Produced by Chris Curnow, Harry Lamé and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) A TREATISE ON ETCHING. "Amongst Frenchmen Claude is the best landscape etcher of past days, and Lalanne the best of the present day."--P. G. HAMERTON. [Illustration: Frontispiece] A TREATISE ON ETCHING. TEXT AND PLATES BY MAXIME LALANNE. * * * * * AUTHORIZED EDITION, TRANSLATED FROM THE SECOND FRENCH EDITION BY S. R. KOEHLER. WITH AN INTRODUCTORY CHAPTER AND NOTES BY THE TRANSLATOR. * * * * * BOSTON: ESTES AND LAURIAT, Publishers. _Copyright_, BY ESTES AND LAURIAT. 1880. UNIVERSITY PRESS: JOHN WILSON AND SON, CAMBRIDGE. TRANSLATOR'S PREFACE. So much interest has of late years been shown in England in the art of etching, that it seems hardly necessary to apologize for bringing out an English edition of a work on the subject from the pen of an artist whom a weighty English authority has pronounced to be the best French landscape-etcher of the day. It might be urged, indeed, that more than enough has already been written concerning the technical as well as the æsthetic side of etching. But this objection is sufficiently met by the statement of the fact that there is no other work of the kind in which the processes involved are described in so plain and lucid a manner as in M. Lalanne's admirable "_Traité de la Gravure à l'Eau-forte_." In the laudable endeavor to be complete, most of the similar books now extant err in loading down the subject with a complicated mass of detail which is more apt to frighten the beginner than to aid him. M. Lalanne's _Treatise_, on the contrary, is as simple as a good work of art. It may, however, be incumbent upon me to offer a few words of excuse concerning my own connection with the bringing out of this translation; for, at first sight, it will, no doubt, appear the height of presumption, especially on the part of one who is not himself a practising artist, to add an introductory chapter and notes to the work of a consummate master on his favorite art. But what I have done has not, in any way, been dictated by the spirit of presumption. The reasons which induced me to make the additions may be stated as follows. It is a most difficult feat for one who has thoroughly mastered an accomplishment, and has practised it successfully for a lifetime, to lower himself to the level of those who are absolutely uninformed. A master is apt to forget that he himself had to learn certain things which, to him, seem to be self-evident, and he therefore takes it for granted that they _are_ self-evident. A practised etcher thinks nothing of handling his acid, grounding and smoking his plate, and all the other little tricks of the craft which, to a beginner, are quite worrying and exciting. It seemed to me best, therefore, to acquaint the student with these purely technical difficulties, without complicating his first attempts by artistic considerations, and hence the origin of the "Introductory Chapter." Very naturally I was compelled, in this chapter, to go over much of the ground covered by the _Treatise_ itself. But the diligent student, who remembers that "Repetition is the mother of learning," will not look upon the time thus occupied as wasted. The notes are, perhaps, still more easily explained. M. Lalanne very rarely stops to inform his reader how the various requisites may be made. Writing, as he did, at and for Paris, there was, indeed, no reason for thus encumbering his book; for in Paris the Veuve Cadart is always ready to supply all the wants of the etcher. For a London reader, Mr. Charles Roberson, of 99 Long Acre, whom Mr. Hamerton has so well--and very properly--advertised, is ready to perform the same kind office. But for those who live away from the great centres of society, it may oftentimes be necessary either to forego the fascinations of etching, or else to provide the materials with their own hands. For the benefit of such persons, I have thought it advisable to describe, in the notes, the simplest and cheapest methods of making the tools and utensils which are needed in the execution of M. Lalanne's precepts. By the arrangement of the paragraphs which I have ventured to introduce, M. Lalanne's pleasant little book has, perhaps, lost something of its vivacity and freshness, especially in the fifth chapter. But this dull, methodical order will be found, I hope, to add to the convenience of the work as a book of reference, which, according to M. Lalanne's own statement, is, after all, its main object. It is due to the English public to say, that the additions were originally written for the American edition of this book, published by Messrs. Estes & Lauriat, of Boston, Mass. To free them from the American character which they very naturally bear, would have necessitated the resetting of a great part of the work, and a consequent increase in its cost. It has been deemed advisable, therefore, to leave the whole of the text in its original condition, more especially as the changes are such that they can easily be supplied by the reader, and do not in the least affect the value of the information conveyed. S. R. KOEHLER. BEECH GLEN AVENUE, ROXBURY, BOSTON, July, 1880. CONTENTS. PAGE TRANSLATOR'S PREFACE v INTRODUCTORY CHAPTER.--THE TECHNICAL ELEMENTS OF ETCHING xiii Paragraph 1. Definition of Etching xiii 2. Requisites xiv 3. Grounding the Plate xviii 4. Smoking the Plate xviii 5. Points or Needles xix 6. Drawing on the Plate xix 7. Preparing the Plate for the Bath xx 8. The Bath xx 9. Biting and Stopping Out xx DESCRIPTION OF THE PLATES xxiii LETTER BY M. CHARLES BLANC xxv INTRODUCTION (by the Author) 1 CHAPTER I. DEFINITION AND CHARACTER OF ETCHING. Paragraph 1. Definition 3 2. Knowledge needed by the Etcher 3 3. Manner of using the Needle.