One other name will close this catalogue. It is that of William Sharp, who was born at London in 1746, and died there in 1824. Though last in order, this engraver may claim kindred with the best. His first essays were the embellishment of pewter pots, from which he ascended to the heights of Art, showing a power rarely equalled. Without any instance of peculiar beauty, his works are constant in character and expression, with every possible excellence of execution: face, form, drapery,--all are as in Nature. His splendid qualities appear in the _Doctors of the Church_, which has taken its place as the first of English engravings. It is after the picture of Guido, once belonging to the Houghton Gallery, which in an evil hour for English taste was allowed to enrich the collection of the Hermitage at St. Petersburg; and I remember well that this engraving by Sharp was one of the few ornaments in the drawing-room of Macaulay when I last saw him, shortly before his lamented death. Next to the _Doctors of the Church_ is his _Lear in the Storm_, after the picture by West, now in the Boston Athenæum, and his _Sortie from Gibraltar_, after the picture by Trumbull, also in the Boston Athenæum. Thus, through at least two of his masterpieces whose originals are among us, is our country associated with this great artist.
It is of portraits especially that I write, and here Sharp is truly eminent. All he did was well done; but two are models,--that of Mr. Boulton, a strong, well-developed country gentleman, admirably executed, and of John Hunter, the eminent surgeon, after the painting by Sir Joshua Reynolds, in the London College of Surgeons, unquestionably the foremost portrait in English Art, and the coëqual companion of the great portraits in the past; but here the engraver united his rare gifts with those of the painter.
In closing these sketches I would have it observed that this is no attempt to treat of engraving generally, or of prints in their mass or types. The present subject is simply Portraits, and I stop now just as we arrive at contemporary examples, abroad and at home, with the gentle genius of Mandel beginning to ascend the sky, and our own engravers appearing on the horizon. There is also a new and kindred art, infinite in value, where the Sun himself becomes artist, with works which mark an epoch.