,by ,alois ,senefelder ,translated from the ,original ,german by ,j4 ,w4 ,,muller ,,the ,,invention ,,of ,,lithography ,cloth #dto #e4jj ,postpaid ,,the ,,fuchs ,,lang ,,manufacturing ,,co4 ,,new ,,york ,,the ,,invention ,,of ,,lithography ,illustration3 ,,senefelder ,,the ,,invention ,,of ,,lithography ,,by ,,alois ,,senefelder ,,translated ,,from ,,the ,,original ,,german ,,by ,j4 ,w4 ,,muller ,illustration ,,new ,,york3 ,,the ,,fuchs ,,lang ,,manufacturing ,,company #aiaa ,,copyright1 #aiaa1 ,,by ,,the ,,fuchs ,,lang ,,manufacturing ,,company ,,new ,,york ,,and ,,london ,entered at ,stationers' ,hall1 ,london ,,translator',s ,,preface ,alois ,senefelder1 not only the inventor1 but the father and perfecter of ,lithography1 wrote this story of his life and his invention in #ahag4 ,the translator has followed his style closely1 because he felt that the readers would prefer to have this ,english edition represent ,senefelder's original ,german faithfully4 ,when ,senefelder wrote1 he had to invent many names for the processes1 manipulation-methods1 and tools4 ,these terms have been translated literally even where modern practice has adopted other names4 ,the original ,german edition carried the following title-page3-- ,,complete ,,text-,,book ,,of ,,stone-,,printing ,,containing ,a ,,correct ,,and ,,lucid ,,instruction ,,for ,,all ,,various ,,manipulations ,,in ,,all ,,its ,,branches ,,and ,,methods ,,and ,,also ,a ,,full ,,history ,,of ,,this ,,art ,,from ,,its ,,origin ,,to ,,the ,,present ,,day4 ,,written ,,and ,,published ,,by ,,the ,,inventor ,,of ,,lithography ,,and ,,chemical ,,printing1 ,,alois ,,senefelder4 ,,with ,a ,,preface ,,by ,,the ,,general-,,secretary ,,of ,,the ,,royal ,,academy ,,of ,,sciences ,,in ,,munich1 ,,the ,,director ,,friederich ,,von ,,schlichtegroll ,,munich1 #ahba ,,obtainable ,,from ,,the ,,author ,,and ,,from ,e4 ,a4 ,,fleischmann ,the book was dedicated by ,senefelder to ,maximilian ,joseph1 then ,king of ,bavaria4 ,july1 #aiaa4 ,j4 ,w4 ,m4 ,,preface ,a book like this requires no preface2 it makes its own way1 supported by its contents4 ,but the famous author deems that his acquaintance with me gave him the direct impulse for producing this work1 which has been desired so long and from all sides2 and he wishes that ,i shall say something about the history of its production4 ,i seize the opportunity gladly to prove the esteem and the friendship that the talent of this honorable contemporary and fellow countryman1 a talent combined with the utmost ambition and with childlike good nature and unselfishness1 have inspired in me4 ,one may not declare that his contemporaries showed indifference to the invention of lithography to which his fortunate star led ,herr ,alois ,senefelder1 and to the improvements that he sought with thousands of experiments and restless labor4 ,on the contrary1 the invention has spread itself with surprising speed through ,europe and beyond1 and has been received with admiration everywhere4 ,but the lack of proper instruction1 due to the many who had learned it only partially and introduced it only for the sake of a small1 passing profit1 has hampered its perfect success4 ,therefore the inventor1 who1 happily1 still lives among us1 has been urged from near and far to tell the story of his important1 many-sided discovery1 and to give instructions for its use1 that is1 to produce such a work as is before us now4 ,but the artistic genius1 full of his subject1 would far rather work1 experiment1 strive1 than write6 ,many times ,herr ,senefelder decided to set down how he happened on this art1 how the successive steps of its development were reached1 and at what point of development its various processes now stand2 but always his ceaselessly striving spirit showed him something new that might be achieved1 and forced him back again into his element1--experimentation4 ,thus the ,pattern ,book1 begun in #ahji1 remained unfinished and without text2 and the other work1 announced two years ago by ,herr ,andre1 in ,offenbach1 as being undertaken by him with ,herr ,alois ,senefelder1 hardly would have seen the light4 ,a forceful impetus from without was needed to compel ,herr ,senefelder to fulfill the general request of the public4 ,it came as follows4 ,many statements in print attracted my attention4 ,they credited the invention of lithography to ,paris1 to ,london2 and in ,munich there were various contradictory legends1 some alleging that ,herr ,alois ,senefelder had made the very first experiments and others crediting them to ,herr ,schmidt in ,miesbach1 at that time ,professor in ,munich4 ,i considered it my duty to clear away this uncertainty and to prepare a critical history of this invention while it still was possible4 ,the weekly ,anzeiger fr ,kunst und ,gewerbfleiss in the kingdom of ,bavaria1 which has appeared since #ahae1 exists for the purpose of producing annals of the art and industrial history of ,bavaria4 ,therefore1 toward the end of #ahaf and early in #ahag1 ,i inserted some letters about the invention of lithography and called on all friends of native art history to point out any inaccuracies and send proofs to the contrary1 that the truth might thus be ascertained about a subject of great literary value for this generation and for posterity4 ,more than all1 ,i urged ,herr ,alois ,senefelder1 then absent1 to produce a detailed history of his invention as soon as possible1 with a text-book embellished by specimen plates1 in which the full use of the art might be truly and clearly explained4 ,i sent this printed letter to ,herr ,senefelder in ,vienna4 ,the first object of my request has been without much result4 ,hardly a single voice has been raised to uncover the correct and the incorrect in the various stories with strictly historical accuracy1 and thus to bring the truth to light1 that lithography may not experience what our ,klopstock sings3 ,too oft in eternal night is cloaked the inventor's great name6 ,i have been more fortunate in my second object4 ,herr ,alois ,senefelder recognized my good intention and my pure pleasure in this important art that will give our ,bavaria unending fame and spreading celebrity4 ,since his return to ,munich1 it has been the subject of many conversations between us1 and ,i have endeavored to enliven the courage and self-confidence of this remarkable man1 who often was depressed by the failure of many an enterprise4 ,my three endeavors--to win the gracious attention of our most high royal family for the latest improvements in chemical printing attained through ,herr ,senefelder's work2 to impel the venerable national institution to which ,i belong to investigate the art scientifically2 and the publication of the text-book and the history of the inventor--these have been not without result4 ,his ,majesty1 our most gracious ,king1 this all-honored ,father of his nation and his people1 and long a gracious promoter of lithography1 has taken gracious cognizance of the newest1 amazing experiments in metallography and papyrography with which ,herr ,senefelder busied himself last winter1 has encouraged him magnanimously to publish the present work1 and has permitted that it shall be dedicated to his noble name4 ,her ,majesty1 our supremely honored ,queen1 herself a connoisseur in the creative arts1 also has honored these experiments with her gracious attention1 and thus has enlivened the courage and the energy of the artist4 ,the most celebrated technicians in the ,royal ,academy have examined these processes and also the various small presses lately invented by ,herr ,senefelder in order to make stone-printing1 and also metal and paper printing available for private use and business1 and have given him the most flattering testimonials4 ,the ,polytechnic ,association of ,bavaria also has aided1 through its before-mentioned weekly publication1 in making ,herr ,senefelder and his art1 and especially his most recent achievements1 known in a wider field than might otherwise be possible1 and to bring him to the attention of his fellow citizens and interested travelers4 ,at last1 ,herr ,alois ,senefelder has used the hours that he could spare from his continuous experiments and investigations to write down the history of his labors out of his faithful memory2 and also to give a full description of all methods invented by him to this time1 accompanied by highly instructive specimen pages1 partly made by himself and partly by artistic friends1 but all printed either with his own hand or under his direct supervision4 ,thus with the past winter there developed a new1 still more busy life of this rare1 useful man2 and thus there originated the present work that ,i do not hesitate to declare as belonging among the most noteworthy productions of the present ,leipsic ,book ,fair4 ,the book is in two parts3 7#a7 the history of the invention and of the various applications of the new art3 7#b7 the description of the methods for writing1 drawing1 engraving1 transferring1 etching1 and printing1 stated with all the clearness possible1 and accompanied with object-lessons in the form of wonderfully successful and instructive specimen plates4 ,with the great candor inherent in the character of the author he tells faithfully how he came to make his first experiments1 what mistakes he made1 with what inner and outer difficulties he contended1 how one idea led to another1 what combinations he tried1 what plans1 successful and unsuccessful1 he made1 and under what unrest and embarrassments he lived for many years4 ,the minute detail of the history and the interpolation of the personal relations of the author and his acquaintances may surprise many readers at first sight2 but many of these are intimately connected with the development of stone-printing1 and in the cases of others1 the author did not have time to re-write what really had been written as only the first draft1 because his original intention of re-writing would have prevented the appearance of the book in the present ,easter ,book ,fair4 ,in the history of an important invention1 minuteness hardly can be called a fault4 ,how gladly would we read all the family circumstances of ,johann ,gutenberg and ,johann ,fust1 if there were such a history of the beginnings of typography as now is before us about lithography6 ,thus there has been fulfilled the desire that ,herr ,alois ,senefelder tell openly and plainly how he came to discover stone-printing4 ,now that his testimony and claims lie open to all eyes1 it is possible to compare it with the other stories that are told1 and to bring the necessary accuracy into the investigation by sharply defining those things that properly may be called stone-print4 ,it is time to urge contemporaries once more to declare anything known to them that is in contradiction of this history1 so that a critical history of stone-printing may be produced1 with a chronicle of what was done in the early years of the art1 how and by whom1 so that we may learn if several minds had the idea simultaneously1 and thus to do justice to all4 ,it is to be desired that a writer equipped for the purpose with total non-partisanship1 utter truthfulness1 and clearness of perception and judgment may do this not unimportant service to literature very soon6 ,as to the text-book1 forming the second part of this publication1 it has been demanded even more than the history4 ,stone-printing has spread so much in recent years that a few certain lithographers could no doubt give satisfactory instruction4 ,but there is only one voice among those who are acquainted with the matter thoroughly1 and that is1 that ,herr ,alois ,senefelder made not only the earliest but the most numerous and various experiments1 and therefore is the foremost man to give instruction4 ,he is of an upright spirit1 and ,i can assert with full conviction that in this text-book his aim was not only to tell everything fully1 but also with the utmost accuracy4 ,already he has instructed many in the art1 trained many others1 and thus has learned what are the circumstances that ordinarily hinder the efforts of a beginner4 ,even recently1 according to his statement and that of ,professor ,mitterer1 whom ,i consider the best expert in lithography next to ,senefelder1 there still have been phenomena that surprised lithographers most unpleasantly in the midst of a piece of work1 and ruined results as if by witchcraft1--cases wherein1 in two apparently perfectly similar manipulations1 there would not succeed to-day that which had succeeded yesterday1 nay1 even an hour before4 ,the text-book gives all explanations and remedies for such cases that the wide experiences of ,senefelder have made known to him4 ,therefore1 if an artist proceeds exactly according to the instructions given here1 and yet meets obstacles1 he need merely look for the reason in some small1 unnoticed detail or in the quality of his materials4 ,he need not become discouraged1 for if he has faith in his faithful and candid teacher1 he will attain the goal4 ,besides the branches and methods already known and practiced with success outside of ,munich1 as in ,karlsruhe1 ,stuttgart1 ,berlin1 ,london1 ,paris1 etc41 this text-book teaches several methods that had not been made public by the inventor till now2 and the fundamental principles of those methods already known are stated here solidly4 ,he gives information also of his most recent attempts to use metal plates as well as the stone paper recently invented by him4 ,although the procedure in these two latter methods resembles stone-printing largely1 it differs so much in some points from real lithography that ,herr ,senefelder proposes to publish a work about these processes especially1 which may then serve as a supplement to this one4 ,so may this work go forth in the world under good auspices1 to increase the fame of its author1 secure for him the respect of all friends of art in and outside of ,germany1 and become an encouragement for him to dedicate his life further to his greatly promising art and its fullest development6 ,honor in rich measure has come to him already through his art4 ,a worldly wise man in his place would have become a wealthy one4 ,that he is not2 but our magnanimous ,king has made him secure against want during his remaining life1 and my knowledge of his character assures me that he will utilize this1 and any other advantage that may accrue to him in time to come through this work or his art1 for perfecting it1 and then to train his only son1 now five years old1 to the art1 so that he may practice it in future with honor to his father's name4 ,,friedrich ,,von ,,schlichtegroll4 ,,munich1 ,,easter ,,day1 #ahah4 ,,section ,i ,,history ,,of ,,stone-,,printing ,,part ,i ,,from #agif ,,to #ahjj ,as my father1 ,peter ,senefelder of ,knigshofen in ,franken1 was court actor in ,munich1 ,i had ample opportunity in early youth to see and read many theatrical pieces4 ,thus ,i developed such a love for this branch of literature and for the theatre that ,i would have become an actor myself had ,i been permitted to obey my inclination4 ,but my father1 who was determined not to permit any of his children to choose the stage1 compelled me to study law4 ,i could satisfy my longings only occasionally by playing a few times in private theatricals and by venturing on a few dramatic writings in my hours of recreation4 ,in my eighteenth year 7#aghi7 the question arose1 at a gathering of youngsters1 as to how we should entertain ourselves in the approaching ,carnival time4 ,we decided to give a little private play4 ,many pieces were proposed1 but none seemed suitable1 because each one wished to play a good and suitable part1 and1 besides1 we could not fill most of the parts1 as we lacked women4 ,we were almost giving up hope when ,herr ,kuerzinger1 now court actor1 proposed to me to write a play1 as ,i had begun one shortly before that happened to suit each of my friends4 ,i finished the little piece1 ,die ,mdchen ,kenner1 in a short time4 ,it was ready for production1 when through accident we were disappointed about securing the private theatre on which we had counted4 ,we were emboldened to request leave to produce it in the ,kurfrst's ,court ,theatre and succeeded1 thanks to my father's aid4 ,the over-kind praise which it won encouraged me to have the play printed4 ,although ,i was pretty generous with free copies among my friends1 ,i received so much from ,lentner1 the book-dealer in ,munich1 that a net profit of fifty gulden remained to me4 ,i had not worked eight days on the little thing1 and had made all this money1 without counting the pleasure of the work4 ,no wonder that now ,i feared no longer for my future6 ,my love for the theatre became overpowering1 and as my father died soon afterward 7#agia71 and ,i found no further assistance toward completing my studies in ,ingolstadt1 ,i resolved to become a dramatic author and actor4 ,i found no place for me in the ,court ,theatre4 ,its leaders were opposed to my family1 because my mother with her large family received a larger pension1 through the favor of the ,kurfrst1 than she could have expected in ordinary course4 ,in a few strolling theatres1 such as ,regensburg1 ,nrnberg1 ,erlangen1 and ,augsburg1 where ,i endured privation and misfortune enough1 my enthusiasm was well dampened in the course of two years4 ,i decided1 as ,i could see no other prospects for the moment despite my not inconsiderable attainments1 to support myself in future as author4 ,i had written several dramatic pieces already that had won sufficient applause4 ,therefore ,i decided to have some of these printed in order to meet my immediate expenses4 ,i gave one of them to the printing establishment of ,herr ,hbschmann1 in ,munich1 and when the first folio was finished1 ,i made the proposition to ,herr ,lentner to take some or all of the copies4 ,he told me that ,i would have done better to let him have the manuscript2 but since it had been begun1 he told me to make sure that it be finished before the beginning of the ,leipsic ,easter ,fair1 in which case he promised to obtain for me one hundred gulden net1 after deducting all costs4 ,i begged ,herr ,hbschmann to finish the printing1 but1 as he assured me that it was impossible1 ,i took the remaining folios to another printer4 ,despite this the play was not printed till two weeks after the fair1 and ,i received from ,herr ,lentner barely enough to pay the printing cost4 ,my hope of profit was lost4 ,i had1 however1 seen the entire procedure of printing1 because ,i had spent many a day in the establishments4 ,i found that it would not be hard for me to learn1 and could not withstand the desire to own a small printing establishment myself4 ,thus1 thought ,i1 ,i can print my productions myself1 and so alternate healthfully between mental and physical activities4 ,i could earn a decent living1 too1 and thus become an independent man4 ,this idea controlled me so that ,i studied all sorts of ways to realize it4 ,if ,i had possessed the necessary money1 ,i would have bought types1 a press and paper1 and printing on stone probably would not have been invented so soon4 ,the lack of funds1 however1 forced me to other expedients4 ,at first ,i thought of etching letters in steel4 ,these matrices ,i planned then to impress on pear wood1 in which the letters would show in relief1 somewhat like the cast type of the book printers1 and they could have been printed like a wood-cut4 ,a few experiments showed me the possibility of this1 and ,i could easily have invented a machine with which the moulding could have been done more quickly than a printer could set his type4 ,i reserve the right to use this possibly fruitful idea in future with improvements4 ,at the time1 however1 ,i had to give up the whole thing through lack of implements and sufficient skill in engraving4 ,then it struck me that if ,i had only enough types to set one column or folio1 ,i could press this into a soft material1 transfer the impression to a board covered with soft sealing-wax1 and reproduce the relief plate thus obtained in stereotype form4 ,the attempt succeeded perfectly4 ,i made a sort of dough of clay1 fine sand1 flour1 and coal-dust1 which1 being firmly kneaded1 took the impression very well1 and was so dry in a quarter of an hour that ,i could print warmed sealing-wax thoroughly well with a small press4 ,i inked these letters of sealing-wax relief with printing-ink laid on with a leather roller stuffed with horse-hair and obtained a result as clean as any obtained from ordinary types4 ,by mixing finely powdered gypsum with the sealing-wax ,i made the latter harder than the ordinary type composition4 ,thus there was nothing in the way of my making stereotype plates 7which ,i did not know by this name at that time71 except a few minor appliances and a small stock of types4 ,but even this exceeded my financial power and ,i gave up the plan1 especially as ,i had conceived a new one during my experiments4 ,this was to learn to write out ordinary type letters exactly1 but reversed4 ,i planned that as soon as ,i attained the skill1 ,i would write them with an elastic steel pen on a copper plate covered in ordinary manner with etching surface1 etch1 and let the copper-plate printers print them4 ,in a few days ,i had such skill in reverse writing that ,i attacked the etching on copper bravely4 ,here1 to be sure1 ,i met greater difficulties4 ,writing on copper over the etching surface was far more difficult than writing on paper4 ,then the preparation of the plate1 the etching1 etc41 demanded some practice2 but all this ,i hoped to conquer in time4 ,the one thing that troubled me was that ,i could not correct the errors made during writing4 ,the accessories of copper-plate engravers1 especially the so-called cover varnish1 were quite unknown to me4 ,i knew no remedy except to paint the faulty places over with molten wax1 but the covering generally became so thick that ,i could not work through it properly and had to leave the corrections for the graving stilus1 which1 however1 ,i could not handle at the time4 ,as1 however1 the proofs were thoroughly satisfactory to me1 ,i labored desperately to overcome the difficulty4 ,during my student years ,i had attained much chemical knowledge1 and ,i knew that most of the resinous products which withstand acid1 as well as the fats1 wax1 tallow1 and so forth1 can be dissolved and diluted partly in etheric oils and spirits of wine1 and partly in alkalies4 ,my problem was to obtain a thin mass which would permit itself to be spread very thinly in cold condition over the copper etching surface1 dry quickly1 become sufficiently firm after drying without getting tough1 and1 above all1 be something that would not attack the etching surface4 ,a few trials with spirits of wine and various resinous forms gave no satisfaction4 ,the one experiment that ,i made with oil of turpentine and wax also failed1 presumably because ,i diluted the mixture more than necessary1 which caused it to flow too much and dissolve the etching surface1 at which time several well-done parts of the engraving were ruined4 ,besides1 this mixture dried only slowly to the degree necessary for working4 ,fortunately ,i made no further experiments with this material1 because then ,i should not have invented stone-printing1 as ,i know now how to make a cover varnish that is quite satisfactory4 ,i turned1 instead1 to an experiment with wax and soap1 which succeeded beyond all expectations4 ,a mixture of three parts of wax with one part of common tallow soap1 melted over the fire1 mixed with some fine lampblack1 and then dissolved in rainwater1 gave me a sort of black ink with which ,i could correct faulty spots most easily4 ,now ,i needed only practice in order to carry out my project of etching my literary productions in copper4 ,this presented a new difficulty4 ,after ,i had written on my single little copper plate1 etched it1 and pulled proofs at the house of a friend who possessed a copper-plate press1 ,i had to spend some hours again laboriously grinding and polishing the plate1 a process which also wore away the copper fast4 ,this led me to practice on zinc1 which was easier to scrape and polish4 ,an old zinc plate of my mother's was requisitioned at once1 but the results were very unsatisfactory1 because the zinc probably was mixed with lead1 and ,i had used only aqua fortis instead of more powerful acid4 ,i did not continue trials with zinc1 because just then ,i obtained a handsome piece of ,kellheimer stone for the purpose of rubbing down my colors on it2 and it occurred to me that if ,i painted this stone plate with my wax ink1 it would serve as well for practicing as copper or zinc1 with very little labor in grinding and polishing4 ,the experiments succeeded1 and though ,i had not thought originally that the stone itself might be used for printing 7the samples ,i had seen hitherto of this ,kellheim limestone were too thin to withstand the pressure exerted in printing71 ,i soon began to believe that it was possible4 ,it was much easier to do good work on the stone than on the copper4 ,i observed also that ,i needed weaker and much diluted aqua fortis4 ,a stone mason told me that he could provide me with this sort of limestone in plates from one inch to eight inches thick4 ,thus ,i needed not to fear cracking of the stone2 and the only thing that ,i needed to invent1 in order to use the stone just like copper1 was either a way to give the stone a better polish1 or else a tint which would be easier to rub away than the ordinary copper-plate printing-ink4 ,the stone will not take the polish that is demanded with ordinary printer's ink1--and perhaps this is the reason why the stone has not been used long before my time as substitute for copper1 for ,i imagine that such attempts must have been made4 ,i tried all possible kinds of polishing and grinding without attaining my purpose completely4 ,the result was best when ,i poured a mixture of one part of concentrated oil of vitriol and four or five parts of water over the stone after polishing it4 ,this mixture1 which is very sharp1 has the property of boiling immediately when poured over the stone1 but ceasing instantly1 so that one is tempted to believe that the vitriol has sated itself and lost its power4 ,this is not so1 however2 for the same fluid1 placed on an untouched part of the stone1 boils again at once4 ,the reason is that a firm skin of gypsum forms at once on the stone1 and this remains impervious to the fluid4 ,if now the etching fluid is poured off and the stone is rubbed lightly with a rag1 it attains a shining polish4 ,unfortunately this is so thin and weak that one can make barely fifty impressions without repeating the process1 which involves some loss to the drawing4 ,but if one desires to print in the present chemical style1 that is1 wet1 and the stone is polished before the drawing1 one can make several thousand imprints1 which will be described in the proper place4 ,all experiments to find a color easy to wipe away showed me that on a stone prepared with oil of vitriol none was better than a light oil varnish with fine ,frankfurter black and some tartar4 ,this mixture could be washed off with a weak solution in spring water of potash and common salt4 ,however1 it happened often that slight carelessness in washing destroyed designed parts which took color again afterward only after much trouble4 ,recollection of this occurrence1 which ,i could not understand clearly at the time1 led me some years later to the invention of the chemical stone-printing of to-day4 ,i have told all these things fully in order to prove to the reader that ,i did not invent stone-printing through lucky accident1 but that ,i arrived at it by a way pointed out by industrious thought4 ,it will be seen that ,i knew the ink1 before ,i thought of its use on stone4 ,the stone ,i used at first only to practice writing4 ,the ease of writing on stone lured me then to try to make it available for direct printing4 ,to do this1 ,i had to discover a way to rub away the black as completely from all unetched parts of the stone as the copper-plate printer can do it from his surface1 in comparison with which the stone was but slightly smooth4 ,at this time my further experiments with this etched form of stone-printing were entirely checked by a new1 accidental discovery4 ,until now ,i had invented little that was new1 but simply had applied the copper-plate etching method to stone4 ,but this new discovery founded an entirely new form of printing1 which basically became the foundation of all succeeding methods4 ,had the stone merely proved available as substitute for copper1 ,i would have returned to copper as soon as ,i could afford it1 despite several advantages of stone1 and for the following reasons3 first1 the necessary weight and thickness of the stones2 second1 because the printing process was slower than with copper2 third1 because probably ,i never would have become sufficiently skilled in the difficult manipulation of washing off2 but chiefly1 because the necessary spur1 the originality of the discovery1 would have been lacking1 since ,i remembered that as a child of five or six ,i had seen a music-printery in ,frankfurt or ,mainz where the notes were etched in black slate-stone4 ,i had played often with the broken stones1 which lay in a heap near our house4 ,enough1 ,i was not the first discoverer of stone-etching1 nor of stone-printing2 and only after ,i made this new discovery which ,i will describe now1 which led me from the engraved to the relief process1 with my new ink1 might ,i call myself the inventor of an art4 ,at that time ,i could not guess that ,i was to invent a form of printing different even from this new and original form1 a method which was to be based not on mechanical but purely chemical properties4 ,even this method1 new in #agif1 still was purely mechanical in its purpose1 whereas the present printing method1 which ,i began in #agii1 may be called purely chemical4 ,i had just ground a stone plate smooth in order to treat it with etching fluid and to pursue on it my practice in reverse writing1 when my mother asked me to write a laundry list for her4 ,the laundress was waiting1 but we could find no paper4 ,my own supply had been used up by pulling proofs4 ,even the writing-ink was dried up4 ,without bothering to look for writing materials1 ,i wrote the list hastily on the clean stone1 with my prepared stone ink of wax1 soap1 and lampblack1 intending to copy it as soon as paper was supplied4 ,as ,i was preparing afterward to wash the writing from the stone1 ,i became curious to see what would happen with writing made thus of prepared ink1 if the stone were now etched with aqua fortis4 ,i thought that possibly the letters would be left in relief and admit of being inked and printed like book-types or wood-cuts4 ,my experience in etching1 which had showed me that the fluid acted in all directions1 did not encourage me to hope that the writing would be left in much relief4 ,but the work was coarse1 and therefore not so likely to be under-cut as ordinary work1 so ,i made the trial4 ,i poured a mixture of one part aqua fortis and ten parts of water over the plate and let it stand two inches deep for about five minutes4 ,then ,i examined the result and found the writing about one tenth of a line or the thickness of a playing-card in relief4 ,a few finer strokes had been injured slightly1 but the others had hardly lost breadth noticeably and not at all in depth1 so that ,i had good reason to hope that a well-written plate1 particularly in type letter1 would be susceptible of much better relief4 ,eagerly ,i began inking in4 ,i used a fine leather ball1 stuffed with horsehair1 and inked it very gently with thick linseed oil varnish and lampblack4 ,i patted the inscription many times with this ball4 ,the letters all took the color well1 but it also went into all spaces greater than half a line4 ,that this was due to the over-great elasticity of the ball was clear to me4 ,so ,i cleansed my plate with soap and water1 made the leather tense1 and used less color4 ,now ,i found color only in such spaces as were two or more lines apart4 ,i saw that ,i could attain my purpose better with a dauber of stiffer material4 ,i tried at once with a piece of glass from a broken mirror1 and as this succeeded fairly well1 ,i tried elastic metal plates4 ,finally ,i made an entirely satisfactory appliance out of a thin board1 very smoothly planed and covered with a fine cloth4 ,my further experiments with this relief plate succeeded far better than my previous ones with etched letters4 ,the inking in was much easier1 and hardly one quarter of the force was necessary for making impressions4 ,thus the stones were not so liable to crack1 and1 what was the most important for me1 this method of printing was entirely new1 and ,i might hope to obtain a franchise and even financial aid4 ,this hope grew when ,i learned that ,riegel of ,munich1 who had invented a new sort of ,frankfurter black1 had received ten thousand gulden to erect a factory1 although no human being could use it as a sufficient substitute1 as ,i proved by many trials4 ,i saw the great field for my stone-printing art and did not doubt that ,i would obtain assistance1 even should it be only a twentieth part of what ,herr ,riegel had received for his entirely worthless process4 ,the new art was invented1 and soon was sufficiently practiced2 but again came the need for a little capital1 to buy a press1 some stones1 paper1 tools1 and so forth4 ,if ,i did not wish to give up my hopes again1 ,i must seek some way to obtain the necessary means4 ,all my endeavors were fruitless4 ,only one way showed itself4 ,an acquaintance1 who served in the artillery1 had offered to pay two hundred gulden for a substitute4 ,in my helplessness ,i offered myself4 ,i thought3 ,once you are in the artillery and have mastered the exercises1 you can get furlough and the permission to do your printing4 ,you can pay others to do your sentry goes1 and thus there will be only a few weeks a year in which the regiment will demand your presence4 ,as soon as you have earned a few hundred gulden you can get a substitute yourself1 or1 at worst--how soon six years will pass6 ,perhaps you can make your fortune in the artillery1 too6 ,you will display zeal1 and your knowledge is such that probably few in the corps will be superior to you4 ,mathematics1 and especially mechanics and geography1 were ever your favorite studies2 you were one of the first of the ,munich ,lyceum in these branches2 therefore it is certain that you will be noticed and promoted--and other such chimerical hopes4 ,on the third day ,i went with a transport of recruits to ,ingolstadt1 which then was the quarters of the ,bavarian artillery4 ,i entered that city with feelings