--Character of Lines 4 4. Freedom of Execution 4 5. How to produce Difference in Texture 5 6. The Work of the Acid 5 7. The Use of the Dry Point 5 8. Spirit in which the Etcher must work 5 9. Expression of Individuality in Etching 6 10. Value of Etching to Artists 6 11. Versatility of Etching 7 12. Etching compared to other Styles of Engraving 7 13. Etching as a Reproductive Art 7 CHAPTER II. TOOLS AND MATERIALS.--PREPARING THE PLATE.--DRAWING ON THE PLATE WITH THE NEEDLE. 14. Method of using this Manual 9 A. _Tools and Materials._ 15. List of Tools and Materials needed 9 16. Quality and Condition of Tools and Materials 10 B. _Preparing the Plate._ 17. Laying the Ground, or Varnishing 12 18. Smoking 13 C. _Drawing on the Plate with the Needle._ 19. The Transparent Screen 14 20. Needles or Points 14 21. Temperature of the Room 15 22. The Tracing 16 23. Reversing the Design 16 24. Use of the Mirror 17 25. Precautions to be observed while Drawing 17 26. Directions for Drawing with the Needle 17 CHAPTER III. BITING. 27. Bordering the Plate 20 28. The Tray 20 29. Strength of the Acid 20 30. Label your Bottles! 21 31. The First Biting 21 32. The Use of the Feather 22 33. Stopping Out 22 34. Effect of Temperature on Biting 22 35. Biting continued 23 36. Treatment of the various Distances 23 37. The Crevé.--Its Advantages and Disadvantages 24 38. Means of ascertaining the Depth of the Lines 24 39. The Rules which govern the Biting are subordinated to various Causes 25 40. Strong Acid and Weak Acid 25 41. Strength of Acid in relation to certain Kinds of Work 26 42. Last Stages of Biting 27 CHAPTER IV. FINISHING THE PLATE. 43. Omissions.--Insufficiency of the Work so far done 29 44. Transparent Ground for Retouching 29 45. Ordinary Ground used for Retouching.--Biting the Retouches 30 46. Revarnishing with the Brush 31 47. Partial Retouches.--Patching 31 48. Dry Point 32 49. Use of the Scraper for removing the Bur thrown up by the Dry Point 33 50. Reducing Over-bitten Passages 33 51. The Burnisher 33 52. Charcoal 34 53. The Scraper 35 54. Hammering Out (Repoussage) 35 55. Finishing the Surface of the Plate 35 CHAPTER V. ACCIDENTS. 56. Stopping-out Varnish dropped on a Plate while Biting 37 57. Revarnishing with the Roller for Rebiting 37 58. Revarnishing with the Roller in Cases of Partial Rebiting 38 59. Revarnishing with the Dabber for Rebiting 39 60. Revarnishing with the Brush for Rebiting 39 61. Rebiting a Remedy only 39 62. Holes in the Ground 39 63. Planing out Faulty Passages 40 64. Acid Spots on Clothing 41 65. Reducing Over-bitten Passages and Crevés 41 CHAPTER VI. DIFFERENCE BETWEEN FLAT BITING AND BITING WITH STOPPING OUT. 66. Two Kinds of Biting 43 67. Flat Biting.--One Point 44 68. Flat Biting.--Several Points 44 69. Biting with Stopping Out.--One Point 44 70. Biting with Stopping Out.--Several Points 44 71. Necessity of Experimenting 45 72. Various other Methods of Biting 45 CHAPTER VII. RECOMMENDATIONS AND AUXILIARY PROCESSES.--ZINK AND STEEL PLATES.--VARIOUS THEORIES. A. _Recommendations and Auxiliary Processes._ 73. The Roulette 49 74. The Flat Point 49 75. The Graver or Burin 49 76. Sandpaper 50 77. Sulphur Tints 50 78. Mottled Tints 51 79. Stopping-out before all Biting 51 B. _Zink Plates and Steel Plates._ 80. Zink Plates 52 81. Steel Plates 52 C. _Various other Processes._ 82. Soft Ground Etching 52 83. Dry Point Etching 53 84. The Pen Process 54 CHAPTER VIII. PROVING AND PRINTING. 85. Wax Proofs 55 86. The Printing-Press 55 87. Natural Printing 56 88. Artificial Printing 56 89. Handwiping with Retroussage 57 90. Tinting with a Stiff Rag 57 91. Wiping with the Rag only 58 92. Limits of Artificial Printing 58 93. Printing Inks 59 94. Paper 59 95. Épreuves Volantes 60 96. Proofs before Lettering 60 97. Épreuves de Remarque 60 98. Number of Impressions which a Plate is capable of yielding 60 99. Steel-facing 61 100. Copper-facing Zink Plates 62 NOTES. By the Translator 63 LIST OF WORKS on the Practice and History of Etching 75 A. Technical Treatises 75 B. Historical and Theoretical 77 C. Catalogues of the Works of the Artists 77 a. Dictionaries 77 b. Individual Artists 78 INTRODUCTORY CHAPTER. THE TECHNICAL ELEMENTS OF ETCHING. As explained in the Preface, this chapter has been added to enable the beginner to master the most necessary technical elements of etching, without complicating his first attempts by artistic considerations. Let him learn how to use his ground, his points, and his acid, before he endeavors to employ these requisites in the production of a work of art. All the materials and tools necessary for making the experiment described below can be bought at the following places:[A]-- NEW YORK: Henry Leidel, Artist's Materials, 341 Fourth Avenue. PHILADELPHIA: Janentzky & Co., Artist's Materials, 1125 Chestnut Street. BOSTON: J. H. Daniels, Printer, 223 Washington Street. But any one living within reach of a druggist, a paint-shop, and a hardware-store can do just as well with the exercise of a little patience and a very little ingenuity. For the benefit of such persons all the necessary directions will be given for making what it may be impossible to buy. [A] In London, Mr. Hamerton recommends Mr. Charles Roberson, 99 Long Acre. * * * * * 1. =Definition of Etching.