a piece of flannel under it, upon the table; hold the tool in your hand perpendicularly, lean upon it moderately hard, continually rocking your hand in a right line from end to end, till you have wholly covered the plate in one direction; next cross the strokes from side to side, afterwards from corner to corner, working the tool each time all over the plate in every direction, almost like the points of a compass; taking care not to let the tool cut (in one direction) twice in one place. This done, the plate will be full, and would, if it were printed, appear completely black. Having laid the ground, take the scrapings of black chalk, and with a piece of rag rub them over the plate, or the plate may be smoked with candles. Now take the drawing, and, having rubbed the back with red chalk-dust mixed with flake white, proceed to trace it on the plate. To form the lights and shadows, take a blunt needle and mark the outlines only, then scrape off the lights in every part of the plate as clean and smooth as possible, in proportion to the strength of the lights in your drawing, taking care not to hurt the outlines. The use of the burnisher is to soften the extreme light parts after the scraper is done with; such as the tip of the nose, forehead, linen, &c., which might otherwise, when proved, appear rather misty than

clear.

Another method used by mezzotinto scrapers is to etch the outlines of the original, and the folds in drapery, making the breadth of the shadows by dots, which having bit to a proper depth, with aquafortis, they take off the ground used in etching, and having laid the mezzotinto ground, proceed to scrape as above described. When the plate is ready, send it to the copper-plate printer and get it proved. When the proof is dry, touch it with white chalk where it should be lighter, and with black chalk where it should be darker; and, when the print is retouched, proceed as before for the lights; and for the shades use a small grounding tool; prove it again; and so proceed to prove and touch till it is entirely to your mind.

Mr. Robert Lawrie, in the year 1776, proposed the Society for the Encouragement of Arts, Manufactures, &c., a new method of printing mezzotinto prints in colors, for which he received a premium of thirty guineas. He says he was induced to attempt this method owing to the great expense attending the execution of good engravings, which had more than answered his most sanguine expectations. In this manner animals, plants, &c., for illustrating natural his tory, may be finished in their proper colors, very much like drawings, and greatly resembling nature. The plates will also admit of being repaired so as to furnish a large impression. The following is an explanation of his method :—

A copper-plate with an etched or engraved outline, dotted next the lights, and filled in with mezzotinto ground, is printed in colors after nature, or from a picture, by the following process: The plate being warmed, in the usual manner, the colors are applied by means of stump camel hair pencils to the different parts, as the subject suggests; it is then wiped with a coarse gauze canvas, any other being improper; after this it is

wiped clean with the hand, and, being agair warmed, is passed through the press. The colors are mixed with burnt linseed oil, and those generally used by painters are proper.

The invention of mezzotinto engraving is generally attributed to prince Rupert; but in Elmes's Life of Sir Christopher Wren, p. 108, it is given to that eminent architect. 'The mode of impressing pictures by light and shade on copper, commonly known by the name of engraving in mezzotinto, owes its improvement if not its origin to Wren.' The journals of the Royal Society for October 1, 1662, record that Dr. Wren presented some cuts done by himself in a new way, whereby he could almost as soon do a subject on a plate of brass or copper as another could draw it with a crayon on paper. On this subject the editor of Parentalia speaks with decision, that he was the first inventor of the art of graving in mezzotinto; which was afterwards prosecuted and improved by his royal highness prince Rupert, in a manner somewhat different, upon the suggestion, as it is said, of the learned John Evelyn, Esq.'

AQUATINTA ENGRAVING.-Aquatinta is a method of producing prints very much resembling drawings in Indian ink. The principle of the process consists in corroding the copper with aquafortis in such a manner that an impression from it has the appearance of a tint laid on the paper. This is effected by covering the copper with a powder, or some substance which takes a granulated form, so as to prevent the aquafortis from acting where the particles adhere, and by this means cause it to corrode the copper partially and in the interstices only. When these particles are extremely minute, and near to each other, the impression from the plate appears to the naked eye exactly like a wash of Indian ink; but when they are larger the granulation is more distinct: and, as this may be varied at pleasure, it is capable of being adapted with success to a variety of purposes and subjects.

