International studio (40.1910)

Etchings of Herman A. Webster

Morgue, for instance, the one small blemish is the Here, and to some extent in the Pont Neuj
ruled precision of the lines upon a roof. A fitting and the Rue Grenier, the careful, tense, con-
companion to this vision of Notre Dame is Le Pont centrated work shows almost too disciplined a
Neuf, another of the etcher's largest and most dis- self control. Close study of these prints gives
tinguished plates. The stern solidity of the bridge, just a touch of the irritation that comes from
with its massive masonry, its corbelled turrets and watching the monotonous perfection of a first-
its deeply shadowed arches, makes pleasing contrast class game shot or golfer, bringing a malicious de-
with the irregular skyline of the sunlit houses that sire for some mistake or piece of recklessness. The
rise beyond. true etching always appeals in some degree by its

It may be said of all of Mr. Webster's etchings— spice of adventure, by some happiness of accident,
and perhaps there could be no higher praise—that and so while the Pont Neuj and the Notre Dame
each possesses the faculty of provoking fresh in- des Andelys rouse full admiration and respect for
terest. That is certainly the
case with some of his most
recent plates. One is an in-
terior of St. Saturnin, Tou-
louse, which will be among
the rariora of the collector,
for the plate unfortunately-
broke when twelve proofs
only had been printed.
Gothic canopies and tracery
are drawn with loving care
in the Porte des Marmousets,
St. Ouen, Rouen, but it is
the mystery of shadow in
the deep porch that supplies
the true theme. A church
porch has also supplied the
subject of one of Mr. Web-
ster's latest works, Notre
Dame des Andelys. The or-
dinary observer will delight
in this beautiful rendering
of architecture. Those who
have real knowledge of etch-
ing will appreciate it still
more for its clever biting
and for its subtle delicacy of
line so cunningly used for
the indication of stone, glass
and woodwork with their
different surfaces and tex-
tures.

That plate of Notre Dame
des Andelys, though not the
most instantly engaging, is,
perhaps, the most accom-
plished which the artist has
produced. It is in this ac-
complishment that from the
coldly critical point of view

I see an indication, a hint RUe parcheminerie by heeman a.

only, of possible danger. paris Webster

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