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Notes on

Biting in.

the confines of shadow more visible and more distinctly executed, Engraving, so completely removes the varnish, that it may be immediately wiped off with a clean linen rag. The whole Plate is next covered with finely powdered white resin, sifted all over it through a fine How to lay hair sieve. In order that the powder may not be adhesive, it should the aquatint be previously wetted with a mixture, composed of soap, sugar, and ground. water. The superfluous resin is then shaken off, and the Plate held over a charcoal fire until the small particles of resinous dust dissolveand adhere to the bare copper. This change is observable as soon as the dust, which was previously white on the places covered with varnish, begins to turn brown, and also when the outlines previously concealed by the dust begin to be visible. As this change takes place, the Plate must be removed from the fire, and allowed to cool; otherwise the little grains, instead of merely adhering to the copper in a granular form, would spread and liquidate into a sort of varnish, and impede the progress of the aquafortis, for which the Plate is now ready. The solution should not be very strong, else the innumerable small grains would be detached from the copper, and the work be spoiled. The first tone of shading being completed, the Plate is cleaned, washed over again with varnish as before, and the second tone worked into it. This process is to be repeated until all the requisite tints are produced." The artist may, according to his fancy, either begin with the strongest shades, adding the weaker ones by degrees, or may first etch in the more delicate tints, and afterwards go over them until he obtains the darker shadows. The first of these modes is generally preferred. Some variation in the manner and routine of these operations is of laying the occasionally practised. The powdered resin, for very fine work, may be enclosed in a bag of fine muslin, and shaken against a piece of stick at a considerable height above the Plate, in order that a large cloud of the resin dust may be formed, which, in descending, may spread uniformly over the surface previously to heating the Plate: and the heating may be more gently and gradually effected by holding under it some lighted pieces of brown paper, and moving them about till every part of the powder shows itself sufficiently melted by changing colour. After the Plate is cool, such parts of the work as are to come out perfectly white are covered or stopped out with the stopping mixture, (Note BB.) diluted sufficiently with turpentine, so as to work freely in the hair pencil. The margin of the Plate must also be stopped out. Then follows the process of biting in, which is repeated according to the number of tints required.

Other ways

ground.

Stopping out.

ground.

There is extreme difficulty, however, in some cases, of stopping out, round the finishing touches, leaves of trees, and light sharp projecting edges of other objects, by only the mode just stated. Another very ingenious process has been contrived to overcome this difficulty, so as that the finishing touches of the drawing may be perfectly imitated and copied on the Plate with the same ease and expedition as they were laid on at first in the drawing itself. Fine washed whiting is mixed with a little treacle or sugar, and diluted with water in the pencil so as to work freely; and this is laid on the Plate when covered with the aquatint ground. in the same manner and on the same parts as ink in the drawing. When this is dry, the whole Plate is varnished over with a weak and thin varnish of turpentine, asphaltum, or mastich, and then suffered to dry: when the aquafortis is poured on as in etching, (Note BB.) the varnish, by the action of the corrosive fluid, will immediately break up in the parts where the treacle mixture was laid, and expose all those places to the action of the acid, while the rest of the Plate remains secure.

There are disadvantages, it must be owned, which attend this mode of engraving aquatinta, and cause it to be only occasionally practised. Plates, thus engraved, do not print many impressions before they are worn out; and as different degrees of coarseness or fineness in the grain are frequently required for producing a comA better me- plete effect, the process hitherto stated is often insufficient. A sethod of lay- cond method, therefore, of producing the aquatint ground is very ing the generally resorted to. Some resinous substance, as common resin, Burgundy pitch, or gum mastich, is dissolved in spirits of wine, and this solution poured all over the Plate, which is then held in a slanting direction until the superfluous fluid drains off. The Plate is next laid down to dry, which it does in a few minutes; and if the surface be examined through a magnifier, the observer will find that the spirit, in evaporating, has left the resin in a granulated state, or rather that the latter has cracked in every direction, still adhering firmly to the copper. The spirit of wine used for the solution must be highly rectified, and of the best quality. Resin, Burgundy pitch, and gum mastich, when dissolved in spirits of wine, produce grains varying in appearance and figure, and are sometimes used separately, and sometimes mixed in different proportions, according to the taste of the operator. In order to produce a coarser or finer grain, it is necessary to use a greater or smaller quantity of resin;