This style of Engraving was invented by a French artist of the name of St. Non, who flourished about 1662, and communicated it to Jean Baptiste le Prince, a painter and etcher who was born at Paris in 1733, and died in 1781, who engraved many plates in this way. It was introduced into England and greatly improved by Paul Sandby. It is not much used at present.

WOOD ENGRAVING.-The art of ergraving on wood is not only of very ancient date, but is a legitimate, beautiful, and artist-like mode of operation, for the production of prints, particularly for books. The first engravers on wood whose names have reached our times are William Pluydenwurff and Michael Wolgemuth, who engraved the cuts of the Nuremburg Chronicle which was published in folio in 1493, which are marked with all the stiffness and inaccuracy which characterise the works of the German artists of that time.

Albert Durer, as we have intimated, also prac tised the art of wood engraving with great success, which began now to assume a higher character; and, as far as regards the executive part, he brought it to a perfection which has hardly been equalled by any succeeding artist.

Bewick of Newcastle, Harvey his pupil, the Thompsons (brothers), Branston, and other living artists, have carried this art to the highest perfection. See WOOD-CUTTING.

ENGRAVING ON STEEL is performed in nearly a similar way to engraving on copper. For etching on steel, the plate or block is bedded on glaziers' putty, and etched with a needle through a ground of Brunswick black in the common way. Messrs. Perkins and Heath have carried the art of engraving on plates of softened steel, afterwards hardened by a scientific process, to a great degree of perfection.

ENGRAVING ON STONE is a recent invention now in great vogue. It is cheap, and, when well performed, produces impressions of great beauty in imitation of chalk, mezzotinto pen and ink, and even of etching. See LITHOGRAPHY.

ENGRAVING, Or ETCHING, ON GLASS is performed by laying on a ground consisting of a thin coat of bees' wax, and drawing the design therein with an etching needle. It is then to be covered with sulphuric acid, sprinkled over with powdered fluor spar or fluoric acid. It must be taken off after four or five hours, and cleaned with oil of turpentine.

ENGRAVING ON PRECIOUS STONES is the representing of figures, or devices in relievo or indented, on divers kinds of hard polished stones. The ancients excelled in this art; there being divers antique agates, cornelians, and onyxes, which surpass any thing of that kind the moderns have produced. Pyrgoteles among the Greeks, and Dioscorides under the first emperors of Rome, are the most eminent engravers we read of the former was so esteemed by Alexander, that he forbad any body else to engrave his head and the head of Augustus, engraven by the latter, was deemed so beautiful, that the succeeding emperors chose it for their seal. All the polite arts having been buried under the ruins of the Roman empire, the art of engraving on stones met with the same fate. It was retrieved in Italy at the beginning of the fifteenth century, when one John of Florence, and after him Dominic of Milan, produced engravings of this kind little inferior to those of the ancients. From this time such sculptures became common in Europe, and particularly in Germany, but they were mostly inferior productions. In this branch of engraving, the diamond is now generally used to cut the softer stones, as rubies, cornelian, &c. This being the hardest of all, however, can only be cut by its own substance. The operation of cutting is commenced by imbedding the diamond in strong cement, fixed at the end of a stout spindle-shaped stick about a foot long, with that portion only projecting which is required to be removed. Another diamond is employed to cut with, fixed as the former, with one of the solid angles projecting. The greatest care is taken of the valuable dust and fragments, a box being placed underneath with two upright iron pegs fixed on the sides, for the workman to support the sticks against, while, with a short repeated stroke, he wears away the stone to its required form. This being done, the cement is softened by heat, and the position of the diamond is changed, so as to bring a fresh part under the

