DOI Page / Citation link:
https://doi.org/10.11588/diglit.20658#0351
MEZZOTINTO, 837
were not to convey the colour appropriated to the print were entirely scraped away, as in
forming the lights of all mezzotinto prints. The parts that were to convey the colours were then
worked upon and where the most Jight or diluted tints of the colour were to be placed, the
grain in the ground was proportionally taken off; but where the full colour was required it was
left entire. In this method of printing regard was had not only to the effects of the colour in
its simple state, but to its combined operation, either in producing orange colour, green, or
purple, by its admixture with one alone ; and likewise to its forming brown, grey, and shades
of different degrees, by its co-operation with both the others. But though the greatest part of
the engraving was performed in the mezzotinto manner, yet the graver was employed occasi-
onally for strengthening the shades and for correcting the outline, where it required great
accuracy and steadiness, it was found necessary sometimes to have two separate plates for
printing the same colour, in oider to produce a stronger effect: but the second plate, which was
used to print upon the first, was intended only to glaze and soften the colours in particular parts
that might require it. With respect to the black and brown tints, which could not be so con-
veniently produced in a due degree by the mixture of the colours, umbre and black were likewise
used. From some specimens left us by the artist of this invention, and contemporary accounts
of his success, we have reason to believe he met with less impediments in his work than many
of his successors; but with respect to the order in which the plates are to be applied it may be
proper to observe, that the colour which is least apparent in the picture should be laid on first;
that which is betwixt the most and least apparent the next; and that which predominates last;
except where there may be occasion for two plates for the same colour, as was before mentioned ;
or where more plates are required for adding browns and shades.
The above-named ingenious artist applied this art not only to general subjects, but also to
portraits, and shewed by the specimens he produced, the possibility of its being, by further im-
provements, rendered capable of affording very exact imitations of painting which might have
some value. It must however be confessed, that it is much better adapted to the simpler subjects,
where the colours are less compounded and intermixed, and where the accuracy of the reflections
and demi-tints do not form an essential characteristic: and in general it may be observed that,
those mezzotinto which have their outlines finished with the graver are better adapted to this
mode of painting than plates wrought with the scraper and burnisher only. M. Cochin observes
that " though Le Blon confined his method principally to the use of three colours: yet should
this invention be again taken up and cultivated, there would be more probability of success in
using a greater variety : and that several different kinds might be printed by one plate, provided
they were laid on in their respective proper places by printing-balls, which should be used for
that colour only."
CHAP II.
OF AQU A-TINTA.
THIS method of etching on copper is a modern invention : more facile in its operation than
any manner of engraving or etching hitherto known, and produces a more beautiful and soft
effect, resembling a drawing in water colours or Indian ink, of a more soft and delicate nature
4 R than
were not to convey the colour appropriated to the print were entirely scraped away, as in
forming the lights of all mezzotinto prints. The parts that were to convey the colours were then
worked upon and where the most Jight or diluted tints of the colour were to be placed, the
grain in the ground was proportionally taken off; but where the full colour was required it was
left entire. In this method of printing regard was had not only to the effects of the colour in
its simple state, but to its combined operation, either in producing orange colour, green, or
purple, by its admixture with one alone ; and likewise to its forming brown, grey, and shades
of different degrees, by its co-operation with both the others. But though the greatest part of
the engraving was performed in the mezzotinto manner, yet the graver was employed occasi-
onally for strengthening the shades and for correcting the outline, where it required great
accuracy and steadiness, it was found necessary sometimes to have two separate plates for
printing the same colour, in oider to produce a stronger effect: but the second plate, which was
used to print upon the first, was intended only to glaze and soften the colours in particular parts
that might require it. With respect to the black and brown tints, which could not be so con-
veniently produced in a due degree by the mixture of the colours, umbre and black were likewise
used. From some specimens left us by the artist of this invention, and contemporary accounts
of his success, we have reason to believe he met with less impediments in his work than many
of his successors; but with respect to the order in which the plates are to be applied it may be
proper to observe, that the colour which is least apparent in the picture should be laid on first;
that which is betwixt the most and least apparent the next; and that which predominates last;
except where there may be occasion for two plates for the same colour, as was before mentioned ;
or where more plates are required for adding browns and shades.
The above-named ingenious artist applied this art not only to general subjects, but also to
portraits, and shewed by the specimens he produced, the possibility of its being, by further im-
provements, rendered capable of affording very exact imitations of painting which might have
some value. It must however be confessed, that it is much better adapted to the simpler subjects,
where the colours are less compounded and intermixed, and where the accuracy of the reflections
and demi-tints do not form an essential characteristic: and in general it may be observed that,
those mezzotinto which have their outlines finished with the graver are better adapted to this
mode of painting than plates wrought with the scraper and burnisher only. M. Cochin observes
that " though Le Blon confined his method principally to the use of three colours: yet should
this invention be again taken up and cultivated, there would be more probability of success in
using a greater variety : and that several different kinds might be printed by one plate, provided
they were laid on in their respective proper places by printing-balls, which should be used for
that colour only."
CHAP II.
OF AQU A-TINTA.
THIS method of etching on copper is a modern invention : more facile in its operation than
any manner of engraving or etching hitherto known, and produces a more beautiful and soft
effect, resembling a drawing in water colours or Indian ink, of a more soft and delicate nature
4 R than