different from those with which ,i had left it as ,academician4 ,but the thought of my invention elevated my spirit to a certain dignity and comforted me with the prophecy of a better future4 ,i was presented to the chief of company and slept a night in the barracks1 where unpleasant remarks and the conduct of a vulgar corporal cast heavy shadows over the coming soldiering4 ,next morning1 when ,i was to be enrolled and named ,prague as my birth-place1 ,i was informed that a recent royal order shut out all foreigners from the ,bavarian service4 ,so ,i started on my return1 poorer by a hope1 but not in entire despair4 ,as ,i looked down from the ,danube bridge into the majestic stream1 where as a student ,i was nearly drowned once1 ,i could not quite prevent the thought that my rescue at that time had not been fortunate1 since a too unkind fate seemed to deny me even the one means of support1 open to the most helpless1 that of the army4 ,still1 though cheated by hope a thousand times1 ,i ever followed her lures again1 and a new plan instantly formed itself to replace the one that had just gone to wreck4 ,i decided to give up my literary work for the time being and work as a printer for wages4 ,some very badly printed music that ,i bought in ,ingolstadt awakened the idea that with my new printing process ,i could furnish much better work4 ,i decided to go at once to ,herr ,falter1 the music-dealer of ,munich1 to interest him in my invention and obtain a small advance of money4 ,had ,i done this1 my art might have been more thoroughly perfected long ago2 but1 again1 it might never have been developed as it has been1 for it was amply sufficient already for music-printing4 ,my shyness1 however1 prevented me from addressing ,herr ,falter4 ,twice ,i was at his door1 and each time ,i retreated4 ,the second time ,i met a good acquaintance1 a musician named ,schrott4 ,in reply to my inquiry if he knew ,herr ,falter1 he said ,no1 but he told me that the court musician1 ,gleissner1 had paid recently to have several masses printed and intended to publish some more church music soon4 ,who was happier than ,i over this news6 ,herr ,gleissner was a good friend of old4 ,while ,i was in the theatre ,i had engaged him to compose several songs1 and had found him a humane and righteous man4 ,within half an hour ,i was in his house and explaining my invention to his wife1 he being absent4 ,i aroused her interest so much that she seemed thoroughly eager to have me hurry back with a little press model1 in order to show them both the working of the process4 ,the entire behavior of the woman was so open and artless that ,i dismissed my first thought1 ,i might be cheated out of my invention1 and hurried to ,herr ,gleissner in the afternoon with my simple apparatus4 ,my printing succeeded absolutely4 ,gleissner marveled at the swiftness and beauty of the impressions1 and1 knowing my penniless condition1 he offered of his own free will to pay for a small printery4 ,my mother had given me a press already4 ,it was the ordinary copper-plate press with two cylinders4 ,true1 it was very roughly made1 being a house carpenter's work1 but it had cost only six gulden4 ,however1 one could make very pretty impressions from stone with it4 ,to spare ,herr ,gleissner's treasury1 ,i contented myself with it for the time4 ,i bought a small stock of stones1 paper1 and other necessary articles4 ,herr ,gleissner composed twelve songs with clavier accompaniment4 ,i wrote them rapidly on stone and made one hundred and twenty impressions with the aid of a day laborer4 ,everything1 composition1 writing on stone and printing1 was finished in fourteen days4 ,from ,herr ,falter1 who bought one hundred copies1 ,herr ,gleissner received the sum of one hundred gulden4 ,stones1 which could be used over and over again1 paper1 color1 and wages had cost barely thirty gulden2 thus we had a clear profit of seventy gulden1 earned in fourteen days1 and ,i gained so much happy hope that ,i thought myself richer than ,croesus4 ,we were gay and merry4 ,through his patron1 ,count von ,trring1 then ,president of the ,royal ,chamber1 ,herr ,gleissner had presented an impression of our first work to the ,kurfrst ,karl ,theodor1 and had received one hundred gulden out of the ,cabinet ,treasury1 with the promise of a franchise4 ,a succeeding little piece of work1 ,duets for ,two ,flutes1 by ,gleissner1 brought forty gulden more into our chest1 and finally our finances1 as well as a bright success for our institution1 seemed assured by a contract closed with the ,countess von ,herting to print a cantata on the death of ,mozart by ,cannabich1 the musical director1 which promised us a profit of one hundred and fifty gulden for two or three weeks' work4 ,during this time ,i had presented specimens of work to the ,royal ,academy of ,sciences1 with a description of the advantages of the art1 in which ,i named particularly the cheapness1 and said that the impression had been made on a press costing not more than six gulden4 ,to my amazement1 instead of the expected honorable mention1 ,i received a sum of twelve gulden from the vice-president of the ,academy1 ,herr von ,vachiery1 with the information that the members had voted favorably for my invention1 and that1 as my expenses amounted to only six gulden1 according to my own statement1 ,i would1 no doubt1 be satisfied with a sum double this4 ,i had expected an entirely different appreciation from the sentinels of the arts and sciences1 whose office was to test the value of this new discovery and call the ,government's attention to it if favorable4 ,a mere monetary reward1 therefore1 especially so small a one1 could not possibly give me much pleasure4 ,promising as our beginning was 7#agic71 there came a sad period soon enough for the art1 for me1 and also for ,herr ,gleissner4 ,we had ordered a new press as soon as our income permitted4 ,i expected to produce a masterpiece with the first impression4 ,instead of that1 there appeared the very opposite1 a dirty and smeared imprint4 ,we suspected that we had made some mistake in method4 ,the second attempt1 however1 was worse than the first1 if possible4 ,to be brief1 of twenty trials1 made with the greatest industry and toil1 we obtained only two or three that were even average4 ,as long as ,i live ,i shall be unable to understand how we could have been so blind at that time4 ,we sought the cause of failure in everything except the true thing1--an alteration that made the new press different from the old one1 which unfortunately had been already destroyed4 ,later1 after ,i had invented the so-called lever or gallows press1 the thing was clear to me at once4 ,but by that time it had cost me and ,herr ,gleissner two years full of toil1 worry1 and sorrow4 ,in the contract with the ,countess von ,herting the date of completion of the work had been stipulated1 because she wished to surprise ,herr ,cannabich with it on his birthday4 ,we had barely four weeks left and not a single sheet had been finished4 ,with press alterations1 trial impressions1 and so forth1 we had wasted money and time1 and paper by the ream4 ,our loss amounted to more than one hundred and fifty gulden1 and still there was no prospect of final success4 ,pressed for results by the ,countess1 our entire reputation and the honor of my invention were at stake4 ,added to this came many other annoyances1 especially the complaints of ,frau ,gleissner1 who charged that ,i had destroyed the original1 perfectly satisfactory press against her will4 ,these tested my courage sadly4 ,the cause of all this trouble was so petty that ,i really must have been half-stupefied by the fear of not keeping our pledges1 otherwise ,i must have perceived it at once4 ,to make my first imperfect press ,i had bought a piece of wood from a wheelwright in order to have it turned into two cylinders4 ,hardly had the two been in the house a day before each one split so that a longitudinal crack of two inches width appeared4 ,as the upper cylinder was thick enough to make an impression of a whole folio of sheet music without revolving so far as to let the crack reach the stone1 ,i contented myself with it temporarily4 ,now1 in order not to spoil the impressions1 ,i had to begin each revolution of the cylinder at the crack1 for otherwise the crack might have come at the middle or end of the impression and given no imprint of that part4 ,therefore1 as the stone was pushed under the cylinder at the crack1 it was already gripped before the impression began1 and was drawn through at once4 ,with the new press1 however1 the upper cylinder had to draw the stone between both cylinders in order to bring it under its pressure4 ,but in doing this1 the new press first pulled the linen stretched over the printing-frame till it would yield no more and forced the stone powerfully under the cylinder1 during which of course the paper under the linen was pulled over the inked stone and smeared4 ,several attempts to rectify this trouble were unsuccessful4 ,probably ,i would have discovered the remedy finally1--either that the upper cylinder must not first be pressed on the stone1 which must be under it before each impression began1 or that ,i need only use tightly stretched leather instead of linen4 ,but ,i decided1 instead1 in order to complete our work if possible1 to have a press made in all haste by a carpenter1 of a style like the book-printers' press1 wherein the force is applied instantly from above4 ,as everything was very rough1 the new press was ready in eight days4 ,the first experiment1 with a small stone1 seemed to succeed4 ,but the larger stones would not give thorough impressions1 probably because of the uneven surface of the press1 which was merely of wood4 ,i increased the power enormously4 ,a stone of three hundredweight was elevated with pulleys and released suddenly to fall ten feet4 ,it forced a lever down on the press with a pressure of more than ten thousand pounds4 ,the plates gave fair impressions by this means1 but generally they were cracked after the first1 second1 or third impression4 ,to determine how much downward force was needed to print a sheet of music1 ,i took a well-ground stone a square inch in area1 laid moistened paper on an inked printing-stone1 over this a sixfold layer of paper1 then a double layer of fine cloth1 finally the square inch of stone1 and then weights ranging from one to three hundredweight4 ,this experience taught me that the square inch of surface demanded three hundredweights of force to make a good impression in a few seconds1 and almost less than half that weight when ,i allowed it to act for a whole minute4 ,according to this calculation the entire sheet1 which contained about one hundred square inches1 would have demanded thirty thousand pounds2 and the stone could have withstood this without cracking1 had ,i been able to apply the pressure evenly4 ,but the imperfections of the press made it necessary to apply a pressure three times as great1 and this the stones could not bear4 ,to correct the defects of this press was more than ,i cared about1 after ,i was nearly killed by the three hundredweights1 which fell accidentally1 and1 as ,i stood immediately under it1 would have beaten out my brains had not a miracle caused the load to catch and hold4 ,the thought that a similar accident might cause the death of one of my men made me hate the whole press1 all the more so as ,i had conceived what seemed to me at the time an exceedingly happy idea for a very simple and not costly printing-machine4 ,before ,i possessed a press of my own1 ,i used to pull proofs of my work in the following manner1 in order to avoid the constant trips to a printer4 ,i laid the dampened paper on the inked stone4 ,over it ,i laid some heavy paper1 and then a sheet of stiff1 carefully smoothed dry paper4 ,then ,i took a piece of polished wood and rubbed this over the upper sheet of paper1 holding the latter firmly to prevent slipping4 ,i continued the rubbing1 using more or less power according to whether ,i wanted the impressions deep or pale4 ,thus ,i obtained impressions very often that could not have been better4 ,i wondered why this could not be done on a large scale1 and proceeded to try at once4 ,i stretched a piece of linen firmly over a wooden frame two feet long and wide4 ,on this linen ,i pasted a sheet of strong paper1 polished on the upper side with wax4 ,then with two bands the frame was fastened to an ordinary wooden table4 ,then the stone was fastened on the table under the frame4 ,inside of the printing-frame was a smaller frame with cords1 to hold the paper1 which had a layer of gray blotting-paper under it4 ,with a piece of polished wood1 or a piece of glass such as is used by polishers1 ,i rubbed the upper waxed paper thoroughly1 making sure that every spot was touched4 ,the first proof1 and several succeeding ones1 which ,i made myself1 turned out so excellent that probably few better impressions ever have been made since4 ,two more presses were made at once1 and six printers hired4 ,the work might still be finished in the stipulated time4 ,new hopes thrilled us4 ,hastily ,i inscribed the stones and the printing began4 ,but--oh1 human weakness6 ,does it seem credible that of my six helpers not one could master the extremely simple method of manipulation1 the mere matter of rubbing evenly and thoroughly8 ,of six impressions hardly one ever reached perfection4 ,there were blank spaces here and there4 ,yes1 even when1 accidentally1 they produced three sections of a sheet correctly1 the fourth invariably was a flat failure1 and thus ruined the entire sheet4 ,we would have been glad enough had we lost even one half the paper1 if only we could have saved our credit by completing the work1 regardless of our money loss4 ,but of three reams of paper only thirty-three impressions were won in the end4 ,i will merely touch on the painful scenes that ensued4 ,the stipulated time had almost expired and no prospect of results4 ,the manuscript and the paper remaining in stock were taken away from us and given to ,herr ,falter1 while we had to suffer severe censure from the ,countess1 and in her name from others4 ,herr ,gleissner had to pay for new paper1 which made a monthly deduction from his salary necessary4 ,the grant of our privilege was endangered1 for the ,kurfrst had obtained a poor opinion of our process4 ,indeed1 so long as the ,kurfrst ,karl ,theodor lived1 all our efforts to obtain a privilege were fruitless4 ,we could not even succeed in having it proposed1 although the referee1 ,herr von ,stubenrauch1 made us promises from month to month4 ,all the money we had earned was lost2 debts burdened us2 and a monthly deduction of pay1 with the mocking laughter of those who had been made envious by our first successes1 was the entire reward for our endeavors to make a new art4 ,as it was only the lack of a good press that had caused our failure1 ,i went to ,herr ,falter1 with whom ,i had become acquainted through ,herr ,gleissner1 and told him the reasons for not finishing the cantata in time4 ,i told him that if he were willing to have a proper press built1 ,i was willing to print his works for him1 in his own residence1 which was his stipulation1 provided ,i could prepare the stones at home4 ,we agreed1 and ,i ordered a great cylinder press made at his expense4 ,to avoid the old trouble ,i had both cylinders fitted with cogs1 which gave satisfactory results if both printers who handled the press were careful to begin turning the cylinders at the same moment4 ,the double friction of the two rollers made them both pull on the printing-frame and the stone1 where1 before1 the lower cylinder had done just the opposite4 ,the greater periphery of the upper cylinder1 which was almost fifteen inches thick1 helped also4 ,and to this day ,i consider this form of press the best for all methods1 especially if the stones are thick enough1 if one has not to consider the very greatest speed2 for in speed this press is decidedly inferior to the lever press and other styles4 ,on the other hand1 the pressure is much more gentle1 more perpendicular1 and less liable to pull the paper out of place than is possible with even the best so-called friction presses4 ,only there should be added to the cogs an appliance by which the upper cylinder has a screw adjusted over its centre1 so that it can be forced down for each impression after the stone is under it4 ,figure #a1 plate ,i1 is the picture of such a cylinder press1 made for stone-printing4 ,as soon as the press was ready and erected1 ,i began to inscribe on stone the music of ,die ,zauberflte1 arranged for quartette by ,herr ,danzy1 and with ,herr ,gleissner we began the printing4 ,but ,herr ,gleissner became dangerously ill4 ,i trained two soldiers to do the printing1 left the entire printing process to ,herr ,falter1 and limited myself to the work of delivering the stones to him4 ,the workers ruined so much paper that ,herr ,falter could not make it pay1 and returned to etching on copper4 ,during this time ,herr ,schmidt1 professor at the military academy1 had begun to etch on stone4 ,as ,i discovered long afterwards1 he was a good acquaintance of ,herr ,gleissner1 who visited him often4 ,within the last year there is a strenuous attempt to make this ,herr ,schmidt appear to be the inventor of printing from stone1 though probably he never desired this4 ,there have been publications about it already4 ,i shall not notice what has been said1 and will let the matter speak for itself4 ,from the foregoing the reader will have seen the natural but laborious way in which fate led me to this invention4 ,if ,herr ,schmidt made a similar discovery at that time1 he was much more fortunate than ,i4 ,according to his own letter1 printed in the ,anzeiger fr ,kunst und ,gewerbfleiss1 the course of his invention was as follows4 ,he saw a gravestone in the ,frauen-,kirche1 in ,munich1 on which letters and pictures were in relief4 ,that must have been done with acid2 it would be possible to print from it6 thought he1 and the invention was completed4 ,if it is so easy to gain the honor of an invention1 then1 indeed1 ,i was unlucky to have undergone so much toil4 ,but according to my opinion1 there was nothing new in the whole discovery4 ,the thought that this was etched assumed the invention and the use of etching beforehand4 ,that such coarse1 thick1 and highly relieved inscriptions as those on gravestones could be inked and used for printing would strike anybody who knew even a little of printing4 ,if1 however1 ,herr ,schmidt added to his idea the second1 that fine and1 therefore1 only slightly elevated inscriptions and illustrations could be inked and printed with the aid of appliances to be invented for the purpose1--if he did this and executed it before me1 or1 at least1 before he had knowledge of my work1 then indeed the honor belongs to him of having invented mechanical printing from stone1 either before me or simultaneously4 ,but as a matter of fact1 neither he nor ,i can claim to be the first who thought of using stones for printing4 ,only the how8 is the new thing in the case4 ,at that time 7#agif7 ,i had not invented stone-printing1 but1 firstly1 an ink available for writing on stone and resistant to acid1 which ink ,i invented out of my brains and not1 like ,herr ,schmidt1 out of an old ,nrnberg book3 secondly1 ,i invented a practical tool for inking the slightly elevated letters3 and thirdly1 the so-called gallows or lever press1 of which ,i shall speak later4 ,as ,i do not know what were the circumstances surrounding ,herr ,schmidt at the time1 and ,i cannot1 therefore1 make any inquiries1 ,i am willing to take his word if he will declare as an honest man that he printed from stone before ,july1 #agif4 ,that his method of printing was different from mine1 and that he had absolutely not the slightest knowledge of chemical printing from stone1 which ,i invented in #agih1 ,i know from indubitable evidence4 ,he made many attempts with his pupils to produce drawings on stones1 but presumably his impressions were not successful1 for those stones that ,i saw afterward at ,herr ,schulrath ,steiner's had been etched first and the spaces then engraved away very deeply with all sorts of steel instruments1 after the manner of wood-cuts1 so that they might properly be called stone-cuts in relief4 ,he had these stones printed in the ,schul-fond's book-printery1 and ,i hear that the impressions were very good4 ,i saw none myself4 ,however1 ,professor ,schmidt's experiments were the means of making me acquainted with ,herr ,schulrath ,steiner1 who encouraged me so much that ,i conceived many ideas in order to fulfill his wishes1 so that at last the art of printing from stone achieved its present honorable position4 ,herr ,schulrath ,steiner1 an intimate friend of ,professor ,schmidt1 was director of the ,schul-fond's printery4 ,as such he was concerned with many prints4 ,herr ,schmidt's idea of publishing stone-etched pictures of poisonous plants for school use was approved by him2 and as the attempts did not satisfy him1 he decided to turn to me4 ,at that time the ,schul-fond was to print some church songs4 ,this gave him the opportunity of visiting me4 ,he asked me if the musical notes could not be so etched or cut in relief in stone that they could be made up with ordinary book-types and thus printed in the ordinary book-presses4 ,i promised to try it4 ,however1 the necessary deep engraving of the spaces was too laborious1 so that it would have been easier to do it in wood4 ,as an expedient we printed the text first with ordinary types in the book-press and then printed in the music with stones in the stone-press4 ,meantime ,i tried to attain our purpose in other ways1 connected with some of my early experiments4 ,my best success was with the following method4 ,on a stone polished with sand ,i painted a layer1 equal to two or three card-thicknesses1 of burned1 finely powdered gypsum1 butter1 and alum1 mixed with a proper amount of water4 ,as soon as it was dry ,i inscribed the music with steel needles of various sizes on the surface of the stone1 which was of a somewhat dark1 almost gray color1 so that ,i could see it more easily through the soft1 white mass4 ,having finished the drawing ,i took warm sealing-wax smeared on wood1 and applied it to the stone while it was warm with a hand-press4 ,after cooling1 the white mass was fast to the sealing-wax and quite loose from the stone1 and it was scrubbed away clean with water and a brush1 after which the drawing appeared on the wood in elevated wax extremely clear and clean1 like a wood-cut4 ,the spaces were so deep that the plate could be printed in regular book-printing manner4 ,later ,i made trial of a composition of lead1 zinc1 and bismuth1 and this succeeds thoroughly with proper care4 ,so here we would have still another printing process1 which has the advantage over all others that the inscription need not be made reversed1 as the impression on the wax or lead reverses it automatically4 ,if the white mass is laid on more thickly1 one can make the handsomest patterns for calico much more quickly than has been possible heretofore with wood-cuts4 ,a little more care is necessary1 because no stroke must be made entirely through the mass1 when it is laid on thick4 ,my experiments in that direction all exceeded expectations1 and it is to be regretted that ,i had no opportunity thereafter to perfect this invention more1 or use it practically4 ,the experiments had no value even for ,herr ,schulrath ,steiner1 for whom ,i made them1 as he never had use for the process afterward4 ,indeed1 ,i would have forgotten the matter almost entirely1 if it had not been brought back to mind by this work of writing my story4 ,in the second part of this book1 in describing stone-printing itself1 ,i will show various methods of making patterns for work on cotton1 such as ,i conceived later in ,vienna where ,i busied myself very much with cotton-printing4 ,i happened to print for ,herr ,lentner a little song about the great fire of ,neutting in ,bavaria and used a little vignette showing a burning house4 ,this induced ,herr ,steiner to let me etch a few small pictures for a catechism4 ,so far as execution of drawing goes1 they were very ordinary2 but he continued to encourage me to try if the new printing process would not be available for art work4 ,with the exception of ,herr ,andre of ,offenbach1 he was the only one who reasoned thus3 ,these strokes and points1 of such great fineness and again of such great strength1 can evidently be made on the stone1 therefore it is possible to make drawings similar to copper-plate etchings4 ,that this cannot be done yet is due not to a fault in the art of stone-printing1 but to the insufficient skill of the artists4 ,even at that time he did not say3 ,the art is still in its infancy1 as many a would-be wise man does to-day1 thus exposing his lack of knowledge of the entire matter4 ,even at that time he was convinced1 more so even than ,i1 that the art of stone-printing had reached its climax when ,i gave him the first specimens of stone-printing improved by the chemical process4 ,artists might cultivate and perfect themselves1 manipulation be simplified and processes be increased in number and variety1 but the art itself could not be improved greatly4 ,to be sure1 when ,i glance hurriedly over the manifold results of the last twenty years1 all that ,i have done myself for perfection1 the brilliant achievements of which this book will furnish proof1 ,i am tempted to think for a moment that the ,now and the ,then cannot be compared4 ,but considered correctly1 ,i had invented and discovered the entire art at that time4 ,everything that ,i and others have done since then are only improvements4 ,everything rests still on the same principle3 ink of wax1 soap1 etc41 then gum1 aqua fortis or another acid of which none has an advantage over the others1 further oil varnish and lampblack1--these are1 ever and in the same manner1 the chief elements of stone-printing as they were then4 ,not the slightest thing has been changed1 improved1 or invented in the fundamental principle4 ,no illustration has been published by any lithographer containing cleaner1 stronger1 or blacker lines and points than my first proofs had in part4 ,therefore1 those people are wrong who seek to excuse the lack of assistance that ,i received in the beginning1 by alleging that at the time no one knew if the process could be used to any great extent4 ,they declare many productions of the present day to be far better1 simply because the illustrator is more skillful1 though in truth the printing is not so good as many of the first ones made by me4 ,it has even happened that the assertion has found its way into print that ,i had invented only the rough part of the art1 and never had been able to use it for more than music-printing1 whereas this one or that one are the true artists1 having succeeded in producing pictures4 ,these gentlemen1 who are so quick with verdicts1 should inform themselves a little4 ,they would discover that aside from me 7with the exception of ,professor ,mitterer's invention of the cylinder press71 nobody has made a noteworthy improvement in the branches of lithography without having received it primarily or indirectly through me4 ,further they would have learned that these illustrators either made their first attempts under my personal direction1 or else owe their skill to persons whom ,i taught2 and lastly1 that none of my critics can boast of having penetrated into the very inmost spirit of the art like only ,herr ,rapp of ,munich1 the venerable author of the work published by ,cotta1 ,the ,secret of ,lithography4 ,if they learned all this1 they might feel a little ashamed4 ,but then1 they would have much to do4 ,had my skill in writing and drawing on stone been greater at that time1 ,herr ,steiner would have given me opportunity enough and manifold4 ,he permitted me to do a small book1 ,rules for ,girls1 in ,german script1 which1 on the whole1 turned out of only average quality1 as ,i had not practiced this style sufficiently4 ,then he wanted me to draw ,biblical pictures on stone or to let others draw them4 ,at that time he was having ,herr ,schn in ,augsburg etch the ,seven ,holy ,sacraments after ,poussin4 ,as the etching was expensive1 the impressions could not be sold for less than four kreuzer each4 ,herr ,steiner wished to circulate these pictures so generally that they could serve as gifts from the country preachers to their little ,christian pupils4 ,he wished1 also1 to ornament various school-books with pictures of this kind1 and thus1 gradually1 to replace the miserably drawn species of saints that generally fill the prayer-books of the pious households4 ,only the utmost cheapness could make this possible1 and this naturally suggested the stone process to him4 ,even if the pictures were not so fine as those etched on copper1 they would serve amply if they were correctly drawn1 noble in design1 and handsomely printed4 ,it was necessary either to draw myself and practice faithfully1 or to train a skilled artist to draw with fatty ink on stone4 ,we preferred the latter method and trained several young men1 who produced various works1 sometimes good1 sometimes inferior4 ,through all this ,i ran more and more danger of losing my secret4 ,indeed1 it was lost already except perhaps so far as concerned the exact composition of the ink4 ,but ,i hoped still to obtain the privilege for ,bavaria1 toward which end the ,schulrath promised me his best aid1 and so ,i let the matter proceed1 and trained the men4 ,but among all these young men there was not one who did not desire a substantial reward for his very first attempts1 and when they found that they were expected first to learn1 they stayed away1 one by one4 ,herr ,steiner was hurt4 ,i1 however1 was indifferent1 for ,i was just beginning to plan to use a new and important discovery in such a manner that my stone-printing would be greatly improved and we could hope to carry out our idea of illustrations without the aid of artists4 ,i had been assigned to write a prayer-book on stone for the ,schul-fond4 ,it was mostly in a style of writing in which ,i was least expert4 ,when ,i wrote music notes1 our method1 proved best by experience1 had been to write the entire sheet in reverse on the stone with lead pencil to serve as pattern4 ,this was mostly ,herr ,gleissner's work1 and being a musician he had achieved great perfection4 ,for me this preparatory work was far less agreeable than the final execution with the stone-ink4 ,therefore1 as ever in my life1 when a difficulty or a burden was before me1 ,i studied for some way to make it easier for me4 ,previously ,i had found that if one wrote on paper with good ,english lead pencils1 then moistened the paper1 laid it on a polished stone and passed it through a powerful press1 a good impression was the result4 ,i had used the method on various occasions4 ,i wished that ,i possessed an ink that could be used the same way4 ,trials showed that fine red chalk needed merely to be rubbed down gently in a solution of gum1 and that even the ordinary writing-ink of nut gall and vitriol of iron would serve when mixed with a little sugar4 ,but this did not satisfy my ambition1 which always demanded the best and most perfect4 ,the gum in one and the vitriol in the other did not agree well with the stone-ink4 ,in addition1 the impression often squashed4 ,therefore ,i tried a mixture in water of linseed oil1 soap1 and lampblack which met my demands better4 ,i had a music-writer write notes correctly on note-paper with this ink1 printed it on the stone1 and thus had an accurate pattern1 which was at the same time reversed1 as was necessary4 ,i now planned to do this with the book4 ,but why could ,i not invent an ink that would serve on the stone without making it necessary to trace over it with the stone-ink8 ,why not make an ink that would leave the paper under pressure and transfer itself to the stone entirely8 ,could one give the paper itself some property so that it would let go of the ink under given conditions8 ,so reflected ,i1 and it seemed to me not impossible4 ,at once ,i began to experiment4 ,i had observed that the stone-ink at once began to congeal and stiffen when it came into contact with ordinary writing-ink1 because of the action of the vitriol of iron1 which devoured the alkali that the stone-ink needed to keep it in solution4 ,therefore ,i wrote with ordinary ink1 into which ,i put still more vitriol of iron4 ,after it was dry1 ,i dipped the sheet into a weak solution in water of my stone-ink4 ,after a few seconds ,i withdrew it and washed it very gently in rainwater4 ,i found that the ink had fastened itself on the written places1 and pretty thickly1 too4 ,i allowed the paper to dry slightly and transferred the writing to the stone4 ,the impression was fair1 but not sufficiently complete4 ,i tried it repeatedly but could obtain no transfers that were sharp and uniform enough to represent a handsome script4 ,so ,i tried another way4 ,i painted the paper with gum solution in which vitriol of iron was dissolved4 ,after it dried ,i wrote on it with my ordinary stone-ink and dried it again4 ,then ,i dampened the paper and let it lie a while to soften1 after which ,i transferred it to the stone1 which had been treated with strong oil varnish diluted in oil of turpentine1 laid on so lightly that it was only like the blurring from a breath4 ,these attempts were far more successful1 but it was impossible to write as delicately on this paper as ,i desired4 ,therefore ,i made new experiments4 ,i changed the mixture of my ink4 ,i tried to make it more adhesive with mixtures of resin1 oil varnish1 gum elastic1 turpentine1 mastic1 and similar substances4 ,in short1 ,i do not exaggerate when ,i declare that this matter cost me several thousands of experiments4 ,i was rewarded sufficiently by succeeding4 ,and at the same time through these investigations ,i discovered the chemical printing on stone of to-day4 ,as the transfer from paper to stone depended mainly on the greater or lesser powers of adhesion between one material and another1 it was natural that in my many experiments with such various ingredients ,i should observe that a mucous fluid1 as1 for instance1 the gum solution1 resisted the adhesion of the greasy ink4 ,nearer still to the new invention did the following experiment bring me3 ,i noticed that if there happened to be a few drops of oil in the water into which ,i dipped paper inscribed with my greasy stone-ink1 the oil would distribute itself evenly over all parts of the writing1 whereas the rest of the paper would take no oil1 and especially so if it had been treated with gum solution or very thin