tle
helps and hints in the various work of it. Only remember that _all_
engravers' foregrounds are bad; whenever you see the peculiar wriggling
parallel lines of modern engravings become distinct, you must not copy;
nor admire: it is only the softer masses, and distances, and portions of
the foliage in the plates marked _f_, which you may copy. The best for
this purpose, if you can get it, is the "Chain bridge over the Tees,"
of the England series; the thicket on the right is very beautiful and
instructive, and very like Turner. The foliage in the "Ludlow" and
"Powis" is also remarkably good.

90. Besides these line engravings, and to protect you from what harm
there is in their influence, you are to provide yourself, if possible,
with a Rembrandt etching, or a photograph of one (of figures, not
landscape). It does not matter of what subject, or whether a sketchy or
finished one, but the sketchy ones are generally cheapest, and will
teach you most. Copy it as well as you can, noticing especially that
Rembrandt's most rapid lines have steady purpose; and that they are laid
with almost inconceivable precision when the object becomes at all
interesting. The "Prodigal Son," "Death of the Virgin," "Abraham and
Isaac," and such others, containing incident and character rather than
chiaroscuro, will be the most instructive. You can buy one; copy it
well; then exchange it, at little loss, for another; and so, gradually,
obtain a good knowledge of his system. Whenever you have an opportunity
of examining his work at museums, etc., do so with the greatest care,
not looking at _many_ things, but a long time at each. You must also
provide yourself, if possible, with an engraving of Albert Duerer's. This
you will not be able to copy; but you must keep it beside you, and refer
to it as a standard of precision in line. If you can get one with a
_wing_ in it, it will be best. The crest with the cock, that with the
skull and satyr, and the "Melancholy," are the best you could have, but
any will do. Perfection in chiaroscuro drawing lies between these two
masters, Rembrandt and Duerer. Rembrandt is often too loose and vague;
and Duerer has little or no effect of mist or uncertainty. If you can see
anywhere a drawing by Leonardo, you will find it balanced between the
two characters; but there are no engravings which present this
perfection, and your style will be best formed, therefore, by alternate
study of Rembrandt and Duerer. Lean rat