as to cause its later owner to endorse on its back (in effect) that the fine houses were a fancy of the artist
Crude as it is, and of no artistic merit, it, however, is the result of a worthy motive, the presentation of a new and important feature in scenic Medford
Who the ‘novice’ was is unknown, but, in a way, he showed the high embankment stretching across the Mystic
marshland, with engine and cars upon it, the bridges over the river and canal, in which latter a boat going westward drawn by horses, and in the distance the lock and tavern is seen.
feature is in evidence: a balloon hovering over the whole and in the foreground (where is now the Parkway-Auburn street bridge) stand a man, woman and child viewing the scene.
may have made an ascension and sailed over ‘about this time.’
So far as is known, no reproduction of this view has ever been made, though several attempts have failed.
In 1839, Barber
's ‘Historical Collection’ was published, the author himself making the illustrating sketches in the various Massachusetts
towns he visited and described.
In the Register of September, 1920, may be seen his work in portraying Medford
This view is printed from the same ‘wood block’ made and used in 1839.
It is not without its inaccuracies, as was noticed in that and subsequent issues; still, to old residents the view was cognizable.
In 1839 the engraver on steel or wood had to be furnished a sketch or drawing of the scene to be portrayed, and not all artists
were expert, as we have already shown.
Some painted on canvas, some pencilled on paper— and some drew on their imagination—and sometimes the engraver added a little for effect.
It is an interesting study to follow the various gradations, as seen in such illustrations, in points of time and process.
In 1851 Frederic Gleason
began, in Boston
, to publish