interpreting landscape more faithfully than by any other method. Etching can produce no flying troops of clouds as did the gravers of Cooke or Miller, and mezzotint can never represent the sparkling lights, and the luminous atmosphere which the line engravers of this exquisite period have left to posterity. As we have before remarked, steel engraving may bring down upon it the opprobrium of the fastidious specialist, to whom its machine-ruling, its seizure of etching, and its elaboration of dry point, may seem to be "a manufacture rather than an art." But where is there such another manufacture in print and paper as is found in the work of this school of line engravers in the glorious plates they executed under the inspiration of Turner?
Many of Turner's canvases were engraved by a later generation of men than those who worked on the illustrated books and series, and are to be found in the "Turner Gallery" and in other similar publications by men fired into enthusiasm by Turner's genius. The illustration of Crossing the Brook, by W. Richardson, is from the picture now in the National Gallery. The size of the engraving is 8-5/8 in. by 10-3/8 in. (Facing p. 230.)
Of the glorious sunlit dreams of colour on the canals of Venice as rich with gorgeousness as the glowing canvases of Titian, Turner has left a wealth of record of his pilgrimage across the Alps. His Venice from the Canal of the Giudecca, which we illustrate, is from a picture in the National Gallery engraved by Brandard. It is a city of silver and rose-coloured palaces set in an emerald sea, radiant
