimed for Lucas van Leyden, a Dutch engraver, that he was the first to thoroughly appreciate and give true value to foreground and distance; in other words, to fully recognise the artistic value of perspective. It has been frequently suggested that the fame of Durer, van Leyden, and others of the same school, was so widespread as to create an artistic bias, which other engravers, who were their equals in technical skill, if not in fertility of design, found it difficult to overcome. One of these engravers, Henry Goltzius, was determined to obtain recognition of his merits, and engraved five plates in as many different styles, copying the mannerisms and artifices of Durer and others. They were at once accepted as productions of the great artists, and not until Goltzius had heard the unqualified praise of art critics and patrons did he reveal his purpose. His countrymen generously forgave him this deception, and he certainly gained much credit thereby. These pictures are now known as Goltzius' masterpieces. During the seventeenth century Rembrandt's influence developed much of that technique which modern engravers have copied, and in some instances claimed to improve. He is also credited with the introduction of more expressive gradations of tone, for the production and emphatic suggestion of light and shade. The character of this, too, has been retained in present day engravings. Rembrandt was more directly associated with etching than with line engraving, but his influence was far from exclusive. Encouraged by the influence of his example, the line engraver endeavoured to add to the expressive power of his pictures by the introduction of more daring perspectives, more suggestive form, and infinitely greater diversity of texture. CHAPTER IV _ENGRAVING IN ENGLAND_--INTRODUCTION OF METAL ENGRAVING--NOTABLE BRITISH ENGRAVERS--SUMMARY "When applied to objects of their proper destination, the arts are capable of extending our intellect, of supplying new ideas, and of presenting to us a view of times and places, whatever their interval or difference."--Dallaway. Engraving as a decorative art was well advanced in this country during the reign of Alfred the Great, when the Anglo-Saxon metal-workers were known to be skilful engravers. The art was still further developed under the Norman rule, and during the fourteenth and fifteenth centuries.