=--To be able to get an impression on paper from a metal plate in a copper-plate printing-press, it is necessary to sink the lines of the design below the surface of the plate, so that each line is represented by a furrow. The plate is then inked all over, care being taken to fill each furrow, and finally the ink is cautiously wiped away from the surface, while the furrows are left charged with it. A piece of moist paper pressed against a plate so prepared, will take the ink up out of the furrows. The result is an impression. In _engraving proper_ these furrows are cut into the plate by mechanical means; in _etching_ chemical means are used for the same purpose. If nitric acid is brought into contact with copper, the acid corrodes the metal and finally eats it up altogether; if it is brought into contact with wax or resinous substances, no action ensues. Hence, if we cover a copper plate with a ground or varnish composed of wax and resinous substances, and then draw lines upon this ground with a steel or iron style or point, so that each stroke of the point lays bare the copper, we shall have a drawing in lines of copper (which are affected by nitric acid) on a ground of varnish (which is not thus affected). If now we expose the plate to the action of nitric acid for a certain length of time, we shall find, upon the removal of the ground by means of benzine, that the lines have been _bitten into_ the plate, so that each line forms a furrow capable of taking up the ink. The depth and the breadth of the lines depends upon the thickness of the points used, and upon the length of time allowed for biting; or, in other words, by varying the size of the points and the time of exposure the lines may also be made to vary. This is the whole of the _science_ of etching in a nutshell. 2. =Requisites.=--The following tools and materials are the only ones which are absolutely necessary for a first experiment:-- 1. A COPPER PLATE on which to execute your etching. Do not waste your money on a large plate. A visiting-card plate is sufficiently large. If you happen to have an engraved plate of that kind, you can use the back of it. If you have none, get one at a card-engraver's. The price ought not to be over fifteen cents. If you do not live in any of the large cities named above, or cannot find a card-engraver, send fifteen cents in stamps to Mr. Geo. B. Sharp, 45 Gold St., New York, N. Y., who will forward a plate to you by mail. Be very particular in giving your full and correct _post-office_ address. These plates only need cleaning to fit them for use. 2. BENZINE, used for cleaning the plate, sold by grocers or druggists at about five cents a pint for common quality. 3. WHITING or SPANISH WHITE, also for cleaning the plate. A very small quantity will do. 4. CLEAN COTTON RAGS.--Some pieces of soft old shirting are just the thing. 5. ETCHING-GROUND, with which to protect the plate against the action of the acid. This ground is sold in balls about the size of a walnut. If you do not live in a city where you can buy the ground, you may as well make it yourself. Here is a recipe for a very cheap and at the same time very good ground. It is the ground used by Mr. Peter Moran, one of the most experienced of our American etchers. Buy at a drug-shop (not an apothecary's) or painter's supply-store:-- Two ounces best natural asphaltum (also called Egyptian asphaltum), worth about ten cents. One and a half ounces best white virgin wax, worth about six cents. One ounce Burgundy pitch, worth say five cents. Break the wax into small pieces, and reduce the Burgundy pitch to fine powder in a mortar, or have it powdered at the drug-shop. Take a clean earthenware pot glazed on the inside, with a handle to it (in Boston you can buy one for fifteen cents at G. A. Miller & Co.'s, 101 Shawmut Avenue), and in this pot melt your asphaltum over a slow fire, taking very good care not to let it boil over, or otherwise you might possibly set the house afire. When the asphaltum has melted add the wax gradually, stirring all the while with a clean glass or metal rod. Then add the Burgundy pitch in the same way. Keep stirring the fluid mass, and let it boil up two or three times, always taking care to prevent boiling over! Then pour the whole into a pan full of tepid water, and while it is still soft and pliant, form into balls of the required size, working all the while under the water. If you touch the mass while it is still too hot, you may possibly burn your fingers, but a true enthusiast does not care for such small things. You will thus get about eight or nine balls of very good ground at an outlay of about thirty-six cents in cash, and some little time. Nearly all recipes order the wax to be melted first, but as the asphaltum requires a greater heat to reduce it to a fluid condition, it is best to commence with the least tractable substance. For use, wrap a ball of the ground in a piece of fine and close silk (taffeta), and tie this together with a string. 6. MEANS OF HEATING THE PLATE.--Any source of heat emitting no smoke will do, such as a kitchen stove, a spirit lamp, or a small quantity of alcohol poured on a plate and ignited (when the time arrives). 7. A HAND VICE with a wooden handle, for holding the plate while heating it; price about seventy-five cents at the hardware-stores. But a small monkey-wrench will do as well, and for this experiment you can even get along with a pair of pincers. 8. A DABBER for laying the ground on the plate. Cut a piece of stout card-board, two or three inches in diameter; on this lay a bunch of horse-hair, freed from all dust, and over this again some cotton wool. Cover the whole with one or two pieces of clean taffeta (a clean piece of an old silk dress will do), draw them together tightly over the card-board, and tie with a string. When finished the thing will look something like a lady's toilet-ball. The horse-hair is not absolutely necessary, and may be omitted. 9. MEANS OF SMOKING THE GROUND.