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<Title>Transcription of Green's Exhibition Catalogue, 1812</Title>
<SeriesTitle>Lakes Guides</SeriesTitle>
<AuthorDate>
<PersonName>Norgate, Martin</PersonName>
<Initials>MN</Initials>
<Date>31.3.2014</Date>
</AuthorDate>
<VersionDate>
<Type>last edit</Type>
<Date>31.3.2014</Date>
</VersionDate>
<Abstract>Transcription of the catalogue of the Eleventh Exhibition of drawings and prints
by William Green, Ambleside, Westmorland, 1812.</Abstract>
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<Content>
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<Role>artist</Role>
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<PersonName>Green, William</PersonName>
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<Date>1812</Date>
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<Keyword>Exhibition and Sale Rooms of Drawings and Prints in Ambleside</Keyword>
<ObjectIdentity>Carlisle Library : N1/39</ObjectIdentity>
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<Heading elementtype="main">Transcription of Green's Exhibition Catalogue, 1812</Heading>
<Paragraph rend="text">Transcription of the catalogue of the Eleventh Exhibition of 
drawings and prints by William Green, Ambleside, Westmorland, 1812.
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  <Keyword>LakesSrc  </Keyword>
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<Paragraph rend="text">title page:-
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<Paragraph rend="quote">EXHIBITION AND SALE ROOMS, IN AMBLESIDE, OF AN EXTENSIVE VARIETY 
OF COLOURED AND PENCIL DRAWINGS AND PRINTS, OF THE LAKES, MOUNTAINS, RIVER SCENES, AND 
BUILDINGS, IN <i>Cumberland, Westmorland, and Lancashire</i>, WHICH HAVE BEEN DRAWN FROM 
NATURE. ENGRAVED AND PUBLISHED BY WILLIAM GREEN. THE ELEVENTH EXHIBITION. ADMITTANCE ONE 
SHILLING.
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<Paragraph rend="quote">ULVERSTON: PRINTED BY J. SOULBY, KING-STREET, 1812.
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<Paragraph rend="quote">EXHIBITION AND SALE ROOMS, OF <i>Drawings and Prints</i> IN 
AMBLESIDE.
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<Heading>Transcription</Heading>
<Paragraph rend="text">Transcription is letter for letter, retaining the case of the 
original, but not text sizes; italics are preserved; the spellings and grammar have not 
been altered. 
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<Heading>Indexing</Heading>
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allocated to each page of the transcript.
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<Paragraph rend="text">preface, page v:-
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<Paragraph rend="quote heading">INTRODUCTION.
</Paragraph>
<Paragraph rend="quote">THERE are in the present EXHIBITION a great variety of new and 
interesting scenes, which have been wholly coloured from nature and finished upon the 
spot, and to a strength of tone and effect, heretofore rarely attempted; many of them are 
upon a large scale, and from their novelty and the extraordinary care with which they have
been executed, will it is trusted, not fail of affording amusement to the lovers of art in
general.
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<Paragraph rend="quote">The drawings finished within doors are all from sketches of 
corresponding
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<Paragraph rend="quote">sizes, made wholly on the spot; they are chiefly new, and will be 
found to possess a superior degree of interest to those composing any of the artist's 
former EXHIBITIONS, by their effulgent display of light and the solemnity of gloom and 
vapour, accompanied by a tone of locality in the foreground, colouring only to be 
accomplished by those who have long and studiously coloured from nature.
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<Paragraph rend="quote heading"><Marginal>
  <Keyword>sets of prints</Keyword>
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PRINTS.
</Paragraph>
<Paragraph rend="quote">SIXTY STUDIES FROM NATURE, etched in the soft ground, after 
original drawings, in black-lead pencil, of the most interesting scenery in <i>Cumberland,
Westmorland</i> and <i>Lancashire</i>.
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<Paragraph rend="quote">These outlines are printed upon imperial drawing paper, thirty 
inches by twenty-one inches, and consist of every species of material that can tend to 
gratify the amateur, aid the artist, and improve the taste of those who wish to make a 
progress in the study of landscape nature.
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<Paragraph rend="quote">The price unbound, including description, is <i>ten guineas</i>.
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<Paragraph rend="quote">A SELECTION OF THIRTY PRINTS may be made from the above sixty, 
including the description, for <i>six guineas</i>.
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<Paragraph rend="quote">Single prints <i>five shillings</i> each.
</Paragraph>
<Paragraph rend="quote">SEVENTY EIGHT STUDIES FROM NATURE, accompanied with letter-press, 
describing principally the various subjects comprised in the work; with some remarks on 
useful and ornamental planting.
