Engraving: Its Origin, Processes, and HistoryDelaborde, Henri, comte
History
Engraving: Its Origin, Processes, and History
Delaborde, Henri, comte
Engravers -- Great Britain; Engraving -- Great Britain; Engraving -- History
From the engraving it is hard to suspect the mediocrity of Callet's
picture. This, now at Versailles, is insipidly coloured and loosely
and clumsily drawn; the print, on the contrary, is to be admired for
its solid appearance, and its easy yet unostentatious handling. Lace,
satin, velvet, all accessories, indeed, are treated with a largeness
of touch by no means at variance with delicacy, and the general tone
is harmoniously luminous. Here and there, however, is already visible
a certain artifice of manner which threatens to degenerate into an
unwise cultivation of fine line, and end in an abuse of skill. This,
indeed, is what happened. Bervic, henceforth, thought of little else
but dexterity, and ended in his "Laocoon," perhaps the best known of
all his works, by a display of common technical fireworks, to a certain
extent surprising, but by no means to be unreservedly admired. The care
with which he set himself to imitate the grain of marble by minute
workmanship is only trifling with his subject; and though a group
of statues cannot be treated in the same way as figures painted on
canvas, it was more important, and more desirable in every respect, to
reproduce the character and style of the original than to imitate the
substance in which it was wrought.
Moreover, in the attempt so to interpret his model, Bervic has defeated
his own purpose. By a multitude of details, and an abuse of half-lights
intended to bring out the slightest accidents of form and modelling, he
has only succeeded in depriving the general aspect of brilliancy and
unity.
Far removed, indeed, was such a method from that of the Old Masters,
and Bervic lived long enough to change his mind. "I have missed
the truth," he declared in his old age, "and if I could begin life
again, I should do nothing I have done." There he wronged himself.
As happens often in tardy repentances, he remembered past errors only
to exaggerate them; but we must be juster to the engraver of the
"Louis XVI." and "L'Éducation d'Achille" than he was to himself, and
not forget that much of his work should be excluded from the sweeping
condemnation which he launched upon the whole.
Public-domain text, read in full here on John Shaqi.
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