--The ground when laid on the plate with the dabber, is quite transparent and allows the glitter of the metal to shine through. To obtain a better working surface the ground is blackened by smoking it. For this purpose the thin wax-tapers known to Germans as "Wachsstock," generally sold at German toy-stores, are the best. They come in balls. Cut the tapers into lengths, and twist six of them together. In default of these tapers, roll a piece of cotton cloth into a roll about as thick and as long as your middle finger, and soak one end of it in common lamp or sperm oil. 10. STOPPING-OUT VARNISH, used for protecting the back and the edges of the plate, and for "stopping out," of which more hereafter. If you cannot buy it you can make it by dissolving an ounce of asphaltum, the same as that used for the ground, in about an ounce and a half of spirits of turpentine. Add the asphaltum to the turpentine little by little; shake the bottle containing the mixture frequently; keep it in the sun or a moderately warm place. The operation will require several days. The solution when finished should be of the consistency of thick honey. 11. CAMEL'S-HAIR BRUSHES, two or three of different sizes, for laying on the stopping-out varnish, and for other purposes. 12. ETCHING POINTS OR NEEDLES, for scratching the lines into the ground. Rat-tail files of good quality, costing about twenty cents each at the hardware-stores, are excellent for the purpose. Two are all you need for your experiment, and even one will be sufficient. Still cheaper points can be made of sewing, knitting, or any other kind of needles, mounted in sticks of wood like the lead of a lead-pencil. Use glue or sealing-wax to fasten them in the wood. 13. AN OIL-STONE for grinding the points. 14. AN ETCHING-TRAY to hold the acid during the operation of biting. Trays are made of glass, porcelain, or india-rubber, and can generally be had at the photographer's supply-stores. A small india-rubber tray, large enough for your experiment, measuring four by five inches, costs fifty-five cents. But you can make an excellent tray yourself of paper. Make a box, of the required size and about one and a half inches high, of pasteboard, covered over by several layers of strong paper, well glued on. If you can manage to make a lip or spout in one of the corners, so much the better. After the glue has well dried pour stopping-out varnish into the box, and float it all over the bottom and the sides; pour the residue of the varnish back into your bottle, and allow the varnish in the box to dry; then paint the outside of the box with the same varnish. Repeat this process three or four times. Such a tray, with an occasional fresh coating of varnish, will last forever. For your experiment, however, any small porcelain (_not_ earthenware) or glass dish will do, if it is only large enough to hold your plate, and allow the acid to stand over it to the height of about half an inch. 15. A PLATE-LIFTER, to lift your plate into and out of the bath without soiling your fingers. It consists of two pieces of string, each say twelve to fifteen inches long, tied to two cross-pieces of wood, each about six inches long, thus [Illustration]. It is well to keep the fingers out of the acid, as it causes yellow spots on the skin, which remain till they wear off. 16. NITRIC ACID for biting in the lines. Any nitric acid sold by druggists will do, but the best is the so-called chemically pure nitric acid made by Messrs. Powers & Weightman, of Philadelphia. It comes put up in glass-stoppered bottles, the smallest of which hold one pound, and sell for about sixty cents. 17. WATER for mixing with the acid and for washing the plate. 18. BLOTTING-PAPER, soft and thick, several sheets, to dry the plate, as will be seen hereafter. 19. SPIRITS OF HARTSHORN OR VOLATILE ALKALI.--This is not needed for etching, but it is well to have it at hand, in case you should spatter your clothes with acid. Spots produced by the acid can generally be removed by rubbing with the alkali, which neutralizes the acid. 3. =Grounding the Plate.=--Having procured all these requisites, the first thing to do will be to clean the plate so as to remove any oil or other impurities that may have been left on it by the plate-maker. Wash and rub it well on both sides with a soft cotton rag and benzine, and then rub with whiting, as you would do if you were to clean a door-plate. Take care to remove all the whiting with a clean rag. Now take hold of your plate by one of its corners with the hand-vice, wrench, or pincers, between the jaws of which you have put a bit of card-board or stout paper, so as not to mark the plate. Hold it over the stove, spirit lamp, or ignited alcohol, and see to it that it is heated evenly throughout. Hold the plate in your left hand while heating it, and with the other press against it the ball of ground wrapped up in silk. As soon as you see the ground melting through the silk, distribute it over the plate by rubbing the ball all over its surface (the _polished_ surface, as a matter of course), taking care the while that the plate remains just hot enough to melt the ground. If it is too hot, the ground will commence to boil and will finally burn. The bubbles caused by boiling are liable to leave air-holes in the ground through which the acid may bite little holes in the plate; burning ruins the ground altogether, so that it loses its power of withstanding the acid. After you have distributed the ground tolerably evenly, and in a thin layer, lay the plate down on the table (keeping hold of it, however, by the corner), and finish the distribution of the ground by dabbing with the dabber. Strike the plate quickly and with some force at first, and treat it more gently as the ground begins to cool. If it should have cooled too much, before the distribution is accomplished to your satisfaction, in which case the dabber will draw threads, heat the plate gently. The dabber not only equalizes the distribution of the varnish, but also removes what is superfluous. An extremely thin layer of ground is sufficient. 