to ascertain the proper proportions, several spare pieces of copper Aquatinta are provided, on which the liquid may be poured, and the grain examined before it is applied to the Plate for engraving. The liquid, after the solution is made, must stand undisturbed for a day or two, until all the impurities of the resin have settled at the bottom. Straining it through linen or muslin will not answer, as, in straining, it becomes filled with hairs or other obnoxious matter, which ruins the grain. The room also in which the liquid is poured on the Plate must be perfectly still and free from dust, which, wherever it falls on the surface (if moist) of the Plate, causes a white spot, which it is impossible to remove without laying the grain afresh. The Plate must likewise have been previously cleaned with the greatest possible care by the application of a rag and whiting, as the smallest particle of grease will produce some streak or blemish. In slanting the Plate, to draw off the superfluous fluid, there will naturally be a greater body of the liquid towards the lower than at the higher edge of the Plate. The grain, therefore, is always coarser at the side of the Plate which is held lowermost. The coarser side is usually kept for the fore-ground, as being that portion of a drawing which has generally the deepest shadows. In large landscapes, sometimes, various parts are laid with different grains, according to the nature of the subject. Moderately coarse grains better answer the purposes of this art than very fine ones, since the particles, when very small and near each other, are liable to be soon disturbed by the aquafortis, which of course corrodes laterally as well as downwards. Indeed, in any case, the acid, if left too long on the Plate, will eat away the grain entirely. Let the artist have several To determine bits of copper laid with aquatint grounds, the same in kind and bow long to in grain as those to be used, and let the aquafortis remain for dif- on the ferent lengths of time on each. He may then examine and judge copper. of the tints produced, in one, two, three, four minutes, or longer; and may vary the strength of the solution according to circumstances. A magnifier is useful to examine the grain, and to observe the depth to which it is bitten in. No proof of the Plate can be obtained till the whole process is finished. In re-biting, or New grain etching over again any part already subjected to the aquafortis, for retiring the new grain to be laid on should be coarser than the first, other course this wise it will be apt to lodge only in the dots or holes previously etched, and not upon the heights only, as is necessary in order to produce the same grain.

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This style of engraving is, as we observed, chiefly adapted for Deisinga imitation of sketches, washed drawings, and light subjects; but is not at all calculated to produce Prints from highly finished Pictures. Its resemblance to drawings, however, only extends to the imitation of abrupt shadows boldly executed: it does not succeed in those which are softly shaded off as they approach the lights. The Plates seldom give more than two hundred good impressions. They must be hot-pressed and treated with care.

graving with

The Treatise by Stapart, published in 1773, (referred to in the first note to Art. 66.) and entitled “The Art of Engraving with a Brush on Copper," gives the following account of his process: "After Extreti etching his outline he covers his Plate with a transparent varnish, Stapont through which the etched outlines are to be distinctly visible. The E varnish, while yet in a fluid warm state, is then strewed with rock- a Brush a salt, sifted over it through a fine hair sieve. The Plate is next heid Copper.” over a charcoal fire, till all the grains of salt penetrate to the copper 4.0.13 through the varnish. The Plate is now cooled and dipped in water to dissolve the salt. An infinite number of small holes will be perceivable through a magnifying glass; and through these holes the solution of aquafortis is to find its way for corroding the Plate as in etching. The lights, however, must be first stopped out by another substance, which the writer terms the colophon varnish. (such as is used for lackering,) mixed with a little pine tree soot. When the weakest shadings have been bit in sufficiently, the aquafortis is poured off, the Plate dried, and the first or weakest tone of shading stopped out preparatory to a second application of the corrosive liquid. This operation of alternately stopping out and etching is then repeated, till all the proper gradations of shadow are completed."

The true discoverer, says M. Bartsch, of the above method described by Stapart, appears to have been Peter Floding, by whom two Plates after Monet and De la Rue, published in 1762, are etched, as M. B. conceives, with seasalt or rocksalt, and who styles himself Novi hujus primarum delineationum conservandarum, et multiplicandarum methodi auctorem.

By some artists, a mixture of seasalt and rocksalt, with sal-ammoniac and syrup of old honey, has been used. This mordant, being applied with a brush, either to the clean copper or to the varnished surface after perforation by the salt, produces gradations of shadow delicately rounded off, as may be observed in the clonds of some of the Plates of Ploos van Amstel. This composition has been likewise used after the first two tints were produced by the

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Noteron solution of aquafortis, in order to add the third darkest tint. To Engraving make the latter still darker, some have used a solution of silver in spirit of saltpetre or of copper; or, thirdly, aqua regia, any of which substances may be applied with a brush. But the process called Le Prince's method has been preferred to every other.

only is etched.

Note (KK.)

For this style of the Art, as well as for that of Le Blon, (Note FF.) as many Plates are required as there are colours to be used. These are generally black, blue, yellow, and red; and from these For Aquarilla may be derived the other compounds. Etching is here only emthe outline ployed to define the outlines of the figures. When this is done, and the Plate cleaned, it is worked upon with rollers, (roulettes,) which, as respects the graining only, differ from those used in chalk Engraving. (Note GG.) by being altogether finer, in conseInstruments quence of the difference in the teeth of the instrument. Some Enfor this style, gravers use another instrument resembling a common thick etching needle, but having, instead of the point, a little wheel with spikes affixed to it. This tool is used with both hands: the right hand keeps it in a perpendicular position, while the middle finger of the left hand turns the wheel. The tools are worked on the metal in a dry, that is, unvarnished state.

and their

uses.

Its advan

tages.