starch paste4 ,this fact led me to investigate the behavior of paper printed with common printing-ink4 ,a sheet of an old book was drawn through thin gum solution1 then laid on a stone and touched carefully everywhere with a sponge that had been dipped into a thin oil color4 ,the printed letters took the color well everywhere and the paper itself remained white4 ,now ,i laid another clean white sheet on this1 put both through the press1 and obtained a very good transfer1 in reverse1 of course4 ,in this manner1 if ,i used great care1 ,i found ,i could make fifty and more transfers from the same sheet4 ,if ,i allowed such a transfer to dry thoroughly and then treated it like the original sheet1 why should it not produce transfers that are like the original1 not reversed8 ,so thought ,i1 and the result showed that ,i had not been wrong6 ,only for the first transfer ,i needed to use a somewhat stiffer color that had been dried more with litharge of silver1 and then to let the transfer dry for at least four or six days4 ,so ,i came to find that ,i could print without a stone1 from the paper alone2 and this process1 depending solely on chemical action1 was totally1 fundamentally different from all other processes of printing4 ,old books could be republished in this manner easily and without great cost4 ,new ones also4 ,i needed only to invent a fatty ink1 similar to the printing-ink and drying thoroughly1 and ,i could use every sheet of printed paper instead of type4 ,i invented this ink soon4 ,resin1 finely pulverized litharge of silver1 lampblack1 thick oil varnish1 and potash properly diluted with water gave me a good ink for the purpose4 ,the only obstacle that prevented me from using this process at once on a large scale was the fragility of the paper1 which tore into pieces under the slightest carelessness in handling4 ,the natural and simple thought that was bound to come to me under the circumstances was this1 ,could not a stronger material1 perhaps the stone plate itself1 be so prepared that it would take ink or color only on the parts covered with fatty ink1 while the wet parts of the stone resisted it8 ,i feared that the stone might not absorb the grease sufficiently1 and this really is the case with many stones1 such as slate1 pebble1 grindstone1 glass1 porcelain1 etc42 but experiments showed that exactly the opposite is true in the case of the ,solenhofer limestone4 ,this stone has a great affinity for fat1 which often is absorbed so deeply that in many cases even extensive grinding will not remove it4 ,i took a cleanly polished stone1 inscribed it with a piece of soap1 poured thin gum solution over it and passed over all with a sponge dipped in oil color4 ,all the places marked with the fat became black at once1 the rest remained white4 ,i could make as many impressions as ,i pleased2 simply wetting the stone after each impression and treating it again with the sponge produced the same result each time4 ,the impressions became somewhat pale1 because the color on the sponge was too thin2 but ,i obtained perfectly black and handsome impressions as soon as ,i used an ink roller of leather stuffed with horse-hair4 ,i hurried to write a sheet of note music at once to print it in the new way2 but the ink flowed too much on the polished stone4 ,previously ,i had corrected this by rubbing the stone with linseed oil or soap-water1 which checked the trouble entirely4 ,but ,i knew that ,i could not do that in this new method1 because then the stone would have a coating of grease all over1 and would take color on the entire surface4 ,however1 ,i was able to take this coating away after writing1 by etching with aqua fortis1 though etching would not have been necessary otherwise in this chemical form of printing4 ,however1 it was easy to see that a drawing etched into relief would be easier to print from than one not etched at all4 ,it did not require much etching1 and ,i saved a great deal of acid1 while the stone1 also1 remained useful for new work for a much longer period4 ,therefore1 without making further experiments1 ,i adhered to my old method1 first washing the stone lightly with soap-water1 drying it well1 writing on it with wax ink1 and then etching with acid before ,i finished it for printing by pouring gum solution over it4 ,at first ,i imagined that ,i might do without the gum entirely2 but ,i found soon that it really formed a sort of chemical union with the stone1 making its pores more receptive to the grease and closing them more effectively against water4 ,i found also that neither aqua fortis nor gum was so valuable alone as when both were used in the process4 ,i needed to make only a few more experiments to obtain the proper consistency of ink1 and the new process would be practically perfect so far as the fundamental principle was concerned4 ,and1 in fact1 ,i made such handsome1 clean1 and strong impressions after three days of trial that few better ones have been made since4 ,now it was necessary merely to train skillful workmen and artists as quickly as possible for this new art1 that was susceptible of innumerable valuable uses1 as ,i could see at once4 ,it made no difference now whether the design was worked in relief or intaglio1 as good impressions could be obtained even when the drawing was perfectly level with the surface of the stone4 ,but all three methods could be combined on one stone1 if desired4 ,if ,i reversed the method1 by rubbing oil over the stone instead of water1 while for printing ,i used an ink prepared with gum solution 7of which ,i will describe the best composition afterward71 then the greasy places would resist color while the wet ones took it1 and thus ,i could print with all water colors1 and this is necessary sometimes with colored pictures because of the greater height of the colors4 ,the inscription with dry soap gave me the logical idea toward crayon work1 which ,i used afterward4 ,my previous experiments with etching1 that recurred to my memory1 now assumed entirely different aspects and ,i could understand many things that had puzzled me then4 ,it was a simple step now to the etched method1 in which the stone is prepared first with aqua fortis and gum1 after which the design is engraved in intaglio without first being treated with aqua fortis4 ,indeed1 this method was used for the first work that ,i undertook4 ,a piece of music by ,herr ,gleissner 7which afterward was greatly praised in the musical paper7 had been completed before ,i invented the new process4 ,only the title-page remained to do4 ,as ,i wished to make this as handsome as possible1 since ,herr ,gleissner intended to dedicate the work to ,count von ,trring1 ,i chose this new intaglio style1 because ,i hoped to do my best work in it4 ,any one who still possesses a copy of this symphony can see by slight examination that the printing was done from an etched engraving4 ,therefore ,herr ,rapp in ,stuttgart is mistaken when he assumes that he is the first who treated the stone in this manner4 ,as early as the year #ahjj ,i deposited in the archives of the ,patent ,office in ,london a full description of this and several other methods1 some of which have not been used yet generally1 and in #ahjc ,i had to submit my descriptions to the ,austrian ,government when they gave me a franchise4 ,a year before this1 ,i had invented the lever press1 with which ,i could make several thousand of the handsomest impressions during a day4 ,this1 combined with the new treatment of the stone1 enabled me to enlarge my operations greatly4 ,i took in two of my brothers1 ,theobald and ,george1 who had been in the theatre hitherto1 and taught them to write and etch on stone4 ,also ,i took in two boy apprentices1 sons of poor parents1 to train them properly4 ,herr ,schulrath ,steiner and ,herr ,falter1 with several others1 gave me various orders1 and a pretty good outlook began to appear for me and ,herr ,gleissner4 ,until now we had been forced to suffer much grief1 disappointment1 deprivation1 and poverty4 ,herr ,gleissner's salary was only three hundred gulden a year4 ,a yearly deduction of one hundred gulden was being made from this by the ,government to pay debts4 ,then there were new expenses to repair the printery and keep it in some sort of order4 ,my support and that of the family ,gleissner1--which consisted of five persons1--then a larger residence1 on account of the room needed for stones and for printing1 also had to be paid for4 ,my own yearly earnings were barely a few hundred gulden1 as most of my time was used for experiments4 ,it is no wonder1 then1 that during this sad period of two years1 we spent almost all that could be spent of ,herr ,gleissner's estate1 and still made new debts1 despite all imaginable economies4 ,i can say for the honor of this man1 and especially his wife1 that1 despite all their losses and despite the warnings and inciting of their friends and relatives1 they remained unshaken1 and by making all kinds of sacrifices they enabled me to win at last4 ,on my part they saw faithful and eager will1 and a restless endeavor that went so far that ,i hardly took any time for eating or sleeping1 but thought only of improving my art4 ,now1 however1 our condition was changed at once4 ,many days we earned as much as ten to twelve gulden2 and at the same time we received an exclusive franchise for fifteen years through the favor of ,king ,maximilian ,joseph1 who began his glorious reign then4 ,this privilege gave us the right to print and sell exclusively in all of ,bavaria1 while infringers were liable to a fine of one hundred gulden and confiscation of all stock and apparatus4 ,we were determined to do our utmost1 to work day and night1 to establish an honorable reputation for our printery at last1 though we foresaw many obstacles1 owing to the entire lack of assistance4 ,already ,i had half-determined to contract with the ,schul-fond1 permitting it to establish a lithographic press for its own use1 when an accidental circumstance gave our whole undertaking a new direction4 ,depending on the protection given to us by our franchise1 we were making no further secret of any part of our process4 ,we were quite content with having the monopoly in ,bavaria1 and cared little that other printeries might arise in other countries4 ,indeed1 this expectation flattered my vanity as inventor1 and ,i thought that in time ,i might make commercial connections with such establishments4 ,for this reason ,i was very hospitable toward every stranger who came to visit us4 ,i hoped that perhaps ,i might induce some such visitor to participate in our undertaking1 and therefore ,i exhibited all the advantages of the process and permitted them to see the manipulations with their own eyes4 ,just then ,herr ,andre of ,offenbach visited ,munich on business4 ,he read about the grant of our franchise and asked his friend ,falter about the process4 ,that gentleman showed him some sheets of music printed by us and offered to introduce him to our printery1 where1 as technical expert1 he could decide for himself as to the value or worthlessness of the new art4 ,herr ,andre1 who possessed an extensive musical publishing institution and owned a large zinc-plate printing-plant1 was delighted with the beauty of our print1 and was especially impressed by the fact that the color did not off-set when rubbed with the hand1 as was the case with zinc printing4 ,he accepted ,herr ,falter's offer at once and was introduced as a merchant4 ,the attention with which he noted even the slightest operations led me to conclude at once that this man had some especial interest in printing4 ,i took particular pains to display the whole process to the best advantage4 ,several plates that were already inscribed were etched and printed with beautiful results4 ,the speed 7seventy-five sheets in a quarter-hour1 two being printed simultaneously each time71 the quickness of drying1 the economy in color1 were things that increased his interest to a high pitch4 ,he told who he was and proposed to me that ,i teach him the entire art for an adequate remuneration4 ,i accepted at once and agreed to go to ,offenbach within a few months1 erect a press1 and train men in all branches of the process4 ,for this he promised me the sum of two thousand gulden1 of which he paid down three hundred gulden on the spot4 ,this change from poverty to comfort made me happy mainly on ,herr ,gleissner's account4 ,we could furnish our printery properly now and pay our old debts4 ,we were assured1 also1 of enough work to permit enlargement of the establishment in future4 ,what was there left to wish8 ,in the very beginning1 however1 the behavior of my own family gave me great displeasure4 ,my mother demanded that ,i share my profit with my brothers1 as they had a better right than ,herr ,gleissner and his family4 ,i could not quite see this2 therefore my mother ordered a press for my brothers and bought the necessary stones4 ,they went to ,herr ,falter and asked him for his work1 representing that ,i had made my fortune through ,herr ,andre1 whereas they were unprovided for4 ,they offered at the same time to furnish each plate for thirty kreuzer less than ,i charged4 ,herr ,falter permitted himself to be convinced1 and when ,madame ,gleissner discovered it she was intensely angry1 and did not rest till the ,government ordered my brothers to refrain from utilizing the process in ,bavaria for their own account4 ,my brothers went to ,augsburg to erect a stone-press for ,herr ,gombart4 ,they must have been unequal to the attempt or there must have been other difficulties3 in brief1 ,i know only that1 after ,herr ,gombart had incurred many useless expenses1 he discarded printing from stone4 ,during the three months before my journey to ,offenbach ,i practiced my art busily1 and especially studied to attain thoroughness in one branch that was of importance to ,herr ,schulrath ,steiner4 ,i have spoken already of his idea for pictures for children4 ,as soon as ,i had invented the new chemical printing1 ,i thought of inking an etched copper plate with a composition of tallow1 soap1 lampblack1 and oil varnish1 making an impression1 laying this on stone1 and putting it through the press4 ,the picture transferred itself to the stone as ,i had expected4 ,then ,i poured the water and gum solution over it and inked it with the ink roller4 ,the design took the color well2 and thus1 if the stone was very clean in the beginning and the proof from the copper had been made very carefully indeed1 ,i could print several thousands of copies which resembled the original so closely that only a slightly greater degree of sharpness1 clearness1 and strength gave the copper etching an advantage over the stone impressions4 ,at last ,i succeeded in perfecting the process so that actually my best impressions from the stone were better than those that had been made with less care from the original copper plate4 ,the main requisite in this process was that the ink be firm enough not to spread in printing1 and still so greasy and tender that the very finest lines would come out4 ,the copper plate had to be washed with extraordinary care1 for the least bit of grease that should off-set on the white paper would1 of course1 transfer itself to the stone and make that part take color4 ,this latter circumstance was intensely difficult to overcome4 ,it occurred to me to treat the copper plate chemically1 like the stone1 so that its surface would resist the ink4 ,i succeeded1 as1 in future1 ,i succeeded with other metals4 ,the fundamental principle in each case remained the same4 ,only in the choice of materials for each metal was there a difference4 ,i discovered soon that there are two kinds of preparations1 one acid and one alkaline1 for all solid bodies which have the property of taking and absorbing oil colors4 ,the alkalines seemed to be best for use on copper plate1 and ,i obtained such clean impressions that the stone did not take on even a vestige of ink in any spot except the design4 ,at the same time ,i found that chemical printing does not limit itself to stone1 but can be done on wood and metal1 as well as on paper1 as stated already4 ,yes1 though apparently it is incredible--even fats1 such as wax1 shellac1 resin1 etc41 can acquire the attribute1 under certain circumstances1 of resisting color1 and1 therefore1 are available for chemical printing4 ,this fact gave me hopes of discovering a sort of artificial stone some day1 which might be less costly1 less massive1 and less fragile2 and1 as a matter of fact1 ,i succeeded in inventing an artificial stone-paper in #ahac1 a stony mass that is smeared on paper or linen and looks somewhat like parchment4 ,since the illustrations on etched copper plates were so readily transferable to the stone1 ,herr ,schulrath ,steiner could now let the best masters etch his pictures4 ,the sales of the original impressions as works of art always covered the costs4 ,he paid me five gulden for each transfer that ,i made from the copper to stone4 ,for this extremely small sum he obtained a stone plate from which there could be made countless impressions1 which1 although not so fine as those from the copper1 answered his purpose of circulating good pictures by making them extremely cheap4 ,lively prosecution of this process was prevented only by the delays of copper etchers1 so that we were able to utilize it only five times on a large scale before ,i had to leave ,munich4 ,herr ,gleissner1 who wished to visit a friend in ,frankfurt1 accompanied me on my way to ,offenbach4 ,i started at once on the new work and within fourteen days ,i pulled the first proof on ,herr ,andre's own press4 ,he was so well satisfied1 and1 besides1 had so thoroughly considered the advantages of stone-printing1 that he proposed to me to leave ,munich entirely and1 with him as associate1 extend the art in the best possible way4 ,he had three brothers1 none of whom was engaged in a fixed occupation4 ,he intended to bring these into the partnership4 ,two were in ,london1 the youngest and the eldest4 ,the latter was to return soon4 ,one brother had lived long in ,paris1 and was well acquainted with that city as well as with ,french affairs4 ,so he laid out the following plan4 ,we would try to obtain exclusive franchises in ,paris1 ,london1 ,berlin1 and ,vienna4 ,then a stone-printery and art publication house was to be opened in each city4 ,his brothers should manage affairs1 one each in ,london1 ,paris1 and ,berlin1 while ,i was to take the management in ,vienna4 ,offenbach and ,frankfurt would remain under ,herr ,andre's management and be the centre of control and union4 ,the plan seemed to be easy to realize1 as there was no lack of means4 ,i could look for one fifth of the profits which would be earned by the combined1 very considerable capital of the ,andre family4 ,in addition1 ,herr ,andre possessed all the requisite knowledge and owned a great business already4 ,therefore ,i agreed gladly1 after making the condition that ,herr ,gleissner was to remain a partner of mine and receive a decent remuneration till the business was in working order4 ,herr ,andre was well content1 for ,herr ,gleissner could be used as compositor1 corrector1 and writer in the business1 which was to consist largely of music publication in the beginning4 ,herr ,gleissner and ,i returned to ,munich to arrange our affairs there4 ,he intended to ask for three years' leave of absence4 ,i planned1 in order to save ,herr ,steiner any embarrassment1 and also to maintain our privilege in ,bavaria1 since one could not tell how the ,andre undertaking might turn out1 to so arrange that our work could be printed properly during our absence1 whether done by the ,schul-fond1 the ,government1 or private persons4 ,it gratified me also to have an opportunity to satisfy my mother's wishes in regard to my brothers2 and ,i gave my brothers1 ,theobald and ,george1 my press1 my stones1 and everything else that was on hand1 also the two trained apprentices1 and only stipulated for myself that ,i should have one fourth of the net profits1 leaving the accounting entirely to their sense of honor4 ,they promised to keep accurate books and work steadily and economically1 and they received from me minute instructions about transferring from the copper for ,herr ,steiner4 ,i taught them also how to handle the crayon process1 which promised an early harvest4 ,as soon as all was done ,i went to ,offenbach with the whole ,gleissner family4 ,a good quantity of stones had arrived there1 and a few men1 previously trained1 had been practicing in transcribing music4 ,we were able to begin on a large scale at once4 ,herr ,andre had ten copper- and zinc-plate presses at work4 ,he stopped five and used the workmen for stone-printing4 ,he went to ,london1 partly for business1 partly to get his youngest brother and to inform himself thoroughly about the procedure necessary to obtain ,english patents4 ,one of our chief speculations in ,england was to be the application of stone-printing to cotton4 ,once1 when ,herr ,steiner conceived the idea of illuminating pictures with stencils in the way used by card-makers1 ,i had made many experiments in that line4 ,i cut out the parts to be colored in oil-soaked paper1 laid this on the picture1 and passed a roller over it with the desired color4 ,the color was more even than with a brush1 but not everything could be cut out1 because the stencils had to have the necessary connection4 ,therefore ,i needed two stencils for every color shade4 ,again1 these thin stencils easily slipped out of place1 a defect that displeased me4 ,now1 it happened that at times when ,i was a little careless1 the whole stencil would roll itself up on the ink-roller4 ,i found that it was possible to work even more surely when this happened1 provided one found the exact beginning of the stencil and applied it minutely4 ,but it was not possible to make more than twelve impressions4 ,then the stencil had to be taken from the roller that the latter might be inked again4 ,in this work the stencil paper often tore4 ,to overcome this there was only one remedy1 which was to make the roller hollow and feed it with color from inside4 ,i did not have the time to try this and worked out another plan4 ,i cut out the places to be colored in felt or leather1 applied paste to their obverse sides1 laid them face down on the exact parts of the picture which were to be colored1 rolled a perfectly round roller over them1 and the pieces adhered to the roller in their right places4 ,then the roller was inked with the required color1 and of course took it only in the elevated parts4 ,at both ends the roller had a strip of leather of the same thickness as the cut-outs1 thus making it certain that it would not touch the ink except in the proper places4 ,in this way pictures could be illuminated very quickly1 and several shades of color could be obtained if the pieces were of different qualities of leather1 or of leather1 cloth1 and cotton1 according to the shades desired4 ,a very moderate pressure sufficed for good and even work4 ,what could be more natural than that ,i should deduce that this sort of printing might be utilized for cotton8 ,once inked1 the roller was good for ten to twelve impressions1 if the operator merely used a little more pressure as he proceeded4 ,i saw also that the roller could easily be colored by attaching another to revolve with it and convey the ink4 ,that would give us a form of cotton-printing that would proceed automatically4 ,the idea was too important to be left untried4 ,i took a little roller1 two inches in diameter and six inches long4 ,i glued a piece of calfskin completely around it and then cut a design into it4 ,then this roller was so adjusted with relation to another of exactly the same dimensions that both touched perfectly4 ,on this second one1 which was to convey the color to the other1 there rested a little box without a bottom1 so that the roller itself represented the bottom as soon as the box was pressed on it1 which was most easily done with two screws4 ,the color was poured into this box4 ,now when the lower roller was passed over linen or cotton which was stretched on an evenly planed board with an under layer of cloth1 a continuous print was obtained1 without off-set1 and with such celerity that it could be reckoned easily that with this process several thousand yards a day could be produced4 ,when ,i invented the chemical printing afterward1 ,i held that a stone roller could be used for this work as well as a wooden one4 ,i had too little knowledge of the industry at that time and believed that cotton print was done with oil-colors2 for ,i thought that water-colors would wash out4 ,i was a complete stranger to this work4 ,therefore1 ,i drew a pretty cotton pattern on a stone plate and printed from it with oil varnish and finely pulverized indigo4 ,the impressions turned out very handsome1 so that ,i considered the matter settled and made no further experiments4 ,i imparted this idea to ,herr ,andre1 who saw its importance at once and determined to obtain a patent for it specially4 ,however1 we had much to learn4 ,as soon as he arrived in ,england he discovered that rollers with the design on them were in general use in ,england4 ,so ,i had imagined mistakenly that my invention was new4 ,however1 printing from stone was in itself valuable for a patent1 but ,herr ,andre unfortunately received the incorrect information that the inventor himself must appear in ,england1 and he decided to send me there4 ,i did not care to go2 firstly1 because ,i was vexed at the failure of my hopes in regard to cotton-printing2 and secondly1 because ,i wished to go to ,vienna4 ,however1 ,i yielded to his representations1 and within a few weeks journeyed to ,london with one of his brothers who spoke ,english4 ,we went through ,hamburg to ,cuxhafen and thence in an ,english packet-boat to ,yarmouth1 where we landed after a six days' stormy passage4 ,my sojourn in ,london did not achieve its purpose1 which was to establish printing from stone4 ,the exaggerated caution and precision of ,herr ,philip ,andre1 who had been named as the man who was to manage the ,london negotiations1 caused a waste of seven months1 during which nothing was done to reach our object4 ,we lived with ,herr ,philip and he kept me at home most of the time1 for fear that ,i might betray our purpose1 in which case some speculative spirit might take out a patent before us and then compel us to buy him off for some heavy sum4 ,he did not reflect that a mere declaration is not sufficient in ,england1 but that an exact description of a process must be deposited with the ,patent ,office4 ,as he could have rendered all these fears unnecessary by simply taking out the patent1 ,i could not understand why he delayed from month to month1 and at last ,i voiced my suspicion that he was not honest with me and had some unknown designs4 ,i declared that nothing would keep me longer in ,england1 which had become wearisome to me owing to my constant seclusion2 and my suspicions were increased by the entire lack of all news from the ,gleissners and from my family4 ,when ,herr ,philip ,andre realized that ,i could be held back no longer1 he went to work at last1 and in twelve days we had the patent in our hands4 ,as ,i had trained ,herr ,philip already in the art of stone-work1 there was nothing to keep me longer1 and ,i began my homeward voyage at once with my former companion1 ,herr ,friedrich ,andre4 ,my seven months' sojourn in ,london had the following results for myself and for lithography3-- ,first1 ,i had decided in ,offenbach to use my spare time entirely for the study of chemistry4 ,particularly did ,i want to learn everything that was known about color1 that ,i might use stone for cotton-printing4 ,i bought the best books and worked steadily1 testing the teachings by experiment4 ,second1 ,i made many experiments with stone-ink1 to find the very best composition4 ,the ingredients which ,i utilized in course of the time were about as follows3-- ,soap--a1 common tallow soaps2 b1 ,venetian soap4 ,b1 wax4 ,c1 tallow1 butter1 and other animal fats4 ,d1 spermaceti4 ,e1 shellac4 ,f1 resins and ,venetian turpentine4 ,g1 gum elastic4 ,h1 linseed oil4 ,i1 the fat contained in chocolate4 ,l1 various resinous products1 such as mastic1 copal1 dragon's blood1 gum elemi1 quajac pensoe1 etc4 ,then ,i used various solvents besides the soap1 such as-- ,m1 vegetable alkalies1 among them tartaric acid4 ,n1 similar mineral alkalies4 ,o1 animal lyes1 spirits of sal ammoniac1 and sal volatile with spirits of ammonia4 ,p1 borax4 ,q1 various metallic solutions4 ,it is evident that with these substances an endless number of experiments can be made1 not to count the variety of proportions4 ,certainly it is not exaggeration when ,i say that during that time and later ,i made many thousands of experiments1 only to confirm my experience that accidentally ,i had discovered the best compositions during the first twenty or thirty investigations1 and that my time after that had been wasted1 unless ,i counted the knowledge ,i had gained of chemistry4 ,thirdly1 ,i made my first attempts at that time in the aqua-tint style1 and also practiced printing with several plates1 which ,i had begun previously under suggestion of ,herr ,steiner4 ,the son of the ,swiss idyllic poet1 ,gessner1 was in ,london at that time and was a good friend of ,herr ,philip4 ,he made some neat sketches for us in the crayon process1 which ,i had invented in ,munich immediately after my invention of chemical printing4 ,i had exhibited the process to ,professor ,mitterer at that time1 and he thought that it might become valuable for art4 ,thus my residence in ,london was not unimportant for lithography4 ,the complete lack of disturbance1 the adequacy of all needed material1 enabled me to discover more than ,i might have learned in ,offenbach4 ,i left ,england with a certain satisfaction1 gained from the certainty that ,i had raised my art to a high degree of perfection4 ,i am satisfied even to this day that the world would have many masterpieces as the result1 had ,i come into contact at that time with an enterprising art publisher who would have engaged the needed artists and undertaken interesting works4 ,as it was1 however1 and as ,i shall show1 circumstances forced me into untoward positions1 so that little or no opportunity was left me to use my knowledge practically and in an important way4 ,immediately on my arrival in ,offenbach1 ,i received the displeasing news that ,herr ,andre had sent ,madame ,gleissner to ,vienna to claim the exclusive franchise for the new printing process1 and to enter lawsuit against my mother1 who had gone to ,vienna with the same purpose4 ,the reason for this was as follows3 ,my two brothers1 ,theobald and ,george1 who could not earn enough in ,munich1 had been engaged as lithographers by ,herr ,andre in ,offenbach on my request4 ,in a confidential mood ,i told them that ,i hoped to go to ,vienna and open a great printing establishment and art publication house with assistance of ,herr ,andre1 and that this establishment should make my fortune as well as that of my family4 ,probably they did not believe my promise1 or they did not care to depend on my fraternal feeling for something which they believed they could get for themselves3 enough1 they wrote to my mother that it was unfair to let ,herr ,andre become exclusive proprietor of the new process everywhere1 and as ,i was well established in ,london anyway1 she would better travel to ,vienna and ask for a franchise4 ,they sent her several good proofs from the ,andre press4 ,would to ,heaven this plan of theirs had succeeded6 ,i should have been spared many a succeeding sorrow1 and ,i would have been glad for their sakes4 ,the world was large enough for me1 and certainly it was not thoroughly fair that they1 the nearest relatives of the inventor1 should be shut out by the far-reaching plans of ,herr ,andre to obtain exclusive franchises everywhere4 ,to be sure1 ,i had told them that ,i would give them the ,bavarian franchise2 but as they had enjoyed it for several months with little profit1 this did not seem to them a tempting equivalent4 ,the news of my mother's journey to ,vienna had been brought to ,madame ,gleissner quite accidentally1 and it made her almost frantic4 ,when she used to charge me with depending so completely on ,herr ,andre's promises1 without possessing anything in writing1 ,i used to comfort her by pointing out his righteous character1 and also by reminding her that it was all agreed that ,i and ,herr ,gleissner should undertake the printery in ,vienna as part of the general enterprise1 and that we were to obtain the necessary advance funds as soon as ,i returned from ,england4 ,the repeated complaints that she made1 many of them in the presence of my brothers1 possibly helped to give them the idea of trying themselves for a franchise in ,austria4 ,they may have thought1 ,if our brother is careless enough to depend on empty words1 we will be wise enough to obtain a certainty4 ,it remains open to us always to share our fortune with the inventor4 ,madame ,gleissner had entertained great hopes about living in splendid ,vienna and having means enough to take part in its brilliant life4 ,this made the news about my mother's errand all the more irritating4 ,she did not consider that an ,imperial franchise is not easily obtained by women who are not even well informed on the case at issue4 ,she succeeded in imparting her fears to ,herr ,andre1 and as he himself was prevented from going1 he entered into her fool's counsel to send her to ,vienna at once4 ,she had strong hopes of success1 because as a matter of fact the ,bavarian franchise had been obtained entirely through her efforts1 and she also calculated that the ,austrian ,government would pay more heed to the inventor himself than to his brothers1 who could not equal his attainments4 ,herr ,andre had kept it all1 even to the journey of ,madame ,gleissner1 a secret from me1 presumably because he wanted to save me annoyance and also to prevent my hasty return from ,england4 ,unfortunately ,i had conceived some suspicions in ,england1 and these were increased when ,i received this unexpected news on my arrival in ,offenbach4 ,what was worse1 ,herr ,gleissner gave me a letter from his wife1 in which she adjured me to hurry to ,vienna with all speed1 as ,andre was planning to deceive me and set me aside as a mere tool as soon as ,i had founded his own fortune4 ,this letter1 which contained no evidence but only lamentations1 was accompanied by another from her landlord in ,vienna1 a very reputable merchant4 ,it seemed to bear her out1 for he warned me in it to be cautious in my relations with ,andre and to hurry to ,vienna if ,i wished