See also:

• SAMUEL

SAMUEL See also:

• SAMUEL COUSINS (18o1-1887)

COUSINS (18o1-1887)  , See also:

• ENGLISH

English See also:

• MEZZOTINT

mezzotint engraver, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• EXETER
• EXETER, EARL, MARQUESS AND DUKE OF

Exeter on the 9th of May 18oi . He was pre-eminently the interpreter of See also:

• SIR

Sir See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas See also:

• LAWRENCE
• LAWRENCE (LAURENTIUS, LORENZO), ST
• LAWRENCE, AMOS (1786—1852)
• LAWRENCE, AMOS ADAMS (1814–1886)
• LAWRENCE, GEORGE ALFRED (1827–1876)
• LAWRENCE, JOHN LAIRD MAIR LAWRENCE, 1ST BARON (1811-1879)
• LAWRENCE, SIR HENRY MONTGOMERY (1806–1857)
• LAWRENCE, SIR THOMAS (1769–1830)
• LAWRENCE, STRINGER (1697–1775)

Lawrence, his See also:

• CON

con-temporary . During his See also:

• APPRENTICESHIP (from Fr. apprendre, to learn)

apprenticeship to S . W . See also:

• REYNOLDS, JOHN FULTON (182o-1863)
• REYNOLDS, SIR JOSHUA (1723-1792)
• REYNOLDS, WALTER (d. 1327)

Reynolds he engraved many of the best amongst the three See also:

• HUNDRED

hundred and sixty little mezzotints illustrating the See also:

• WORKS

works of Sir See also:

• JOSHUA, BOOK OF

Joshua Reynolds which his See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master issued in his own name . In the finest of his numerous transcripts of Lawrence, such as " See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

Lady See also:

• ACLAND, CHRISTIAN HENRIETTA CAROLINE (1750-1815)
• ACLAND, SIR HENRY WENTWORTH, BART

Acland and her Sons," " See also:

• POPE (Gr. irarraas, post-classical Lat. papa, father)
• POPE, ALEXANDER (1688–1744)
• POPE, ALEXANDER (1763-1835)
• POPE, JANE (1742-1818)
• POPE, JOHN (1822-1892)
• POPE, SIR THOMAS (c. 1507-1559)

Pope See also:

• PIUS

Pius VII." and " Master Lambton," the distinguishing characteristics of the engraver's See also:

• WORK

work, brilliancy and force of effect in a high See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

key, corresponded exactly with similar qualities in the painter . After the introduction.of See also:

• STEEL, FLORA ANNIE (1847– )

steel Volition . See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

General estimate . for See also:

• ENGRAVING

engraving purposes about the See also:

• YEAR

year 1823, See also:

• COUSINS, SAMUEL (18o1-1887)

Cousins and his contemporaries were compelled to work on it, because the soft See also:

• COPPER (symbol Cu, atomic weight 63.1, H=1, or 63.6, O = 16)

copper previously used for mezzotint plates did not yield a sufficient number of See also:

• FINE

fine impressions to enable the method to compete commercially against See also:

• LINE

line engraving, from which much larger See also:

• EDITIONS

editions were obtainable . The painter-like quality which distinguished the 18th-See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century mezzotints on copper was wanting in his later works, because the hardness of the steel on which they were engraved impaired freedom of See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution and richness of See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone, and so enhanced the labour of scraping that he accelerated the work by stipple, See also:

• ETCHING (Dutch, etsen, to eat)

etching the details instead of scraping them out of the "ground" in the manner of his predecessors . To this "mixed See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style," previously used by See also:

• RICHARD
• RICHARD (d. 1184)
• RICHARD, FRANCOIS MARIE BENJAMIN (18,9-1908)
• RICHARD, HENRY (1812-1888)
• RICHARD, ST

Richard See also:

• EARLOM, RICHARD (1742-1822)

Earlom on copper, Cousins added heavy See also:

• ROULETTE

roulette and rocking-See also:

• TOOL (0. Eng. tdl, generally referred to a root seen in the Goth. taujan, to make, or in the English word " taw," to work or dress leather)

tool textures, tending to fortify the darks, when he found that the "See also:

• BURR, AARON (1756-1836)

burr" even on steel failed to yield enough fine impressions to meet the demand . The effect of his prints in this method after Reynolds and See also:

• MILLAIS, SIR JOHN EVERETT (1829-1896)

Millais was See also:

• MECHANICAL

mechanical and out of See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony with the picturesque technique of these painters, but the phenomenal popularity which Cousins gained for his works at least kept alive and in favour a See also:

• FORM (Lat. forma)

form of mezzotint engraving during a See also:

• CRITICAL (in alphabetical order of authors)

critical phase of its See also:

• HISTORY

history .

