DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.20658#0342
ETCHING.
otherwise it will injure the work ; it is also too strong for mezzotinto plates, unless very carefully
used, and not suffered to continue long on the plate.
The chief merit of engraving in chalks is to form a kind of deception which, when well
executed, it does very succcsfully, so that the connoisseur is hardly ahle, on the first inspection,
to distinguish between the original drawing and the engraving made in imitation of it. It is
extremely useful, as it serves to multiply copies of drawings, left by those masters who excelled
in the use of chalks, and furnishes young artists with the same assistance in the practice of
drawing as if they had access to the original. Drawing also made with chalks of different
colours may be imitated in this manner, if a plate be provided for every colour. The French
have very well imitated drawings on blue paper by using two plates, one of which printed the
black chalk effect, the other that of the white chalk. Chalk plates likewise printed in black on
blue paper, may afterwards be touched with white chalk, whereby they will have a very
pleasing effect.
CHAP. II.
of etching, and the methods of preparing the different grounds.
ETCHING is a species of engraving, and of a more modern invention, than that performed
by the tool only. It is effected principally b}r the corrosive quality of aqua-fortis: the copper-
plate being first covered with a resinous ground, which preserves the metal from the action of
that powerful menstruum, while other parts of the plate are exposed to its influence, by lines
drawn with proper instruments through the ground: and by the greater or less action of the
acid spirit on the plate different excavations are effected, and the plate is rendered capable of
displaying the different tints of light and shade, or all the beauties of the chiaro oscuro.
The first operation in this art is the laying on of the ground. Several recipes have been
given for the forming of this composition ; and among those who profess the art there is a great
diversity in their preparation of the ground. It is an article of great importance to the engraver,
and deserves his principal consideration. I shall give the composition of the most generally
approved grounds, leaving the artist to his predilection, as his own choice or experience may
direct him.
Rembrandt's Ground.—Take of asphaltum burnt, half an ounce, and the same quantity
of gum-mastic: pulverize or beat them to a fine powder; and add them by degrees to one
ounce of virgin-wax, melted over a gentle fire; stirring the composition till the whole be
thoroughly incorporated ; which, when intimately compounded, pour into clean water, and
make it into balls for use. When this ground is used it should be laid on the plate very thin ;
and the plate must not be made too hot.
Callot's Ground.—Take a quarter of a pound of virgin-wax and two ounces of asphaltum,
the same quantity of mastic, one ounce of resin, one ounce of shoemaker's pitch, half an ounce
of common pitch, half an ounce of varnish : melt the wax and add the other ingredients as
before, and when incorporated pour it into water.
Another ground in very frequent use.—To a quarter of a pound of virgin-wax add the following
ingredients: two ounces of asphaltum, one ounce of amber, and one ounce of mastic. The
asphaltum
otherwise it will injure the work ; it is also too strong for mezzotinto plates, unless very carefully
used, and not suffered to continue long on the plate.
The chief merit of engraving in chalks is to form a kind of deception which, when well
executed, it does very succcsfully, so that the connoisseur is hardly ahle, on the first inspection,
to distinguish between the original drawing and the engraving made in imitation of it. It is
extremely useful, as it serves to multiply copies of drawings, left by those masters who excelled
in the use of chalks, and furnishes young artists with the same assistance in the practice of
drawing as if they had access to the original. Drawing also made with chalks of different
colours may be imitated in this manner, if a plate be provided for every colour. The French
have very well imitated drawings on blue paper by using two plates, one of which printed the
black chalk effect, the other that of the white chalk. Chalk plates likewise printed in black on
blue paper, may afterwards be touched with white chalk, whereby they will have a very
pleasing effect.
CHAP. II.
of etching, and the methods of preparing the different grounds.
ETCHING is a species of engraving, and of a more modern invention, than that performed
by the tool only. It is effected principally b}r the corrosive quality of aqua-fortis: the copper-
plate being first covered with a resinous ground, which preserves the metal from the action of
that powerful menstruum, while other parts of the plate are exposed to its influence, by lines
drawn with proper instruments through the ground: and by the greater or less action of the
acid spirit on the plate different excavations are effected, and the plate is rendered capable of
displaying the different tints of light and shade, or all the beauties of the chiaro oscuro.
The first operation in this art is the laying on of the ground. Several recipes have been
given for the forming of this composition ; and among those who profess the art there is a great
diversity in their preparation of the ground. It is an article of great importance to the engraver,
and deserves his principal consideration. I shall give the composition of the most generally
approved grounds, leaving the artist to his predilection, as his own choice or experience may
direct him.
Rembrandt's Ground.—Take of asphaltum burnt, half an ounce, and the same quantity
of gum-mastic: pulverize or beat them to a fine powder; and add them by degrees to one
ounce of virgin-wax, melted over a gentle fire; stirring the composition till the whole be
thoroughly incorporated ; which, when intimately compounded, pour into clean water, and
make it into balls for use. When this ground is used it should be laid on the plate very thin ;
and the plate must not be made too hot.
Callot's Ground.—Take a quarter of a pound of virgin-wax and two ounces of asphaltum,
the same quantity of mastic, one ounce of resin, one ounce of shoemaker's pitch, half an ounce
of common pitch, half an ounce of varnish : melt the wax and add the other ingredients as
before, and when incorporated pour it into water.
Another ground in very frequent use.—To a quarter of a pound of virgin-wax add the following
ingredients: two ounces of asphaltum, one ounce of amber, and one ounce of mastic. The
asphaltum