When John Pye engraved his first Turner picture, "Pope's Villa," in 1811, that famous artist expressed his unqualified approval when he said, "If I had known there was anyone in this country who could have done that, I would have had it done before," and on more than one occasion he mentioned Pye's engravings as "the most satisfactory translations of my colour into black and white." An adequate interpretation of Turner's pictures requires a masterly appreciation of the gradations and balance of tone which suggest both colour and space; and to merit such expressions of satisfaction from the great artist himself was proof of John Pye's artistic power and skill. He began his career as an engraver about the year 1800 after a short apprenticeship with James Heath, a clever and practical man, who was quick to perceive the ability of his apprentice. John Pye was a recognised authority on the pictorial effect of colour, and it was said that during his long and eminently useful life "no engraver did more than he to spread a knowledge of the sound principles of landscape art." He was frequently consulted by his fellow artists, and without even a suggestion of professional jealousy, he was ever ready with his advice and, if need be, practical help. The following copy of a letter--now in the Swansea Art Gallery--gives some idea of the esteem in which his opinion was held by contemporary artists:-- _Monday._ _To J. Pye, Esq._ Thursday night, at half-past five, if you please. I hope that day will be convenient to you. I should like, if possible, to see you here by daylight, as your opinion is always valuable to me, and I have some few things to show you.--Your faithful servant, Ed. Landseer. Pye was long known in art circles as the "Father of landscape engraving," and he certainly succeeded, as no other engraver has done, in his translation of colour values and suggestion of aerial perspectives. Turner's paintings were his favourite subjects, and his interpretations of them are brilliant in expression, and charged with the very essence of artistic feeling. His life and work indicated a progress as distinct as it was far reaching. "And still the work went on, And on, and on, and is not yet completed. The generation that succeeds our own Perhaps may finish it." It has been through the efforts of these men and others who, though less influential, were not less skilful perhaps, or less earnest, that English engraving, in its daring innovations and substantial improvements, has far outstripped that of other countries. By them its reputation has been built up and enhanced, so that "its influence is conspicuously visible in the principles and history of Art." CHAPTER V