Engraving
the art of cutting or incising designs on metal plates or blocks of wood, for the purpose of printing impressions from them with ink on paper, or other similar substance. Works of this sort belong to two classes: engravings on metal, in which the lines to be printed are sunk or incised, and engravings on wood, in which the lines to be printed appear in relief, the wood between them being cut away. In the former, the plate having been inked and wiped on the surface, retains the ink only in its hollowed lines, from which it is conveyed to the paper by the pressure of the printing press; in the latter, only the elevated portion of the surface of the block is inked by means of a roller, and, being subjected to the press, it prints as a raised type.
Engraving on Metal. The metal most commonly used for engraving has been copper; but during the 19th century -steel was largely employed on account of its hardness. Steel is less readily engraved than copper, and yields a less free and artistic result; but as the surfaces of copper plates can now be protected by an extremely thin coating of steel deposited by galvanic action, which can be renewed as often as is necessary, they are enabled to yield a large number of excellent impressions without being -worn. Zinc plates have also been employed to some extent for etchings. The earliest of the impressions taken from engraved plates are those most valued by connoisseurs, on account of their sharpness, clearness, and richness, qualities which are gradually lost as the surface of the metal becomes worn by ENGRAVING repeated printing. The term "working proofs" indicates trial impressions printed by engravers for their own use, to test the state of their work during its progress. "Artist's proofs" are those bearing the signature of the painter or engraver, or both. "Proofs before letters" are those thrown off before the printed titling, etc., has been a added; and "open letter proofs" are those in which the letters of the title have been added merely in outline.
Line Engraving. -The practice of line engraving originated with the early Italian goldsmiths, who in this manner were accustomed to take proofs of the metal objects which they decorated with engraved designs, in order to test the progress of their work; and these nielli, or highly decorated plates of metal, in which the incised lines or patterns were to be filled with a black composition, are regarded as the earliest engravings.
A pax or metal plate used in the Roman ritual to receive the kiss of peace, executed by Maso Finiguerra, in 1452, for the Church of San Giovanni in Florence, is considered to have been the first metal from which impressions on paper are known to have been taken.
Etching. In this process a polished metal plate is coated with a thin transparent surface or "ground," impervious to acid. A mixture of white wax, gummastic and asphaltum made into the form of a ball and covered with silk is applied to the heated surface of the plate, and melting exudes through the cloth, when it is spread evenly over the metal by means of a pad of cotton-wool covered with silk, termed a "dabber."
The plate is then exposed to the smoke of wax tapers till it becomes of a uniform black, which enables the etched line, disclosing the shining metal, to be visible on its surface. On this plate, so prepared, the design is drawn with an "etching needle," a sharp steel point fitted in a handle, and held like a pencil in the artist's hand. This needle discloses lines of the bare metal ready to be eaten or etched by the acid. The back of the plate having been protected by an application of Brunswick black, it is placed in the "acid bath," a flat tray filled with a mordant, usually composed of nitric acid diluted with an equal volume of water, which attacks and corrodes the metal in the lines that have been exposed to its action by the needle.
After sufficient time has been allowed for the palest lines of the subject to be bitten, the plate is removed from the bath; these lines are covered with a "stopping-out varnish" of Brunswick black, applied with a brush, which protects them from further action of the ENGRAVING acid; and the plate is returned to the bath, which attacks the lines still exposed. This process is rep as necessary to produce the desired repeated as often the plate is finally removed from the the design. When the biting is completed, the plate is finally removed from the cised on the metal. The plate is then inked and printed. Various methods of etching, and modifications of the process described have been introduced. Seyin England. Alphonse Legros and Hubert Herkomer have also done much to in England. Alphonse Legros and Hubert Herkomer have also done much to stimulate interest in the art. Among the younger painter-etchers are William beth. Among the most talented of modern etchers in America may be named ern etchers in America may be named Farrer, Joseph Pennell, Stephen Parrish, Mary Nimmo Moran, Thomas Moran, Swain Gifford, and Charles A. Platt.
Mezzotint Engraving. - This method engraving in that, while other engravers work from light to shade, and each line mezzotinter works from dark to light, and each touch which he adds to his plate prints as a light. Mezzotint plates are prepared by the action of a kind of chisel, termed a "cradle" or "rocking tool," which passing over the surface roughens it, raising a "bur" of innumerable small metal points, so that if the plate were then inked and printed it would yield an impression of a uniform black. The engraver, having traced his subject on the plate, proceeds to smooth the surface by removing the "bur" with a scraper, in proportion as he wishes to introduce light into his design; the bur being left untouched in the darkest shadows, partially removed in the halflights, and wholly cleaned away in the high lights, in which the surface is perfectly smooth, and brought to a high polish by means of the "burnisher." The process of mezzotint was invented by an amateur, Ludwig von Siegen (1609- 1680). Among the mezzotint engravers of England may be mentioned Simon, and Purcell. Noted in America for this and John Sartain (1808-1898).
Aquatint Engraving. In this process the polished metal plate is covered with spirits of wine. The spirit evaporates, granulations on the metal surface. The design is then transferred to the metal ENGRAVING and the plate is bitten in a bath of dilutare longest exposed to the action of the tions left exposed between the grains of mordant, the lighter parts being succesare longest exposed to the action of the out," consisting of oxide of bismuth and in a manner similar to that employed in the "stopping-out" of an ordinary ing. The impressions produced resemble those yielded by mezzotint, both procary etchlines. This method is believed to have esses working by spaces and not by been invented by Jean-Claude-Richard de Saint-Non (1730-1804).
Chalk or Stipple Engraving. metal plate is coated with an ordinary etching ground, and the subject is drawn The upon it by means of a succession of small dots produced by the point of the etching-needle. The plate is then bitten in the usual way with the acid, which corrodes the metal at the points uncovfinished by dots, applied with the point ered by the needle; and it is afterward of the etching-needle or burin on the bare metal. Jean Charles François (1717-1769) is said to have been the first engraver to employ this process. - Engraving in recent times has been Mechanical and Photographic Process. -Engraving in recent times has been and mechanical substitutes. The most important of these is known as photoimportant of these is known as photothe work produced by means of this procthe work produced by means of this procdrawings in monochrome and of photographs direct from nature, has raised it to a position of great importance. A used in the reproduction of the plates of the older engravers and etchers, and in the production of intaglio etched platethe production of intaglio etched platebeen carried to great perfection, some been carried to great perfection, some of Paris being almost equal to the finest original etchings. of Paris being almost equal to the finest A positive photoare black, the whites clear glass); this graving to be reproduced (i. e., the lines is placed over a copper plate coated with are black, the whites clear glass) this is placed over a copper plate coated with graph have protected the varnish from light. Where the lines of the photoglass it becomes insoluble. The varnish the light has affected it through the the copper exposed exactly as if the etching point had been used to make the the copper exposed exactly as if the etchplate is then bitten in the usual manner, and finally touched up with the graver.
ENID