Print collector's quarterly (12.1925)

stone engenders. Again, in the prisoners in Sainte.
Pelagic he pushes to solid form ; nothing could be finer
than the colour and life of its surfaces. Not often,
however, could Daumier give the time needed by such
prints as these. For the most part his work was done
fast, and so treated as to be printed by thousands in
newspapers. Even so Daumier left his mark upon
lithography more deeply than did any other master.
A drawing by him of some Chinamen carrying lanterns
flashing against a dark background, or another of a
family of French bourgeois walking in a cornfield, the
sunlight glowing on the ripe grain and lighting up their
ribands and garments, reveal, they and many others,
the splendour with which Daumier met the demands of
lithography. These two giants, Goya and Daumier,
stand, like Pelmo and Antelao above the lagunes of
Venice, two colossi guarding and guiding the birth of
lithography.
Another great artist worked in the medium with a
curious and ingenious mind bent on exploring it and
pushing back its barriers—Adolf Menzel. Much of his
work was mere illustration, how magnificently drawn
all the world knows, though not very significant of one
medium or another ; but his experiments with wash and
a scraper were a notable step in discovery of what could
be done on a stone. Scraping from a black ground and
then working with a fine brush and a chalk point,
Menzel wrought his work to great finish ; he avoided
any suspicion of looseness, obnoxious to his German
mind, and he succeeded in keeping the fine edge of his
draughtsmanship among the rich “ accidentalisms ” of
the new medium. The wash method in lithography is
always difficult, and perhaps will never become the

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