4. =Smoking the Plate.=--While the plate is yet hot, and the ground soft, it must be smoked. Light your tapers or your oil torch, and turn the plate upside down. Allow the flame just to touch the plate, and keep moving it about rapidly, so that it may touch all points of the plate, without remaining long at any one of them. If this precaution is ignored, the ground will be burned, with the result before stated. The smoking is finished as soon as the plate is uniformly blackened all over, and the glimmer of the metal can no longer be seen through the ground. Now allow the plate to cool so that the ground may harden. _Avoid dust as much as possible_ while grounding and smoking the plate. Particles of dust embedded in the ground may cause holes which will admit the acid where you do not wish it to act. 5. =Points or Needles.=--The plate is now ready for drawing upon it, but before you can proceed to draw you must prepare your points or needles. Two will do for this first experiment, a fine one and a coarse one. For the fine one you may use a sewing-needle, for the coarser one a medium embroidery needle, both set in wood so that the points project about a quarter of an inch. If you are going to use rat-tail files, grind the handle-ends on your oil-stone until they attain the requisite fineness. Hold the file flat on the stone, so as to get a gradually tapering point, and turn continually. See to it that even the point of your finest needle is not too sharp. If it scratches when you draw it lightly over a piece of card-board, describe circles with it on the board until it simply makes a mark without scratching. The coarse needle must be evenly rounded, as otherwise it may have a cutting point somewhere. [Illustration: Plate A.] 6. =Drawing on the Plate.=--As the purpose of your experiment is simply to familiarize yourself with the _technicalities_ of etching, that is to say, with the preparation of the plate, the management of the points, and the action of the acid, it will be well to confine yourself to the drawing of lines something like those on Pl. A. It is the office of the point simply to _remove_ the ground, and _lay bare the copper_. But this it must do thoroughly, for the slightest covering left on the plate will prevent the acid from attacking the copper. You must therefore use sufficient pressure to accomplish this end, but at the same time you must avoid cutting into the copper by using too much pressure. Wherever the point has cut the copper the acid acts more rapidly, as the polished coating of the surface of the plate has been removed. It is evident from this that an even pressure is necessary to produce an evenly bitten line. Do not touch the ground with your hands while drawing. Rest your hand on three or four thicknesses of soft blotting-paper. When you desire to shift the paper, _lift it_, and _never draw it_ over the ground. Hold the point, not slantingly like a pencil, but as near as possible perpendicularly. The point is a hard instrument, with which you cannot produce a swelling line, as with a pencil or a pen. Therefore your only aim must be an _even_ line, produced by _even pressure_. The minute threads of ground thrown up by the point you must remove with your largest camel's-hair brush; otherwise they may clog your lines. Before commencing to draw read the description of Pl. A given under the heading "Description of Plates." 7. =Preparing the Plate for the Bath.=--If you were to put the plate into the acid bath in the state in which it is at present, the acid would corrode the unprotected parts. To prevent this paint the back, and the corner by which you held the plate while grounding it, and the edges with stopping-out varnish. If you are not in a hurry (_and it is always best not to be in a hurry_), let the varnish dry over night; if you cannot wait so long an hour will be sufficient for drying. While the plate is drying you may lay it, face downward, on a little pile of soft paper, made up of pieces smaller than the plate, so that the paper may not touch the varnished edges. 8. =The Bath.=--The preparation of the bath is next in order. Ascertain the capacity of the dish or tray you are going to use by pouring water into it to fill it to half its height, and then measuring the water. Pour _one half_ of this quantity of water back into the tray, and add to it the same quantity of nitric acid, stirring the mixture well with a glass rod, or a bit of glass, or a bird's feather, if you happen to have one, or in default of all these with a bit of stick. The mixing of water and acid induces chemical action, and this produces heat. The bath must therefore be allowed to cool half an hour or so, before the plate is put into it. Nitric acid being a corrosive and poisonous fluid, it is well to use some care in handling it. Otherwise it may bite holes into your clothing, and disfigure your hands, as before noted. By the side of your bath have a large vessel filled with clean water, in which to wash the plate when it is withdrawn from the bath, and your fingers in case you should soil them with acid. 9. =Biting and Stopping Out.