</Paragraph>
<Paragraph rend="quote">The volume is <i>five guineas</i>, but for general accommodation, 
it is divided into five parts, viz.
</Paragraph>
<Paragraph rend="quote">
<Line>... ... ... ... ... ... ... ... .... L. s. d.
Part I, containing 12 plates 0 10 6
...... II, ...............19 ......... 1 1 0
...... III, ............. 16 ......... 1 1 0</Line>
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<Line>Part IV, containing 11 Plates 1 1 0</Line>
<Line>...... V, ................ 21 ......... 2 2 0</Line>
<Line>... ... ... ... ... ... ... ... ... ... L.5 15 6</Line>
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<Paragraph rend="quote">This work of seventy-eight plates, commences with the most simple 
objects, such as stones, plants, cottages, and little mountain scenes; as it advances, it 
increases in intricacy and interest, and is so varied in subject, as to be the means of 
qualifying the student by one winter's moderate, but attentive labour, to draw with 
pleasure from nature, the following summer.
</Paragraph>
<Paragraph rend="quote">TWENTY SIX AQUATINT VIEWS OF THE LAKES. - Price <i>one pound six 
shillings</i>.
</Paragraph>
<Paragraph rend="quote">VARIOUS COLOURED AQUATINTS, from <i>one</i> to <i>fifteen 
shillings</i> each.
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<Paragraph rend="quote">Some of the large outlines have been washed up with indian ink. 
The prices <i>L.</i>1 11<i>s.</i> 6<i>d.</i> each: - these washed outlines have been much 
admired.
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<Paragraph rend="quote">VARIETY OF ORIGINAL SKETCHES, in black-lead pencil.
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<Paragraph rend="quote heading"><Marginal>
  <Keyword>to the reader</Keyword>  <Keyword>manifesto</Keyword>
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THE FOLLOWING
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<Paragraph rend="quote heading">ADDRESS
</Paragraph>
<Paragraph rend="quote heading">BY THE ARTIST,
</Paragraph>
<Paragraph rend="quote"><i>Explaining his motives for publication, is respectfully 
recommended to the consideration of the lovers of the arts in general.</i>
</Paragraph>
<Paragraph rend="quote">WITH a wish to acquire a knowledge of nature in all its beauty, 
grandeur, and characteristic variety, I left London in the year 1800, and settled myself 
in Ambleside: - I had on several prior occasions visited the Lakes, and considered 
Ambleside as affording the easiest facilities to the most interesting features of the 
country.
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<Paragraph rend="quote">The year I arrived here I made a number of pencil drawings, and 
surveyed with much attention this store-house of my future labours; - I had never seen 
Wast Water, and made an excursion to that romantic region, with a friend, in the November 
of that year; but though the mountain tops were hid in clouds, the scene exhibited a 
vastness and grandeur, highly gratifying to the feeling mind; we waited some time in 
expectation of seeing more, but our wish was not gratified, and we returned for that night
to Eskdale, not without a mixed feeling of pleasure and disappointment: since that time I 
have often visited Wastdale, and seen it under many desirable circumstances of effect.
</Paragraph>
<Paragraph rend="quote">In 1801, with excessive labour and anxiety of mind, I travelled 
this extensive cluster of mountains in almost every possible variety of direction, and 
collected in pencil many hundred outlines from which a selection was made and finished 
drawings were produced from that selection, for the purpose of forming my first 
exhibition, which was opened in the middle of the summer, 1802.
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<Paragraph rend="quote">Not satisfied with what I had yet done, I retraced my former steps
and added considerably to my stock of sketches, not only in the year 1802, but in several 
succeding years, thereby improving my taste in execution, and my feelings in respect to 
combination and quantity: - some of my early sketches were considerably in detail, but 
others were slight, but though slight they were accurate and tolerably characteristic, 
considering the quantity of lines bestowed upon them: as I began to improve they were seen
by various lovers of art, and purchased, and by the estimation in which they were held I 
was induced to redouble my attention: I had from the first of my coming into the country 
made many of them of the size of my five guinea finihsed (sic) drawings, but it was not 
till the year 1805, that I began to work upon the super royal paper, twenty-seven inches 
by nineteen: I then patiently investigated the materials before me and made my drawings in
pencil with a corresponding anxiety, finishing as I have always done entirely on the spot.