to obtain the franchise1 which could not escape me as a most influential man had come to our support and it depended merely on the evidence to be furnished by me4 ,greatly as my suspicions were increased by this1 ,i hoped that everything was due merely to misunderstanding1 and ,i proposed to ,herr ,andre to let me go to ,vienna1 where ,i would inform myself thoroughly and make strong efforts to obtain the franchise4 ,he denied my request1 saying that there was nothing more to do in ,vienna1 as the ,government had turned both women away1 and the whole plan was spoiled as the whole art and copper-etching trade had become apprehensive and was united in opposition to the new process4 ,he said that ,i should rather go quickly to work to transfer his music from zinc plates to the stone1 because he had an excellent opportunity to sell his entire stock of zincs1 which would give us a new capital of forty thousand gulden for the greater enterprises4 ,i realized the good sense of this1 but would not admit that a delay of three or four weeks could interfere with it1 as the entire transfers could not be completed in less than a year1 and the slight delay1 therefore1 could be made up by additional work or by engaging a few more assistants4 ,i insisted on my demand1 all the more as ,i had spent seven months in ,england on his account4 ,in the heat of the succeeding dispute he reminded me of the helpless position in which he had found me1 and said that as partner in his business1 ,i owed him all my present fortune4 ,conscious as ,i was of my honest intention to help him to the best of my ability1 and also of the unbounded trustfulness with which ,i had imparted to him far more than was called for in our contract1 ,i was so deeply hurt that ,i forgot myself and tore up our agreement1 which had been signed only the day before and which assured for me one fifth of all profits of the ,andre business4 ,i threw the pieces down with the exclamation that ,i did not wish to make my fortune through his means4 ,this was one of the most important moments in my life1 and in the process of lithography4 ,it gave my work an entirely new direction1 hurled me into a mass of troubles1 and brought it about that ,herr ,andre himself did not gain anything like the expected profits from the new art4 ,indeed1 he lost heavily in ,london and ,france1 whereas1 had we remained together1 lithography might now be highly perfected in both these countries and produce no small wealth for its users4 ,when ,andre saw that ,i was determined to go to ,vienna1 he yielded1 but assured me that ,i would go in vain and achieve no result4 ,the lawsuit between ,madame ,gleissner and my mother1 which ,herr ,andre considered the greatest obstacle in his way1 still continued2 and in order to get it out of the way once and for all1 ,i took my brothers1 ,george and ,theobald1 who had been dismissed by ,herr ,andre1 to ,vienna with me to combine with me4 ,andre told me afterward1 after our relations had reached final rupture1 that this act had annoyed him most1 and that it was the main reason for giving up all dealings with me1 because it was inconceivable to him how any one1 without the utmost weakness of character1 could forgive such treachery as theirs4 ,he did not reflect that ,i1 who knew selfishness only by name1 had not felt their affront so keenly1 and that my brotherly affection excused it and made me trust that it never had been their intention to shut me out entirely from any gains they might make4 ,,part ,,ii ,,from #ahjj ,,to #ahjf ,it was in ,august1 #ahjj1 that ,i went to ,vienna with my brothers4 ,in ,regensburg we met my mother1 who had come to visit one of her daughters because the decision of the ,imperial ,austrian ,government had been delayed too long for her patience4 ,she assured me that when she petitioned for the privilege she had named not only my brothers but me1 too1 and had asked it for us three4 ,this assurance gave me great joy1 and ,i determined absolutely to urge ,madame ,gleissner to accept my brothers as partners4 ,i thought that if we three worked industriously and unitedly1 we would succeed much better and more quickly4 ,i entered ,vienna with excellent hopes1 based mostly on a letter from ,madame ,gleissner1 saying that the influential man who was interested in our cause had promised to advance us six thousand gulden4 ,but these fine things retired into dark shadows when ,i learned1 in my first conversation with her1 that all these promises were made dependent on conditions4 ,the whole understanding rested on the following3 ,madame ,gleissner lodged with a prominent family4 ,andre himself had told her that she was to live well and exhibit no lack of money1 because she was much more likely to obtain the franchise if the ,government were led to expect that it would bring wealthy people into the country4 ,therefore ,madame ,gleissner considered it necessary to take part in all amusements and fashions of her hosts4 ,her monthly expenditures were beyond the sum considered necessary by ,herr ,andre's friend in ,vienna1 who had been authorized to pay her an allowance4 ,friendly solicitude caused him to write to ,offenbach that ,madame ,gleissner knew nothing of economy1 and that it was to be feared if the franchise were not granted in ,herr ,andre's name1 he would have too little power to check her extravagance in the future4 ,he added that judging from her utterances and her present behavior1 with the franchise still in question1 it was only too likely that she intended to spend ,herr ,andre's money for show and society instead of for the business4 ,therefore1 he advised that1 unless ,andre was sure that ,senefelder had enough character to oppose her with the necessary firmness1 we be treated solely as subordinates and thus be prevented from using his credit to his loss4 ,well meant as this counsel was1 it simply furnishes an addition to the thousands of cases where exaggerated timidity1 coupled with secrecy1 does more harm than good4 ,andre knew my intense gratitude to ,herr ,gleissner and his family1 and he suspected that ,i would always live in a certain dependence on them and would pay little attention to their financial doings4 ,the ,gleissners had awakened a fear of their extravagance in him before this time4 ,he knew1 for instance1 that ,i had kept little of the money he had paid me for the secret of our process1 but had turned almost all over to them4 ,again1 he had granted us the sum of one thousand six hundred gulden for our support in ,offenbach until the business should be in operation4 ,of this ,herr ,gleissner was to draw six hundred gulden and ,i one thousand gulden4 ,i was a bachelor and did not need so much as a family4 ,therefore ,i reversed this1 and gave ,herr ,gleissner one thousand gulden1 keeping six hundred for myself4 ,but the latter also went into the ,gleissner treasury1 because ,herr ,andre1 who had come to like me very much1 made me live in his house and eat with him4 ,he even kept a horse for me1 that ,i might have the exercise necessary for my health1 and if he bought himself a new article of dress ,i was sure to get one like it2 and ,i had to take part in all the amusements of his home1 though many times ,i would rather have worked4 ,thus ,i had absolutely no needs and did not require money4 ,all the more did ,madame ,gleissner require4 ,she strained everything to be very elegant and could not get along with the money she received1 but asked for further1 quite considerable advances while ,i was in ,london1 and ,herr ,andre granted these willingly through friendship for me4 ,therefore ,andre's suspicions seemed well founded2 and as in his heart he was firmly determined to treat me as a brother1 he believed that a mere outward formality and my hitherto quite unknown name would make no real difference1 but rather that the ,vienna undertaking would benefit if it had his own well-known name and excellent credit at its head in the very beginning4 ,so he wrote to his friend in ,vienna that he agreed with him1 and he gave authority to him to act as he thought best for the mutual good4 ,this gentleman told ,madame ,gleissner at once that ,herr ,andre had decided to ask for the franchise in his own name to give value to the undertaking1 and that she was to appear before court and declare that she withdrew her petition and turned it over to him4 ,she suspected a trick and refused4 ,a dispute followed1 and there came rebukes for her heavy expenditures4 ,the climax was reached with the threat that1 if she insisted on her refusal1 ,herr ,andre would cease from that moment to let her have any money and would let her support herself4 ,this last1 which ,madame ,gleissner wrote me in a very bitter letter1 outraged me2 for ,i held it cruel to send a woman to a strange city where she had no relatives or friends1 and then to tell her3 ,now do my will1 or ,i will leave it to bitter necessity and your own helplessness to tame you4 ,to be sure1 it was only a threat1 and surely it never lay in ,herr ,andre's mind4 ,his friend never ceased to give her money4 ,but the harm had been done4 ,madame ,gleissner appeared at her host's table with signs of tears that aroused the sympathy of her host1 ,herr von ,bogner1 a most worthy and reputable merchant4 ,she told him everything1 complained bitterly about my gullibility1 and generally painted everything in such colors that ,herr ,bogner could not well help thinking that ,herr ,andre did not consider promises any too sincerely4 ,it was only then that he learned ,madame ,gleissner's business and was told that the new art promised a great profit4 ,herr ,andre's far-reaching plans for foreign exploitation seemed to him to confirm what she said4 ,herr ,bogner thought that ,herr ,andre would not invest so much money if stone-print were not a valuable invention1 and he asked ,madame ,gleissner1 point-blank3 ,why do you need ,herr ,andre at all8 ,try to obtain the ,austrian franchise for yourself1 and then1 if you choose1 you can take him into the company4 ,then he will be obligated to you and will have to meet your wishes1 whereas now the reverse is the case4 ,madame ,gleissner interposed that ,herr ,andre had the capital necessary for establishing the process on a large scale1 to which ,herr ,bogner responded that it was better to begin modestly4 ,a good thing1 said he1 grows of itself4 ,and you must not imagine that we here in ,austria have no appreciation of useful inventions and undertakings4 ,there are many who will assist the arts and industries4 ,there is even a special fund from which as much as one thousand gulden may be advanced to develop an invention that has proved itself to be of merit4 ,i myself might not be disinclined to become a partner after ,i have examined the matter properly2 also ,i can recommend a very enterprising1 active man1 who has much weight with the ,ministers and even with ,his ,majesty the ,emperor1 and who has obtained exclusive franchises for others4 ,he is named von ,hartl1 is ,imperial ,court ,agent1 and is a very sensible and honorable man1 who will surely tell you at once whether or not anything can be done here with the process4 ,herr von ,bogner kept his promise1 and introduced ,madame ,gleissner the very next day to ,herr von ,hartl4 ,she explained our relations with ,andre and described the new invention1 wherein1 to be sure1 she did not fail to boast of its advantages and beauties4 ,among other specimens she produced a piece of cotton which ,i had printed in ,offenbach4 ,this was very pretty1 the print being so sharp and clear that it seemed to exceed the best ,english work4 ,it happened that just then a great company with a capital of one and one half million gulden had been formed by ,herr von ,hartl to introduce ,english machine-spinning in ,austria4 ,they had secured a very skillful ,english mechanic named ,thornton1 who had been under contract to erect similar machines for a ,hamburg merchant4 ,they had paid a great sum to have him released from this contract1 had bought his machines1 and had done enough sample work so that it had been resolved to push the enterprise through even if several more millions were needed4 ,the chief objection that was urged at that time was that an adequate sale of the products was doubtful because of the widespread business that the ,english controlled4 ,the reply was that they must seek to work up a great part of their product themselves1--that is1 combine with their spinnery the industries of weaving1 dyeing1 and cotton-printing4 ,as soon as ,herr von ,hartl heard that the new invention promised great advantages for cotton-printing1 he pledged himself to lay the matter before ,his ,majesty at once1 and he promised that if ,i would come to ,vienna and produce the necessary proofs he would surely get the exclusive franchise for me4 ,furthermore1 when ,madame ,gleissner told him1 in reply to a question1 that we would need about six thousand gulden in the beginning1 he announced his readiness to furnish that sum himself if ,i could convince him that a real benefit was to be produced by the new art4 ,madame ,gleissner wrote to me1 but withheld the condition of ,herr von ,hartl that ,i must convince him4 ,i would have taken care not to give such greedy heed to her1 for ,i knew from experience how difficult it is to convince most people4 ,but1 ,i was determined to show my friend ,andre that ,i and my art were by no means at a loss without him4 ,besides1 ,i always had the royal ,bavarian franchise to fall back on4 ,his secrecy had shaken my confidence1 and ,i was determined to find out everything for myself4 ,many years later1 when ,i reviewed everything calmly1 ,i was sufficiently convinced that ,herr ,andre always had meant honestly by me2 and ,i count myself fortunate to have him still as my friend4 ,but at that time various misunderstandings brought it about that he did not give me full knowledge of everything1 before he took steps contrary to our agreement and without my cognizance that could not fail to impress me as strange1 since ,i was ignorant of the circumstances4 ,besides1 he defended himself against my accusations in a manner that affronted my vanity deeply1 for he gave me to understand plainly that my past weakness in the matter of the ,gleissners' extravagance proved that ,i should always have to dance to their tune4 ,it angered me that he should turn against me1 as weakness1 my recognition of the patient faithfulness of the ,gleissners through the many sorrows that had overwhelmed us since the beginning of the process2 and the more so as ,i was giving them merely that which ,i did not require and which was my own undisputed property4 ,according to that1 ,i would have earned the reputation of being a firm1 strong man had ,i used my superfluous earnings to buy a few watches1 a ring1 or some garments1 rather than to use it to pay a debt of gratitude6 ,besides1 whatever ,herr ,andre had advanced to them was something that had been done without my knowledge2 therefore ,i accounted all his charges as being only empty words1 used to cover a proposed piece of trickery4 ,after my first conversation with ,madame ,gleissner1 but more especially with ,herr ,andre's representative in ,vienna1 ,i realized that the latter could not be censured for his measures of prudence1 and ,i repented that ,i had so easily given way to my quick sensitiveness4 ,the franchise evidently was very uncertain4 ,the only hope for it lay in the assistance of ,herr von ,hartl1 and1 therefore1 depended on my ability to convince him4 ,i had spent my money traveling1 and instead of finding ,madame ,gleissner in funds1 as ,i had assumed from her letter1 ,i found her ill with only a few guldens1 and in addition ,i had two brothers on my hands who also were penniless and looked to me for their support4 ,madame ,gleissner assured me that ,herr von ,hartl would assist us and that ,i could reckon also on help from her host1 who had counseled her to part from ,herr ,andre and seek the privilege for herself4 ,i mustered up sufficient courage to explain our situation to the latter gentleman and to ask him if we could count on his help for the beginning4 ,this request must have been unexpected by ,herr von ,bogner1 as ,madame ,gleissner's manner of living had indicated anything rather than lack of wealth4 ,however1 he liked my frankness1 and promised active aid4 ,he gave me a handsome room1 and ,i and ,madame ,gleissner ate at his own table4 ,he paid1 also1 for the lodging of my brothers in another house4 ,two days after our arrival1 ,i and my brothers visited ,herr von ,hartl in his country residence in ,dornbach4 ,we were received most kindly1 and he promised me his aid if ,i could give satisfactory proofs4 ,so far as the franchise was concerned1 however1 he showed me that it could be taken out only in my name1 and this1 he explained1 would be difficult enough1 as all the art dealers were against it4 ,to ask for it in the name of three brothers was out of the question4 ,neither1 said he1 would it be necessary1 as ,i could make a separate contract with them through which they could be partners with me4 ,herr von ,hartl1 who1 as ,court ,agent1 naturally knew all that was to be done1 would not have said this without good reason4 ,my brothers1 however1 were highly incensed1 and declared that they would not be dependent on me1 but would be their own masters4 ,had they possessed the money necessary to travel they would1 no doubt1 have carried out this resolve at once1 for they had been angered already by the fact that ,herr von ,bogner kept only me as his guest4 ,my representations were without effect4 ,they told me that they would return to ,munich and practice the ,bavarian privilege in my name if ,herr von ,hartl would give them the journey money2 otherwise they would be forced to listen to the proposition of several ,viennese art dealers and sell them the secret of the stone-printing art4 ,as this would have destroyed all chance for getting an exclusive privilege1 ,herr von ,hartl gave them the money1 and ,theobald and ,george ,senefelder returned to ,munich1 after making a contract with me which permitted them to establish a printing business and1 if possible1 an art business1 my share in which was to be one third of the net profit after deducting the cost of their own support4 ,this contract was necessary to authorize them to practice under my privilege4 ,meantime ,i had a small hand-press made and produced several pieces of work for ,herr von ,hartl1 which gave him a clearer idea of the new art1 and convinced him finally that it was worth while to risk something on it4 ,he made a full contract with me1 in which he bound himself to furnish money and everything necessary1 and use all his influence to further the business1 while ,i was to give all my time and knowledge4 ,the profits were to be divided into two equal parts1 one of which was to be his1 while the other was to be divided between myself and ,herr ,gleissner4 ,he allotted a proper sum for my support1 told me to rent a comfortable residence1 and authorized me to buy some large presses4 ,he told me frankly that the use of stone for cotton-printing had the most interest for him1 and that he cared about the other forms of printing only as paying for our expenditures4 ,when the big spinning-shops were ready1 said he1 he would give me so great an opportunity that ,i could let ,herr ,gleissner have all the art- and music-printing to himself4 ,what glorious prospects opened themselves to me6 ,what could ,i think except that it would require merely industry to become a famous1 happy man in a short period8 ,here ,i must interpolate the account of a happening that brought about a total rupture with ,andre4 ,until now our relations had not been wholly severed4 ,his last word was that ,i would1 no doubt1 go to ,vienna in vain1 and in that case ,i should return to him1 as he would receive me with open arms4 ,when ,i saw his correspondent in ,vienna and learned from him that he had orders to let me have money if ,i wanted it2 when ,i perceived further that ,madame ,gleissner had been too hasty1 and that all the tangle was caused by misunderstandings1 ,i dismissed all anger and wrote to my friend ,andre at once1 telling him that ,i had found things not nearly so bad in ,vienna as he imagined4 ,it was true1 ,i said1 that the two women had failed to obtain the franchise1 but mostly because they could give no demonstrations4 ,it was quite different1 now that the inventor himself was petitioning for it1 especially as ,herr von ,hartl had promised absolutely to take our part4 ,if1 therefore1 ,andre were willing to spend at most one thousand gulden for a press and to pay for our support and necessary working expenses for six months1 there would be absolutely no doubt of fortunate outcome4 ,had ,i had the happy thought to ask ,herr von ,hartl to add a few lines1 my letter might have had the intended result4 ,but ,i considered my word sufficient1 and unluckily my letter reached ,offenbach when ,andre was absent1 and was answered by his brother in about the following fashion3 ,his brother1 he said1 was absent2 but as he knew his opinion exactly1 he would not keep me waiting4 ,i must not be offended1 but he believed that my ready trustfulness1 caused by my good-heartedness1 had played me a prank again4 ,he was completely convinced from the advices of their ,vienna friends that the privilege would be granted only if his brother removed bag and baggage to ,vienna and had himself naturalized there1 something which his affairs did not permit4 ,i would discover1 soon enough1 that the lovely promises made me were nothing but air4 ,then he went on to say that even if the sum of one thousand gulden really were only a trifle1 it would not produce the desired result4 ,madame ,gleissner1 said he1 had incurred debts of one hundred and fifty gulden since she had broken with his brother1 and as she had used this sum not for his good but rather for his harm1 it was only fair that she pay it herself4 ,i1 probably1 would be in debt nearly one hundred gulden1 now that ,i had been in ,vienna some weeks with my brothers4 ,if ,i wanted to build a press in ,vienna where wood is dear1 it would cost easily one hundred and fifty gulden4 ,then there would be one hundred gulden for stones1 etc4 ,i would need a dwelling1 for which ,i would have to pay at least one hundred gulden in advance4 ,this would leave only four hundred gulden4 ,the winter was at hand1 neither my brothers nor ,madame ,gleissner had the necessary clothing1 everything would be needed4 ,in brief1 he assured me1 before many weeks the one thousand gulden would be spent and in the end there would be no press1 no stones1 and no specimen work4 ,therefore1 he concluded1 ,i should not feel affronted if he told me his heartfelt thoughts4 ,the aspect of the ,vienna matter would1 probably1 be different if my over-great good-heartedness did not put fetters upon me that must prevent anybody from placing full confidence in my advice4 ,i would better1 therefore1 dismiss the plans1 and be sure that nobody meant it more sincerely with me than1 etc4 ,it may be supposed that this letter gave me little pleasure2 and ,i made up my mind to show ,herr ,andre that he had made a mistake and had thrown away a great profit idly4 ,i made the contract with ,herr von ,hartl1 and we went to work actively at once4 ,i had a large lever press built and asked the ,austrian ,government to appoint a commission to examine the process4 ,this was done1 and besides the ,mayor1 there appeared the factory inspector1 ,herr von ,jaquin1 who was a ,professor of ,chemistry1 and the director of the academy of copper-plate engravers1 ,herr ,schmutzer4 ,i showed them the various methods of printing from stone on paper1 cotton1 and calico1 and explained the difference of my process from all others4 ,my demonstrations were applauded1 and the commission certified most heartily in favor of my petition for the exclusive privilege4 ,in addition1 ,herr von ,hartl went with me to a meeting of the ,imperial ,councilors1 then to the ,imperial ,counsel of ,state1 von ,gruber1 to ,count ,lazansky1 and1 finally1 to ,his ,majesty1 the ,emperor himself4 ,everywhere ,i had to make demonstrations with my little hand-press1 at which time ,herr von ,hartl1 to my great joy1 always acted as cicerone and eagerly described the manifold advantage which the new art had for so many branches of the arts and sciences4 ,everywhere we received praise and were promised the speedy issuance of the privilege4 ,as1 however1 the matter had to take a regular course1 and it was evident that some time must elapse1 we petitioned meantime for a mere license to work1 which we received within a few weeks1 so that ,i was able to begin printing without further delay4 ,herr von ,hartl became more friendly each day1 and opened for me the most beautiful outlook on the future4 ,my easily moved imagination interpreted his speeches as brightly as possible1 and ,i imagined that ,i saw fortune and position close at hand4 ,i worked all the harder1 therefore1 to fulfill his expectations2 and as his chief object was printing on cotton ,i threw myself zealously into the study of color1 as absolute permanence was needed besides beauty of printing4 ,during this time ,herr ,gleissner had left ,offenbach and had returned to ,munich with his children4 ,as ,i was in partnership with him1 and he could make himself useful in the printing of music1 ,herr von ,hartl decided to have him come to ,vienna1 and his wife took it on herself to get him and arrange for an extension of his leave of absence4 ,she found him in the saddest of circumstances4 ,in his ignorance of such things1 he had sold all the furniture in ,offenbach for a mere joke of a sum4 ,most of this money had been used to defray his traveling expenses1 and she found the family stripped of even necessaries4 ,what was to be done8 ,her husband and children needed clothing that they might not make a bad impression in ,vienna1 her husband's debts had to be paid1 and then came the traveling expenses4 ,the money advanced by ,herr von ,hartl was not nearly enough for all this4 ,she wrote to me to ask him for an additional sum of three or four hundred gulden4 ,this was exceedingly unpleasant for me4 ,i should have to tell him the truth1 and thus place ,herr ,gleissner in a bad light right in the beginning4 ,furthermore1 he had received no too favorable a report about the domestic management of the two1 either from ,herr ,andre's friend in ,vienna or perhaps from ,herr ,andre himself4 ,it was torture for me to ask him for money1 especially if it was to be used for something not absolutely necessary for the business in hand1 as ,i knew his opinions in that respect4 ,willingly as ,herr von ,hartl gave money when it was needed to achieve a useful object1 so reluctant was he if he deemed that it was to be wasted4 ,in my embarrassment ,i dropped a hint as to the situation to our hostess1 ,madame von ,tannenberg4 ,she counseled me at once not to ask1 as the family would lose the respect of ,herr von ,hartl entirely1 and offered voluntarily to advance ,madame ,gleissner four hundred gulden herself1 if ,i would guarantee the payment of it in half a year4 ,nothing seemed more certain to me than that ,i could save such a sum in that time4 ,i accepted her offer and sent the money to ,munich on the same day4 ,i would not mention this apparently trivial matter1 if it were not for the fact that in the end it was the cause of the ruin of all my hopes in ,vienna4 ,the dealers had spared no pains to oppose my franchise in the beginning1 before they knew of my connection with ,herr von ,hartl1 and while they still considered me an unimportant foreigner1 who had neither friends nor influence4 ,when they discovered the truth1 their noise became clamorous1 for they had to fear in earnest now that their trade would suffer1 since so eminent and rich a man was associated with the new art4 ,the more important art dealers feared it less than the smaller ones1 among whom ,herr ,sauer and the new ,industrie-,komptoir were my most active enemies4 ,despite this1 there opened a way suddenly by which ,i could make peace with the art dealers and even draw considerable profit from them4 ,through ,herr von ,hartl1 ,i became acquainted with a skillful clavier-player1 ,teuber1 who was also a composer1 and at once showed great interest in my invention4 ,he spoke to his acquaintances1 ,herr ,sonnleithner and ,herr ,ricci4 ,through their intervention the art dealers asked me if ,i would abstain from establishing a music-printery of my own1 providing they guaranteed me a sufficient amount of work4 ,i calculated that ,i could print six thousand sheets of music a day with the three presses that ,i had planned4 ,this1 at the low price of twenty-five kreuzer per hundred impressions1 would amount in all to a sum of twenty-five gulden4 ,also if ,i accepted1 say1 work that would average three hundred impressions1 there would be needed ten stones1 counting two sheets to each stone4 ,thus there would be a further engraving profit of ten gulden1 because ,i received fifty kreuzer for each sheet1 but paid my note-writer only twenty kreuzer4 ,for house1 color1 acids1 polisher's wages1 etc41 there must be reckoned four gulden a day4 ,the six printers to operate the three presses would cost four gulden a day also4 ,now if ,i reckoned two gulden a day for possible accidental errors1 etc41 there would still remain twenty-five gulden a day profit4 ,this meant seven thousand and five hundred gulden clear profit in the three hundred working days of a year1 without the least risk4 ,as ,i considered this a satisfactory profit for one single branch of my art1 ,i told ,herr ,sonnleithner that ,i would attempt to induce ,herr von ,hartl to give up the idea of establishing his own publishing house1 provided that the united art dealers would guarantee me that amount of work and agree also to reimburse me if the presses were not kept busy1 excepting through my own fault4 ,herr ,sonnleithner welcomed the proposal1 not doubting that the dealers would need all the work stipulated1 and1 indeed1 declaring that the ,art and ,industrie-,komptoir alone might give me twice that much4 ,i knew that ,herr von ,hartl had entertained little regard for this branch of work4 ,therefore ,i thought it would delight him to find that he could not only relieve himself from further expense in this line1 but gain several thousand gulden4 ,i was mistaken4 ,he deduced that music-printing was not so unimportant as he had imagined2 and he told me to inform the dealers that ,i would take as much work as they offered at low prices1 but that we could not make ourselves dependent on them4 ,as the dealers refused decidedly to give me the means with their own hands of building up a great establishment1 the project fell entirely4 ,however1 ,herr von ,hartl now had declared himself in favor of establishing a music-printery2 and a few days later there came a highly favorable opportunity to start one at once under happy auspices1 together with a complete art publishing establishment4 ,an acquaintance of my landlady1 to whom ,i had showed my printery1 sent for me to tell me that ,herr ,eder1 an art dealer1 wished to give up his business because of illness and was willing to sell reasonably4 ,this friend enlarged on the luck it would be to obtain this well-situated shop1 which earned several thousand gulden by printing birthday and ,new ,year's cards alone1 at the very easy terms which ,herr ,eder had suggested provisionally4 ,he desired me to see him at once1 under the pledge of secrecy1 which pledge ,herr von ,hartl was to give also1 as ,herr ,eder did not wish to injure his credit by offering his establishment openly for sale4 ,herr ,eder did1 indeed1 offer most favorable terms1 according to my opinion4 ,he showed me that on the average the net profit of his business had been ten thousand gulden annually during the last ten years4 7,at that time the gulden notes stood at par47 ,furthermore he estimated the value of all his printed stock only at the cost of manufacture1 and the great stock of copper plates1 many newly etched1 at merely their value as copper4 ,the large stock of different papers1 with the many writing and drawing materials1 were estimated at cost value1 also4 ,for his trading rights1 and for his excellent rental contract which had many years to run1 he did not ask anything4 ,the sum that he asked for everything was forty thousand gulden1 of which only ten thousand gulden were to be paid at once1 the rest being paid in annual installments during the following ten years4 ,if ,herr von ,hartl had accepted this1 there would have been four thousand gulden net profit a year in it4 ,and by combining with it the advantages of the new process1 the profit was certain to be greater4 ,to begin a new publishing house without mercantile knowledge1 without knowing what the public wanted1 would be far more difficult than to continue one that already was in operation1 especially so as ,herr ,eder had offered to remain for a year as associate to teach me the business4 ,i cannot yet understand why ,herr von ,hartl discarded this proposition4 ,perhaps he feared that he would be overreached in some way4 ,he might have been more receptive had he been able to foresee that his new establishment would cost him a sum of twenty thousand gulden within a very few years without advancing toward being even the ghost of a business4 ,perhaps ,i did not possess the gift of convincing others4 ,at any rate1 both projects failed to meet with approval4 ,that ,herr von ,hartl could be convinced1 however1 even to his plain injury1 ,i will prove later4 ,for lithography the failure of this plan was a great loss1 because it would have given me opportunity to get into the art line ten years earlier than ,i did1 and make useful application of my inventions4 ,the family ,gleissner now arrived in ,vienna and brought one of my former apprentices1 ,mathias ,grnewald4 ,meantime some presses had been completed1 and we could begin to print4 ,gleissner's symphonies recently had been much praised in a musical paper of ,leipsic1 and he proposed to us to begin with a few of his works4 ,of course it would have been wiser to begin with a good work by a famous man1 whose name was sufficiently popular in ,vienna4 ,i did visit ,herr ,doctor ,haydn1 but received the reply that he could not compose any more and would only review old works thenceforth4 ,immediately at the commencement a stock of stones was needed4 ,as we could foresee that we should need some thousands of stones in the course of time1 ,herr von ,hartl decided to make a trip with me1 by way of ,munich and ,augsburg1 to the quarries of ,solenhofen that we might inform ourselves on the spot about the best way to get stones4 ,a further inducement to make