DOI Page / Citation link:
https://doi.org/10.11588/diglit.20658#0339
ENGRAVING.
315
closer lines than other sorts, and should also be executed with single strokes, or without inter-
lining. Woollen cloth should be engraved with only two strokes, which should generally be
wide apart, in proportion to the coarseness of the cloth : but when the strokes are crossed, the
second should be less than the first, and the third less than the second. Silk, satin, and many
other shining substances, produce flat and broken folds, and should therefore be engraved more
hard, with straiter lines than others; and with one or two strokes, as their colours are more
bright or brown ; and the first strokes should also be interlined with smaller ones. Plush
and velvet are also expressed in the same manner. Metals, and consequently ancient armour,
are represented by clear single strokes interlined. In architecture, the strokes which form the
rounding object should tend to the point of sight; in whole columns perpendicular lines should
be used as much as possible; and, if a gross stroke is introduced it should be at right angles to
the first stroke, and wider and thinner. In representing mountains the strokes should be strait,
in the lozenge manner, frequently discontinued or broken, to represent sharp craggy points :
they should also be accompanied with long points or dots : but rocks should be formed by cross
strokes more square and even. All distant objects should have very faint and tender shadows
and be somewhat obscurety defined : the greater their distance is the more indistinct they must
appear. Calm still waters require strait strokes parallel to the horizon, interlined with finer
ones, omitting such parts as, in consequence of gleams of light, exhibit the shining appearance
of water; and the form of objects reflected from the water at a small distance upon it, or on the
banks of the water, are expressed by the same strokes retouched more strongly or faintly, as
occasion may require, and even by some that are perpendicular. Agitated waters, the waves
of the sea, &c. should be done with the first strokes following the figure of the waves, which
should be interlined, and the cross stroke should be lozenged. Cascades are represented by
strokes following the direction of the water in its fall, which should also be interlined. In repre-
senting clouds, when they appear thick and agitated, the graver may turn in every direction,
according to their form and agitation : but dark clouds which require two strokes, have their
strokes crossed more lozenge than the figures, the second strokes being wider than the first:
flat clouds that are hardly visible in a clear sky, are formed by strokes parallel to the horizon,
but a little waving; if they be crossed with second strokes, these should be more or less lozenge;
and when they approach the extremities the band should be lightened in such a manner that
their ends may not form any outline. In representing a flat, clear sky, strait parallel strokes
must be formed, without the least winding. With regard to landscape it must be observed in
general, that etching has a far better effect than engraving, on account of the freedom of the
work, and the ease which appears in etchings above what is seen in engravings; therefore the
trees, rocks, earth, herbage, &c. should always be etched, or at least as much so as conveni-
ently can be done ; nothing being left for the graver but the perfecting, softening, and strength-
ening. And in most subjects whatever the shadows ought to be etched, and the lighter tints
finished with the graver, dry-points, &c.
Of wheting and tempering the Graver,
It is necessary that the artist understand how to choose a good graver, to whet it ivhen requisite,
and to temper it when too hard. The two sides which form what is called the belly of the graver
4 o * are
315
closer lines than other sorts, and should also be executed with single strokes, or without inter-
lining. Woollen cloth should be engraved with only two strokes, which should generally be
wide apart, in proportion to the coarseness of the cloth : but when the strokes are crossed, the
second should be less than the first, and the third less than the second. Silk, satin, and many
other shining substances, produce flat and broken folds, and should therefore be engraved more
hard, with straiter lines than others; and with one or two strokes, as their colours are more
bright or brown ; and the first strokes should also be interlined with smaller ones. Plush
and velvet are also expressed in the same manner. Metals, and consequently ancient armour,
are represented by clear single strokes interlined. In architecture, the strokes which form the
rounding object should tend to the point of sight; in whole columns perpendicular lines should
be used as much as possible; and, if a gross stroke is introduced it should be at right angles to
the first stroke, and wider and thinner. In representing mountains the strokes should be strait,
in the lozenge manner, frequently discontinued or broken, to represent sharp craggy points :
they should also be accompanied with long points or dots : but rocks should be formed by cross
strokes more square and even. All distant objects should have very faint and tender shadows
and be somewhat obscurety defined : the greater their distance is the more indistinct they must
appear. Calm still waters require strait strokes parallel to the horizon, interlined with finer
ones, omitting such parts as, in consequence of gleams of light, exhibit the shining appearance
of water; and the form of objects reflected from the water at a small distance upon it, or on the
banks of the water, are expressed by the same strokes retouched more strongly or faintly, as
occasion may require, and even by some that are perpendicular. Agitated waters, the waves
of the sea, &c. should be done with the first strokes following the figure of the waves, which
should be interlined, and the cross stroke should be lozenged. Cascades are represented by
strokes following the direction of the water in its fall, which should also be interlined. In repre-
senting clouds, when they appear thick and agitated, the graver may turn in every direction,
according to their form and agitation : but dark clouds which require two strokes, have their
strokes crossed more lozenge than the figures, the second strokes being wider than the first:
flat clouds that are hardly visible in a clear sky, are formed by strokes parallel to the horizon,
but a little waving; if they be crossed with second strokes, these should be more or less lozenge;
and when they approach the extremities the band should be lightened in such a manner that
their ends may not form any outline. In representing a flat, clear sky, strait parallel strokes
must be formed, without the least winding. With regard to landscape it must be observed in
general, that etching has a far better effect than engraving, on account of the freedom of the
work, and the ease which appears in etchings above what is seen in engravings; therefore the
trees, rocks, earth, herbage, &c. should always be etched, or at least as much so as conveni-
ently can be done ; nothing being left for the graver but the perfecting, softening, and strength-
ening. And in most subjects whatever the shadows ought to be etched, and the lighter tints
finished with the graver, dry-points, &c.
Of wheting and tempering the Graver,
It is necessary that the artist understand how to choose a good graver, to whet it ivhen requisite,
and to temper it when too hard. The two sides which form what is called the belly of the graver
4 o * are