As the rollers employed for this work may be pressed much or little, according to fancy, their operation possesses an advantage over the last-mentioned or aquatinta style. Not only the abrupt tones of shade, as in aquatinta, (Note II.) but also the soft gradations of light may be produced, and, consequently, a perfect imitation of finished drawings. The softer shadings appear as delicate in the impression as if they were washed in with Indian ink. They much resemble those of aquatinta, only traces here and there may be detected of little furrows, almost like those we meet with in a finely grounded mezzotinto. In the dark shadings, the dots of the coarser grained roller are distinctly perceivable. But the distinguishing characteristic of this style appears in those shadows, as before observed, which vanish and disappear by insensible gradation into the lights, and which cannot be represented on metal Plates by any of the other methods in imitation of water colours. When the drawing to be engraved is of but one colour, a single Plate will suffice, but four or five Plates may be requisite for coloured drawings. Plates executed in this manner furnish about impressions. two hundred good impressions.

Number of

Note (LL.)

=Principles of Nearly all kinds of stone imbibe both watery and oily fluids; =Lithography, but the portion of a stone occupied by one of them of course precludes the admission of the other: consequently, where a slab on any part of its surface has been greased, it ceases to soak up water, and vice versa. Upon a stone partially greased, and having its remainder saturated with water, a greasy application can only take effect where grease has been before: let, therefore, an oily substance, such as printer's ink, be rubbed over a stone so prepared, the applied substance will adhere only in those places to which it bears an affinity; and whatever lines or forms may have been originally traced with the greasy material will become more distinct and prominent, and may be charged with a sufficient quantity of colour, to be again taken off the surface by means of pressure, and transmitted to paper. On these few and simple principles is founded the art of printing from stone, or lithography.

Stone from Kehlheim and Solenholfen.

Preparation and quality of the stone.-The stone should possess a perfectly level surface, with a fine uniform grain, and should readily imbibe moisture. The best sort is a species of limestone, or calcareous slate, generally cut into square slabs, smoothed on the upper side, and employed in Germany for floors of churches, cloisters, courts of palaces, as well as private houses, &c. It is known in Germany by the name of Kehlheim stone, having been brought from quarries near a town of that name on the Danube. It abounds in the district between Dietfurt and Pappenheim, and along the Danube down to Kehlheim. The quarries at Kehlheim, it is said, are exhausted, and the traffic in lithographic stone now chiefly centres in the village of Solenholfen, in the district of Monheim, three leagues from the town of Neuburg, on the Danube. When the ground is uncovered to the depth of from ten to fifteen feet, the stone appears in horizontal strata, of various thicknesses and qualities. The stone Plate requires to be from two to three inches in thickness. It is composed of carbonate of lime, in which a small portion of iron is present, and the best is generally to be found in the vicinity of iron mines. Oxide of iron appears to bear a strong affinity to grease, since the best impressions have been obtained from stones whose yellow colour indicates the presence of iron. A solution of iron has been consequently used by French lithographers for washing the stone, called by them, la preparation

qui fait jaune, and by us "yellow facing" but it causes too Lithography strong an affinity to the grease, clogs the Plate with colour, and produces what are termed smudged Prints. In colour and texture, Bath stone more nearly resembles that of Solen holfen than any other to be found in England. But it is inapplicable for any but the coarsest work. An extensive search was made between A. D. Other coun 1817 and 1819 by M. Engelmann and the Lithographic Society, Lithographic tries yield throughout the Volges and Jura, in the hope of discovering quarries; stone, but but, though these mountains, and the Jura in particular, are princi- not in Plates pally calcareous, and might furnish great abundance of the kind of stone, yet it was found so unequal in formation and colour, and so interrupted by fissures, crystallizations, petrifactions, and other blemishes, as to furnish no Plates of sufficient dimensions to recompense the labour of extracting it. The same objections apply equally to the lithographic stone of Swisserland, France, Italy, and the British isles. The Lithographers of Europe depend for their supply upon Bavaria alone, where, however, no want of the material for centuries to come need be anticipated.

of proper

size.

Plate.

From the difficulty and trouble attending the safe and ready Substitutes conveyance of stone Plates, other contrivances more portable and for stone at available have been attempted. The ingenious Senefelder has in- tempted. vented various substitutes and compositions in imitation of the stone, some of which have been employed in Germany; but, although useful as temporary expedients, they yet call for much improvement, and are still inferior in point of consistency and ma nageableness to those from the laboratory of Nature at Solenholfen. For preparing the surface of the stone tablet, M. Bartsch, to Preparation whom we are indebted for most of our technical details, gives the of the stone following directions: Two slabs with their flat surfaces laid to gether, and having some clean silver sand and water between them, are rubbed backwards and forwards, until the sand is crushed, and, by wearing away the stone, becomes a thick paste-like substance more sand must then be added, or the old quite washed off, and fresh sand and water applied. The rubbing must be continued till both surfaces are perfectly level. Two stone Plates are thus polished at the same time. The polisher, according to the sort of work to be finally printed from the stone, makes the surface more or less rough, and to produce a finer grain, strews fresh sand, continuing to rub the stones till the larger particles of the sand become rounded, but not quite crushed. When perfect smoothness and glossiness are required, the foregoing operation is persevered in, and ceases only when the sand meets no longer with any resistance from the stone surface, which is then rubbed with pumice and water till it shines and reflects the light. Upon the accuracy of this work of the polisher, the future success of the Lithographer in a great degree depends. No inequalities must remain on the surface, otherwise no clear impression can be taken, or the stone may be fractured in the press. The smoothed face of the stones after graining or polishing should be carefully washed with a sponge in pure water, to remove the grit, and then left to dry.