=--The bath having been prepared, and the varnish on the back and edges of the plate having dried sufficiently, lay the plate on the plate-lifter, face upward, and lift it into the bath. In a few minutes, in hot weather in a few seconds, the acid will begin to act on the copper. This is made evident to the eye by the bubbles which collect in the lines, and to the nose by the fumes of nitrous acid which the bath exhales. The bubbles must be removed by gently brushing them out of the lines with a brush or the vane of a feather; the fumes it is best not to inhale, as they irritate the throat. After the biting has gone on for three minutes in warm, or for five minutes in cold weather, lift the plate out of the bath into the vessel filled with water. Having washed it well, so as to remove all traces of the acid, lay it on a piece of blotting-paper, and take up the moisture from the face by gently pressing another piece of the same paper against it. Then fan the plate for some minutes to make sure that it is absolutely dry. If you have a pair of bellows you may dispense with the blotting-paper as well as with the fanning. The lines on the plate, having all bitten for the same length of time, are now all of about the same depth, and if the plate were cleaned and an impression taken from it, they would all appear of about the same strength, the only difference being that produced by difference in spacing and in the size of the needles. This is the point where the stopping-out varnish comes in. With a fine camel's-hair brush _stop out_, that is to say, paint over with stopping-out varnish, those lines or parts of lines which are to remain as they are. If the varnish should be too thick to flow easily from the brush, mix a small quantity of it in a paint saucer, or on a porcelain slab, or a piece of glass, with a few drops of benzine. The varnish, however, must not be too thin, as in that case it will run in the lines, and will fill them where you do not wish them to be filled. If it is of the right consistency, you can draw a clean and sharp line across the etched lines without danger of running. When you have laid on your stopping-out varnish, fan it for some minutes until it has dried sufficiently not to adhere to the finger when lightly touched. Then introduce the plate into the bath again, and let the biting continue another five minutes. Remove again, stop out as before, and continue these operations as often as you wish. But it would be useless to let your accumulated bitings on this experimental plate exceed more than thirty minutes. Having finished your last biting, clean the plate with benzine. Then apply the same process to your hands, and follow it up with a vigorous application of soap and nail-brush. This will leave your hands as beautiful as they were before. It is hardly worth while to bother with taking an impression from this trial plate, unless you happen to have a printer near by. The plate itself will show you how the acid has enlarged the lines at each successive biting, and it stands to reason that the broader and deeper lines should give a darker impression than the finer and shallower ones. If, however, you have no printer at hand, and still desire to see how your work looks in black and white, you may consult the chapter on "Proving and Printing," p. 55 of M. Lalanne's "Treatise." * * * * * You have now gained some idea of the theory of etching, have acquainted yourself with the use of tools and materials, and have mastered the most elementary technical difficulties of the process. You are therefore in a position to profit by the teachings of M. Lalanne which follow. In conclusion, let me assure you that the home-made appliances described in the foregoing paragraphs are quite sufficient, technically, for the purposes of the etcher. Plate B, Mr. Walter F. Lansil's first essay in etching, was executed according to the directions here given, and the artist has kindly consented to let me use it for the special purpose of illustrating this point. [Illustration: Plate B.] DESCRIPTION OF THE PLATES. PLATE A. _A Trial Plate._ This plate is given to show the effect of difference in length of biting. The lines in the eight upper rectangles were all drawn before the first immersion of the plate, those on the left with a fine point, those on the right with a somewhat coarser one. After the plate had been in the bath for three minutes, it was withdrawn, and the upper rectangle on the left stopped out. The upper rectangle on the right, however, had hardly been attacked by the acid, as the lines had been drawn with a blunter point, which had not scratched the copper, while the fine point had. It was therefore allowed to bite another three minutes before it was stopped out. The other rectangles were allowed to bite ten, twenty, and thirty minutes respectively, by which means the difference in value was produced. The figures _a_, _b_, _c_ perhaps show the results of partial biting still better. The three were simply lined with the same point. After the first biting they all looked like _a_. This was then stopped out, together with the corners of _b_ and _c_. After the second biting _b_ and _c_ were both as _b_ now is. The whole of _b_ was now stopped out, and part of _c_, allowing only the inner lozenge to remain exposed to the acid. It is evident that the difference in color in these figures is not due to the drawing, but is entirely the result of biting. PLATE B. _Vessels in Boston Harbor._ A first essay in etching by Mr. Walter F. Lansil, marine painter, of Boston. The artist has kindly given me permission to use this plate, for the purpose of showing that the home-made tools and materials described in the Introductory Chapter are quite sufficient for all the technical purposes of the etcher. It is eminently "home-made." The ground was prepared according to the recipe given; the points used were a sewing-needle and a knitting-needle; the tray in which it was etched was made of paper covered with stopping-out varnish; even the plate (a zink plate by the way) did not come