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<Paragraph rend="quote">Accuracy I have always considered as a necessary ingredient to be 
possessed by an artist, and I consider character equally necessary, and the time seems 
fast approaching when every lover of the arts will think the same. - There is no method by
which a man can learn to discriminate between what is beautified and what is not 
beautified in nature, but by attentively studying nature; but this is not done by making 
fifty sketches in a day, for though such practise should be continued for years, such a 
sketcher would retreat from his employment as ignorant as he approached it, but the slight
sketches of those who have been previously initiated into all the intricacies of nature 
are truly fascinating, and such only of the slight kind, can with propriety, be deemed 
masterly.
</Paragraph>
<Paragraph rend="quote">From my cradle I have always loved the arts, but had never the 
opportunity of studying them seriously, till I came to live in Westmorland; when I was a 
drawing master in Manchester, I was constantly on the look out for etchings to assist me 
in my teaching, but every thing I saw of the land-
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<Paragraph rend="quote">[land]scape kind was so debased by manner, as to promise injury 
rather than good; and I made from that place several journies into Wales and the north of 
England, from which I certainly derived advantage; from Manchester I removed to London, 
and practiced as an aquatint engraver during the several years I resided there, mixing my 
in-door labours with the study of the trees in the parks, and other places in the 
metropolis; I likewise drew cattle at the farms in Mary le-bone, and in consequence became
acquainted with others whose pursuits were similar to my own - I admired much their 
etchings of cattle and human figures, and have often surveyed, with particular admiration,
the pencil drawings and etchings of animals, by the celebrated <i>Mr. Hills</i> - but it 
still appeared that preparatory lessons were wanting in landscape, through the medium of 
which the young student might be introduced to the knowledge of nature; for it is scarcely
in any other art of such vast importance to be well begun, as in that of painting; I 
revolved the subject in my own mind, and
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<Paragraph rend="quote">at last determined to seclude myself among the mountains, hoping 
that by a due attention to the object of my choice, I might not only serve the arts, but 
eventually benefit my family.
</Paragraph>
<Paragraph rend="quote">My first proposals for publication were issued in 1807 and this 
was for the large work, five numbers of which appeared the following year, two numbers in 
1809, and it was finally completed by the delivery of the three last numbers in 1810.
</Paragraph>
<Paragraph rend="quote">On sight of the first five numbers in 1808, my friends suggested 
that a series of introductory etchings, upon a small scale, would be more useful to 
beginners than the large ones, and the set of seventy-eight outlines was accordingly 
published in 1809.
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<Paragraph rend="quote">It was my idea originally to begin with the small outlines, but in
the opinion of others, it was thought that the large ones, by their magnitude and 
consequence, would be more likely to command public attention than the small ones.
</Paragraph>
<Paragraph rend="quote">The subjects composing these publications are of almost every 
variety, furnished
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<Paragraph rend="quote">by the country, such as scenes of Lakes, Mountains, and Rivers; 
Churches, Farm houses, Cottages, Bridges, and Trees: they have been etched by myself, in 
the soft ground outline, with every possible attention to the original drawings, and the 
original drawings have spoken the truth as far as the powers of my mind and my pencil 
would allow them, and I hope nothing but the truth for I have studiously avoided, as far 
as the nature of lines would allow, all impertinent matter in their relief.
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<Paragraph rend="quote">That the prints possess the truth and characteristic accuracy of 
the original outlines, is owing to their being produced by the same person, but this is 
scarcely possible where the draughtsman and engraved are two persons.
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<Paragraph rend="quote">If the etcher of his own works, or the copier on paper of his own 
studies reversed in a glass, performs the task with ease, it is a good sign, but if with 
difficulty those sketches were made under an improper influence, this is a trial worthy 
the attention of all who wish to discover in what degree they may be considered as 
mannerist - nature is here un-
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<Paragraph rend="quote">[un]like the works of her copyist, for it will be found as easy to
copy nature as reversed in a mirror, as to draw from nature herself.
</Paragraph>
<Paragraph rend="quote">When the large work was first proposed for publication, it was 
intended to be engraved in three several sorts of line; the soft ground, the aquatinta, 
and the hard ground etched line - I had formerly used all these modes; in the present 
case, on account of its monotonous effect, I intended to use the aquatinta line, in such 
scenes of mountains as had but little foreground, and the hard ground etched line in a few
of the plates by way of variety, but on mature deliberation I fixed upon the soft ground, 
as infinitely better calculated to answer my purpose, than either of the other two; the 
hard ground etched line is wholly incapable of giving the fire and spirit of the black 
lead line; and the aquatint is equally devoid of expression; the instrument used and the 
nature of the resistance, puts it wholly out of the power of the artist to give the manner
of the original subject; there is likewise much uncertainty in the production of the 
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<Paragraph rend="quote">various tones; if in one plate fifty degrees of strength are 
required, they must be produced by fifty applications of the acid. The soft ground has all
the freedom of the black lead pencil, many of the plates have been finished by using the 
aquafortis once only; but the accomplishment of this desirable end requires extraordinary 
care and attention in the management, not only of the execution but of all the materials 
employed.
