death of the latter. Over it is the inscription, _Titiani Vicellii
Pictoris celeberrimi ac famosissimi vera effigies_, to which is added
beneath, _Cujus nomen orbis continere non valet_! Although founded on
originals by Titian himself, it was probably designed by the
remarkable engraver. It is very like, and yet unlike the familiar
portrait of which we have a recent engraving by Mandel, from a
repetition in the gallery of Berlin. Looking at it, we are reminded of
the terms by which Vasari described the great painter, _guidicioso,
bello e stupendo_. Such a head, with such visible power, justifies
these words, or at least makes us believe them entirely applicable. It
is bold, broad, strong, and instinct with life.

This print, like the Erasmus of Duerer, is among those selected for
exhibition at the British Museum, and it deserves the honor. Though
only paper with black lines, it is, by the genius of the artist, as
good as a picture. In all engraving nothing is better.

[Sidenote: Goltzius.]

Contemporary with Caracci was Hendrik Goltzius, at Harlem,
excellent as painter, but, like the Italian, pre-eminent as engraver.
His prints show mastery of the art, making something like an epoch in
its history. His unwearied skill in the use of the burin appears in a
tradition gathered by Longhi from Wille, that, having commenced a
line, he carried it to the end without once stopping, while the long
and bright threads of copper turned up were brushed aside by his
flowing beard, which at the end of a day's labor so shone in the light
of a candle that his companions nicknamed him "the man with the golden
beard." There are prints by him which shine more than his beard. Among
his masterpieces is the portrait of his instructor, THEODORE
COERNHERT, engraver, poet, musician, and vindicator of his country,
and author of the national air, "William of Orange," whose passion for
liberty did not prevent him from giving to the world translations of
Cicero's Offices and Seneca's Treatise on Beneficence. But that of the
ENGRAVER HIMSELF, as large as life, is one of the most important in
the art. Among the numerous prints by Goltzius, these two will always
be conspicuous.

[Illustration: JAN LUTMA.

(Etched by Rembrandt from his own Design.)]

[Sidenote: Pontius.]

[Sidenote: Rembrandt.]

[Sidenote: Visscher.]

In Holland Goltzius had eminent successors. Among these were Paul
Pontius, designer and engraver, whose portrait of RUBENS is o