Print collector's quarterly (4.1914)

little etching, an integral gern in a vast harmonious
setting. When we consider the myriad beings, the in-
numerable activities, the houses, trees and hills, com-
bined in the presentation of a single event, what a tribute
to Callot’s genius is the masterly handling of these mani-
fold elements. Readily can we give credence to Baldi-
nucci’s anecdote: “I knew in my youth a Doctor Hya-
cinthe — Andre Cigognini. He was an intimate friend
of Callot whose inventive genius he would often praise.
He considered Callot’s marvelous facility in conception
equal to his manual skill. Frequently, after having
pulled a proof of an etching, he would discover that a
group of small figures might well fill an empty space,
and suddenly he would set himself to engraving on the
spur of the moment. Many a time have I seen him ac-
complish this tuur de force; and among others, on the
magnificent plate which represents the Fair at Flor-
ence.”
Significance lies in a further fact concerning this etch-
ing. Years later, after his return to his native Lor-
raine, Callot made a second plate, due, presumably, to
the wide popularity of the original print. With all its
attractiveness the Nancy etching is unmistakably in-
ferior to the plate etched in Florence. The first-hand
Inspiration is lacking; not even the master has fully suc-
ceeded in copying himself; so subtle is the spirit of such
a work of art.
We have so far followed Callot into the realm of
pageantry and the everyday world of a customary fair.
Let us now consider his powers in the presentation
of abstract qualities. A series of seven plates known
as Les Peches capi.taux (the deadly sins), depict Pride,
Sloth, Greecl, Luxury, Envy, Anger, and Avarice. Was

284