ge plate of the Grand Canal, Venice, after Turner; and
Goodall's, of Tivoli, after Turner. The other examples referred to are
left in the University Galleries.

[Y] This paragraph was not read at the lecture, time not allowing:--it
is part of what I wrote on engraving some years ago, in the papers for
the Art Journal, called the Cestus of Aglaia. (Refer now to "On the Old
Road.")

[Z] An effort has lately been made in France, by Meissonier, Gerome, and
their school, to recover it, with marvelous collateral skill of
engravers. The etching of Gerome's Louis XIV. and Moliere is one of the
completest pieces of skillful mechanism ever put on metal.

[AA] I must again qualify the too sweeping statement of the text. I
think, as time passes, some of these nineteenth century line engravings
will become monumental. The first vignette of the garden, with the cut
hedges and fountain, for instance, in Rogers' poems, is so consummate in
its use of every possible artifice of delicate line, (note the look of
_tremulous_ atmosphere got by the undulatory etched lines on the
pavement, and the broken masses, worked with dots, of the fountain
foam,) that I think it cannot but, with some of its companions, survive
the refuse of its school, and become classic. I find in like manner,
even with all their faults and weaknesses, the vignettes to Heyne's
Virgil to be real art-possessions.

[AB] Plate XI., in the Appendix, taken from the engraving of the Virgin
sitting in the fenced garden, with two angels crowning her.

[AC] The method was first developed in engraving designs on
silver--numbers of lines being executed with dots by the punch, for
variety's sake. For niello, and printing, a transverse cut was
substituted for the blow. The entire style is connected with the later
Roman and Byzantine method of drawing lines with the drill hole, in
marble. See above, Lecture II., Section 70.

[AD] This most important and distinctive character was pointed out to me
by Mr. Burgess.

[AE] This point will be further examined and explained in the Appendix.

[AF] See Appendix, Article I.

LECTURE V.

DESIGN IN THE GERMAN SCHOOLS OF ENGRAVING.

141. By reference to the close of the preface to 'Eagle's Nest,' you
will see, gentlemen, that I meant these lectures, from the first, rather
to lead you to the study of the characters of two great men, than to
interest you in the processes of a secondary form of a