operation of the tool. The next object is now to polish the surface. The polishing mill is an extremely simple machine, consisting of a circular horizontal plate of cast iron, about fourteen inches in diameter, put into very rapid motion by a large wheel turned by an assistant. In a copper cup, filled with solder, the diamond is now imbedded; and the stem of the cup being fixed in a pair of screw tongs, the instrument is placed on the skive (polishing wheel), which is charged with olive-oil and diamond dust, and whirling swiftly round polishes the face. The diamond is then ready for engraving, which can be done only by pieces of the same stone. Rubies, sapphires, and topazes, are cut and formed the same way on a copper wheel, and polished with tripoli diluted in water. As to agates, amethysts, emeralds, hyacinths, granites, rubies, and others of the softer stones, they are cut on a leaden wheel, moistened with emery water, and polished with tripoli on a pewter wheel. Lapis lazuli, opal, &c., are polished on a wooden wheel. To fashion and engrave vases of agate, crystal, lapis lazuli, or the like, a kind of lathe, like that used by pewterers, is used to hold the vessels, which are to be wrought with proper tools that of the engraver generally holds the tools, which are turned by a wheel; and the vessel is held to them to be cut and engraved, either in relievo or otherwise; the tools being moistened from time to time with diamond dust and oil, or at least emery and water. To engrave figures or devices on any of these stones, when polished, such as medals, seals, &c., they use a little iron wheel, the ends of whose axis are received within two pieces of iron, placed upright, as in the turner's lathe; and to be brought closer, or set further apart, at pleasure; at one end of the axis are fitted the proper tools, which are made fast with a screw, and the stone is presented to them by the hand to be worn or cut to their required form.

SOME ACCOUNT OF THE ART, AND OF THE BEST ENGRAVERS.-The art of engraving in this country, like the practice in every other country, commenced and increased with civilisation and knowledge. Under Alfred the Great the art met with great encouragement, and remains of the art, as practised in his days, are still in existence. There is still preserved in the Museum at Oxford, a valuable jewel of this period, representing St. Cuthbert, the back of which is ornamented with foliage very skilfully engraved.

The principal engravers in the line manner, taken chronologically, are Martin Schoengauer, or Schoen, born at Colmar about 1455, and died there in 1499. His principal works are religious subjects from his own designs; Tommaso or Mazo Finiguerra, born at Florence in 1418, and died there in 1500; Israhel Von Mecheln or Mecken, born at Meckenen on the Meuse about the year 1450, and died 1523; Bacio Baldini and Sandro Boticello, called Filipepi, painter and engraver, born at Florence in 1437, died in 1515. To these two artists are attributed the first certain engravings after the Italian masters. In the cabinet of M. Paignon Dijonval at Paris, were nine fine prints by the latter. They are in the style of Andrea Mantegna; Michel Wohlgemuth died in 1519; Albert Durer, or Albrecht

Thurer, born at Nuremburg in 1471, died in 1528; the number of line engravings by this great artist amount to nearly a hundred, and are among the choicest specimens of the art; Albert Altdorfer, born at Altdorfer in Bavaria, about the year 1488, died at Ratisbon in 1538. His engravings are mostly after his own pictures; Andrea Mantegna, painter and line engraver, born at Padua in 1431, died September 15th, 1517; Marc Ant. Raymondi, about 1527, who engraved after Michel Angiolo, Raffaelle, Mazzuoli, Raibolini, and other eminent Italian masters; AgostinoVeneziano, surnamed de Musis, about 1620, who engraved after Michel Angiolo, Raffaelle, all of which are dated. He was reckoned one of the first engravers in France, and inscribed his works A. Venetien; Nicolas Belin da Modena, and Giov. Ghisi Montovanto, who flourished about 1530; Luc Damesz, died in 1533; Giov. Giac. Caraglio and Marco Da Ravenna, about 1540; Giul. Bonasone, born at Bologna in 1498, died at Rome in 1564. He engraved many excellent plates after Michel Angiolo, particularly the last judgment, Pontormo, Raffaelle, Giulio Romano, Caravaggio, Mazzuoli, and Titian. Eneas Vicus, George Vens, Henrid Aldegraf, and Jean Sebast. Boehm, about 1550; Adrian, Charles, William, and John Collært; Adrian the father was born at Antwerp in 1520, and designed and engraved many excellent plates after his own designs, as well as from the works of De Vos, Stradan, Rubens, Wattelet; Adam and George Ghisi, the latter born at Mantua in 1516; Lambert Sutermann, Fagivoli Franco, and Virgilius Solis, about 1560; Corneille Cost and Martin Rota, about 1569, the latter, born at Sevenigo in Dalmatia, engraved the Last Judgment after Michel Angiolo, in 1569, and other excellent performances; Giov. B. Cavalaris, about 1574, engraved the Adoration of the Shepherds after Bronzino, in 1565; a large plate of the Miracle of the Loaves, after Raffaelle, and other fine works; Steph. de Laurie, born at Orleans in 1510, and died at Strasburg in 1590. He engraved numerous fine plates; Jerome Bang, Paul Flynt, and Ger. Jode, about 1596; Conrad Jode and Jean Sadeler, who engraved many plates after Albert Durer, Heintz, de Vos, Spranger, &c., died in 1600; François Aspruck, about 1601; Agost. Caracci, whose numerous prints embellish the finest collection, was born at Bologna in 1558, and died in 1602; Jean Saenredam, born at Leyden in 1570, and died in 1607, engraved many fine plates after Caravaggio, Baroccio, Van Mander, Cornelius Bloemart, &c.; Nicolas De Bruyn, about 1610; Philippe Galle died in 1612; Daniel Kellerthaler about 1613; Cherubino Borghesiano Alberti, born in 1552, died in 1615, was a fine engraver and painter of the Roman school, who engraved many works after his own designs; nine of Michel Angiolo's pictures in the Capella Sistina; St. Jerome in the Desert, after the same great master; many after Raffaelle, also after Baroccio, Vanni, and other masters of the Italian school; Henri Goltzius, a celebrated line engraver, painter, and engraver on wood, born at Mulbrecht in 1588, died at Haerlem in 1617; he engraved a numerous collection after his own designs, the works of Raffaelle, Palma, Stradan, Spranger, and a great