from the plate-maker, but was ground and polished at home. PLATE I_a_. _Etching after Claude Lorrain._ _Unfinished plate_, or "first state" (see pp. 23 and 29). This, however, is not the etching itself; it is a photo-engraving from the unfinished etching. But it does well enough to show the imperfections alluded to by M. Lalanne in the text. PLATE I. _Etching after Claude Lorrain._ _Finished plate_, or "second state" (see pp. 36 and 56). Clean wiped. PLATE II. _Etching after Claude Lorrain._ Printed from the same plate as Pl. I, but treated as described on p. 57. The difference between the two plates shows what the art of the printer can do for an etching. The difference would be still greater if Pl. II. were better printed; for it is not printed as well as it might be, although it was done in Paris. PLATE III. _À plat, une pointe_--flat biting, drawn with one point; that is to say, the plate was immersed only once, and the lines are all the result of the same needle, so that the effect is only produced by placing the lines close together in the foreground, and farther apart as the distance recedes (see p. 43). _À plat, plusieurs pointes_--flat biting, several points, that is to say, one immersion only, but the work of finer and coarser points is intermingled in the drawing. _Par couvertures, plusieurs pointes_--stopping out and the work of several points combined. PLATE IV. _Fig. 1._ See p. 27. _Fig. 2._ See p. 45. _Figs. 3, 4 and 5._ See p. 46. PLATE V. _Fig. 1._ Worked with one point; effect produced by stopping out (see p. 44). _Fig. 2._ Mottled tint in the building, &c., in the foreground; stopping out before biting, in the sky (see p. 51). PLATE VI. _Soft-ground etchings._ See p. 52. PLATE VII. _Dry-point etching._ See p. 53. PLATE VIII. _À Seville._ A sketch, given as a specimen of printing (see p. 58). PLATE IX. _À Anvers._ _Le Haag, Amsterdam._ Sketches from nature, to serve as examples. PLATE X. (Frontispiece). _Souvenir de Bordeaux._ To be consulted in regard to the manner of using the points and partial bitings. MY DEAR MONSIEUR LALANNE,[B] [B] This letter preceded also the first edition of 1866. If there is any one living who can write about Etching, it must certainly be you, as you possess all the secrets of the art, and are versed in all its refinements, its resources, and its effects. Nevertheless, when I was told that you intended to publish a book on the subject, I feared that you were about to attempt the impossible; for it seemed as if Abraham Bosse had exhausted the theme two hundred years ago, and that you would be condemned to repeat all that this excellent man had said in his treatise, in which, with charming _naïveté_, he teaches _the art of engraving to perfection_. I must confess, however, that the reading of your manuscript very quickly undeceived me. I find in it numberless useful and interesting things not to be found anywhere else, and I comprehend that Abraham Bosse wrote for those who know, while you write for those who do not know. I was quite young, and had just left college, when accident threw into my hands the _Traité des manières de graver en taille douce sur l'airain par le moyen des eaux fortes et des vernis durs et mols_. Perhaps I might have paid no attention to this book, if I had not previously noticed on the stands on the _Quai Voltaire_ some etchings by Rembrandt, which had opened to me an entirely new world of poetry and of dreams. These prints had taken such hold upon my imagination that I desired to learn, from Bosse's "Treatise," how the Dutch painter had managed to produce his strange and startling effects and his mysterious tones, the fantastic play of his lights and the silence of his shadows. Rembrandt's etchings on the one hand, and Bosse's book on the other, were the causes of my resolution to learn the art of engraving, and of my subsequent entry into the studio of Calamatta and Mercuri. As soon as I knew how to hold the burin and the point, these grave and illustrious masters placed before me an allegorical figure engraved by Edelinck, whose drapery was executed in waving and winding lines, incomparable in their correctness and beauty. To break my hand to the work, it was necessary to copy on my plate these solemnly classical and majestically disposed lines. But while I cut into the copper with restrained impatience, my attention was secretly turned towards Rembrandt's celebrated portrait of Janus Lutma, a good impression of which I owned, and which I thought of copying. To make my _début_ in this severe school--in which we were allowed to admire only Marc Antonio, the Ghisis, the Audrans, and Nanteuil--with an etching by Rembrandt, would have been a heresy of the worst sort. Hence to be able to risk this infraction of discipline, I took very good care to keep my project to myself. Secretly I bought ground, wax, and a plate, and profited of the absence of my teachers to attempt, with fevered hands, to make a fac-simile of the Lutma. I had followed the instructions of Abraham Bosse with regard to the ground, and I proceeded to bite in my plate with the assistance of a comrade, Charles Nördlinger, at present engraver to the king of Wurtemburg, at Stuttgart, whom I had admitted as my accomplice in this delightful expedition. You may well imagine, my dear Monsieur Lalanne, that I met with all sorts of accidents, such as are likely to befall a novice, and all of which you describe so carefully, while at the same time you indicate fully and lucidly the remedies that may be applied. The ground cracked in several places,--happily in the dark parts. My wax border had been hastily constructed, and I did not know then, although Bosse says so, that it is the rule to pass a