this journey was that he wished to examine the estate of ,niedau1 which had been described as being very favorably situated for the erection of manufactories4 ,herr von ,hartl already had a large spinnery in operation4 ,this1 and perhaps the printery1 he planned to establish in ,niedau1 because there both workers and property were cheaper4 ,he intended to leave only the business offices in ,vienna4 ,the establishment of this spinnery had so important an effect on my fate as well as on the future of lithography that ,i must describe it here4 ,when ,i arrived in ,vienna1 ,count von ,saurau had just gone to ,petersburg as ,austrian ,ambassador4 ,being a patron of home industries1 he had advanced ten thousand gulden some time before to an expert spinner named ,mistelbauer1 to erect looms for manufacturing fine ,english and ,french stuffs in ,austria1 a work for which ,mistelbauer was perfectly qualified4 ,when the ,count departed1 ,herr von ,hartl took charge of several of his interests1 among them the ,mistelbauer spinnery4 ,thus at the next ,vienna ,messe 7market-fair71 ,mistelbauer visited ,herr von ,hartl to make an accounting4 ,the goods that ,mistelbauer had brought convinced ,herr von ,hartl of his skill and technical capacity4 ,the details of his processes1 and his ingenuity in operating so many looms with so little capital1 indicated to ,herr von ,hartl that increased capital would bring enormously increased results4 ,as the spinnery company had as good as decided that a good part of their own products should be further worked by themselves1 ,herr von ,hartl considered it a lucky circumstance to meet a particularly good weaver and also a cotton-printer1 who alleged that he could print the home-made cottons exactly as well as the ,english printers and possibly at smaller cost4 ,he wrote to ,count von ,saurau that he was willing to assist ,mistelbauer with more money4 ,count ,saurau agreed1 and ,herr von ,hartl advanced money to ,mistelbauer till it reached a sum of forty thousand gulden4 ,he appeared only as a creditor1 however1 and held a mortgage on the entire spinnery1 with all its present and future stock1 in order to be covered should the operations fail4 ,now ,mistelbauer was a man who had little or no mercantile talent4 ,he did not understand book-keeping1 and though he had managed the original small establishment pretty well1 he was not equal to the bigger one4 ,a factor should have been appointed to manage the commercial end and the accounts4 ,another trouble was that ,herr von ,hartl1 in order to satisfy himself1 continually demanded new sample work from him1 which1 on the other hand1 pleased ,mistelbauer1 as it enabled him to show his skill4 ,thus1 instead of working steadily along the original sound lines1 he kept going into new things4 ,among others he erected looms to make color1 and print ,manchester fabrics4 ,regardless of the fact that ,i 7as he well knew7 was working at cotton-printing1 and that ,herr von ,hartl intended to work my inventions1 he managed to induce that gentleman to let him erect a cotton-printery1 a matter which he did not understand in the least4 ,mistelbauer had been a poor peasant boy of ,helmannsd by ,linz4 ,he had gone into foreign lands in his youth1 but when he obtained the ten thousand gulden from ,count ,saurau1 he selected his native place for the works4 ,even at that time his improved condition aroused the envy of the village2 but he lived in a poor hut and differed in nothing from the other inhabitants4 ,when ,herr von ,hartl assisted him1 he succeeded soon in convincing him that they needed more room1 and obtained his consent for building4 ,instead of erecting a factory1 he erected a considerable dwelling1 the cost of which was far beyond the original estimates4 ,on account of all the other work undertaken at the same time1 nothing could be finished in time1 and ,mistelbauer was continually too late for the markets with his product4 ,as a result1 instead of being punctual with all his payments as he had been heretofore1 he could not even pay his interest1 and ,herr von ,hartl had to make new advances all the time4 ,naturally ,herr von ,hartl began to feel apprehensive1 and he decided to visit ,mistelbauer on the occasion of our journey to ,solenhofen4 ,when we reached ,helmannsd1 ,herr von ,hartl shook his head dubiously1 especially when he found the accounts in the greatest disorder4 ,but the great stock of goods1 though most of them were only half finished1 and the thought that everything could be made to go smoothly again with better management1 encouraged him1 and he instructed ,mistelbauer1 showing him how to establish order in his works as well as in the accounts4 ,then we continued our journey4 ,in ,munich1 where we remained three days1 ,i visited my mother and my brothers1 who all lived together and were operating a press that worked mostly for ,herr ,falter4 ,according to their assurances1 their income had hardly sufficed to support them4 ,in ,augsburg1 ,herr von ,hartl contracted with a paper dealer for the paper necessary for music-printing1 and in ,solenhofen he bought several hundred stones for this work and made arrangements for future supplies4 ,then we returned through ,regensburg and ,passau4 ,this whole journey was one of the greatest pleasures of my life4 ,the weather was excellent1 and ,herr von ,hartl was so kind to me that ,i was more than ever convinced of his sincere desire for my success4 ,we engaged two writers of music immediately on our return to ,vienna4 ,one was ,j4 ,held1 a young man recently married1 who earned his living by teaching and copying4 ,the second was his brother-in-law4 ,they comprehended the process quickly and soon were so skillful that each earned twelve gulden and more a week1 despite the fact that we rarely paid them more than twenty and twenty-four kreuzer for each sheet4 ,the new smaller works of ,herr ,gleissner were finished very soon1 and it became necessary to find more work to keep my etchers and four printers busy4 ,i asked ,herr von ,hartl to buy some compositions from ,vienna's best musicians1 such as ,krommer1 ,beethoven1 etc4 ,he was willing1 but desired to wait for a proper opportunity to speak to ,herr ,krommer4 ,thus some weeks passed1 and in order to keep the force busy1 ,herr ,gleissner composed continually and printed his work4 ,nearly a whole year passed that way1 and still ,herr von ,hartl had found no opportunity 7owing to his many affairs7 to arrange with ,herr ,krommer or other composers4 ,so it happened that1 with the exception of a few overtures1 our whole stock of paper and a whole year's work were used solely to print ,herr ,gleissner's compositions4 ,i myself had hardly anything to do with this printing1 which was managed entirely by ,herr ,gleissner2 for ,i devoted all my time to the study of color and to the necessary thousands of experiments4 ,here ,i had made the unpleasant discovery that most of what was in the books was incorrect1 or so incompletely stated that1 before one could understand the instructions1 one needed to know the entire process of cotton-making and printing4 ,i cannot understand now why it never struck ,herr von ,hartl or me that ,i did not need this knowledge at all1 and that all that was necessary in order to apply my method to cotton-printing was for me to demonstrate how the printing could be done well and quickly4 ,to get color results it was necessary merely to engage a good color expert1 who could analyze colors and decide if they were available for my process4 ,that would have saved us a year and a considerable sum of money which my experiments had cost4 ,i confess that ,i had a mistaken ambition on this point1 wishing to understand everything myself4 ,then the study of chemistry was most attractive to me1 because ,i found myself discovering new things of importance for my art all the time4 ,when at last ,i was completely informed in the matter of color1 ,i went with ,herr von ,hartl to the great machine-spinnery in ,pottendorf4 ,here ,i became acquainted with ,herr ,thornton and his remarkably complete installation4 ,with his assistance we made a stone-press for cotton1 to print the cotton from large plates4 ,but the correct register of each impression made so much trouble for us that ,i foresaw the need for many further experiments and inventions4 ,besides1 ,herr ,thornton was too partial to the ,english process of cylinder-printing to feel particularly favorable to the stone-process2 and in the end it was considered best to order a great piece of stone from ,solenhofen from which we might make an eight-inch cylinder4 ,it was six months before we obtained the requisite stone4 ,during this period it struck me that perhaps the cylinder did not need to be stone1 but that we might use copper cylinders1 as in ,england4 ,herr ,thornton objected that copper cylinders must be engraved with the graving tool1 and that patterns for cotton should not be etched1 since1 if etching were practical1 the ,english1 who understand etching perfectly1 no doubt would etch the cylinders4 ,to be sure1 ,i could not answer this argument1 but ,i was convinced that a deep-etched stone would print as perfectly and handsomely as the best copper plate4 ,why1 then1 could it not be done with copper1 since copper permitted itself to be etched so well8 ,i made a little experiment at once1 and it succeeded perfectly4 ,herr ,thornton proposed to make completely sure4 ,he had a small model press from ,england1 the cylinder of which had been engraved by the best cotton copper engraver of ,england4 ,though it was only six inches long and three inches thick it had cost twenty pounds to engrave4 ,he proposed to have an exactly similar cylinder made1 which ,i was to etch in the same design1 so that competitive impressions could be made with both cylinders4 ,the proposition was accepted4 ,to save money1 it was decided to make a cylinder from zinc instead of from copper4 ,after a few days it was ready and ,i drove with ,herr von ,hartl to ,pottendorf1 where we arrived at half-past ten o'clock in the morning4 ,i started eagerly to do the drawing4 ,as ,i perceived immediately1 it consisted purely of circular lines1 and therefore ,i succeeded in preparing the cylinder1 drawing the design1 and etching it before two o'clock1 at which time we were to have luncheon4 ,mr4 ,thornton1 who had expected that ,i would need at least eight days1 was astonished by my speed4 ,to all appearances1 the etched cylinder was as good as the engraved one1 and now it was merely a question of the printing4 ,he made the first impression with the copper cylinder1 which1 of course1 produced a very pretty piece of work4 ,but when mine was adjusted and the first impression came out1 the astonishment of all present reached its maximum1 for the impressions were exactly as clear1 but at least twice as strong and therefore more beautiful4 ,the reason for this was that the engraving became narrower at the bottom1 and therefore held hardly half as much color as the etched lines4 ,the practicability of my etching process was settled2 and ,herr von ,hartl waited only to lay the matter before the society at the next general meeting before proceeding to its exploitation on a large scale4 ,truly it was high time for him to get some returns for his many expenses4 ,the stone-printery had cost him at least six thousand gulden to this date4 ,in return for this investment he had a good quantity of stones1 several presses1 and a great stock of ,gleissner's music1 which represented an income of twenty thousand gulden1 if it could be sold4 ,at last we obtained the long-sought franchise 7in #ahjc71 and ,herr von ,hartl decided to begin the business4 ,i proposed to him to rent a shop and engage an experienced man to manage it4 ,but he replied that ,i was merely suggesting another burden of nearly two thousand gulden a year1 with no certain prospect of a penny's income4 ,rather1 said he1 ,i was to give the finished work to the dealers and let them sell them on a percentage1 so that we could see how the public liked stone-printing4 ,herr von ,hartl was trying at this time to rid himself of all expenses that were not absolutely necessary4 ,he was growing more and more dissatisfied with ,mistelbauer1 his health was poor1 and irritating business troubles were anything but good for him4 ,he expressed his regret many times because he had undertaken so many things4 ,his many enterprises1 which up to this time had proved anything but profitable1 took so much of his time that he had to give up his far more advantageous interests as ,imperial ,court ,agent1 and thus lost heavily in that direction also4 ,the stock of spun wool kept piling up in the company's magazines1 and this1 too1 seemed to promise no greatly satisfactory results4 ,however1 ,i could see that ,i could expect only small sales in ,vienna if ,i depended on the dealers1 who were my opponents and would hardly be very eager to aid my success4 ,therefore1 ,i conceived the thought1 equally unpractical1 as it turned out1 of putting our work into the hands of a book publisher2 and as ,i had just observed much empty space in the shop of ,peter ,rehm's widow1 ,i agreed with her to turn over our stock to her at twenty-five per cent discount4 ,it was arranged that there be an accounting each month1 and ,i looked forward to the end of the first month with great impatience1 because ,i hoped for a considerable income4 ,it was highly necessary1 to help me pay off the debt that ,i had loaded on myself to defray ,herr ,gleissner's traveling expenses1--a debt that now had stood for two years1 and that the skillful manipulations of my dear landlady and her faithful legal adviser had increased from four hundred gulden to two thousand4 ,many times during the month ,i inquired as to the sales and received the answer that they were good4 ,i was satisfied1 and did not require further statements1 as ,i did not wish to anticipate the pleasant surprise that ,i expected when the month's accounting was made4 ,but alas6 ,how ,i was shocked at the end of the month when the sum of ten gulden and forty-eight kreuzer turned out to be all6 ,i did not know how ,i could appear before ,herr von ,hartl with the news4 ,my walk to his house was one of the bitterest of my life4 ,i was not received as badly as ,i had expected4 ,on the contrary1 ,herr von ,hartl comforted me and advised me to have patience1 that all beginnings were slow1 etc4 ,in short1 ,i enjoyed the most pleasant anticipations again4 ,unhappily1 at the end of the second month the accounting gave us one gulden1 thirty-six kreuzer4 ,now the patience of ,herr von ,hartl reached its end4 ,he had just lost heavily again in the ,mistelbauer affair4 ,it worried him seriously1 and as his health continued poor1 he inclined to listen to the advice of his wife1 who represented to him that he did not need to burden himself thus1 and that he would better pocket his losses and retire from all the matters that worried him4 ,therefore1 when his secretary1 ,steiner1 advised him to send a certain ,grasnitzky to ,helmannsd1 he accepted the suggestion1 and ,grasnitzky went there with unlimited power to do what he thought best4 ,now of course it was vital that ,grasnitzky be absolutely honest1 as otherwise it was certain that he would make the worst possible report in order to get everything into his own hands4 ,hardly had he made a superficial inspection before he reported that ,herr von ,hartl was being cheated by ,mistelbauer4 ,as soon as he had driven the man and his family out of the house and had gained possession of the finished stock that was on hand1 he took away everything that was in the hands of the local weavers1 and transported it to ,linz to be finished and sold4 ,hardly had ,herr von ,hartl received the alarming news that only the highest degree of commercial talent could save the capital that he had invested in this business1 before worse news came4 ,while ,grasnitzky was in ,linz1 fire started in ,helmannsd and spread to ,mistelbauer's house1 which ,grasnitzky had locked up4 ,the peasants saved their own houses and were not at all displeased to let the handsome new building1 with all its machinery and stock1 burn down4 ,the hard blows were too much for poor ,mistelbauer1 who was now reduced to total beggary4 ,he became ill and died soon afterward in great misery4 ,nothing was left now except for ,grasnitzky to finish the goods he had saved1 and to sell them as well as possible4 ,naturally the loss was considerable1 despite all efforts2 and of course it was an unfavorable circumstance for me that this affair should be contemporary with my failure to sell the sheet-music4 ,herr von ,hartl lost all hope of success with stone-printing1 and probably would have given it up entirely1 had his secretary1 ,steiner1 not advised him to continue4 ,he pointed out that the small sales were due not to the printing1 but to the unwise selection of work1 which was almost wholly the composition of a composer quite unknown in ,vienna4 ,he said that they needed a man as manager who had the necessary knowledge and who also had a good shop for making sales1 and that thus stone-printing would become a veritable gold mine4 ,he proposed the antiquarian ,grund1 who had a shop in the same street as ,herr von ,hartl's house4 ,herr von ,hartl agreed4 ,i was informed that hereafter ,i was to communicate only with ,herr ,grund about work1 and that he would make all payments in ,herr von ,hartl's name1 select the works to be published1 and make quarterly accountings1 at which he would deduct thirty per cent for himself4 ,i was glad1 because it relieved me of many cares and ,i foresaw success once more4 ,new life came into the work4 ,we hired two more writers1 and printed bravely4 ,grund succeeded in inducing ,herr von ,hartl to increase his investment during the first year so that the original capital of six thousand gulden that was already sunk in the work had grown to twenty thousand gulden4 ,but when at last the fourth quarter passed without an accounting from ,grund1 and still there was no dividend1 he lost patience again1 and no doubt ,steiner had to bear some censure because of his unfortunate suggestion4 ,to soothe his master he proposed to take everything out of ,grund's hands and establish a publishing house4 ,as this would demand more capital1 ,herr von ,hartl declined1 being quite sated4 ,then ,steiner came out with the project3 he would seek to induce ,grasnitzky1 who had done so much already1 to undertake this business also2 he added that he himself was disposed to put in some capital and take a personal part in the business1 for a third part of the profits4 ,just then ,i was in fatal embarrassment4 ,the legal adviser of our landlady pressed harshly for payment4 ,he even went to ,herr von ,hartl4 ,that gentleman sent for me immediately and declared that he would try ,steiner's plan1 and that it would be his last attempt1 and that ,i could see myself that there was nothing else to do4 ,since he promised to pay my debt1 and ,i hoped for good results anyway from ,herr ,steiner's coperation1 ,i agreed willingly4 ,now passed another year1 during which a number of pieces of music were printed under ,grasnitzky's and ,steiner's directions1 and some experiments made in art work4 ,an artist1 ,karl ,mller1 learned to draw nicely on stone partly with the pen1 partly with the brush4 ,among many1 often very excellent efforts1 one of his most successful was a copy of ,preissler's drawing-lessons4 ,the first number was printed under my direction and came out very well4 ,the other numbers1 which were printed when ,i was in ,munich again1 were reported as not having been so good4 ,the reason probably was that they were printed with a new press ordered by ,herr ,grasnitzky1 which did not have the power necessary for printing from stone1 thus making necessary a softer color not satisfactory for pen-drawing4 ,in the end ,herr ,steiner is credited with having improved this press very much4 ,i shall describe it in its most complete form in my description of presses which will follow4 ,judging from the amount of printing done1 ,steiner and ,grasnitzky appeared to understand their business4 ,in a short time they actually printed a second impression of some of the ,gleissner compositions1 which met with good sales1 especially in ,poland4 ,i was delighted with this activity1 especially as ,i hoped for a part of the profit for myself at the end of the year2 but ,herr ,steiner1 instead of accounting to me1 assured me that ,i could entertain no hopes for ten years1 as ,herr von ,hartl's investment of twenty thousand gulden would have to be repaid before there could be any question of dividing profits4 ,i realized what this meant2 and to avoid bringing a lawsuit1 for which ,i lacked the means anyway1 ,i decided to sell ,herr ,steiner my interests4 ,he offered me six hundred gulden1 and when1 at last1 ,i accepted it1 he paid me fifty gulden because he had a claim on ,herr ,gleissner for five hundred and fifty gulden1 something of which ,i had been in ignorance4 ,the loss of this business pained me1 but ,herr von ,hartl comforted me with the example of other inventors1 who had received no better returns4 ,now the cotton-printery was my only hope4 ,a third of the ,pottendorf ,company had declared itself in favor of erecting a factory1 and in fact one thousand two hundred gulden had been appropriated to make a trial on a large scale4 ,i went to ,pottendorf and ordered a machine in which the cylinders were of cast-iron instead of copper1 because ,herr ,thornton had two very handsome iron cylinders1 two yards long and eight inches in diameter1 which had been intended for another purpose but were sufficient for my trials4 ,as soon as the printing-machine was ready1 ,herr ,thornton had it connected with the water-wheel of the cotton-spinnery1 so that one needed only to pull a cord to set the cylinders in motion and see the printing of the cotton proceed without human help1 as if of itself4 ,nothing was needed now except to etch the design in the upper cylinder4 ,the design consisted of a simple little flower1 many times repeated1 and it seemed to me to be anything except difficult4 ,but after ,i had covered the cylinder with the etching surface and started to work with the graver1 ,i saw1 after a very few strokes1 why it had not been possible before this to produce cotton patterns by etching and why engraving had been necessary4 ,it was not possible for me to draw even three of the little flowers into the etching surface with the free hand so firmly and evenly as this sort of printing demanded if it was to appear thoroughly accurate to the eye4 ,this was in spite of the fact that ,i had first drawn the design carefully in measured squares on stone and transferred it in red to the black cylinder4 ,my strokes were too trembling and uneven1 so that ,i nearly gave up the hope of ever doing anything excellent in this way1 unless ,i were to expend as much or more time than would be needed for the regular process of engraving4 ,the failure of this attempt1 and the disgrace that would come to me as a result1 spurred me on to invent some method to overcome the difficulty of drawing4 ,i succeeded so unexpectedly that the very failure became the means to greater perfection4 ,to cover the entire surface of the cylinder it would be necessary to draw thirty thousand flowers4 ,had ,i not experienced the slightest difficulty1 ,i still would have needed half a minute for each flower1 and thus ,i would scarcely have been able to finish an entire cylinder inside of a month4 ,but ,i invented a drawing-machine with which1 though ,i was not a skillful draftsman1 ,i could draw the entire design within two days1 and with an accuracy that hardly could be attained by the engraving-tool4 ,with this instrument ,i drew the design on the black etching surface of the cylinder1 etched it and made a sample printing which1 when it was repeated afterward in presence of ,frst von ,esterhazy and other members of the company1 earned universal praise4 ,herr von ,hartl planned to obtain an exclusive franchise for this cylinder cotton-printing1 sell it to the company1 and have me appointed as director1 something like ,herr ,thornton1 who drew not only a decent salary but also a fourth part of the profit from the entire spinnery4 ,as ,i could see readily that a company with such enormous resources could soon bring a cotton-print establishment to a great stage1 it did not seem impossible to me that the annual income might rise to a million1 as in the ,ebreichsdorfer factory4 ,if the net profits were only five per cent1 there still would be more than twelve thousand gulden annually for me1 and ,i was sure to be a rich man in a short time4 ,so ,i thanked ,herr von ,hartl heartily and continued to perfect my process in every tiny detail4 ,the fear had arisen that iron cylinders might affect the handsome reds and other fine colors4 ,herr ,thornton1 who had become my friend1 promised to make for me cast copper cylinders with iron cores3 and his preparations for this work were almost completed when again fate ruined all my hopes4 ,napoleon had just completed the ,continental blockade2 and the ,english cotton stuffs were not to be had anywhere4 ,this forced all the weavers and manufacturers of the inland to buy from the ,pottendorfer ,works1 and the sale of their output became so great that the formerly overcrowded storehouses were emptied in a short time4 ,why should we erect a new1 different factory8 ,rather let us enlarge the present one4 ,this was the general and entirely sensible decision of the company4 ,herr von ,hartl would not interest himself further in the process1 because our hope of an exclusive franchise had been ruined through the treachery of a foreman in the spinnery1 who had made drawings of our machine and sold them to various cotton-making establishments1 who were already imitating the process4 ,so there was nothing left for me except to seek my fortune elsewhere4 ,in my pain over my oft-ruined hopes ,i complained to a good friend1 ,herr ,madlener1 a tinner in ,pottendorf1 and this noble man was ready at once to seek another opportunity for me4 ,the very next day he told me that a cotton-printer in ,vienna1 ,herr ,blumauer1 would pay me five hundred gulden for a small model press for cylinder printing on cotton4 ,this turned out true4 ,fourteen days later he made me acquainted with the brothers ,faber1 who had a cotton-works in ,st4 ,polten1 and who1 on ,madlener's recommendation1 made an extremely satisfactory contract with me for the erection of a complete cylinder printery4 ,i thought myself happy to come into relations with this firm at whose head were two of the noblest of men1 and was just ready to go to ,st4 ,polten1 when my destinies received a new direction through a strange chain of circumstances1 that opened for me an excellent prospect again of making great advances in improving my lithographic invention4 ,my brothers had written to me several times while ,i was in ,vienna1 complaining about scarcity of work and their resultant poverty4 ,therefore it is not to be wondered at that ,i did not exactly long to return to ,munich1 despite the fact that my hopes in ,vienna had become steadily less4 ,probably ,i should have returned again to ,herr ,andre in ,offenbach1 as ,gleissner and his family were pretty well placed with ,steiner and ,grasnitzky1 had not ,madame ,gleissner conceived the idea of making personal inquiries about the conditions in ,munich4 ,shortly before1 a ,bavarian court musician had visited ,vienna and had visited his friend ,gleissner4 ,from him we learned that my brothers were doing very well4 ,they had good positions with the ,feyertag ,school and had sold their franchise for stone-printing to the ,royal ,government4 ,it was even reported that they had formed a company with ,herr von ,hazzi to establish a press and publishing house1 and that they expected to get a comfortable building from the ,government4 ,madame ,gleissner went to ,munich at once and ascertained that the report was true4 ,she also met our old apprentice1 ,grnewald1 who had left ,vienna in #ahjd with one of our note-writers1 ,held1 to erect a stone-printing establishment for ,breitkopf and ,hrtl in ,leipsic4 ,he had just returned to ,munich1 and he induced ,madame ,gleissner to join him in erecting a small printing-house1 which she did all the more willingly1 since she hoped that it would earn her expenses for her in ,munich4 ,this occasion led to her acquaintance with ,abt ,vogler1 who gave her several pieces of music to print4 ,stone-printing pleased ,abt ,vogler so much that he proposed to ,freiherr ,christoph von ,aretin1 ,royal ,court and ,central ,library ,director1 to establish a printery and take into partnership the inventor as well as ,herr ,gleissner4 ,freiherr von ,aretin was willing1 and they made a provisional contract with ,madame ,gleissner1 under which ,i and her husband were to go to ,munich and establish a stone-press1 for which ,freiherr von ,aretin and ,abt ,vogler would furnish the money4 ,i was pleasantly surprised when ,madame ,gleissner returned to ,vienna with this news4 ,freiherr von ,aretin was one of my old schoolmates in the ,munich ,gymnasium2 and as he always used to gain the first prize in everything from the lowest class to the highest1 ,i had entertained the greatest respect for him since youth4 ,i would have thought myself fortunate even then to make his nearer acquaintance1 because ,i ever have had a decided admiration for remarkable persons4 ,in later days it happened once that my mother dwelled in his house and could not pay her rent1 owing to certain misfortunes1 and when she asked him to excuse the delay he made her a present of the entire sum4 ,this proof of a noble soul was not calculated to lessen my regard for him4 ,therefore ,i snatched at the proposal with joy4 ,she had been urged earnestly to hurry matters1 as ,abt ,vogler had various works which he wished to have printed as soon as possible4 ,unfortunately my contract with the brothers ,faber1 which ,i had signed the day before1 would have delayed me for many months4 ,i tried1 therefore1 if ,i could induce them to permit me to spend a few months in ,munich before ,i started their work in ,st4 ,polten4 ,the excellent men agreed gladly1 and even advanced money to me that ,i might have various copper cylinders made in ,munich1 so that ,i would be able to go ahead without delay later in ,st4 ,polten4 ,,part ,,iii ,,from #ahjf ,,to #ahag ,i left ,vienna with ,herr ,gleissner and his family in ,october1 #ahjf4 ,first we traveled to ,cloister ,atl near ,wasserburg in ,bavaria1 which ,freiherr von ,aretin had bought recently1 and where ,abt ,vogler awaited us4 ,he proposed to erect the printery in the cloister2 but when he saw that ,i was not at all pleased with the idea1 he started with us for ,munich4 ,hardly had we arrived there before ,abt ,vogler suggested several plans which all contemplated only his own profit1 and which would have redounded to ,freiherr von ,aretin's disadvantage4 ,when he realized at last that we would not agree to his demands1 and when ,freiherr von ,aretin insisted that ,herr ,vogler pay his share of the capital at once and in cash1 instead of paying it by furnishing music whose value he set very high1 he severed his connection with our company4 ,there was also the added reason that the ,royal ,academy of ,sciences did not relect him as a member1 a fact which made him wish to leave ,munich as soon as possible4 ,at this time a former workman of my younger brother ,karl1 a man named ,strohhofer1 commenced a printery4 ,madame ,gleissner stopped this unlawful violation of our rights with the aid of the royal police1 and this impelled ,strohhofer to seek ,abt ,vogler1 probably in order to gain his intercession with ,freiherr von ,aretin4 ,vogler thought that he had made an important discovery1 as the man knew how to speak very impressively of his knowledge and skill4 ,he imagined that he could publish his works without our aid1 perhaps even without cost4 ,therefore he promised to assist ,strohhofer1 made an appointment with him for a future day1 and suggested to him how he could support himself meantime by selling the secret of the art4 ,stuttgart was one of the towns suggested to him4 ,strohhofer circulated a pompous proclamation there1 boasting of his talents and offering his services to anybody and everybody4 ,thus he came into communication with ,herr ,cotta4 ,the inferiority and incompleteness of his knowledge were perceived very soon2 but as even the imperfect results hinted at the importance of the new printing process1 the result was that finally1 through the assistance of an art-lover1 ,herr ,rapp1 the book1 ,the ,secret of ,stone-,printing1 was published by ,herr ,cotta4 ,it was the first publication that showed true appreciation publicly of the art4 ,immediately in the beginning of our establishment in ,munich1 our enterprise gained brilliant aspects through ,freiherr von ,aretin's activity4 ,several presses were operated1 for music1 for governmental work1 and even for art4 ,then came the publication of ,albrecht ,drer's ,prayer-,book1 which gave us an honorable reputation4 ,this work was acclaimed by all art-lovers1 and the conviction gained ground everywhere that the new process which hitherto had possessed few friends1 was not so unimportant as had been believed generally4 ,the professor of the ,feyertag ,school1 ,herr ,mitterer1 had done important preparatory work in ,munich to gain a favorable decision4 ,my brothers had imparted to him the entire process4 ,he had found that the so-called crayon process1 of which ,i had shown proofs as early as #agii1 was best adapted for his purpose of reproducing elementary drawing-lessons1 and he had succeeded in inducing the ,government to establish a lithographic institute under his direction1 in which my brothers were employed as lithographers4 ,to be sure1 this was a violation of my franchise2 but the reason was that the authorities supposed my brothers to be the owners of the franchise1 both on account of the name and because they had conducted the ,munich printery for some years in my name4 ,freiherr von ,aretin counted on the sole use of the franchise1 which he had believed to be unassailable when he formed our company and advanced the necessary money2 but when in time he complained because the ,royal ,government as well as private persons established printeries1 he received the reply that the art had long ceased to be a secret1--as if a condition of the franchise had been that a useful process must be kept secret4 ,in that case ,i could not have employed any man either for drawing or printing1 as that would have involved the loss of secrecy and thus the loss of the franchise4 ,my connection with ,freiherr von ,aretin lasted four years4 ,during this time ,i turned out a great amount of government work1 such as circulars1 statistical tables1 charts1 etc41 besides many specimens in various forms of art4 ,at that time the idea was first conceived for the present text-book of lithography1 and1 indeed1 we published the first installment of the sample plates4 ,still1 our enterprise was far less successful than ,freiherr von ,aretin and ,i had hoped4 ,it was very difficult to obtain skillful workmen1 especially writers and artists4 ,even ,strixner and ,pilotti1 whom we had engaged and who worked at producing facsimiles of the ,royal ,manual ,drawing ,cabinet1 were very slow to gain the necessary perfection and speed4 ,and again we lacked the manager1 namely1 a man who understood business and knew what to produce and how to sell it4 ,i myself was heavily burdened1 as ,i had not only to exercise continual supervision of the five presses1 but also was practically the only one who could prepare the plates for those presses4 ,added to this was the fact that the printers were almost all uneducated men1 some of whom could not even read1 and they spoiled many plates that ,i had to reproduce4 ,this caused so much loss of time that already was insufficient1 that it is no wonder that several presses came to a standstill frequently4 ,luckily there were government jobs at times that demanded fifteen thousand and more impressions4 ,this enabled me to prepare new material while the presses were busy4 ,on the whole1 however1 this work had the disadvantage of demanding such speed that usually all the five presses had to work at it1 so that1 when it was done1 they were all at a standstill together1 sometimes for weeks2 and then the wages1 etc41 consumed the previous profit1 so that in the end little or nothing was left4 ,thus it was natural that ,herr von ,aretin1 who was being annoyed at this time by other affairs1 began to lose his enthusiasm for lithography4 ,therefore1 when he had to go to ,neuburg as ,governmental-,director1 and could not participate personally any more1 and when1 at the same time1 ,herr ,gleissner and ,i obtained situations with the ,royal ,tax ,service1 he sold the establishment to ,herr von ,manlich1 the ,director of the ,royal ,gallery1 and to ,herr ,zeller1 a merchant4 ,although our connection was broken in this manner1 and despite the fact that we had not won the expected results1 still stone-printing had attained respect and support through ,freiherr von ,aretin's patronage4 ,we had to thank him for the fact that our institution was praised by the most celebrated native and foreign statesmen1 and even by their ,royal ,highnesses1 the ,crown ,prince of ,bavaria and his most noble sister ,charlotte1 present ,empress of ,austria4 ,our beloved ,crown ,prince wrote on paper with the so-called chemical or stone-ink1 ,lithography is one of the most important inventions of the century4 ,and his noble sister wrote the short but eloquent words1 ,i honor the ,bavarians6 ,these lines were printed on the stone in their presence4 ,his ,royal ,highness the ,crown ,prince exhibited so much interest in this ,bavarian invention that he condescended to order the sculptor1 ,kirchmeier1 of ,munich1 to model my bust in plaster1 so that in the future1 when lithography should have attained an honorable place in the whole public estimation1 it could be carved in stone and erected among the most celebrated artists of ,bavaria4 ,in general my connection with ,freiherr von ,aretin had given me several well-founded prospects for an active and honorable future4 ,he promised that1 when his circumstances permitted1 he would put me into position to use my entire time only for making useful inventions1 for which purpose ,i should have all the material and workers that ,i might need4 ,we would then investigate all branches of art and industry1 to discover possibilities of improvement4 ,he possessed the true viewpoint1 appreciating how ,i could best be useful to the fatherland1 and perhaps to all humanity4 ,i shall ever consider it as my greatest misfortune that circumstances made it impossible to carry out this plan1 and thus to justify the great confidence that he reposed in my inventiveness and ability4 ,a second beautiful hope arose in ,france1 where ,i was encouraged by ,freiherr von ,aretin to expect the management of an imperial lithographic institute1 with a great financial allowance1 ,herr von ,manlich1 and the ,french artist1 ,herr ,denon1 who was in high favor with ,napoleon1 having made strong efforts to that end4 ,this hope also met disappointment owing to the circumstances of the times4 ,a third hope of no less importance was to erect a cotton-printery in ,munich or ,augsburg in association with ,his ,excellency ,count von ,arco1 ,court ,chamberlain of ,her ,royal ,highness the widowed ,kurfrstin of ,bavaria4 ,this was ruined by the clumsiness of a ,munich wood-turner1 who made such uneven cylinders that we could not produce any satisfactory specimens4 ,although ,i made arrangements at once for a large ,english machine1 like those used by ,mr4 ,thornton1 its manufacture was so slow that two years elapsed1 and during this time our entire lithographic establishment was dissolved4 ,the idea of a cotton-printery was an unfortunate one1 which not only cost much time and a great sum of money1 but also had the unpleasant result that ,i could not fulfill my contract with the ,faber brothers and thus1 in addition to the resultant personal financial loss1 had the pain of appearing before these most noble men in a poor light4 ,all this trouble was caused as follows4 ,on invitation of ,count von ,arco1 his brother-in-law1 ,count von ,montgelas1 ,royal ,minister of ,state1 visited our institution and examined our work4 ,at the request of ,freiherr von ,aretin ,i made an experimental printing with the little model cotton-printing press that ,i had brought from ,vienna4 ,it won his approval4 ,freiherr von ,aretin intended to ask for a franchise for this process in ,bavaria1 where it had not yet been introduced4 ,the ,minister promised this and also held out the hope of a considerable financial assistance from the ,government4 ,then ,i was foolish enough to try to increase his interest by telling him of the value that foreign lands set on this process1 and thus ,i informed him of my contract with the ,fabers4 ,but this had an unexpected result4 ,his ,excellency heard the information most ungraciously1 and said that ,i must not hope for the least assistance in ,bavaria if ,i permitted myself to be used for the advantage of another state4 ,he even declared that there was a royal rescript forbidding ,bavarian subjects from using an art in foreign lands if its exclusive use were of importance for ,bavaria4 ,this rescript1 said he1 fitted my case exactly1 and it was forbidden to me1 under pain of highest disfavor1 to proceed farther with the ,austrians4 ,this embarrassed me mightily4 ,freiherr von ,aretin and ,count von ,arco promised to urge the ,minister to permit me to go to ,vienna1 on the ground that this method of printing cotton was no invention of mine1 having been used long ago in ,england and for some time in ,austria4 ,but ,freiherr von ,aretin was not very desirous that ,i should absent myself for several months in the very beginning of our enterprise1 and thus time passed without the hoped-for permission4 ,as the ,fabers pressed me earnestly to fulfill my agreement1 ,i devised a subterfuge that might permit me to keep my promise and still not lay myself open to too great a responsibility4 ,i wrote to them advising them to have their correspondent in ,munich demand through the court that ,i be forced to fulfill the contract4 ,i considered that the city courts in ,munich would have no particular knowledge of the royal rescript or1 at least1 that they would not immediately remember it1 and that1 when ,i admitted the existence of the contract1 they would command me to keep it at once4 ,then ,i would obey immediately1 and afterward could justify myself with the ,bavarian ,government by pointing to the court's decree4 ,it would surely have succeeded had not the correspondent of the ,fabers failed in business after bringing suit1 owing to which the matter got into another lawyer's hands4 ,this man immediately adopted a new strange course4 ,instead of demanding a fulfillment of the contract1 he sued for twelve thousand gulden damages for their loss of time4 ,of course ,i had to fight for my skin now2 and as he refused to content himself with my agreement to fulfill the contract1 ,i was forced at last to defend myself by falling back on the royal rescript4 ,thus ,i escaped by merely repaying the money already advanced2 but ,i lost the considerable sum that would have been assured to me had ,i been permitted to spend only two months in ,st4 ,polten4 ,thus none of the good prospects that opened themselves through my connection with ,freiherr von ,aretin proved so good as ,i had been justified in hoping3 nay1 it seemed as if ,i had only labored day and night to give others the benefits accruing from my painful labors1 while ,i barely supported existence4 ,freiherr von ,aretin wished that the management of the business be in the hands of a man who possessed his own fullest confidence1 but whom ,i did not consider at all suitable1 as he was a royal official and as such could not do business in a public shop4 ,consequently the trade was carried on in his own residence1 which was known to only few people and where nobody looked for the manifold things that we could have produced to good profit4 ,this at last lowered our establishment to a mere job printery1 which finally could not maintain itself1 because more and more similar establishments were started in ,munich1 and the prices for work became lower and lower through their hungry competition4 ,it may not be uninteresting to tell briefly how so many printeries happened to be undertaken4 ,the first was established by ,gleissner and myself1 and was continued afterward in my name by my brothers ,theobald and ,george1 until #ahje4 ,they sold the secret to the ,feyertag ,school1 where an excellent art institute developed gradually under ,herr ,mitterer4 ,strohhofer learned the elements of the process from my brother ,karl1 and associated himself1 in #ahjf1 with ,herr ,sidler1 royal court musician1 who had studied first with my brothers1 then with ,madame ,gleissner1 and then in the ,aretin printery4 ,when ,strohhofer left ,munich1 ,sidler erected a stone-printery for the ,government1 and after he had obtained an official permit before the expiration of my franchise1 he established his own institution1 producing very good work4 ,during this time ,madame ,gleissner had petitioned the ,government frequently for sufficient work to assist her1 and had obtained the promise through ,his ,excellency the ,minister of ,state1 von ,montgelas4 ,then it happened that the chief of a newly organized bureau1 ,freiherr von ,hartmann1 having a great deal of writing to do in beginning his new work1 decided to introduce lithography for the purpose of saving labor4 ,his intention was to have it all done in our institution4 ,no doubt he had communicated this plan to von ,montgelas2 for as he met ,madame ,gleissner about this time1 and she asked again for work1 he said that he had given ,senefelder enough work to keep ten presses busy1 and if he had not yet received it1 he would get it soon through ,freiherr von ,hartmann4 ,there evidently was a misunderstanding here on account of the name4 ,when ,freiherr von ,hartmann sent one of his subordinates to call ,senefelder to him1 he brought my brother ,theobald1 who immediately got orders to establish a lithographic office1 and shortly afterward was appointed ,inspector of ,lithography4 ,beside a considerable salary1 he received the following other incomes1 first1 excellent pay for all work that was turned in2 second1 an agreement that if his ten presses could not be sufficiently employed by the bureau1 he might work for other governmental bureaus and for private persons4 ,thus he received a great deal of work1 among other jobs the printing of passports for the ,ministry of ,foreign ,affairs1 which earned large sums for him in a short time and placed him in very good circumstances4 ,he could not conceal his good luck1 and so it came that many people imagined that stone-printing was a means for getting rich quickly1 which resulted in a disproportionate growth of new shops4 ,out of his own there sprang two1 namely1 those of ,helmle and ,roth1 who erected their own printeries under the permit of the police4 ,at the same time a lithographic institution was erected in the ,royal ,asylum for the ,poor on the ,anger2 and a ,herr ,dietrich1 of a government bureau1 also established one4 ,my own prospects became worse and worse toward the year #ahaj4 ,though ,i may flatter myself that ,i perfected myself very greatly through unceasing practice and thousands of experiments1 still1 without a fortunate accident1 it might well have happened that ,i would have been forced to think it lucky if ,i could obtain work under one of my former apprentices4 ,i even suffered the insult of having the papers declare that though ,i had invented the art roughly1 ,i had kept it secret for a long time through selfishness1 and had never understood how to use it for anything except merely printing music4 ,the falsity and humiliating character of this statement were bound to pain me the more bitterly1 since all other stone-artists and stone-printers had learned only from me1 and not one 7not even ,herr ,mitterer1 the most expert and1 perhaps because of that1 the most modest7 possessed the art as a whole1 in all its parts1 as perfectly as ,i did4 ,i hope that my text-book will prove this4 ,so far as the secret was concerned1 the statement was an evident falsehood4 ,since the moment when ,i received the exclusive franchise in ,bavaria1 in the year #agii1 ,i had made no secret of any part of my process toward any living being4 ,i showed the whole manipulation to my workmen as well as to all strangers4 ,those who knew me more intimately and realized1 therefore1 that ,i could not resist the desire for communicating anything that ,i discovered to benefit mankind1 often censured me severely for my frankness1 saying that ,i could have been a millionaire had ,i kept my art a secret4 ,but this was equally erroneous4 ,i never could have succeeded to any degree with my own means4 ,the false belief that ,i desired exclusive enjoyment of the results of stone-printing1 is in direct contradiction of the fact that the lack of secrecy was held to invalidate my exclusive franchise4 ,the idea may have arisen1 at least partly1 through the circumstance that several of my former workmen1 or others who learned something of the art1 made a wonderful secret of it1 in order to be considered more important4 ,this was carried to such an extent that some traveled from place to place and sold their knowledge to many people for large sums under the seal of confidence4 ,i pity those who thus received in exchange for their money something of little or no use1 when they could have learned from me for practically nothing1 as it always was my greatest delight to converse with intelligent men about those subjects that interested me so deeply as inventor4 ,after making this little excursion1 which was needed for my justification1 ,i return to my story4 ,there were1 then1 in #ahji1 six public printeries in ,munich besides mine1 without reckoning those which several artists had made for their own use4 ,the foremost among the latter was ,herr ,mettenleithner1 ,royal ,copper ,plate ,engraver4 ,he was one of the first to whom ,i had shown specimens1 as early as #agif1 of the new process1 but he had paid little attention to it4 ,partly through various very excellent specimens from ,herr ,mitterer's print1 and partly through the work of ,strixner and ,pilotti1 he was induced to make experiments4 ,a son of ,herr von ,dall' ,armi1 who was taking lessons just then in drawing and copper etching for his own pleasure1 interested himself in the process4 ,as a result1 the latter established a lithographic institution in ,rome1 which1 so far as ,i know1 never achieved any decided success4 ,soon afterward ,herr ,mettenleithner1 in association with one of the best of the ,aretin printers1 a man named ,weishaupt1 laid the foundation for the stone-printery of the ,royal ,tax ,commission 7,knigliche ,unmittelbare ,steuer-,kataster-,kommission71 which is now the most important of all the lithographic institutions of ,munich4 ,a little later a similar institution was founded for reproduction purposes by the ,royal ,privy ,council1 through ,herr ,mettenleithner's son-in-law1 ,herr ,winter4 ,herr ,mettenleithner was appointed director of the great establishment1 which employed some thirty engravers1 to etch the plans of the ,steuer-,kataster1 which received fifteen to twenty thousand impressions each4 ,at this time the ,kingdom of ,bavaria was being charted in great detail for tax-regulation purposes1 under the management of ,privy ,councilor von ,utzschneider1 the man who has done so much for ,bavaria's home industries4 ,there were required at least two exact copies of each map1 and close calculation proved that it would be possible to etch the charts on stone and make several hundred impressions for the money that these two copies would cost if done by hand4 ,in addition1 each of these impressions was good enough to serve as an original4 ,the lithographic institution of the ,royal ,steuer-,kataster had been in operation for some time when a trivial occurrence had the most important effect on my fate4 ,it became necessary to print a sheet of such great size that there happened to be no stone in ,munich large enough4 ,weishaupt remembered that he had seen stones in my possession which ,i had purchased partly for map-work and partly for printing cotton and tapestries4 ,he sent a printer to me with a letter from ,royal ,tax ,councilor von ,badhauser1 requesting that ,i sell the ,government a stone of the necessary dimensions4 ,herr von ,badhauser was a friend of my father1 and ,i myself always had entertained the highest respect for him4 ,he was also a friend of ,herr ,gleissner1 and had done many things to oblige him4 ,i embraced the opportunity of doing him a favor with joy1 and the matter probably would have had no further consequences1 had not ,madame ,gleissner arrived just as the stone was being taken away4 ,she suspected that the stone might be desired for a purpose other than the one stated1 and sought ,herr von ,badhauser to ascertain the truth4 ,on this occasion she complained to him that the ,government1 not content with infringing our franchise by erecting its own printeries1 also took away our workmen after ,i had trained them with much labor and expense4 ,herr von ,badhauser was surprised4 ,he said that ,privy ,councilor von ,utzschneider had wished to turn work over to me1 but that my reply to his proposal1 which had been laid before me by a designer named ,schiesl1 had been that it was against my arrangements to collaborate with any other establishment1 and that1 on the contrary1 it was my intention1 with the assistance of ,freiherr von ,aretin1 to press our suit against the ,government for infringement4 ,this ,herr ,schiesl1 a pupil of ,herr ,methleithner1 had worked for us occasionally1 and1 indeed1 was one of the first to use the new process for drawings1 especially pen-drawings4 ,as he was rather adept and showed great interest1 ,i gave him full instructions in everything1 and he knew all my circumstances exactly4 ,thus he understood thoroughly that my future depended on the turn that ,freiherr von ,aretin's affairs might take1 and that our situation was precarious1 owing to the competition of so many establishments4 ,therefore1 ,i cannot understand how he came to utter a statement so contrary to the truth4 ,madame ,gleissner hurried to ,herr von ,utzschneider and explained my real intentions to him4 ,he promised to consider the matter earnestly4 ,herr ,professor ,schiegg1 an excellent geometrician and astronomer1 was member of the ,steuer-,kataster-,kommission1 and had the supervision over the entire institution4 ,he was not well satisfied4 ,too many costly proof-prints were being made1 and the impressions did not please him4 ,accidentally he saw my receipt for payment for the stone which ,i had furnished1 and he observed that ,i did not ask more for it than the ,commission had to pay for stones only half as large4 ,also ,i charged only twenty-four kreuzer for polishing1 whereas the ,commission had been paying one gulden for stones of four square feet4 ,he took occasion to represent to the ,commission that it might be well to give me the management of the establishment4 ,herr von ,utzschneider sent for me and asked for a proposition4 ,after discussion with ,freiherr von ,aretin ,i proposed that the ,commission let me print their etched plates for two kreuzer per impression1 in return for which ,i would pay the workmen1 defray the cost of all printing material1 and also keep the presses in repair1 pull necessary proofs without charge1 and bear the cost of all imperfect work4 ,this plan seemed very fair to me1 as the ,royal ,commission would save two thirds of the expenses it had defrayed hitherto2 but it met with such opposition that ,herr von ,utzschneider advised me to make another proposition1 preferably one that involved a good salary for myself and ,herr ,gleissner1 which1 probably1 would be received with more favor4 ,he added the flattering statement that the ,royal ,commission would be proud to have me1 the inventor of the art1 in its employ1 and thus to reward my struggles in the name of the fatherland4 ,the excellent man fulfilled the expectations thus raised1 and became my greatest benefactor and founder of my fortune2 for through him ,i won the prospect of an unvexed old age1 and was placed in a position where ,i did not need any longer to consider my art merely as a livelihood4 ,everything useful that ,i have invented since then1 and ,i hope it is not inconsiderable1 is due to the serene and happy position in which ,i was placed through his goodness4 ,at the time ,i thought also that1 if we were both employed by the ,royal ,steuer-,kataster-,kommission1 it would save ,freiherr von ,aretin the burden of supporting us1 without causing him damage1 as according to the preliminary promise of the ,commission we should have time enough left to manage his institution4 ,so ,i agreed to assume supervision over the ,commission's printery1 to give it my best knowledge1 and give the workmen complete instructions and training1 for which there was to be a salary for life of one thousand five hundred gulden for me and one thousand gulden for my friend ,gleissner1 with the rank of ,royal ,inspector of ,lithography1 and with the right to maintain and conduct our own printery4 ,my terms were graciously accepted1 and in ,october1 #ahji1 we received our appointment4 ,only in the beginning were my personal services especially necessary4 ,later1 as the workmen grew equal to their tasks1 ,i found more and more leisure for dedicating myself to inventing improvements4 ,i was rather fortunate in this endeavor1 and the various processes invented since #ahji would now be generally known through the publication of many interesting works1 had ,freiherr von ,aretin not been forced to leave ,munich to assume his new duties in the ,royal ,service4 ,this left my art without his assistance1 and our partnership reached its end just as it was beginning to attain fruit4 ,my own circumstances did not permit me to continue the establishment on its former scale2 therefore1 ,freiherr von ,aretin turned over part of it1 especially the art-branches1 to von ,manlich1 the ,director of the ,royal ,gallery1 and another part to ,herr ,zeller4 ,the latter soon gave up the printing business as incompatible with his other interests1 but he did a great deal for domestic art and industry later by opening a warehouse for its products1 also by publishing a paper and issuing many lithographic art productions4 ,i kept one or two presses for myself1 and as ,i married the daughter of the ,royal ,chief ,auditor ,versch in ,january1 #ahaj1 ,i hoped to teach my wife to manage a small business4 ,in the very beginning ,i obtained a large order for passports from the ,royal ,commission of the ,isar1 which kept the presses busy for a month4 ,at the same time ,i contracted with the ,royal ,war ,economy ,council to furnish all their printing4 ,besides this1 ,i had many orders from another ,royal ,commission and from ,herr ,falter1 so that my little establishment was very busy4 ,unfortunately it happened that ,i was not paid at once by the ,royal ,commission of the ,isar1 but only after four years4 ,added to this1 after some months ,i had to support my workmen in idleness for several weeks1 because there happened to be no work for them4 ,this gave my wife so ill an idea of the business that she kept at me till ,i promised her to give up the whole thing4 ,madame ,gleissner was not so timid4 ,she offered to take over my men if ,i would turn over to her the government work that ,i had4 ,at first she did very well1 because just then orders came from many directions4 ,she might have made a great success1 had her husband not been stricken with paralysis1 which rendered him so miserable that at last he lost his mind4 ,then came the ever-growing competition and at last the government bureau installed its own plant4 ,her daughter lost her eyesight almost wholly at this time1 so that the family fell into a woeful condition1 which would be still worse now if they were not sustained by faith in the mercy and grace of our best of kings1 who will surely reward their efforts for lithography1 which art1 according to the belief of all experts1 will ever remain a beautiful flower in the shining wreath of the noble ,maximilian4 ,as soon as ,i did not need any longer to give up my time to earning a mere livelihood1 ,i began seriously to plan publication of my lithographic text-book1 the first number of which had appeared previously and been well received4 ,but the skill of the various lithographers made noticeable advances every day1 so that ,i was not content with the specimen pages that had seemed so satisfactory a year earlier4 ,at last ,i fell under the delusion that it was absolutely vital to my honor that everything that might appear in my text-book must represent the non plus ultra of the process4 ,therefore ,i decided to suppress the first number entirely1 because there were sample pages in it that represented a style which had been done much better since then4 ,however1 many obstacles opposed me4 ,for instance1 good artists are very costly1 especially if they must learn new methods and practice them4 ,i felt1 also1 that many of my inventions still demanded many improvements before ,i could intrust them to the hands of any artists4 ,still1 ,i hoped finally to accomplish my plan for publishing a splendid work which should be unique1 because ,i invented improvements and perfections daily4 ,when my dear friend ,andre came to ,munich in #ahaa1 ,i laid my project before him and he was so taken with it that he offered his cordial coperation4 ,we agreed that the work was to be done by ,frankfurter artists and printed there4 ,but when ,i journeyed to ,offenbach some months later1 ,i discovered that the right kind of artists were not so easy to find as ,andre had led me to hope4 ,some1 who might have been competent1 demanded such exorbitant terms that the work would necessarily have been published only at a huge loss4 ,copper-etching1 said they1 we understand4 ,stone-etching we must learn4 ,the latter seems to us1 who are unpracticed in it1 three times as difficult4 ,therefore it is but fair that we shall be paid three times as much4 ,this sort of reasoning led me to return to ,munich to print the work there4 ,now two years passed with many experiments4 ,many a plate was made1 printed1 and discarded because meantime ,i had found something better4 ,then ,i lost my beloved wife in child-bed1 and in my anguish over this loss1 irredeemable as ,i thought at the time1 ,i forgot all my projects till my second wife1 a niece of our worthy ,choir-,master ,ritter von ,winter1 reconciled me with ,providence1 notably through her truly motherly behavior toward the son left behind by my first wife4 ,i considered it my duty now to publish my work1 that in case of my death their claims to honor should be established4 ,without this incentive1 it would have been much more indifferent to me what men might think of my art or its inventor4 ,in #ahaf1 ,herr ,andre came to ,munich again1 and ,i imparted to him many of my recent inventions in regard to lithography4 ,on this occasion we decided ultimately which of our plates should be put into the work and which should be discarded4 ,i promised to get seriously to work and we looked forward so confidently to the completion of the entire publication that ,herr ,andre circulated a preliminary notice of it in the ,easter-,messe at ,leipsic1 whither he went after leaving ,munich4 ,despite this1 there came many delays1 the chief one being caused by my meeting ,herr ,gerold1 book-dealer and printer of ,vienna1 who invited me to establish a printery for him4 ,as my presence in ,vienna would be needed for only three months1 ,i believed that this would cause no delay in the publication of the text-book1 because the plates ordered from the ,munich artists could be completed during that time1 while ,i could furnish the text as well in ,vienna as in ,munich4 ,but ,i had the misfortune of becoming seriously ill soon after reaching ,vienna4 ,a great weakness remained as result1 and this made it impossible for me to undertake the return voyage in the bad weather that marked the winter of #ahaf-ag4 ,lithography did not progress particularly with ,herr ,gerold during my stay1 because he could not obtain the franchise1 though he had petitioned for it a year ago4 ,the greatest blame for this was due to ,herr ,steiner's opposition4 ,this man1 who had done but little for the art in the entire time during which he enjoyed the exclusive ,austrian franchise that ,i had turned over to him1 did this from pure ill-will1 because he had suffered similar ill-luck1 as he said4 ,so ,gerold could not establish so complete a printery as ,i wished1 without going into expenses based on an uncertainty4 ,however1 various drawings were made that served to show art-lovers what could be done with lithography4 ,it would be easy to perfect this art immensely in ,vienna1 because there is no lack of excellent artists4 ,among those who interested themselves at the very beginning in ,herr ,gerold's undertaking were ,herr ,colonel von ,aurach1 ,herr ,captain ,kohl1 and ,herr ,kunike1 the drawing-master for the family of ,prince von ,schwarzenberg4 ,they convinced themselves with many experiments that lithography was eminently suitable for the easy reproduction of many styles of drawing1 and recommended the method to all their acquaintances4 ,through the experiments of ,herr ,kunike ,i gained the conviction that one could print true originals by using a method of touching up the impressions4 ,the crayon method in combination with one or two tint plates is the method that is easiest for the artist to handle4 ,now this method is very difficult to print1 demanding great practice if good1 strong1 and clear impressions are to be produced4 ,since there are as yet no complete printeries where an artist can have his own plates printed without danger of damage1 there is nothing left except to print them himself1 which causes many imperfect impressions that must be destroyed for the credit of the artist4 ,herr ,kunike had this experience2 but he took his imperfect impressions1 when they were not entirely spoiled1 and worked them over with black crayon4 ,it developed that twelve impressions could be so well touched up by hand that they would fittingly pass as originals1 in the time which would be required to copy a single picture properly4 ,as this treatment of illustrations produces their value only by merit of the final finishing1 they may be considered as being the same as copies that are made by an artist of his own work1 wherein it happens often that the copy turns out better than the original4 ,just as ,i was preparing to leave ,vienna ,i received several numbers of the ,anzeiger fr ,kunst und ,gewerbfleiss1 in which ,herr ,direktor von ,schlichtegroll1 ,general ,secretary of the ,royal ,bavarian ,academy of ,sciences1 had inserted several letters suggesting an inquiry into the invention of lithography4 ,he had used the information obtained from my brothers and from other inhabitants of ,munich4 ,on my arrival there ,i visited him at once to thank him for his patriotic endeavors1 and to make some corrections of the story told by him4 ,i had the fortune to win him as a steady friend1 who became continually interested in giving my work a greater field4 ,the completion of this text-book is due to his steadfast encouragement4 ,he furnished me with the opportunity to meet many worthy men and also to demonstrate my many improvements before the ,royal ,academy of ,sciences1 the ,polytechnical ,union1 and at last even before their majesties1 our most gracious ,king and his most highly venerated spouse1 that illustrious connoisseur and protectress of the arts4 ,never to be forgotten by me will be the moment when the gracious applause of the royal pair rewarded me for all the exertions of my life4 ,oh6 ,if only human life were not so limited1 if it were granted to me to execute only one tenth part of my designs1 ,i would make myself worthy of this great honor by making many another useful invention6 ,but the time passes swiftly during our helpless wishing and striving2 and when twenty or thirty years have been lived1 there remains for us only amazement at beholding how little has been done of all that which glowing imagination and fiery energy painted as being so easy to carry out4 ,when ,i saw before me the first successful impressions from a stone1 and conceived the plan of making the invention useful for myself1 ,i did not think that it would demand the greatest part of my life4 ,rather1 because it seemed to be a cheap process1 ,i considered it merely a first step toward putting me into a position where ,i would be able to make inventions far more useful and important4 ,i must1 however1 count myself fortunate among thousands1 because my invention received such thorough recognition during my lifetime1 and because ,i myself was able to bring it to a degree of perfection such as other inventions generally attained only after many years and long after the inventor himself was dead4 ,herr von ,manlich1 