Materials for drawing on the stone.-The materials for inscribing Lithographic the stone are, either a preparation of chalk, to be laid on in a dry chalk. state like a crayon on paper, or a kind of ink to be used with a pen or hair pencil as in writing or drawing. Among the various receipts given by Senefelder for Lithographic chalk, he considers the best to consist of eight parts wax, four of soap, and two of lamp-black. These ingredients, after sufficient concoction, should be poured slowly upon a marble slab or iron plate, to form a mass about as deep as the thickness of the intended crayon. This substance is next pressed under another Plate, to render it sufficiently hard and compact; and then, while it is yet warm, divided into strips, which are afterwards separated when perfectly cold. The lithographic chalk may be made harder by a greater proportion of wax, or softer by increasing the proportion of soap. Very good crayons, of a medium stiffness, may be made of four ounces of wax, four of chalk, four of soap, and two of lamp-black.

The composition for Lithographic ink is composed, according to Lithographic M. Bartsch, of two parts or ounces of common soap, five parts or ink. ounces of pure white wax, one-fourth part or one quarter of an ounce of grease, and one part or ounce of lamp-black; the latter ingredient to be greater or less, according to the fancy of the designer. Another recipe in frequent use has somewhat different proportions. Take of white bees' wax half a pound; of common yellow soap two ounces and a half; and of lamp-black one ounce. These substances, with the exception of the lamp-black, are then mixed and made to burn over the fire in an iron vessel; that is, suffered to remain till ignition has taken place, and at least onethird of the wax and soap has been consumed. The lamp black is then added, and the whole well stirred. The mixture must be poured out slowly on on iron or stone plate, and left to cool. When wanted for use, a portion of it is to be mixed with water in the same manner as Indian ink, and made of sufficient consistency to

Notes on run freely from the pen, but should always be somewhat thicker Engraving than common ink.

Instruments for Lithography.

The stone

kept clean

during the work.

Lithographic instruments.-These are a port-crayon, a swan quill, an etching needle, a scraper, (such as for mezzotinto, Note DD.) a steel pen, a slab and muller, a pallet knife, camel's hair pencils, and dabbers. The latter are made of silk or soft glove leather (white kid leather is preferable) stuffed with cotton. The dabber is fixed to a handle about sixteen inches long, and is used like a hammer, that each stroke may bring the smooth leather surface in contact with the stone.

Precautions in drawing.-The Lithographer, while his drawing is plate must be in progress, must above all things be careful that nothing either wet or greasy touches his work; grease of any kind will be sure to print, and moisture will prevent his chalk from working with precision and clearness. Dampness even from breathing should be prevented, for which purpose a kind of fan made of paper may be placed before the mouth and nostrils to turn the breath in a different direction; or the stone, as M. Engelmann advises, may be moderately heated before it is drawn upon. The stone likewise must be kept quite pure from dust, and cleansed throughout with a perfectly clean dry camel's hair brush, otherwise the pellicules of dust entering the cavities in the grain of the plate will intercept the touches of the crayon. Any substance also of the nature of gum or glue must manifestly have the same injurious effect. The fingers must never touch the work. It is useful for the Draughtsman to support his wrist upon a bridge or rest about four or five inches wide, made to rise, at its lower surface, about one-eighth of an inch clear of the stone; and a margin of at least an inch wide must be left round the work for the necessary space required to lift or move the stone. The brush of camel's hair must also be repeatedly applied to sweep away the smallest particles which must unavoidably escape from the hair of the Designer while leaning over his work. Neither India rubber, nor crumbs of bread, must be used for effacing any errors which may be made by the lead pencil in sketching his outline; clean white leather may be employed; but these errors, unless the grain of the stone is injured by them, and unless they have been repeated by the afterwork of the crayon, or lithographic ink, are quite harmless, and will not come out in the impression. The face of the stone, when not in use, should be lightly covered with clean paper.

Three modes

Practice of Lithographic Drawing.

The methods of working on the stone have been sometimes classed of working. under two heads, according to the material used, namely, either the crayon above described, or the lithographic ink. In the use of the latter material, however, a third division of the Art should be added, called Dabbing. These three methods may be either practised singly or conjointly, according to the effect intended.

Transfers.