heated key along the lower line of the border, so as to melt the wax, and thus render all escape impossible. Consequently the acid filtered through under the wax, and in trying to arrest the flow, I burned my fingers. Furthermore, when it came to the biting in of the shadows in the portrait of Lutma, the greenish and then whitish ebullition produced by the long-continued biting so frightened me, that I hastened to empty the acid into a pail, not, however, without having spattered a few drops on a proof of the _Vow of Louis XIII._, which had been scratched in the printing, and which we were about to repair. At last I removed the ground, and, trembling all over, went to have a proof taken, but not to the printer regularly employed by Calamatta. What a disappointment! I believed my etching to have been sufficiently, nay, even over-bitten, and in reality I had stopped half-way. The color of the copper had deceived me. I had seen my portrait on the fine red ground of the metal, and now I saw it on the crude white of the paper. I hardly knew it again. It lacked the profundity, the mystery, the harmony in the shadows, which were precisely what I had striven for. The plate was only roughly cut up by lines crossing in all directions, through the network of which shone the ground which Rembrandt had subdued, so as to give all the more brilliancy to the window with its leaded panes, to the lights in the foreground, and to the cheek of the pensive head of Lutma. As luck would have it, all the light part in the upper half of the print came out pretty well; the expression of the face was satisfactory, and the grimaces of the two small heads of monsters which surmount the back of the chair were perfectly imitated. I had to strengthen the shadows by means of the roulette, and to go over the most prominent folds of the coat with the graver; for I had not the knowledge necessary to enable me to undertake a second biting. Bosse says a few words on this subject, which, as they are wanting in clearness, are apt to lead a beginner into error. He speaks of smoked ground, while, as you have so admirably shown, white ground must be used for retouching. I therefore finished my plate by patching and cross-hatching and stippling, and finally obtained a passable copy, which, at a little distance, looked something like the original, although, to a practised eye, it was really nothing but a very rude imitation. It is needless to say that we carefully obliterated all evidence of our proceedings, and that, my teachers having returned, I went to work again, with hypocritical compunction, upon what I called the _military_ lines of Gerard Edelinck. But we were betrayed by some incautious words of the chamber-woman, and M. Calamatta, having discovered "the rose-pot," scolded Charles Nördlinger and myself roundly for this romantic escapade. If my plate had been worse,----the good Lord only knows what might have happened! All this, my dear M. Lalanne, is simply intended to show to you how greatly I esteem the excellent advice which you give to the young etcher, or _aqua-fortiste_ (as the phrase goes now-a-days, according to a neologism which is hardly less barbaric than the word _artistic_). When I recall the efforts of my youth, the ardor with which I deceived myself, the hot haste with which I fell into the very errors which you point out, I understand that your book is an absolute necessity; and that the artist or the amateur, who, hidden away in some obscure province, desires to enjoy the agreeable pastime of etching, need only follow, step by step, the intelligent and methodical order of your precepts, to be enabled to carry the most complicated plate to a satisfactory end, whether he chooses to employ the soft ground used by Decamps, Masson, and Marvy, or whether he confines himself to the ordinary processes which you make sensible even to the touch with a lucidity, a familiarity with details, and a certainty of judgment, not to be sufficiently commended. Having read your "Treatise," I admit, not only that you have surpassed your worthy predecessor, Abraham Bosse, but that you have absolutely superseded his book by making your own indispensable. If only the amateurs, whose time hangs heavily upon them; if the artists, who wish to fix a fleeting impression; if the rich, who are sated with the pleasures of photography,--had an idea of the great charm inherent in etching, your little work would have a marvellous success! Even our elegant ladies and literary women, tired of their do-nothing lives and their nick-nacks, might find a relaxation full of attractions in the art of drawing on the ground and biting-in their passing fancies. Madame de Pompadour, when she had ceased to govern, although she continued to reign, took upon herself a colossal enterprise,--to amuse the king and to divert herself. You know the sixty-three pieces executed by this charming engraver (note, if you please, that I do not say _engraveress_!). Her etchings after Eisen and Boucher are exquisite. The pulsation of life, the fulness of the carnations, are expressed in them by delicately trembling lines; and I do think that Madame de Pompadour could not have done better, even if she had been your pupil. At present, moreover, etching has, in some measure, become the fashion again as a substitute for lithography, an art which developed charm as well as strength under the crayon of Charlet, of Géricault, of Gigoux, and of Gavarni. The _Société des Aqua-fortistes_ is the fruit of this renaissance. The art, which, in our own day, has been rendered illustrious by the inimitable Jacque, now has its adepts
{'title': 'A Treatise on Etching by Maxime Lalanne', 'source': 'Project Gutenberg', 'lang': 'en'}