number of portraits of illustrious characters; Theodore Galle about 1620; Ambroise Bonvi cino about 1622; François Villamena, born at Assisi in 1566, died at Rome in 1626; engraved many fine plates after his own designs, after Raffaelle, Baroccio, Fensoni, Lanfranc, Albano, Muziano, Veronese, and other eminent Italian masters; Henri de Goudt, born at Utrecht in 1585, died in 1630; he was a painter as well, and engraved his own designs, some from Elsheimer, &c.; Pierre Lastman, a painter of the Dutch school, born at Haerlem in 1562, and engraved several plates after Rembrandt, was the first who attempted, in 1626, the union of color to his prints, but with very little success; Robert Van Voerst about 1628, who, among other portraits, engraved one of Sir Kenelm Digby, for Overton the publisher; Giles Sadeler about 1629; an engraver of several plates after Albert Durer, Heintz, De Vos, Spranger, and other masters of the Flemish school; Crisp. de Paas, Schelte à Bolswert, Paul Pontius, known by the number and excellence of his works; Lucas Vorstermann, and Pierre de Ballin, about 1630; Jacques Matham, died in 1631; Pierre Jade, died in 1634; Luc. Kilian, died in 1637; Abraham Blæmars, born at Gorcum in 1567, died in 1647; John Payne, who died in 1648, is accounted the first Englishman who engraved in the line manner; he executed several portraits after Mytens, and other Flemish portrait painters; Giuseppe Zarlati, Jean Frédéric Greuther, who distinguished himself by engraving after the Florentine masters; Girol Rossi, Conrad Marinus, Jacques Neefs, Pierre Nolpe, Henri Snyers, who engraved much after Rubens; Conrad de Dalen, Conrad Caukerken, Pierre Clouet, and Pierre Jode, about 1650; Fr. Sneyders, died in 1657; Giuseppi Battista Gallestruzzi, a painter and engraver, born at Florence 1618; Jacq. Bellange, Pierre de Bleek, and Pierre Lombard, about 1660; Conrad Meyssens, about 1662; Théodore Matham, about 1663; Michel L'Asne, died in 1667; John Umbach and Michel Natalis, about 1670; Et. Baudet, who engraved many of the pictures of the Caracci, Albano, Poussin, Mignard, Bourdon, &c., flourished about 1664; Nic. Pithau died in 1671; Jean L'Enfant died in 1678; Charles Audran died in 1671; Robert Nanteuil died in 1678; Reg. Zeemann, Daniel Danckerts, J. Munichuysen, Elias Hainzelmann, and Anton. Blooterling, about 1680; Fr. Spierre, died in 1681; Guillaume Chateau died in 1683; Conrad Blœmart, about 1686; Guillaume Rousselet died in 1686; Cl. Melan died in 1688; Corn. de Visscher about 1690; Philippe Kilian died in 1696; Conrad Meyer died in 1698; Antoine Masson died in 1700; Gérard Audran, a most able artist and celebrated engraver, died in 1703; Gérard Edelinck, born at Antwerp in 1627, died at Paris in 1707; Antoine Trouveau about 1707; Conrad Vermeulen about 1707, Jean Baptiste Nollin about 1710; Louis Audran died in 1712; Jean Jacques Thurneiser died in 1718; Jean Ulric Kruns died in 1719; Philippe Thomassin about 1720; Michel Dossier about 1720; Etienne Picart, Ben Audran, died in 1721; Jean Henri Tischbein the elder, and Jean Louis Aberli, about 1722; Et. Desrochers about 1723; Arn. Westerhout died in