1. Lithogra. 1. Crayon drawing.-The Lithographic chalk should be kept dry phic crayon. and excluded from the air. If the subject is to be previously traced on the stone, French tracing paper should be used, not such as has been prepared with oil orvarnish. The tracing, being completed carefully on the paper with a soft black-lead pencil, is next laid with the penciling downwards on the stone surface, and fastened at its edges with strong gum-water or a few wafers, to prevent slipping. A sheet of soft paper is then placed above, and rubbed with a smooth piece Tracings and of ivory or ebony. In this manner the lines of the pencil are transferred to the grained surface. Or the transfer may be accomplished by placing, as in Chalcography, (Note AA) between the tracing paper and the Plate, a piece of white paper rubbed all over with the lead, (the rubbed side being laid downwards next the stone,) and then by going over the traced lines with a blunted steel point or etching needle. Tracing is recommended in preference to sketching on the stone with the black-lead pencil, as too much care cannot be taken to preserve and protect the grain of the stone. This grain for chalk drawing should be coarse rather than fine; particularly for portraits, otherwise the stippling of flesh will have a heavy and hard effect. A surface moderately grained is the best for the Lithographic crayon. Should the stone not be free from veins, care must be taken that the more delicate parts of the drawing do not come where the lines or spots appear. For delicate touches, the crayon should have a long and slender point, and should be used in a swan quill, which, by its lightness and elasticity, assists the hand in the operation. For strong touches, a firmer and shorter point is necessary, and the chalk should be placed in a port-crayon, which enables the hand to give firmness and precision of touch in the darker masses of the work. As the Lithographic crayon is apt to soften by much friction, a steady and rather slow motion of the hand is requisite to prevent specks and unevennesses in the work. These specks will cause infinite trouble to a hasty Draughtsman, as they must afterwards be carefully picked away with the etching needle, and swept from the surface with the brush.

Method of working in chalk.

A finely-pointed crayon passed repeatedly backwards and forwards Lithography with a uniform steady motion, but not with heavy pressure, produces very fine dark lines. Soft chalk produces the greater depth of colour, but for more delicate parts, such as flesh, &c. a firmer kind of crayon is required. Dark masses are not to be obtained by heavy pressure, but by repeated hatching and stippling. Strong touches sufficiently broad to admit of a bluntish or firm point are procured by driving the chalk firmly against the grain of the stone. Any required depth of tone may be produced in this way. Sharp catching lights may be scraped out with the mezzotinto scraper, or fine light lines may be scratched with the etching needle. These latter operations must be performed with the utmost care and precision, since the scraped parts of the surface become too rough to take the chalk a second time, or too uneven to print with cer tainty. Some Lithographers soften their tints into each other by means of a mezzotinto cradle or grounding tool, (Note DD.) but this practice is unnecessary if the drawing be carefully executed; and the work will print much better without it.

The Artist will not fail to observe that the colour of the stone being darker than common drawing paper, his drawing will have a more finished appearance on the stone than when printed. He must therefore calculate accordingly, and not consider the colour of the stone as giving him any assistance by way of a middle tint, but must lay a proportionate tint over the lighter parts of his work.

working in

lithographic

2. Ink drawing.-The surface of the stone for ink drawings 3. Method of should have a delicate polish, which has been produced by finely powdered pumice-stone used after the fine sand. The process of ink with a tracing is similar to that for crayons above given, but is usually pen or brush. made with common red chalk. The ink is then made ready by rubbing the stick (like a cake of Indian ink) in a little warm of cold water; rain water, or distilled water, is the best. The ink for the pen should be less diluted than for the camel's hair pencil. The pens should have nibs of different breadths, according to the sort of lines to be drawn ; and the hair pencils should be of the same kind, and in the same variety, as those used by Painters in minia ture. Ink drawing requires more study and practice than crayon drawing. In laying on the colour with the brush, care must be taken that the greasy or soapy particles are spread uniformly, since on this, and not on the evenness of colour merely, depends the suc cess of the future impression. A wash of the mere colour may have its proper tone, and look admirably well on the stone, and yet be utterly useless for printing: or the wash may be quite colourless; yet if a sufficiency of the greasy material be evenly imbibed, the impression will come out perfect. M. Engelmann recommends the practice of stippling, hatching, or dotting, whenever the pen or hair pencil are used. A union of pen-work with that of the hair pencil produces very agreeable effects; touches sometimes of the crayon may be added. Ink lines may also be put into a chalk drawing. The work of the hair pencil is less difficult than that of the pen; producing touches of greater delicacy and softness, and fewer blots. The progress, however, with the pencil is slower, the touches are sometimes not sufficiently charged with ink, and there is, on the whole, less freedom of execution. Architectural designs, or such as require great nicety, are sometimes outlined in ink, and finished in the crayon manner. The architectural Draughtsman will find his drawing pen of occasional use, but must be careful frequently to clear the point, and prevent it from being clogged with ink.

If ink drawing, however, requires more time and pains than the work of the crayon, the operator will be rewarded with a greater number of impressions. M. Engelmann remarks, that ink designs well executed on stone are almost inexhaustible; and that thirty thou sand or forty thousand impressions from them have been taken without any perceivable difference between the first proofs and the last.

ster.

The following method, invented by Mr. Joseph Nethercleft, for Mr. Nether transferring designs (drawn first on paper in lithographic ink) to the cleft's surface of the stone, was rewarded, in 1829, by a premium from the method of Society of Arts. The paper for the design receives first a wash of common size laid on with a camel's hair brush, and afterwards three coats of paste laid on in a similar manner carefully and evenly. The paste is made by boiling in separate vessels a quarter of a pound of tapioca, and the same quantity of arrow root, till each forms a paste. Let them then be united and mixed with a sufficiency of hot water to make a thin paste to be strained through a piece of muslin. Then add a quarter of a pound of flake white, previously well ground in water, and stir it in with the paste. The paper, when dry, should be either cold-pressed, or sent to the glazing-mill and flatted between two rollers. Two sheets, with their pasted sides contiguous, may be glazed together. The ink recommended by the inventor consists of equal quantities of yellow soap and shell lac boiled and burnt together, with sufficient lampblack to give it colour. In order to transfer the writing or drawing made with this ink with a steel or

NOTES ON ENGRAVING.