</Paragraph>
<Paragraph rend="quote">I should not here have troubled the reader with an account of my 
reasons for working in the soft ground in preference to any other line, had I not 
conceived it a duty I owe to the public and to myself, to remove impressions which, if not
noticed, might tend to retard the progeess of this department of art generally; and be 
injurious to me individually by its being supposed that the best line was to me unknown.
</Paragraph>
<Paragraph rend="quote">When I was in London in the year 1810, on calling on the worthy 
secretary of the society of Arts, I was informed that an important discovery had been made
by <i>Mr. Hassell</i>, the aquatintist of a line which probably
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<Paragraph rend="quote">might be of great advantage to me; I read the specification, and 
to my surprise, found it to be the precise line I had made use of nearly twenty years ago.
My theoretic knowledge of the aquatint was obtained from the ingenious <i>Mr. Craig</i>, 
in Manchester, I even saw him produce the aquatinta line, but thus was the dry ground 
line, and I believe the invention of the late <i>Paul Sandby</i>, Esquire; and though 
there is a considerable difference in the processes producing the dry and the liquid 
ground lines, yet having first known the dry line, I claim no merit in its production by 
the liquid ground, though the line produced from the liquid ground is more beautiful and 
much more durable than that from the dry ground.
</Paragraph>
<Paragraph rend="quote">I had always considered the aquatinta line as an excellent and 
expeditious mode of repairing failures in the soft ground line, and in the Shakespear tree
at Rydal, given in the large work <i>No.</i>19, it answered that purpose well, saving much
time by its dispensing on those places with the use of the graver; the parts repaired by 
the aquatinta are those about the bottom of the tree, and some
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<Paragraph rend="quote">of the stones in the water; but here the scale of aquatinta is too
small whereby to judge of the comparative excellence of the two lines; I had never heard 
of this old new line before spoken of, 'till I arrived in London, in 1810, and the Rydal 
plate was finished in Ambleside, in the Spring of the same year, before I went to London.
</Paragraph>
<Paragraph rend="quote">What I have here said is not done with an intention in the 
slightest degree to injure <i>Mr. Hassell</i>; but to shew, that knowing both lines, I 
five years ago proposed in my intended work occasionally to use them both but preferred 
the soft ground line. It is probable that <i>Mr. Hassell</i> hit upon the line himself, 
and it gives me great pleasure to find that he has been rewarded for his invention; I do 
not find that manner of line in the slightest degree hinted at by <i>Mr. Green</i>, of 
Wells Street; from which it is fair to infer, that at the time of his publication, in 
1804, he had not heard of it; nor is it noticed by the author of the aquatinta process in 
<i>Dr. Rees's</i> new Cyclopaedia; and it should seem that though this process was known 
to some, it was not known generally.
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<Paragraph rend="quote">That my etchings have not been encouraged, would be doing great 
injustice to my friends, many of whom, not only possess copies of both works, but have 
warmly recommended them to others; but that I have been in an adequate degree repaid for 
the labour of ten years and for the enormous expence, I have incurred in consequence of 
publication, ought scarcely at present to be expected.
</Paragraph>
<Paragraph rend="quote">That it will be an income to my family after I am gone I cannot 
doubt, but I am not without hope that I shall reap the fruits of my labours during my life
time; the success of the present and the last year is not discouraging, and I respectfully
recommend these prints to the examination of all lovers of the arts, that they by seeing, 
may judge between my performances and those of others published with similar intentions: 
in thus urging comparison, it is not with a view to gratify my vanity or injure the works 
of others, in the public estimation; it is solely with a wish to receive that honest 
reward to which I trust my labours are entitled to.
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<Paragraph rend="quote">I cannot close this my tedious address, without expressing my 
sense of obligation to those my numerous friends who have sanctioned me in my 
undertakings, since I came to live in Westmorland; from many of them I have received the 
most liberal encouragement: these kindnesses are next to heart (sic), and will always be 
held in grateful recollection, by their
</Paragraph>
<Paragraph rend="quote">Obliged and obedient Servant,
</Paragraph>
<Paragraph rend="quote"><i>William Green.</i>
</Paragraph>
<Paragraph rend="quote">AMBLESIDE:
</Paragraph>
<Paragraph rend="quote"><i>July</i> 30<i>th</i>, 1812.
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J.Soulby, Printer, Ulverston.
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