1725; Louis Simoneau died in 1727; Charles Simoneau and Jean Bapt. Poilly, died in 1728; Franç. Chereau, Martin Bernigeroth, and Bernard Picart, 1735; Jean Henri Stærklin died in 1736, who was peculiarly celebrated for engraving in miniature; his son, Jean Rodolphe, died in 1756, who followed his father to a still higher degree of perfection; Jean Gorne died in 1738; Louis Desplaces died in 1739; Henri Simon Thomassin about 1741; Jacques Christophe Le Blond, died in 1741; Charles Dupins died in 1742; Robert Audenaert died in 1743; Giovanni Canossa died in 1747; Jean Guillaume Wolfgang died in 1748; Nicolas Henri Tardieu died in 1749; Pierre Drevet, the father and son, who both died in 1749; Jean Admiral, Jacques Aliamet, Laurent Cars, Et. Fessard, Jean Jacques Flipart, Th. Major, and Jean Ouvrier, about 1750; Jacq. André Friederick died in 1751; Jacques Frey died in 1752; Gaspard Duchange died in 1754; Georges Martin Preissler died in 1754; Nicholas de Larmessin, Bart. Crivellari, about 1755; Jean Audran died 1756; Philippe André Kilian died in 1759; J. Ph. Le Bas died in 1760; Jean Michel Liotard, and Jean Adam Schweickart, about 1760; Jérémie Jacques Sedelmayer died in 1761; Louis Serugue died in 1762: Jean Daulle died in 1763; Nicolas Beauvais died in 1763; Jean Jacques Balechou died in 1764; Antoine Faldoni died in 1765; Conrad Ploos van Amstel, born at Amsterdam in 1732, and was the inventor of the art of imitation of all sorts of drawings, colored or plain, to a great perfection. He engraved many imitations of the drawings of Wouvermans, Sachtleven, Van Dyck, Östade, Mieris, Goltzius, Van Goyen, Brauwer, &c.; Gustave André Wolfgang, Jérôme Sperling, and Cl. Drevit, about 1766; Jean M. Bernigeroth, Marc Pitteri, and Jean Elie Riedinger, born at Ulm, died at Augsburg in 1767; a very eminent painter and engraver of animals and landscapes; Chrétien Frédéric Boethius, about 1764; Lor. Zuchi, about 1768; Jean Ch. François died in 1769; Jean El. Nilson, about 1769; Jacques Houbraiken, born at Dortdrecht in 1698, died in 1780; one of the finest engravers of portraits that ever lived; Jean Savant in 1770; François Basan, A. B. Barbaza, Jean Barry, Francesco Bartolozzi, born at Florence in 1730, died in London, 1807, one of the first engravers who practised the art of stipple or chalk engraving with any success. His works are very numerous, and are distinguished by delicacy and taste rather than force.