Note on crow-quill pen on the prepared paper, let the stone be moderately
F graving, warmed. Damp the back of the prepared paper till it lies perfectly
flat, and be careful that no wet touches the prepared side containing
the drawing or writing. Next lay the paper carefully on the
warm stone with the wetted side upwards, and lay over it a sheet of
soft paper, such as will absorb the wet. Pass the stone through the
press three or four times with increased pressure, after which the
paper will peel off, leaving the composition or paste, as well as the
drawing, upon the stone. Wash off the paste, and lay a strong
tint of gum arabic and water over the surface. When dry and cold
the stone is ready for printing.

3. Use of the dabber.

Printing.

3. Dabbing The stone for dabbing should be polished as for pen-work. After tracing the design upon it, according to the method above given for crayon drawing, the artist stops out his margin, and all the places where pure lights are to be left, with a mixture composed of gum-water, to which a little candied sugar powdered and a little gall have been added. This composition should be diluted sufficiently to work with tolerable freedom in the pencil, and the stoppings should be firm and decided. When the first stopping for the pure lights is completed and perfectly dry, he charges the dabbers with the Lithographic ink, dispersing it evenly over the surface. The first tint required is usually very light; the dabber therefore should be sparingly charged with colour, and tried by striking it on the surface of a spare piece of stone to ascertain what depth of colour it will give. If the tint be too light, it may be strengthened by repeated dabbing. Having obtained an even tint of this light kind over the surface of the plate, the Lithographer proceeds to stop out the light tints, taking care not to stop out more than is necessary. After this second stopping, he continues to ply his dabbers as before till he obtains the strength of the second tint; and in this manner alternately dabs and stops out until all the tints of his drawing, according to their due gradations, are completed. Minute markings and touches are obtained with difficulty by the dabbers alone: the chalk or pen therefore may be resorted to; and in cases where any stoppings have been omitted, the mezzotinto scraper or a sharp penknife may be used to lighten the tint in the faulty parts. Sometimes a mezzotinto grounding tool is useful to soften the tints after the process of dabbing. The reader will have probably observed that this process, called the "dabbing system," is admirably adapted for white ornaments on black or dark grounds.

Lithographic Printing.

We now come, lastly, to another series of operations which require perhaps more care than any of the foregoing. For printing from stone, a Press of a peculiar construction is required. A description of the Lithographic Press is attempted by M. Castellan in his Report to the Academy of Fine Arts at Paris, in 1816, who Report of M. at the same time details the process of Printing as follows: Le Castellan on mécanisme de la presse diffère de toutes celles qu'emploient les imthis subject. primeurs en caractères, en taille douce, les dominotiers, et les imprimeurs d'étoffes. Cette presse consiste en une table creuse terminée à Pune de ses extrémités par des montans qui supportent un rouleau à moulinet; la table est recouverte d'un chassis garni d'un cuir fortement tendu. On place la pierre dans le creux de la table et on l'y assujetit au moyen de calles et de coins, puis on la mouille avec une Eponge et de l'eau pure, jusqu'à ce qu'elle en soit bien saturée. Ensuite on charge la planche de noir au moyen d'un rouleau de bois ou manchon recouvert d'un cuir, et qui est lui-même impregné d'un noir d'impression extrêmement fin et compacte qu'il a pris en roulant sur un marbre chargé de cette matière; on promène ce rouleau plusieurs fois, et en tous sens, sur la pierre. La pierre étant donc chargée de noir, on étend dessus un papier d'impression, bien moins humide que celui qu'on emploie pour celle de la taille douce; alors le chassis retombe sur la table, et par dessus ce châssis une racle ou règle en bois qui, au moyen d'une bascule faisant agir deux leviers, exerce une pression de plus d'un millier de livres: enfin on met le moulinet en mouvement; la sangle attachée par son autre extrémité, à la partie mobile de la table dans laquelle la pierre est placée, s'enroule sur le rouleau, et fait glisser sous cette règle la superficie du chassis, qui sert d'intermédiaire entre elle et la pierre, et l'épreuve est imprimée. On relève alors la règle, on ouvre le châssis et on retire cette première épreuve, pour en faire sur-le-champ une seconde de la même manière, et sans déranger la pierre qu'on mouille à chaque fois. Pour conserver les planches lorsque le tirage est fait on les enduit d'une couche de gomme arabique, qui les met à l'abri de l'atteinte des matières grasses et du frottement qui pourraient gáter le dessin. We despair of giving a better description of the Lithographic Press and its uses. To such of our readers as have never seen one, we recommend a visit to the establishments of some of That of M. Hullmandel is, as we our Lithographic Printers. before said, one of the earliest in London, and has met with deserved encouragement and success. The machinery of the Litho

VOL. V.