the ,director of the ,royal ,gallery1 has had his skilled pupils1 ,strixner and ,pilotti1 copy many collections in the ,royal ,drawing ,cabinet 7,knigliche ,zeichnungs ,kabinett71 and many of these sheets are so good that competent critics have declared them to be perfect facsimiles4 ,but on the whole the publication of the ,royal ,gallery of ,paintings is still more excellent and has aroused general attention1 which would be even greater if the printers had been as expert as the artists were4 ,many of these pages would leave nothing to be desired if the pictures appeared on the paper in perfection equal to the perfection of the drawings on the stone4 ,the method used for these illustrations is the crayon method1 with one or more tint plates4 ,it is the easiest method for the artists because it demands little previous experience4 ,to give it its correct emphasis1 however1 one must know especially how to get the best effect out of the tint plates4 ,if this is done just right1 and if1 of course1 the drawing bears the impress of a masterly hand1 and if the printer understands his art1 the impression will be perfectly like an original drawing1 so that the most skilled etcher in copper hardly can attain the same effect4 ,therefore this method1 which has the further advantage of being a quick one1 is excellently well adapted for copying paintings4 ,hereby ,i wish to express my deepest gratitude publicly to the worthy ,herr ,direktor von ,manlich and his industrious pupils for the service they have done for the fame of lithography by utilizing my inventions4 ,to their labors1 as well as to those of ,herr ,professor ,mitterer1 is due the ever-growing sympathy and interest of the public4 ,herr ,mitterer now has attained such perfection1 especially in the simple crayon method1 that many of his productions probably will remain the non plus ultra of this method4 ,lithography also owes to his unresting energy the triumph of having been become the mother of many useful works of instruction1 which are so cheap that they only require the active work of a good art-dealer or book-dealer to become widely circulated4 ,besides this1 ,herr ,mitterer is the inventor of the so-called cylinder or pilot-wheel press1 which he has improved so much lately that it does almost everything that one can demand from a perfect press in point of power1 speed1 and ease of operation4 ,since #ahji1 ,i have dedicated myself almost uninterruptedly to improvements1 and to the work of reducing all manipulation and processes in all branches to their simple elementary principles4 ,thus some of my earlier inventions--such as transfers from paper which has been inscribed with fatty inks1 and the transfers from new and old books and copper-plate impressions--have been brought to a high degree of excellence through my manifold experiments1 so that one can make lithographic stereotypes in the easiest manner4 ,furthermore ,i have made such progress in color printing that1 besides pictures illuminated with colors1 ,i can also produce pictures quite similar to oil paintings1 so that nobody can discover that they have been printed1 because they possess all the distinguishing points of paintings4 ,at the same time ,i have invented a new method for printing pictures1 wall tapestry1 playing-cards1 and even cotton1 which enables two men to make two thousand impressions of the size of a sheet of letter-paper daily1 even though the picture may contain a hundred or more colors4 ,incredible as this may seem1 ,i surely shall produce extraordinary and amazing proofs of this in a few years if ,i remain alive and well4 ,among the other methods that ,i have invented since this time the most excellent are some aqua tint processes1 the spatter-work method1 the intaglio crayon method1 the conversion of the relief method into intaglio and vice versa1 and the machine-written text for editions de luxe4 ,among other things ,i also sought to remedy the difficulty which arises from the great dependence on the skill and industry of the printers4 ,therefore ,i planned a printing-machine wherein the dampening and inking of the stones should be done not by hands but by the mechanism of the press itself1 which1 in addition1 could be operated by water and thus work almost without human intervention4 ,with this invention ,i believed that ,i had set my art on the pinnacle of completion2 and when in #ahag ,i exhibited a model of this press 7which also was adapted by me for utilizing the principles of stone or chemical printing on metal plates7 before the ,royal ,academy of ,sciences in ,munich1 ,i was so fortunate as to receive its golden medal in sign of universal approval4 ,but the most important of all my inventions since my employment in the service of the ,royal ,government was1 without question1 the invention of a sufficient substitute for the natural limestone plates1 which often incurred well-founded censure because of their unevenness1 weight1 and fragility1 and have the further fault of demanding a great deal of storage room4 ,before the ,royal ,academy of ,sciences1 and also before the ,polytechnical ,society of ,bavaria1 ,i demonstrated that chemical printing could be utilized with advantage on metal plates2 but that still more useful was a composition of artificial stone which could be painted on metal1 wood1 stone1 and even on plain paper or linen1 and used in all processes exactly like the natural ,solenhofen stone4 ,the countless experiments that ,i have made in the past four years with this substitute 7or1 as some call it1 stone-paper71 in order to prove its usefulness under all circumstances1 have filled me with the absolute conviction that it replaces the natural stone completely without having the many faults that in the nature of the case are inseparable from the use of the latter4 ,in many respects it is far superior4 ,the fragility of the ,solenhofen stone requires the use of thick slabs for printing4 ,if the impression is to be letter-sheet size1 the stone must be at least one and one half inches thick if it is not to crack under pressure4 ,if the stone is to be used for more than one job1 the thickness must be two to three inches4 ,to be sure1 it can be ground and used over again some hundreds of times1 a valuable consideration in view of the capital invested in a stone4 ,but such a stone weighs from sixty to eighty pounds1 sometimes more1 and occupies considerable space4 ,add the investment necessary for laying in any great number of stones1 and it becomes a difficult matter financially to undertake work that requires that the stones be held for a number of years1 to be used for new impressions according to the sales of the work4 ,therefore it is necessary1 generally1 to print a maximum quantity at once1 so that the stones may be ground and used for new work4 ,if the stones are of thickness correctly proportioned to their area1 the danger of cracking under the press is fairly remote2 still1 it does happen occasionally that a stone incurs damage through clumsiness of workmen4 ,it can occur also through careless warming1 or through sharp frost4 ,in such cases even a strong stone will crack1 especially if the workmen apply undue pressure4 ,besides1 the necessary stones are not to be found in all places1 so that the cost of transportation prevents the establishment of lithographic shops in many regions4 ,all these objections are overcome by the invention of stone-paper4 ,the material advantages of it are as follows3 7#a7 ,the cost is much smaller than that of a stone of equal size4 7#b7 ,the weight is inconsiderable2 a plate of letter-sheet size weighs scarcely four ounces4 7#c7 ,hundreds of such plates piled on each other require scarcely as much space as a single stone1 and can1 therefore1 be stored or shipped easily4 7#d7 ,they resist the most powerful press better than do stone1 copper1 and even iron plates4 ,their inner elasticity supports the most extreme pressure without alteration if only they are handled properly4 7#e7 ,the application of fatty inks1 and also engraving with the steel graver is easier4 ,indeed1 because of the great toughness of the stone-paper1 the engraving process approaches copper engraving more closely4 7#f7 ,inking and printing are easier1 and demand no such powerful pressure1 because the artificial stone receives and imparts color more readily1 than does the natural stone4 7#g7 ,finally1 they are so excellent for all methods of printing that it is possible to reproduce the original plates at will merely by transferring a fresh imprint to another plate4 ,and this can be done with such accuracy that none of these plates can be distinguished from the original1 so that the stone-paper surely must become of enormous importance for stereotyping in the book-printing trade4 ,these advantages1 and others to be described on suitable occasion1 elevate this invention unquestionably to the highest importance in the art of chemical printing1 despite all that may have been said recently by a certain writer whose lack of knowledge forbade correct judgment4 ,the matter already has attained a degree of perfection that makes every further improvement unnecessary1 nay1 almost impossible4 ,my many employments1 mostly caused by the publication of this text-book1 thus far have prevented the erection of my own manufactory for making these artificial stone-plates or stone-paper4 ,i hope to do it soon1 and then everybody can convince himself of the truth of my assertions1 if he will use the material according to my instructions4 ,this invention will facilitate the introduction of lithography in all places1 because one can make the stones himself4 ,however1 lithography has expanded very considerably in its present form1 and has been brought into use in the foremost cities of ,europe4 ,for instance1 it was introduced into ,france and ,england1 first by ,herr ,andre1 in latter days by the ,count von ,lasterie in ,paris and ,herr ,ackermann in ,london1 being utilized for many kinds of printed work4 ,in ,berlin1 ,herr ,major von ,reiche has erected a great institution4 ,in ,petersburg the art has existed for some years1 and is being especially well cultivated now by ,freiherr von ,schilling4 ,the art has entered even ,philadelphia1 and1 more extraordinarily1 ,astrakan1 and1 so far as ,i can learn1 has been welcomed heartily4 ,i desire that soon it shall be spread over the whole world1 bringing much good to humanity through many excellent productions1 and that it may work toward man's greater culture1 but never be misused for evil purposes4 ,this grant the ,almighty6 ,then may the hour be blessed in which ,i invented it6 ,,section ,,ii ,,text-,,book ,,of ,,printing ,,from ,,the ,,stone ,,contents ,,introduction ,,explanation ,,of ,,the ,,principles ,,and ,,the ,,peculiarities ,,of ,,stone-,,printing ,,and ,,of ,,chemical-,,printing ,,in ,,general ,,part ,i ,general objects and principles governing-- 7#a7 the stone4 7#b7 the ink1 crayon1 etching surface and color4 7#c7 the acids and other preparing materials4 7#d7 the necessary tools4 7#e7 the paper4 7#f7 the presses4 ,,part ,,ii ,enumeration and description of the various processes and particular objects in manipulating them1 such as3-- ,,relief ,,process-- to which belong-- 7#a7 ,pen and brush designs4 7#b7 ,crayon drawing1 simple and with several plates4 7#c7 ,transfer and ,tracing4 7#d7 ,woodcut style4 7#e7 ,two kinds of ,touche drawing1 one of which is similar to the ,scraped style1 while the other is done in the usual way with the brush4 7#f7 ,spatter-,work4 7#g7 ,touche drawing4 7#h7 ,color printing with several plates4 7#i7 ,gold and silver print4 ,,intaglio ,,process-- 7#a7 ,carved or engraved4 7#b7 ,etched4 7#c7 ,drawn with prepared ink2 with spattered aquatint4 7#d7 ,aquatint in copper engraved style1 and with etching ground4 7#e7 ,aquatint through crayon ground4 7#f7 ,intaglio crayon through tracing4 7#g7 ,touche drawing with etching color and citric acid4 ,,mixed ,,method3 ,,relief ,,and ,,intaglio ,,united-- 7#a7 ,pen drawing combined with engraving4 7#b7 ,intaglio drawing with relief tint4 7#c7 ,intaglio and relief with several plates4 7#d7 ,transformation of relief into intaglio1 and vice versa4 ,,appendix 7#a7 ,printing simultaneously with water colors and oil colors4 7#b7 ,simultaneous chemical and mechanical printing4 7#c7 ,application of the stone for cotton-printing through wiping--a unique printing method4 7#d7 ,color print through wiping4 7#e7 ,oil painting print through transfers4 7#f7 ,stone-paper4 7#g7 ,applying the chemical printing process to metal plates1 etc4 ,,introduction ,printing from stone is a branch of a new process1 different in fundamental principle from all others1 namely1 the chemical process4 ,heretofore there have been two leading printing processes for manifolding writings and drawings1 one working with characters in relief1 the other with sunken characters4 ,of the first kind is the ordinary book-printing1 in which the characters are made of metal or wood in such form that only those lines and points are elevated that are to take color1 everything else being depressed4 ,the wooden forms for cotton-printing are made thus also4 ,of the second kind are all copper and zinc plates1 and the cotton-print process with copper plates or cylinders4 ,in this method the lines and points to be printed are depressed1 being either engraved1 etched1 or stamped4 ,as is well known1 the first method of printing is as follows3 ,the letters1 which are all at the same elevation and1 therefore1 furnish a plane surface1 are inked with a leather ball1 stuffed with horsehair4 ,as the ball is so firm and elastic that it can touch only the elevated parts1 these alone can take the color1 which adheres because of its sticky nature4 ,the same is true of the carved wood used in cotton-printing1 with only the difference that1 instead of rubbing with a leather ball1 the wooden plate itself is laid on a cushion covered with the color1 and then1 being placed face down on the cloth1 is hammered gently to produce the imprint4 ,in copper and zinc printing the method is reversed4 ,in order to force the color into the depressed parts1 which alone are to be printed1 the entire plate is coated with color1 and then the elevated surface is cleansed again carefully4 ,the cleaning rag cannot reach the depressed grooves1 so that more or less color adheres to these according to their various depths4 ,under the powerful press1 which forces the paper into all the engraved parts1 this color transfers itself and thus gives the desired impression4 ,it is evident that both methods rest on purely mechanical principles3 book-printing being based on the fact that the color adheres only on those places that it can reach1 and copper-plate printing depending on the fact that the color remains only in those places from which it cannot be removed by cleansing4 ,it is different with the chemical print4 ,this does not depend on either elevation or depression of the design4 ,it depends on the fact that the design is coated with a preparation of such nature that afterward the printing color1 which is made from a related substance1 adheres because of its chemical similarity2 and furthermore1 because all parts of the plate that are to remain white1 have been so treated that they repel the color4 ,these two purely chemical objects are attained fully with the new process4 ,daily experience proves that all fatty bodies1 such as oil1 butter1 tallow1 fish oils1 etc41 and all such as easily dissolve in oil1 like wax1 resin1 etc41 refuse to unite with any watery substance without the aid of some third body that will bring about such union4 ,the chief solvent for this purpose is alkali1 which1 under proper manipulation1 always produces a sort of soap that then is soluble in water4 ,sometimes1 to be sure1 an apparent union can be produced by violent shaking or mixing1 without the use of the alkali1 but at the first opportunity the fatty substances separate themselves again from the watery ones4 ,it is on this fact that the entire method of the new process is based4 ,it is termed chemical printing with perfect propriety1 as the reason why a fatty color1 say1 linseed oil varnish1 will adhere only on the designed parts of the plate and is repelled by the rest of the surface1 is due to the chemical properties of the materials4 ,it might be maintained that in the other forms of printing1 color adheres from the same reason4 ,this is true1 to be sure2 for it is a general law that water and oil will adhere to all bodies that are dry4 ,but it is not the case with these fluids mutually2 and in this fact lies the unique difference between the older and the new processes4 ,a dry plate would take color over its entire surface4 ,if1 however1 it is dampened1 it will take oil color only on those places that are in a condition opposite to dampness4 ,therefore1 the repelling of the color from those parts that are to remain white is the novelty4 ,it must not be imagined1 however1 that to print chemically it suffices to dampen certain parts of the plate and to coat others with fatty substance4 ,with most of the materials available for printing1 mere water does not suffice to produce a sufficiently repelling obstacle between the plate and the color4 ,with flinty and clayey bodies1--for example1 glass1 porcelain1 slate1 etc41--one can manage with mere water2 but then the slight adherence of the fatty color to the plate produces an opposite difficulty1 by preventing any large number of impressions4 ,still1 by using very firm and readily drying fatty substances1 such as linseed oil varnish dried with litharge of silver it is possible1 in case of need1 to succeed fairly well4 ,but with such bodies as attract the color powerfully1 such as all metals1 wood1 limestone1 artificial stone-paper1 etc41 it is necessary so to treat all the parts of the plate that are to remain white that they attain an especial resistance to color1 and thus change their natures1 so to speak4 ,that this is possible under certain circumstances and with the proper means1 with all bodies belonging to this class1 ,i have proved by many experiments1 and ,i shall describe the methods in this book4 ,thus the new process is not to be used only on limestone1 but is applicable to metal1 etc42 and stone-printing or lithography is to be considered only as a branch of general chemical printing4 ,however1 as this book is to teach mainly lithography1 ,i will occupy myself chiefly with it4 ,among the bodies available for chemical printing1 limestone maintains an eminent place4 ,not only has it an especial property of uniting with fats1--sucking them in and holding them1--but it has1 also1 the same propensity for taking all fluids that repel fats4 ,indeed1 its surface unites so thoroughly with many of the latter that it forms a chemical union with them1 becoming practically impenetrable for oil colors and remaining constant thereafter in repelling them so that they cannot adhere perfectly4 ,therefore when a plate thus prepared is dry and covered entirely with oil color1 it still remains an easy matter to wash it completely1 using merely water for the purpose4 ,this good property1 combined with the low cost and the ease of obtaining the stone in ,bavaria2 then the advantage that it is easily polished and prepared2 the further advantage that a stone of medium thickness can be ground as often as a hundred times and utilized for new work--all these properties combined made me willing to overlook a few faults1 such as their weight1 great volume1 frequent unevenness of quality1 and lastly the occasional danger of cracking4 ,thus ,i came to use these stones as the principal means for making my countless experiments1 whose happy result has been to elevate stone-printing to an art by itself4 ,having stated the process and the character of this form of printing1 it remains only to say a few words about its value4 ,with every new invention there arises the question if it is useful1 and if so1 in how far1 for science1 arts1 and industry4 ,therefore all who have no sufficient knowledge of lithography1 will ask justly3 ,what is its value8 ,what advantages does it give that are not to be found in any other forms of printing8 ,to answer this1 let me say the following merely in advance till later descriptions of the various processes will convince in themselves4 ,it is the nature of earthly being and of human imperfection that rarely is anything found that combines in itself everything to be wished for and required4 ,so it may be said of stone-printing that it makes neither book-printing nor copper-plate printing entirely superfluous4 ,it is possible that in the future1 by perfecting the presses1 lithography may equal book-printing in point of speed1 as it does not now2 but the convenience of the latter1 enabling the printer1 by merely setting cast characters side by side1 to do with speed1 accuracy1 and symmetry what the writer can hardly do with all his skill and industry1 gives book-printing its own eminent value4 ,when1 however1 we come to many things produced hitherto by book-printing1 such as statistical tables1 letters1 circulars1 letters of exchange1 bills of lading1 visiting-cards and addresses1 and other similar work1 we find that these can be produced more conveniently1 more readily1 more cheaply1 and faster and handsomer with lithography4 ,as to copper-printing3 in the future1 as lithography extends1 there probably will remain an advantage with the copper in the case of only two styles1 the engraving done with the engraving needle1 and the etching1 the latter being worked up with the graver and the cold needle4 ,in this respect1 however1 the skill of the artist must be taken into account1 for a good man can produce better work on stone1 even in those two styles1 than a less skillful man can produce on copper4 ,we can declare the same of the stipple style in copper1 when done in the style of ,herr ,bartolozzi1 or even like the very foremost of the copper engravers in this style1 ,herr ,john of ,vienna4 ,all other methods 7and even these three if done with less care or skill on copper7 must yield place to a good design on stone2 especially if one takes into account the ease of execution1 the lesser need for skill1 the greater speed of printing1 and the almost countless impressions that are possible4 ,for instance1 printing music from the stone has a decided advantage over zinc plates1 both because of smaller cost and greater beauty4 ,it is easier to produce all kinds of script on stone1 both with fatty inks and with the engraving needle4 ,therefore lithography serves excellently for charts and similar work1 which can be done at least three times faster on stone than on copper4 ,if copper-printing is to reach a high degree of perfection1 the printing itself must be done by very excellent workmen4 ,indeed1 some persons allege that the very best ,german copper-plate printers do not yet equal the ,parisians4 ,printing from stone is not so difficult1 and only a few particular methods demand especial care or unusual knowledge4 ,because of the greater ease of inking1 the speed of stone-printing may be assumed to be at least five times as great1 often ten times1 and especially so when large plates are to be printed4 ,besides1 it is much easier to make corrections on stone than on copper and zinc4 ,from all this it appears that lithography makes it much easier to write and design and then to print swiftly and produce any desired number of impressions1 of all those works that heretofore could be produced only on copper or zinc1 providing they do not demand the very greatest degree of delicacy1 strength1 and sharpness obtainable with copper2 in a word1 so long as it is not vital to attain the utmost possible artistic beauty4 ,further1 most of these works done on stone1 by only average artists and printers1 usually are more beautiful than if they had been done by the same men in copper or zinc4 ,this property alone gives lithography a preminent value1 the more so as no great expense is incurred in establishing a plant4 ,but in addition to this1 there are several art methods peculiar to it1 which cannot be imitated by book-printing or copper-print1 and which make it possible for almost every writer or artist to manifold his works without any especial skill4 ,i will mention now only the crayon process1 which enables every artist or painter to make several thousand impressions of his original drawings2 also the transfer method1 by means of which all that is written or drawn with fatty ink on ordinary paper can be transferred to the stone1 giving countless faithful impressions4 ,this latter process is particularly useful for government bureaus1 and is being used already with great profit4 ,all this ,i believe that ,i can claim for lithography with fullest confidence1 and ,i hope that everybody who becomes sufficiently conversant with it will share my belief4 ,thus1 besides the properties of the art1 we have stated its uses1 and ,i proceed to the real instructions1 through which ,i hope to make good artists and printers on stone4 ,,part ,i ,,general ,,provisions ,,chapter ,i ,,of ,,the ,,stones ,i ,the stone that has been used exclusively hitherto in ,munich for printing is a stratified limestone1 found in the territory from ,dietfurt to ,pappenheim1 and along the ,danube down to ,kellheim2 hence the name ,kellheimer plates1 presumably because in past times the stone was quarried there first1 or else found in its best quality4 ,now the ,kellheimer quarry is exhausted1 and the trade in the stones has transferred itself to ,solenhofen1 a village in the judicial district of ,mannheim1 three hours distant from ,neuberg-on-the-,danube4 ,all the inhabitants of ,solenhofen are quarrymen1 and the entire surrounding country seems to have a surplus of the stone1 so that even with the greatest demand no scarcity is to be feared for centuries4 ,when the upper layer of earth is removed to the depth of six to ten feet in ,solenhofen1 the stones are found in strata lying horizontally on each other4 ,first come strata of brittle stone1 which often are composed of hundreds of plates as thin as paper4 ,with proper care1 each plate can be loosened and lifted whole4 ,these layers are useless1 being too brittle1 and yet being too firm and not white enough to permit their possible use as chalk4 ,the ,solenhofen stone consists chemically mostly of lime earth and carbonate4 ,it is almost wholly soluble in nitric and other acids1 the carbonate being liberated in gaseous form and disappearing4 ,since the various kinds of marble have almost the same component parts1 one might suppose that marble should be available for lithography4 ,but the many dark1 uneven colors of marble and chiefly the many cracks and veins make considerable difficulty4 ,however1 ,i have found many evenly colored greenish1 gray1 bluish1 and brownish ,bavarian and ,tyrolean marbles very useful for some methods1 especially because of their superior hardness4 ,still1 the ,solenhofen stone will retain the advantage because of its light color and its greater cheapness4 ,the white ,parian or ,carrara marble is still lighter in color1 to be sure1 and really is rather useful for pen and crayon work4 ,but though in part it is harder1 on the whole it is much more porous and not so finely grained as the ,solenhofen stone1 and therefore not at all available for the intaglio method4 ,since lithography began to arouse general interest1 there have been attempts to find a stone similar to the ,solenhofen1 and there has been some fair success in ,france1 ,italy1 ,england1 and lately in the ,kingdom of ,prussia4 ,with the enormous masses of limestone which cover the surface of the earth1 it is not unlikely that this stone will be found in many places1 either in layers of plates one1 two1 or more inches thick1 or in great blocks which can be cut into plates4 ,in the ,solenhofen stones one layer is not as good as another1 and even in the same layer there may be a decided difference4 ,therefore1 if one would produce perfectly beautiful work1 it is necessary to obtain selected and perfect stones4 ,this should be stipulated beforehand with the quarrymen1 who now know pretty well how the best stones should be constituted4 ,a good stone must have the following properties3-- 7#a7 ,the proper thickness4 ,thickness must be proportionate to the size4 ,smaller plates will resist the pressure of printing even if they are not so thick as the larger ones must be4 ,but it is best to buy no stone less than one and one half or more than three and one half inches thick1 because the thinner ones will not bear frequent grinding and the thicker ones are too heavy and inconvenient1 besides taking up too much room4 ,the best thickness of a stone is two to two and one half inches4 7#b7 ,good mass4 ,there are soft and hard stones4 ,sometimes the same stone is hard above and soft underneath1 or the reverse4 ,often1 also1 a stone may consist of several thin and unequal layers4 ,in the latter case1 if the union is good and the layers are not easily separated1 it will make no difference1 so long as the stone is good in other respects4 ,on the whole1 however1 it may be assumed that the harder stones are the best for all methods1 so long as their mass is entirely uniform and they are not marred1 as is the case with many1 with white dots and patches4 ,then1 to be sure1 they are not worth much for any process1 and at best can be used only for pen designs or for such of the intaglio processes where the lines need no particular sharpness4 ,such stones1 generally gray1 very hard1 with softer1 somewhat lighter patches or specks1 are very hard to grind evenly because the softer parts are most powerfully attacked by the grinding material and become depressed4 ,this produces the following defects3-- 7a7 ,in pen work1 the pen will catch often1 whenever it comes to such a place4 ,this1 however1 is not so important3 but 7b7 ,in the crayon method there will be defects and lights in the shadings on the softer places1 which are very hard to correct4 7c7 ,in the etched or engraved methods1 the needle will sink in much deeper when it passes over such softer spots1 making a deeper and broader line which injures the clearness of the drawing4 ,in etching1 also1 the softer places are more affected by the acid2 and it is better1 therefore1 to use a soft stone whose entire surface is uniform1 than to have a stone that is hard but uneven4 ,a very soft stone cracks easily in the press1 unless it consists of several layers1 the lower of which are hard4 ,but it is easier to engrave1 and as a rule gives blacker impressions1 because it sucks more color in1 and holds it because of its greater porosity4 ,printing1 however1 is somewhat more difficult1 because these stones take dirt readily2 nor is it possible to get so many impressions4 ,they are not useful for crayon work because the finest shadings are too easily etched away2 and pen work is difficult on them1 because the steel pen easily cuts into the stone1 fills its point with fine dust1 and thus gives no ink flow4 ,this softest stone in ,solenhofen generally looks yellow1 or is marbled with red and white or has many yellow veins4 ,even those stones whose uniformity1 thickness1 and hardness make them best for all methods1 often have defects1 such as so-called glass spots or tiny1 sometimes invisible holes1 broad veins and cracks4 ,all these must be avoided when selecting stone4 ,very small deep veins1 which often are fine as hairs1 yellowish and grayish spots1 impressions of fossil plants and fishes1 etc41 are not harmful4 ,it is rare to find a stone as large as a sheet of note-paper that is entirely free from these little defects4 7#c7 ,the form of the stones also is to be considered1 and must be selected according to need4 ,to be sure1 a small design can be drawn on a large stone2 but apart from the inconvenience1 the construction of the press demands that the stone be not much larger than the drawing4 ,however1 at the end where the impression begins and stops1 there must be at least an inch margin to give sufficient room for the roller to take hold1 as will be explained more particularly later4 ,when one has to print small things like visiting-cards1 etc41 it will not be profitable to use large stones1 especially if they are to be saved for future use4 ,small stones of the size of an octavo sheet are better4 ,therefore it will be wise to have stones cut to various sizes in the beginning4 ,it would be well also that one of the printers1 or the polisher1 strive to attain skill in cutting stones to size4 ,sometimes polishing discloses defects in a stone1 making it useless for a design of any size4 ,but it is possible to cut it up into many small ones that are perfect4 ,sometimes a stone cracks under the press or breaks through accident4 ,skill in cutting will enable one to make small and good stones out of the pieces4 ,it is essential for good work in the press that the stones be cut very true4 ,the stones that are used for flooring in churches1 etc41 usually are cut so that the upper face is larger than the lower4 ,this is done to make them set better in the mortar and to enable the stone-cutters to fit them closely together on the top4 ,but this must not be done with stones for printing1 because such stones could not be tightened properly in the press and would lift during the printing4 ,printing-stones must be cut absolutely true vertically4 ,indeed1 in work where several plates are to be used to make one complete impression1 and where steel guide-points in the frame are used instead of laying the paper on the plate1 it is beneficial to cut the stones conically1 so that the base is one fourth inch greater than the top4 ,the plate can be tightened better and is less likely to be moved from its place during the impressions4 ,despite their hardness the stones are brittle1 and a single light but sudden blow with any hard body1 such as a steel tool1 may cause a crack in the thickest stone4 ,it is necessary to exercise great care to avoid all shocks4 ,this property of the stone is used in ,solenhofen to cut the stones according to desire4 ,a small hammer of hard steel1 weighing scarcely two ounces1 is used4 ,its end is somewhat like a stone-chisel1 but not nearly so sharp4 ,with this hammer1 which is set on a thin handle two or three feet long1 the workman strikes light but very swift blows along the line of desired cleavage1 each tap being about an inch from the preceding one4 ,the stone is so laid that its greater part is free1 resting on nothing4 ,this light operation is sufficient to cleave the largest stones4 ,the cleavage is not always uniform and true4 ,therefore the stone usually is finished with a sharp stone-chisel4 ,it is possible also to divide a stone as desired by supporting it at both ends so that there is nothing under the part to be