Among other eminent artists who practised this art, are: Jonathan Spilsbury, who engraved several of Angelica Kauffmann's works; W. Ryland, Rob. Menageot, G. F. Schmidt, Just. Preissler, Dan. Berger, C. Feller, P. W. Tomkins, Bichard, J. R. Smith, W. Dickinson, the two Facius's, J. Parker, Caroline Watson, H. Kingsbury, R. Macuard, T. Burke, G. Ward, G. P. Carey, Saillier, G. Sharp, V. M. Picot, Bettilini, P. Simon, Howard, G. Wilkinson, N. Pollard, C. Tomkins, Madame Prestel, J. M. Delatre, G. Graham, H. Sinzenich, Schiavonetti, &c. J. F. Bause, Jean Beauvarlet, Beavit, Salv. Carmona, G. Catini, G. B. Cecchini, Chevillet,

Clemens, R. Cooper, Dom. Cunego, Nic. de Launay, William Ellis, Et. Figuel, Fab. Gautier, Dagoty, Pierre de Geust, Jacques Gilberg, Jean Hall, Antoine Hemery, Martin, Jan. Mas: in, Arch. Macduff, Massard, Chr. de Mechelen, P. E. Moitte, J. G. Müller, Et. Mulinari, J. Mart Preissler, Reinier, André Rossi, F. Selma, Jacq. Schmutzer, Rob. Strange, J. K. Sherwin, Jacq. Nicolas Tardieu, Porporati, Sim. Fres. Ravenet, Giov. Volpato, Rosaspina, Henri Vinkeles, Josué Wagner, Jean Georges Wille, William Woollet, Raffaelle Morghen, Pierre Ducros, Pierre Paul Montagniti, several members of the family of Haid, Jean Etienna, and Jean Michel Liotard, Unger, the father and son; Daniel Chodoweicki, the two Brands, the two Crusius's, Jean Guillaume Meil, Salomon Gessner, three Hackerts, Christian Gotslieb Geyser, Carle and Henri Guttenberg, Angelica Kauffmann, Stoelzel, Clement Kohl, Adam Bartsch, Schlotterbeck, Jean Heuri Lips, Schubert, Schnorr, Boettcher, Durmer, Pfeiffer, Wrenk, Pichler, Geiger, &c. &c.

Among eminent English engravers are Robert Walker, born in Somersetshire in 1572, who engraved in aquafortis and mezzotinto; William Faithorne, born in Loudon in 1620, and died in 1691, an excellent engraver of portraits; Robert White, born in 1645, died in 1704, portraits; J. Beckett, born in Kent in 1653, landscape, portrait and history; John Smith, the celebrated mezzotinto engraver, born in London in 1654, and died in the same city in 1722, of whose numerous and excellent works the cabinet of M. Paignon Dijonval at Paris alone contained nearly 1300; John Faber, born 1684, died 1756; also an eminent engraver in mezzotinto; William Hogarth, born in London in 1698, died in 1764, line engraver of his own inimitable works; Arthur Pond, engraver in aquafortis, born in 1700, died about 1758; Thomas Worlidge, celebrated for the delicacy and effect of his etchings, in the manner of Rembrandt, born at Peterborough in 1700, died at Hammersmith in 1766; Francis Hayman, better known as a painter; James Mac Ardell, mezzotinto, born in Ireland about 1720, died in London in 1765; Thomas Smith of Chichester, and his brothers John and George, landscapes; they were also painters. Captain William Bailly, aquafortis; Richard Houston, born in 1728, died in 1775, mezzotinto; John Greenwood, born at Boston about 1730, died about 1770, chalk and mezzotinto; William Wynn Ryland, born at London in 1732, died there in 1783, line and chalk; William Woollett, born at Maidstone 1735, died in London 1785; one of the most eminent line engravers that ever lived; Richard Brookshaw, born 1736, and practised much in France, where he engraved, in mezzotinto, Louis XVI. as dauphin, and as king with Maria Antoinette in 1775, and other French portraits; John Dixon, born about 1740, mezzotinto; John Hall, born about 1740, line engraving; John Raphael Smith, born in London 1740, very eminent in mezzotinto, and a good portrait painter in crayons; John Keyse Sherwin, born about 1746, chalk; Paul Sandby, R. A. a landscape painter, and very eminent in aquafortis and aquatinta; Robert Pollard died in 1748, aquatinta; John Boydell, born in 1719