Messrs. Tay-
lor and Mar-

graphic Press has undergone several improvements since the ac- Lithography.
count above quoted as given by M. Castellan. The improved Press of
construction, and most convenient for use. Two cast-iron uprights press by
Messrs. Taylor and Martineau, of London, is one of the simplest in Improved
to the base and table beneath. A carriage below containing the stone tineau.
(see pl. i. fig. 11) form the sides of the Press, and are firmly attached
and which move along a railway at the bottom of the table. The
is supported by small rollers which considerably diminish the friction,
handle is attached; and the scraper (called in the above descrip-
carriage is put in motion by means of a cylinder, to which a strong
tion by the French term racle) is depressed towards the stone by
means of a spiral placed at the extremity of a handle for the pur-
pose. A regulating screw is added for adjusting the Press to the
various stones employed in the several branches of the art.

Before the Pressman submits the stone to the Press he must per- Process of
form two very essential operations: first, he washes the stone with printing.
aquafortis well diluted in water. This solution prepares the stone to
receive more readily the aqueous particles in the parts not intended
very weak solution, and such as will not excite effervescence, is re-
for impression, and cleanses the surface likewise from dirt. A
quired. When the whole surface has been wetted, fresh water is
has been imbibed, a thin coat of gum arabic and water must be
immediately used for rinsing it; and, when a sufficiency of water
passed over it.

Secondly, the Pressman proceeds to the operation of charging
the stone with printing ink, and applies his colour with a stuffed
leather ball, pressed or dabbed perpendicularly on the surface, or
with the common inking roller. For fac-simile of MSS. the roller
is preferable. The printing ink must be applied carefully, and not
too thick; otherwise, the lines will print broader than in the de-
sign, and be apt to spread over the stone by the pressure given in
rator must not expect a satisfactory result all at once, but must
printing. The first impressions are generally feeble, and the ope-
The Plate, between each new application of the printing ink, must
patiently repeat the process till a good impression is produced.
be thoroughly saturated with water. When signs appear of the
arises from a portion of the printing ink being left on the Plate
Plate being clogged or overcharged with colour, (an accident which
after taking an impression,) the Plate must be cleaned by means of
the following mixture: one part linseed oil, (or two parts olive oil,)
two parts oil of turpentine, and three parts of water, shaken
strongly together in a phial till they produce a foam. A small
portion of the liquid well shaken is poured upon the Plate, and
spread rapidly with a sponge over the entire surface. By means
of this process, the black lines or shadings dissolve and become
perfluities, while the linseed oil of the mixture supplies fresh nou
entirely obliterated: the oil of turpentine removes all greasy su-
rishment to the drawing, and the water or third ingredient of the
composition is drawn only to the parts where water has already
been absorbed. The face of the stone, being now perfectly cleansed
with a large sponge and fresh water, becomes as white as before
the drawing was made, and the work, being no longer discernible
on its surface, presents to the eye of a novice the appearance of
being utterly spoiled. It must be left in this state for a short
time, and is then to receive a thin coat of gum-water previous to
the renewed application of the Printer's ink. All the original lines
and touches of the drawing then reappear, and seem sharper and
more distinct than ever. If, after an impression, the printing ink
still shows a tendency to remain on the stone, a little diluted
nitric acid may be carefully applied with a sponge to remove it.
The operator must be careful not to use the same sponge indis
criminately for these several liquids, but must keep a separate
sponge for each.

Paper. The paper for Lithographic impressions should be con- Paper.
siderably thicker than for ordinary printing. If thin paper be
used, intermediate layers will be necessary, that the scraper in
printing may not come too near the drawing itself. Unsized thin
very tenacious, will make the paper adhere to the Plate. All
paper is on this account unserviceable; since the printing ink, if
papers, in whose composition chalk or alum is present, are, says
M. Bartsch, injurious to the stone.

Printing ink.-M. Bartsch's recipe for printing ink is linseed Printing ink. oil well thickened by boiling, into which a sufficient quantity of lamp-black is afterwards well ground, till the whole mass is smooth and adhesive. Another recipe, which we copy from the Encyclopæd. one part grease or coarse soap; four Edinensis, recommends bruised and very dry. In mixing these ingredients, the grease or parts white wax; one part gum lac; and one part lamp-black, soap is cut in small pieces, and put on a strong fire in an iron pot: this being well heated, the wax, also in small pieces, is introduced. After stirring it about, it is then set fire to with a match, and, while burning, the gum is added. When dissolved, extinguish the flame by covering up the pot; and, while the mixture is boiling, add 5 R

[blocks in formation]

Toning plate.

Temperature. The temperature of the printing room is of much importance to the Lithographer. No season is so dangerous as hot weather, causing a rapid evaporation from the Plate, which cannot be too moist. On the other hand, in very cold weather impressions are not to be obtained till the Plate has been a little warmed, and the chamber well heated.

Note (MM.)

vered with a coat of Lithographic ink (Note (LL.) dabbed uni- Lithography
formly over it, and care must be taken not to leave the substance
too thick on the surface. A coat of thin varnish, or of gum arabic, Imitation of
is then passed over the plate, and after transferring the design, mezzotinto.
the Artist proceeds to remove the lights with his etching point or
mezzotinto scraper. These instruments must be sufficiently sharp
to clear away the ink, otherwise they will only serve to spread the
oily or resinous vehicle, and cause extreme darks instead of lights.
(See directions under Dabbing in the last Note.)

