o could
have done it himself; and, on the other hand, there is no design of
Bandini's over which Sandro does not seem to have had influence.

And wishing now to show you three examples of the finest work of the
old, the renaissance, and the modern schools,--of the old, I will take
Baccio Bandini's Astrologia, Plate III., opposite. Of the renaissance,
Duerer's Adam and Eve. And of the modern, this head of the daughter of
Herodias, engraved from Luini by Beaugrand, which is as
affectionately and sincerely wrought, though in the modern manner, as
any plate of the old schools.

[Illustration: III.

"At ev'ning from the top of Fesole."]

129. Now observe the progress of the feeling for light and shade in the
three examples.

The first is nearly all white paper; you think of the outline as the
constructive element throughout.

The second is a vigorous piece of _white_ and _black_--not of _light_
and _shade_,--for all the high lights are equally white, whether of
flesh, or leaves, or goat's hair.

The third is complete in chiaroscuro, as far as engraving can be.

Now the dignity and virtue of the plates is in the exactly inverse ratio
of their fullness in chiaroscuro.

Bandini's is excellent work, and of the very highest school. Duerer's
entirely accomplished work, but of an inferior school. And Beaugrand's,
excellent work, but of a vulgar and non-classical school.

And these relations of the schools are to be determined by the quality
in the _lines_; we shall find that in proportion as the light and shade
is neglected, the lines are studied; that those of Bandini are perfect;
of Duerer perfect, only with a lower perfection; but of Beaugrand,
entirely faultful.

130. I have just explained to you that in modern engraving the lines are
cut in clean furrow, widened, it may be, by successive cuts; but,
whether it be fine or thick, retaining always, when printed, the aspect
of a continuous line drawn with the pen, and entirely black throughout
its whole course.

Now we may increase the delicacy of this line to any extent by simply
printing it in gray color instead of black. I obtained some very
beautiful results of this kind in the later volumes of 'Modern
Painters,' with Mr. Armytage's help, by using subdued purple tints; but,
in any case, the line thus engraved must be monotonous in its character,
and cannot be expressive of the finest qualities of form.

Accordingly, the old Florentine workmen constructed the li