DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.20658#0337
&NGRAVIJSG. 323
strokes are formed by making two or more parallel lines with the graver, and then breaking them
into one. When the work is finished, if any scratches appear, or any false strokes, or if it be
necessary that any part should be obliterated, such parts may be rubbed out with the burnisher,
and the part cleared with the scraper; afterwards it is to be lightly polished with the burnisher.
The plate is lastly to be rounded off at the edges and corners, by using first a rough rile and af-
terwards a smoother one,*md then polishing the edges with the burnisher.
In order to form a proper idea of this noble and elegant art of engraving in strokes, we
may observe, once for all, that any line may be crossed by another line, or any number of lines
by any other number of lines; but it is not every intersection or crossing that is graceful. For
instance, if a number of parallel lines in an engraving be crossed by others lunning nearly in
the same direction, they will form by their intersections a number of areas of a sharp and disa-
greeably lozenge shape, which is proper only in certain instances, as described hereafter: and if
the first lines be crossed by others at right angles, the areas formed by their intersections will be
so many squares; which always possess a certain hardness of appearance, and are proper only to
some particular subjects: consequently, excellence in the art, and elegance of appearance, consist
in neither of these forms solely, but in a medium between them, or a junction of these and other
methods. For in a well executed engraving we observe, in some places, some of the following,
modes, and in the whole piece all the subsequent varieties, and not unfrequently many others
purely the invention of the engraver :—1. single lines, sometimes of considerable length ; 2. lines
crossed by others at a pleasant lozenge, not too acute; 3. lines crossed at right angles, where a
kind of obscurity is wanted : 4. two courses of lines crossing at a lozenge, and intersected with
a third in a lozenge course, but more soft and tender than either of the other two; 5. lines
crossing each other at right angles, intersected by a third course of lines at a lozenge which
soften the squares and render the work more elegant; 6. strong lines of a firm colour, at a con-
siderable distance from each other, with a fine line between them, this is called interlining;
7. firm lines like the former, but crossing each other and also interlined ; 8. round dots often
made in the flesh, and where soft shades are required ; 9. long dots made with the graver for
the same purpose; 10. long dots crossing each other, or a kind of short broken lines; 1 1. lines
of dots crossed by fine thin lines; 12. very fine thin lines made by the dry point in the light
parts of the piece. Some of these methods, or similar ones introduced, according to the judge-
ment of the engraver, produce that wonderful effect, richness and character which we so much,
admire in excellent prints, and which no other manner of engraving can boast of; it is also3
further enriched by a judicious mixture of etching, engraving, and the work of the dry point
From what has been said it is evident that this ai t, with all its excellencies, consists only in;
the judicious mechanical management of the graver and drv-point: yet of its- numerous pro-
fessors very few attain superior merit: and it may be generally observed that, of this happy few
not many excel in more than one branch. Though it does not require that fertility of genius
the original artist should possess, it nevertheless is to, be attained only by dint of assiduity and
practice. Few rules will suffice : but much depends on the patience and perseverance of the
student. A few general leading principles, to instruct the student in the method of producing
certain well-known effects, are all that he canexpect from theory : the rest he must derive from
his own practice and experience.
He who is well acquainted, with: design, and consequently with the general: principles of
perspective
strokes are formed by making two or more parallel lines with the graver, and then breaking them
into one. When the work is finished, if any scratches appear, or any false strokes, or if it be
necessary that any part should be obliterated, such parts may be rubbed out with the burnisher,
and the part cleared with the scraper; afterwards it is to be lightly polished with the burnisher.
The plate is lastly to be rounded off at the edges and corners, by using first a rough rile and af-
terwards a smoother one,*md then polishing the edges with the burnisher.
In order to form a proper idea of this noble and elegant art of engraving in strokes, we
may observe, once for all, that any line may be crossed by another line, or any number of lines
by any other number of lines; but it is not every intersection or crossing that is graceful. For
instance, if a number of parallel lines in an engraving be crossed by others lunning nearly in
the same direction, they will form by their intersections a number of areas of a sharp and disa-
greeably lozenge shape, which is proper only in certain instances, as described hereafter: and if
the first lines be crossed by others at right angles, the areas formed by their intersections will be
so many squares; which always possess a certain hardness of appearance, and are proper only to
some particular subjects: consequently, excellence in the art, and elegance of appearance, consist
in neither of these forms solely, but in a medium between them, or a junction of these and other
methods. For in a well executed engraving we observe, in some places, some of the following,
modes, and in the whole piece all the subsequent varieties, and not unfrequently many others
purely the invention of the engraver :—1. single lines, sometimes of considerable length ; 2. lines
crossed by others at a pleasant lozenge, not too acute; 3. lines crossed at right angles, where a
kind of obscurity is wanted : 4. two courses of lines crossing at a lozenge, and intersected with
a third in a lozenge course, but more soft and tender than either of the other two; 5. lines
crossing each other at right angles, intersected by a third course of lines at a lozenge which
soften the squares and render the work more elegant; 6. strong lines of a firm colour, at a con-
siderable distance from each other, with a fine line between them, this is called interlining;
7. firm lines like the former, but crossing each other and also interlined ; 8. round dots often
made in the flesh, and where soft shades are required ; 9. long dots made with the graver for
the same purpose; 10. long dots crossing each other, or a kind of short broken lines; 1 1. lines
of dots crossed by fine thin lines; 12. very fine thin lines made by the dry point in the light
parts of the piece. Some of these methods, or similar ones introduced, according to the judge-
ment of the engraver, produce that wonderful effect, richness and character which we so much,
admire in excellent prints, and which no other manner of engraving can boast of; it is also3
further enriched by a judicious mixture of etching, engraving, and the work of the dry point
From what has been said it is evident that this ai t, with all its excellencies, consists only in;
the judicious mechanical management of the graver and drv-point: yet of its- numerous pro-
fessors very few attain superior merit: and it may be generally observed that, of this happy few
not many excel in more than one branch. Though it does not require that fertility of genius
the original artist should possess, it nevertheless is to, be attained only by dint of assiduity and
practice. Few rules will suffice : but much depends on the patience and perseverance of the
student. A few general leading principles, to instruct the student in the method of producing
certain well-known effects, are all that he canexpect from theory : the rest he must derive from
his own practice and experience.
He who is well acquainted, with: design, and consequently with the general: principles of
perspective