No. 6. differs little as to the vehicles used from the ordinary
methods of this kind of printing. No. 7. requires only a good clear
impression of the letter press or copper-plate to be taken, and
then, while yet wet, to be laid on the stone, which latter being
passed through the press, receives an exact transfer of the printed
matter. No. 9. is, we believe, seldom resorted to but where the
scraper or the needle has failed of the effect intended, and consists
in removing, by means of the graver, such portions of the surface
as are required to be perfectly free from colour.

very se

WORK BL

Among these several varieties in the practice of Lithography, some may require no further explanation than is to be collected from the foregoing Note; such are Nos. 1, 2, 3, 8, and 11. The Compound method No. 4, for which several Plates are employed, and which Of the method No. 10. the following account has been given. Lithography. we should call compound Lithography, (Art. 12.) differs only Let the stone Plate be covered with a solution of gum arabic cofrom the processes which we noticed under Wood Engraving, loured with lamp-black. When perfectly dry it is ready to receive (Art. 28. and 30. Note (P.) or under Chalcography (Art. 46. 63. the design, which is to be carefully proceeded with by means of etch- Method for and 67. Notes (FF. and KK.) by the peculiarities already stated, ing needles of different thicknesses, according to the breadth of which distinguish Lithographic Engraving and Lithographic the several lines. The operator merely scratches off the coating of gom webPrinting in general from Engravings on wood or metal. M. gum from the surface without making any incision into the stone. ing. Bartsch remarks, that during the process of preparing the stone The analogy between this process and that of etching (Note BB.) Plate for the Press by ablution in diluted aquafortis, the delicate is evident. The gum answers to the etching ground, and as the tints of a crayon drawing sometimes become enfeebled and some- latter protects certain parts of the copper-plate from corrosion by times quite disappear; and recommends the use of a second stone the acid; so the former, in the present instance, preserves the Plate, on the surface of which the highest lights are left untouched, stone from the action of oily or resinous matter. The Lithographie and the middle tints restored by some colour, either a yellow-brown or or resinous ink is now well rubbed over the stone, which is defended greenish-grey. This he terms the toning Plate. A moderately good from it in every part but where the scratches have been made. stone (for the best kind is not necessary) is selected, and grained The stone is then well sponged with water, and the ground of gum as for a chalk drawing; its whole surface to be covered over with and lamp-black being thereby washed off the surface, the lines of the an ink composed of four parts wax, one part soap, and two parts ink remain where the designer had rubbed them in. This process vermili n, not too thick, yet sufficiently strong to resist the action may be repeated till the operator is satisfied with his work. Inof the aquafortis. This ink, dissolved in rain water, is applied to stead of the resinous ink, the scratches may be filled up with copal the stone or toning Plate in a liquid state with a brush. When the varnish, which renders the design more durable, as the varnish reddened Plate is perfectly dry, a full impression from the original when dry becomes very hard, and affords effectual resistance to stone is taken, and this proof immediately applied for reimpression alkalis, weak acids, oil of turpentine, or to alcohol; so that during to the reddened stone. The red ground, being chiefly of wax, is the operation of printing the stone may be cleansed without injury easily scraped off in places where the drawing indicates that lights by means of any one of those substances. The copal varnish, howshould be left. The same Plate is then washed with a solution of ever, is only available for the rubbing process just stated; it is not aquafortis, (about twenty parts water to one of the acid,) and, sufficiently fluid to be manageable with a pen. M. Engiemann finally, coated with gum. It is then ready for giving impressions. remarks of this process, (Manuel du Dessinateur Lithographe, p. The discovery of a method for retouching, on the stone, any 69.) Ce mode était dans son exécution presque aussi long, presque given portion of a Lithographic drawing, supersedes in some mea- aussi difficile que la gravure à l'eau forte; on y a renoncé, et il sure the process last mentioned. The honour of the invention is n'est employé maintenant que par les personnes qui n'ont que des said to be divided between M. IIullmandel, of London, and M. connaissances incomplettes dans le travail de la plume. Le seul cas Engelmann, of Paris, neither of whom, however, have published où l'on peut recourir avec avantage à ce genre de gravure, c'est lorstheir secret, so that the claims of each competitor must remain sub qu'il s'agit de tracer des parties extrêmement fines, telles que les ciels judice until the disclosure of further evidence. et les lointains, que la plume ne rendrait certainement pas avec autant de délicatesse: en définitif, cette espèce de gravure offre des singuliers rapprochemens avec celle à la pointe sèche sur cuivre.

Retouching.

For imitation of mezzotinto, (No. 5.) the entire stone Plate (its margin of course excepted, which may be stopped out,) is to be co

Reference to Plates iii. and iv. of Monograms used by some of the principal Engravers. Observe: the names numbered 1-18 are Mang of French Engravers: 19-56 of German: 57-93 of Flemish and Dutch: and 94-126 of Italian.

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