See also:

• ABRAHAM, or ABRAM (Hebrew for " father is high ")

Abraham See also:

• RAIMBACH, ABRAHAM (1776-1843)

Raimbach, the line engraver, dated the decline of his own See also:

• ART

art in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England from the See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance in 1837 of Cousins's See also:

• PRINT

print (in the "mixed style") after See also:

• LANDSEER, SIR EDWIN HENRY (1802-1873)

Landseer's "See also:

• BOLTON (BOLTON-LE-MOORS)
• BOLTON (or BOULTON), EDMUND (1S75?-1633?)
• BOLTON, DUKES OF

Bolton See also:

• ABBEY (Lat. abbatia; from Syr. abba, father)
• ABBEY, EDWIN AUSTIN (1852– )

Abbey." Such plates as "See also:

• MISS

Miss See also:

• PEEL
• PEEL, ARTHUR WELLESLEY PEEL, 1ST VISCOUNT (1829- )
• PEEL, SIR ROBERT, BART

Peel," after Lawrence (published in 1833); "A Midsummer See also:

• NIGHT

Night's See also:

• DREAM (from a root dreug, connected with Germ. trugen, to deceive)

Dream," after Landseer (1857); "The See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

Order of See also:

• RELEASE (O.Fr. reles, variant of relais, from relaisser, to release, let go, Lat. relaxare)

Release" and "The First See also:

• MINUET (adapted, under the influence of the Italian minuetto, from Fr. menuet, small, pretty, delicate, a diminutive of menu, from Lat. minutus; the word refers probably to the short steps, pas menus, taken in the dance)

Minuet," after Millais (1856 and 1868); "The See also:

• STRAWBERRY (Fragaria)

Strawberry Girl" and "Lavinia, Countess See also:

• SPENCER
• SPENCER, HERBERT (1820-1903)
• SPENCER, JOHN CHARLES SPENCER, 3RD EARL (1782-1845)
• SPENCER, JOHNPOYNTZ SPENCER
• SPENCER, WILLIAM ROBERT (1769-1834)

Spencer," after Reynolds; and "Miss See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

Rich," after See also:

• HOGARTH, WILLIAM (1697–1764)

Hogarth (1893-1877), represent various stages of Cousins's mixed method . It reached its final development in the plates after Millais's "See also:

• CHERRY

Cherry Ripe" and "See also:

• POMONA
• POMONA, or MAINLAND

Pomona," published in 1881 and 1882, when the invention of coating copper-plates with a film of steel to make them yield larger editions led to the revival of pure mezzotint on copper, which has since rendered obsolete the steel See also:

• PLATE

plate and the mixed style which it fostered . The fine draughtsmanship of Cousins was as apparent in his prints as in his See also:

• ORIGINAL

original See also:

• LEAD
• LEAD (pronounced iced)

lead-See also:

• PENCIL (Lat. penicillus, brush, literally little tail)

pencil portraits exhibited in See also:

• LONDON

London in 1882 . In 1885 he was elected a full member of the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy, to which institution he later gave in See also:

• TRUST

trust £15,000 to provide annuities for superannuated artists who had not been so successful as himself . One of the most important figures in the history of See also:

• BRITISH

British engraving, he died in London, unmarried, on the 7th of May 1887 . See See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George Pycroft, M.R.C.S.E., Memoir of See also:

• SAMUEL

Samuel Cousins, R.A., Member of the See also:

• LEGION (Lat. legio)

Legion of See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

Honour (published for private circulation by E . E . Leggatt, London, 1899) ; Algernon See also:

• GRAVES, ALFRED PERCEVAL (1846— )

Graves, See also:

• CATALOGUE (a Fr. adaptation of the Gr. KaraXoyos, a register, from Karalyety, to enrol or pick out)

Catalogue of the Works of Samuel Cousins, R.A . (published by H . Graves and Co., London, 1888) ; and See also:

• ALFRED

Alfred See also:

• WHITMAN, MARCUS (1802-1847)
• WHITMAN, WALT (1819-1892)

Whitman, Samuel Cousins (published by George See also:

• BELL
• BELL, ALEXANDER MELVILLE (1819—1905)
• BELL, ANDREW (1753—1832)
• BELL, GEORGE JOSEPH (1770-1843)
• BELL, HENRY (1767-1830)
• BELL, HENRY GLASSFORD (1803-1874)
• BELL, JACOB (1810-1859)
• BELL, JOHN (1691-178o)
• BELL, JOHN (1763-1820)
• BELL, JOHN (1797-1869)
• BELL, ROBERT (1800-1867)
• BELL, SIR CHARLES (1774—1842)

Bell & Sons, London, 1904), which contains a catalogue, See also:

• GOOD, JOHN MASON (1764-1827)

good illustrations, and much detail useful to the See also:

• COLLECTOR

collector and dealer . (G . P .