split1 and then cutting along the line with a chisel of hardened steel1 not too sharp1 which is tapped lightly with a light hammer4 ,the varying sound tells at once when the stone cracks1 and then a few light taps with the hammer on the other side suffice to separate it4 ,before one attains the necessary skill1 however1 he will smash many a stone4 ,therefore it is not advisable to try this on a stone that has a design on it1 for a single incorrect or over-heavy blow often will split the stone in the wrong direction4 ,blows that are too light1 on the other hand1 often make it almost impossible in the end to cause a cleavage along the desired lines4 ,,ii ,,polishing ,the stone plates that come from ,solenhofen1 even if polished according to stipulations1 rarely are available for printing1 but must be specially polished by one who understands the work thoroughly4 ,the first requisite for this is a straightedge of iron or brass1 as true as possible4 ,this ruler must be laid on the stone in various directions1 and the lithographer must note all parts where there is space between the straightedge and the stone4 ,the greater the space1 the greater the unevenness of the stone2 and those that show especial unevenness should be set aside from those that have little4 ,when this has been done1 the very uneven stones must be ground with a coarse sandstone and plenty of water applied to the elevated places till the straightedge can be applied in all directions without showing any material interstices4 ,then these ground stones may be placed with the others that were fairly even in the beginning4 ,now we take one of these stones1 and lay it on a strong1 firm table1 the best being one to be described later4 ,finely grained sand is sprinkled over its surface4 ,in the absence of sand1 a substitute can be made by powdering a common sandstone of the kind used for coarse grindstones4 ,a spoonful of water is poured over this4 ,a little soap may be mixed with the sand4 ,it facilitates the grinding and makes the sand take hold of the stone better4 ,now another stone is laid on the first one1 and is moved back and forth continually in all directions4 ,the sand and water must be renewed often4 ,thus both stones1 the upper and lower1 will be ground simultaneously1 and very evenly and true1 if the work is done right4 ,one must take care never to draw the upper stone far beyond the lower one1 because that would throw the centre of gravity of the upper plate too near its ends1 as a result of which the upper plate would become concave and the lower plate convex4 ,to avoid this defect1 the upper plate should be moved around only in small circles4 ,it is good also to change the plates around frequently1 so that the upper shall be the lower4 ,another good plan is not to use two stones of equal size1 but to take for the upper stone one only half as large as the lower4 ,it is necessary also that the straightedge be applied frequently4 ,the stone must always be cleansed thoroughly before this test4 ,once one has the proper experience1 it is possible to tell by mere touch if the plates have been sufficiently ground4 ,so long as they still have uneven spots1 a certain resistance is noticeable1 so strongly sometimes that it is impossible to move the upper plate further without lifting it and sprinkling new sand4 ,sometimes this friction is so great that manual strength does not suffice to separate the stones1 especially if they happen to dry4 ,if tools are used to separate them1 it happens often that pieces are torn from the stones1 because they adhere so mightily4 ,in this case a very simple and convenient remedy is the best4 ,an ordinary table-knife is inserted gently and then tapped very lightly1 when the stones will separate at once4 ,whenever sand is applied1 water must be applied also1 but not too much1 as in that case it would only wash away the sand4 ,here1 too1 practice must teach the exact proportions4 ,from the stone-cutter's work1 as well as from the primary grinding with sandstone1 the plates will have visible furrows and scratches made by the coarser grains of sand4 ,under the polishing all these disappear bit by bit1 and there appears a fine grain1 consisting entirely of fine dots2 and this is the finer in proportion as the sand is crushed by the process of polishing and also according as less fresh sand has been used4 ,when the marks of the sand have vanished completely1 it is fairly certain that the stones are polished sufficiently4 ,to make sure1 the straightedge can be applied again4 ,it must not be imagined1 however1 that it is necessary or possible to polish a plate so perfectly that there will be absolutely no spaces between any part of its surface and the straightedge4 ,a perfect and mathematically level plane surface is hardly likely ever to be produced4 ,if the stone is almost level1 and the unevennesses do not exceed the thickness of letter-paper1 it is quite sufficient4 ,although this sort of polishing1 with two plates at once1 is not used in all lithographies1 some preferring to polish with small pieces of sandstone1 ,i give it here as the best1 because it demands little skill and is quicker1 so that one can grind off four stones in the time required for one under other methods4 ,in this matter of smoothness of the stone it is impossible to be too careful4 ,the beauty of the imprint depends upon it4 ,errors in the polishing cause great trouble afterward4 ,therefore the manager of a lithography must pay close attention to this work4 ,in the ,lithographic ,institute in ,berlin the rule has been adopted that no engraver shall accept a plate that he has not found thoroughly good1 under penalty of reimbursing the printers for all extra trouble and work4 ,this first polishing1 however1 is only the general preparation of the stone4 ,afterward they must be polished and prepared especially for each particular method1 as will be explained in the proper place4 ,,iii ,,sorting ,,and ,,storing ,when the plates have been polished1 they are cleansed with water and sorted for their various uses4 ,now it is easier to see just what quality the stones have1 their defects1 and consequently1 what work they are best for4 ,those not uniform are best for coarse pen work4 ,those of uneven coloring1 but hard and thick mass1 can be used for the finer pen drawings1 for etching and engraving1 or for transfer work4 ,for crayon work the clearest and most evenly colored stones of extreme hardness are to be selected4 ,they can be stored anywhere that is not too damp and not too much exposed to winter cold4 ,dry cold does not hurt them2 but if they are wet through and through and then freeze1 they will crack4 ,in constant dampness1 too1 saltpetre and other salts enter them and they crumble4 ,in clean water they do not undergo any changes4 ,i will describe the storage of etched and designed stones later4 ,if the stones are to be used after being stored in any damp place1 they should be kept for several days in a temperate and dry place till they have dried thoroughly1 as otherwise they are not easy to work in any style4 ,this is not necessary if their place of storage has been perfectly dry4 ,,chapter ,,ii ,,of ,,ink1 ,,crayon1 ,,etching1 ,,and ,,color ,i ,,chemical ,,ink ,the first and most necessary material in a stone printery is the so-called chemical ink1 which would better be named fatty or alkaline ink1 since it is a mixture of fatty and resinous materials with alkali4 ,it is used partly to write or draw directly on the stone1 partly to cover the stone as with an etching surface1 and partly to transfer to the stone from paper4 ,the purpose of this ink is1 first1 to cause a mass of oily1 fatty substances to soak into the pores of the stone and also make certain portions of its surface fatty2 and secondly1 to resist acids according to requirement in such degree that the stone shall remain fat where needed1 that thus the design1 applied with this ink1 shall be left untouched by acid4 ,i have remarked before that countless different mixtures can be made1 most of which fulfill the purpose4 ,but there enters the consideration that it must be an ink easy to use1 that handsome work may be done by the artists with perfect ease4 ,various mixtures answer this purpose very well1 and ,i have found sometimes that men could work better with mixtures made by themselves than they could with those that ,i used for my own work4 ,perhaps this was a matter of imagination1 or the real reason lay in the pen-cutting1 it being well known that one man can use a pen that is absolutely worthless for another4 ,i myself have tested the values of some mixtures so thoroughly that ,i can declare almost positively that it will not be easy to find better ones for any purposes4 ,i will describe these fully4 ,first of all1 stone-ink is divided into two great classes4 ,one is thicker1 being used for drawing on stone4 ,the other is more fluid1 being used for transfers4 ,the following mixtures of the first kind are the best3-- 7#a7 ,white ,wax #h parts ,soap #b parts ,lampblack #a part ,this ink does not really serve for writing or drawing on the stone1 but is used mostly for coating those places that are to be protected from the etching fluid4 ,if this ink is needed in a thickened form1 the wax should be heated in an iron pan till it burns and the combustion should continue till one half of it is consumed4 ,the longer it burns1 the harder will be the remnant4 7#b7 ,white ,wax #ab parts ,tallow 7,ox ,fats7 #d parts ,soap #d parts ,lampblack #a part 7#c7 ,wax #ab parts ,shellac #d parts ,soap #d parts ,lampblack #a part 7#d7 ,tallow #h parts ,shellac #h parts ,soap #d parts ,lampblack #a part 7#e7 ,wax #h parts ,shellac #d parts ,mastic #d parts ,soap #d parts ,lampblack #a part 7#f7 ,wax #h parts ,tallow #d parts ,shellac #d parts ,soap #d parts ,lampblack #a part 7#g7 ,wax and ,gum quajak #ab parts ,tallow #d parts ,soap #d parts ,lampbblack #a part ,the wax and gum are melted in equal proportions1 the undissolved portion is discarded and of the mixture twelve parts is used as above4 7#h7 ,wax #f parts ,shellac #d parts ,tallow #b parts ,mastic #c parts ,venetian turpentine #a part ,soap #d parts ,lampblack #a part ,there is no important difference between the inks in the seven last formulas4 ,those that contain shellac remain fluid a little longer but are harder to prepare4 ,it is not necessary to be painfully minute about the proportions of the various materials1 providing the proportions of soap and lampblack be correct4 ,the soap is about one fifth and the lampblack about one twentieth part of the whole4 ,if too much soap is used1 the ink will dissolve more readily1 but the solution will become slimy more quickly4 ,too much lampblack would make the ink run4 ,,making ,,the ,,chemical ,,ink ,in making any of the inks mentioned1 first divide the required quantity of soap into two equal parts4 ,put one part into an iron pan with the other substances1 and heat till the mass begins to burn4 ,let it burn till almost one half is consumed4 ,then cover the pan with an iron lid1 or place it very carefully into a basin of water to extinguish and cool the mixture4 ,one part of the soap is mixed in at once1 that the combustion may make it mix well with the other substances4 ,but it loses some of its strength and sates itself with carbonic acid1 so that it is not quite so powerful as before to attack the fats4 ,therefore a second part is added after the combustion4 ,then the complete mixture is heated again1 but only to a degree sufficient to melt the soap4 ,now take up a bit of the mass with a clean knife and see if it is easily soluble in river or rain water4 ,if the soap was good 7something not always the case71 the quantity named in the formulas always suffices4 ,if it does not contain enough alkali1 little pieces of soap must be added till the mass is soluble4 ,then the lampblack is added while the mass is being stirred without cessation4 ,the lampblack must be of the finest sort1 and should be roasted and burned in a closed vessel until it ceases to give off any yellow smoke4 ,when everything has been stirred till the mass is nearly cold1 it is kneaded into any desired shape1 sticks being the best1 and so saved for use4 ,the following remarks are to be noted especially3-- 7#a7 ,the soap is to be the ordinary soap made from ox fat and lye4 ,in the formulas its weight is calculated in fresh form1 which1 of course1 includes considerable water4 ,if the soap is very dry1 less must be used4 ,venetian or vegetable oil soap is not so good because the ink easily becomes slimy afterward when dissolved in water4 ,it does not resist acids so well1 either4 ,if1 however1 the other kind is not to be had1 or to be had only in poor quality1 the ,venetian soap will do4 ,it will be necessary merely to make frequent fresh solutions in water of the ink4 7#b7 ,lampblack is not the only substance available for giving color to the ink4 ,vermilion1 red chalk1 indigo1 blue lake of logwood1 and several other colors can be used1 so long as they do not consist of acids or other salts1 and thus have properties that could alter the nature of the soap4 ,the finer kinds of ordinary lampblack can be used without burning1 but then a part of the soap always is rendered inactive1 because the lampblack usually contains a considerable quantity of inflammable wood acid which unites with the alkali1 neutralizes it1 and thus destroys its effectiveness against fats4 ,therefore1 if it is not roasted beforehand1 it may be necessary to mix more soap with the ink after it is made1 and this does not completely remedy the trouble4 ,lampblack can be purified by rubbing down with strong lye and then boiling in sufficient water till no trace of alkali remains1 if roasting and burning be undesirable for any reason4 ,better even than this purified lampblack is one that one makes for himself from ox or other animal fat1 from wax1 or better still1 from a mixture of ox fat and resin4 ,the fat is melted and poured into an earthen lamp similar to those used for city lighting1 with a cotton wick4 ,the lamp is lit and placed under a plate of iron or brass1 so that the smoke must settle on it4 ,the plate must be close to the flame4 ,the soot is scraped off from time to time and dropped into a glass1 which is kept covered4 ,this process continues1 the lamp being refilled till one has the desired quantity4 ,this soot is very fine and bland1 and so good that one can do more with an ounce of it than with three ounces of the ordinary kind4 ,the ink made from it is extraordinarily fine and good4 ,it is to be noted in conclusion that the more soot is used1 the blacker will be the ink1 but the coarser will be the work1 because the ink will have the tendency to spread4 ,the less soot is used1 the finer will be the work2 but it is not easy then to see what one is doing or to judge if the design is strong enough4 ,the quantities given in the formulas appear to me to be the best1 especially if the self-manufactured soot is used4 7#c7 ,to dissolve the ink1 rain water or pure soft river water is best4 ,the rain water must not be very old or stale1 otherwise the solution will get slimy4 7#d7 ,the severe combustion is not vital for making the ink1 but helps very much in making it easy to use4 7#e7 ,when shellac is part of the mixture1 it is vital to burn the mass well1 as only thus will shellac dissolve properly4 ,shellac1 which is made in ,china and ,east ,india from an insect belonging to the bee family1 will melt under moderate heat1 but will not dissolve in any animal fat or oil unless it has previously lost its inherent acid1 which occurs only under combustion4 ,if shellac is melted with oil or fat1 it covers the bottom of the vessel in the beginning4 ,with heat increased till it causes combustion1 it begins to swell1 rises to the surface1 and at last covers the surface in the form of a spongy mass4 ,if the heat still increases1 it begins to dissolve into foam4 ,then it is time to remove the mass from the fire and to cover it with a tight lid1 that the flame may be extinguished4 ,if shellac has been once melted and has hardened1 it dissolves only slowly even under severe combustion4 ,it is better1 therefore1 to bring the other substances to combustion first1 and then to mix the shellac in small portions1 which will dissolve much more readily because they will be attacked by the great heat in the moment of melting and will not have time to swell first and get hard4 ,as soon as the mass has cooled a little1 the second part of soap is added1 and the whole heated1 without burning1 merely enough to melt the soap4 7#f7 ,none of these mixtures can be kept well any length of time in fluid form1 that is1 dissolved in water1 because it becomes slimy after a very few days1 sometimes sooner4 ,it can be liquefied again by mixing with water1 but not without affecting its durability4 ,therefore the ink must be stored dry1 in which form it lasts for years without change4 ,when required1 a small quantity1 about the size of two peas1 is rubbed down in a very clean small earthen or porcelain vessel1 such as a saucer4 ,those mixtures that contain tallow rub the easiest4 ,the others1 containing harder substances1 require more pressure4 ,the ink should be spread evenly over the bottom of the vessel4 ,then a coffee-spoonful of rain or other soft water is poured in1 and the mixture is rubbed with the finger till the solution is perfect4 ,then it is put into a small1 very clean pot of glass or porcelain and is ready for use4 7#g7 ,a great deal depends on the proper quantity of water4 ,a good ink must be completely dissolved1 with no solid particles left4 ,it should be about as fluid as a good1 fat milk or vegetable oil4 ,if it is too thick1 it makes the work difficult4 ,if it is too thin1 it will not withstand the etching fluid4 ,a few experiments will teach the proper proportions4 ,even a good ink will make poor lines if it is laid on too thinly and not firmly enough4 ,this1 however1 is due to the artist's lack of skill or to defective pens1 of which ,i will treat hereafter4 ,with this quantity of ink it is possible to work for a whole day4 ,thus each day fresh ink can be mixed2 and it is to be noted that the vessels must be cleansed scrupulously that no trace of the previous day's ink be left in them4 ,the ink will dry during the work1 and as soon as this begins to interfere with its use1 one or two drops of water will thin it again sufficiently4 ,this is about all that need be said about the chemical fatty or alkaline stone-ink in general4 ,particular remarks will be found in the description of its use for particular methods4 ,,ii ,,hard ,,borax ,,ink ,besides the inks described1 it is well to make the following and keep it in stock for uses whose great value will be explained later4 ,shellac #d parts ,borax #a part ,water #af parts ,borax and shellac must be put into a clean pot filled two thirds with water and boiled for an hour4 ,as the water boils away it must be replaced4 ,when the shellac has been mostly dissolved1 the mass is removed from the fire1 cooled1 and filtered through a clean cloth to separate the undissolved portions of the shellac4 ,this solution can be kept for years in a tightly closed glass4 ,to color it1 a portion is to be cooked in a copper or iron ladle till it is thick as honey4 ,fine lampblack or vermilion is stirred in till the mass is thoroughly united4 ,then water is added1 and the composition boiled again till it is a perfect solution4 ,this black or red ink is first-class and can be kept well in tightly closed glass4 ,,iii ,,fluid ,,ink ,herr ,andre1 in ,offenbach1 uses an ink which has the useful property of remaining good for years in fluid form4 ,i do not find it so good for the very finest work as those ,i have described1 but for music and script it is excellent4 ,it consists of3-- #ab parts shellac #d parts mastic #a part pure ox-fat soap #a part purified crystallized soda #a part lampblack ,this is mixed with water and boiled in a clean vessel1 being constantly stirred till it is dissolved4 ,then the boiling is continued till the water has disappeared almost entirely4 ,fresh water is added and the boiling continued till everything has dissolved anew4 ,then the mixture is filtered through a cloth and kept in a vessel where it is secure against dust4 ,if it is seen on cooling that it is too thick it can be thinned easily with water4 ,also1 when it dries during use it can be liquefied by adding water1 unless dust has entered it4 ,,iv ,,transfer ,,ink ,all the above-named inks are intended for use directly on stone4 ,if it is desired to write on paper and transfer this writing to the stone1 those inks mostly prove too hard1 unless one would use warmed stones1 as described later4 ,this1 however1 makes added work3 therefore1 ,i give here the recipe for an ink excellent for cold transfers4 ,shellac #c parts ,wax #a part ,tallow #f parts ,mastic #e parts ,soap #d parts ,lampblack #a part ,the mode of preparation is exactly like that of the rest4 ,the mass can be kept only in dried form1 not mixed with water4 ,the evidence that this ink is good for transfer work is that1 after it has stood for some days1 it still manifests stickiness when touched with the finger4 ,if the ink does not transfer well to the stone under moderate pressure1 it is too hard1 and can be improved by mixing in a little butter or vegetable oil1 but it is necessary to dissolve the whole mass again over the fire4 ,if the design squashes under pressure1 the ink is too soft4 ,it is necessary to consider the temperature of the place where it is kept1 and even the time of year1 in order to produce the proper consistency of ink for the best transfer work4 ,v ,,hard ,,etching ,,ground ,certain methods of stone-printing demand1 besides the ink1 a fatty1 acid-resisting mass to coat the plates4 ,it is either the same as the material used by copper-plate etchers1 or1 at least1 is very similar to it4 ,etching ,ground for stone is as follows3-- ,wax #ab parts ,mastic #f parts ,asphalt #d parts ,resin #b parts ,tallow #a part ,this is melted in an iron pan over a fire hot enough to melt the asphalt perfectly4 ,combustion is allowed to ensue till a third of the mixture has been consumed4 ,when thoroughly cooled1 it may be shaped in any desired form and saved for use4 ,a good surface is made also by common wax1 boiled and burned till almost five parts of it have been consumed4 ,,vi ,,soft ,,etching ,,ground ,for some processes there is needed an etching ground which has the property of not coating the entire surface1 permitting the etching fluid to penetrate at many spots uniformly1 or1 if it resists the etching fluid1 still so easily affected by manipulation that it will admit the acid according to such manipulation4 ,there are two ways to make it4 7#a7 ,thick linseed oil varnish #a part ,tallow #b parts 7#b7 ,wax #a part ,tallow #e parts ,linseed oil varnish #c parts ,the application will be described in the instructions about aquatints1 etc4 ,,vii ,,acid ,,proof ,,ink ,so ,i name a color which has the property of resisting acid when the stone is inked with it4 ,it is useful in many cases1 and even necessary4 ,it is well1 therefore1 to make a supply of it4 #b parts thick linseed oil varnish #d parts tallow #a part ,venetian turpentine #a part wax ,all must be well melted1 mixed with four parts lampblack1 well rubbed down and kept in a closed tin vessel4 ,,viii ,,crayon ,chemical or fatty crayon is a composition intended to be used on the stone plate in dry form like ,spanish or ,parisian chalk4 ,the inks described previously have the property of soaking into the stone and making it greasy where applied4 ,the same happens if they are applied dry1 the degree of their penetration and adherence merely being less4 ,the mixtures that may be used to make crayons are countless4 ,wax and soaps1 however1 are better than resinous materials4 ,therefore it is likely that the compositions here named will be pretty nearly the best4 7#b7 ,wax #d parts ,soap #f parts ,lampblack #b parts1 roasted1 or better still1 made as explained before4 ,the wax and soap are melted together4 ,the lampblack is added then4 ,all is rubbed down fine on a hot plate1 and then placed on the fire again till it is fluid once more4 ,then it is poured on a stone plate coated with a little oil1 so that it forms a cake of about one eighth inch thickness4 ,when this has cooled a little1 it is cut into thin pieces and put away till needed4 7#b7 ,wax #h parts ,soap #d parts ,lampblack #b parts ,burn the wax till one half is consumed1 then melt the soap with it1 and treat the mixture as before4 7#c7 ,wax #d parts ,spermaceti #d parts ,soap #d parts ,lampblack #b parts ,the first three materials are melted together1 the lampblack is added1 and then the whole is treated as before4 7#d7 ,wax #h parts ,spermaceti #d parts ,soap #d parts ,lampblack #b parts ,the wax is to be half burned away1 then the spermaceti and soap are to be melted into it1 and the whole treated as the other formulas4 7#e7 ,shellac #d parts ,wax #h parts ,soap #e parts ,lampblack #c parts ,the shellac is to be completely dissolved with the wax by means of combustion after which the rest of the treatment is the same as before4 7#f7 ,shellac #d parts ,wax #h parts ,tallow #b parts ,soap #e parts ,lampblack #c parts ,the same treatment1 except that the tallow is to be mixed in after the shellac has dissolved4 ,this crayon is a little softer than the others4 ,the same is true of the following two4 7#g7 ,wax #h parts ,tallow #d parts ,soap #f parts ,lampblack #c parts ,wax1 tallow1 and soap are melted together and burned till one third of the mass has been consumed4 ,then the lampblack is added and the rest of the process is as before4 7#h7 ,wax #b parts ,tallow #f parts ,mennig #b parts ,lampblack #b parts ,wax1 mennig1 and lampblack are heated and constantly stirred till the mennig dissolves in froth and changes from red to brown4 ,then the lampblack is rubbed in thoroughly1 the whole warmed again properly and shaped into sticks4 ,these are the best compositions1 thoroughly tested by me1 and it is very good to make a stock of all or most of them4 ,in the case of the recipes for chemical ink1 the differences are not great1 and it is largely a matter of taste as to which kind one may use4 ,but in the case of the crayons1 each of them produces a different grain which creates a particular effect2 so that by using various kinds of crayon one will gain greater perfection of work1 or1 at least1 find execution easier than with only one crayon4 ,also1 they are in proportion to the greater or lesser roughness of the stones2 and the darker shadings are easier to produce with soft crayons than with hard ones1 while the hard ones are best for fine shading and outlines4 ,the lampblack used for crayons must be burned out first1 else it will develop blisters1 which is the case also if the composition is poured on the plates too hot4 ,crayon that contains much shellac is likely to soften in damp air2 therefore it should be kept in tightly closed vessels4 ,,ix ,,concerning ,,color ,,for ,,printing ,the manufacture of printing-ink or color is very difficult and dangerous on a large scale4 ,i counsel all to take lessons from a book printer when he makes it4 ,the varnish must be prepared in the open1 far from buildings1 because of its combustibility4 ,the best utensils and skilled workmen are required1 because otherwise terrible accidents may occur1 and even life be lost through explosion of the copper receptacle4 ,whoever does not require as much as one or more hundredweight of varnish in a year1 would better buy it from printers or make only a small quantity1 one or two pounds1 and in an open vessel4 ,for this purpose ,i will describe the process4 ,one1 or at most two pounds of good old but not rancid linseed oil are poured into a clean iron pan which has a long1 strong handle and is so large that the oil takes up only one half or1 better1 one third of the space4 ,this is heated over a good fire till it burns1 which is facilitated by applying flame to it4 ,oil that is too new has much water and other impurities that make it froth and run over4 ,in that case the oil must be poured into the pan only in small quantities1 when one must take great care to avoid spattering4 ,as soon as the oil burns1 the pan is removed from the fire and placed in a safe spot4 ,if it is hot enough1 it will continue to burn4 ,it must now be stirred from time to time with an iron rod4 ,usually the flame increases under this stirring1 but sinks again immediately at its cessation4 ,so long as it does this1 there is no danger that the flame cannot be easily extinguished if need be4 ,but when it begins to continue burning with a great flame after the stirring stops1 and at the same time to bubble and froth1 it is high time to cover the pan with a close lid and leave it covered till the oil no longer takes fire when exposed again to the air4 ,then a dry knife is introduced and as much oil removed as will adhere to its point4 ,if it does not permit itself to be pulled into long threads when cool1 but is too thin1 it must be heated again until it gets the required consistency4 ,a good varnish dries very readily of itself1 and it is not only unnecessary but inadvisable to mix a drier with it1 as varnish so treated is too likely to off-set on the stone4 ,several strengths of printing-varnish are needed for the various methods of lithography4 ,therefore a stock of thin1 medium1 and thick varnish is needed4 ,in making the thin1 the oil has been reduced to about two thirds through combustion4 ,it is somewhat like fluid honey and does not pull into threads4 ,only a little more than half the oil is left in the case of medium varnish4 ,it is thick as old honey and can be pulled into threads a foot long4 ,in the thick varnish the mass is not much less1 but it can be pulled into threads of a yard in length2 and further boiling makes it thick and tough like gum elastic4 ,in the latter case it can be used with advantage when rubbed down with oil and properly thinned4 ,but as soon as it has obtained the last-mentioned degree of thickness and toughness1 it must be cooled quickly1 for then it is not far from hardening completely and becoming worthless4 ,in the beginning it requires a long while for the oil to reach the first degree of thickness1 an hour or more for a pound4 ,but after that period the thickening progresses rapidly1 so that a quarter of the time will bring it to the point of total toughness4 ,to make printing color of the varnish1 the proper amount of lampblack must be mixed in4 ,the roasted or burned-out is best in this also1 because the ordinary lampblack delays the drying and turns yellow with time4 ,the more lampblack is mixed in1 and the more thoroughly they are combined by rubbing down1 the better will be the color4 ,but lampblack must not be added in such quantities that the color becomes dough-like4 ,in describing the various styles of printing ,i will describe the best printing-inks also4 ,i will merely make the general note here that designs on stone take the ink best when it is thin and fluid1 but that there is less danger of off-set on the parts of the stone that are to remain white1 if the ink is tougher or contains more lampblack4 ,too much lampblack and too tough a varnish endanger the finer strokes and dots1 however1 so that they will not take ink1 being1 as lithographers say1 rubbed out4 ,the rubbing or grinding effect of too tough an ink is like that of pumice or other grinding material4 ,with tougher varnish1 clearer imprints can be made and they do not become yellow easily4 ,but the inking is more difficult and demands greater skill1 as well as heavier pressure in the press4 ,the varnish can be mixed not only with lampblack but with many other colors1 which will be described when ,i reach color printing in this essay4 ,sometimes black lacquer is used with advantage instead of lampblack2 and ,frankfurter black is successful in the intaglio and aquatint methods4 ,x ,,rubbing-,,up ,,ink ,it happens often that weak parts of a design cannot withstand the etching fluid and are cut away2 also1 that fine lines are rubbed away through unskilled treatment during printing4 ,then frequently a very simple remedy is to ink the plate with the so-called rubbing-up ink4 ,this color consists of a thin varnish in which a portion of litharge of silver or mennig or white lead has been dissolved thoroughly over the fire1 and a proper amount of lampblack added4 ,often it is good to add some finely powdered sand or powdered pumice stone4 ,to prepare this1 a portion of the thinnest varnish is heated in a pan till it burns4 ,then about an ounce of finely powdered mennig 7or another lead oxide7 is stirred in to each sixteen ounces of varnish till all is thoroughly mixed4 ,a rubbing-up ink can be made also by mixing common printer's ink with vegetable oil1 tallow1 and a very little soap4 ,each of these colors adheres to all those places that have a trace of fat and thus gradually makes faint places in a design receptive again4 ,later ,i will describe how to use care in applying this color1 so that the entire stone shall not be smutted and spoiled4 ,,chapter ,,iii ,,concerning ,,acids ,,and ,,other ,,materials ,i ,,general ,,properties ,,of ,,acids ,probably most lithographers still believe1 as ,i did once1 that the etching with acids prepares the stone1 and that the succeeding application of gum merely increases this preparation4 ,countless experiments have taught me that the exact reverse is true4 ,gum arabic and a few other similar bodies are the true factors in preparation1 and the acids simply make the stone more receptive for them4 ,only sulphuric acid1 which changes the surface of the stone into gypsum1 prepares it without gum2 but this is available only for a few intaglio methods4 ,the stone used for lithography consists mostly of limestone sated with carbonic acid4 ,most acids1 and even the salts1 possess more affinity for limestone than the carbonic acid1 which latter is freed and escapes in gaseous form as soon as another acid touches the stone4 ,if aquafortis1 muriatic acid1 vinegar1 etc41 is poured on the stone1 there rise a number of air blisters1 which are nothing except the escaping carbonic acid1 and the applied fluid seems to boil1 in degree according to its strength4 ,the boiling and bubbling last till the fluid has sated itself with lime1 after which it becomes still1 and is impotent for further etching4 ,the direct effect is the solution and destruction of parts of the surface of the stone4 ,if it has been coated in parts with a fatty substance that resists the etching fluid1 the places so coated are left untouched1 so that1 when the stone is cleaned1 all the fat-coated lines and dots are in relief4 ,if the stone is coated with fatty matter1 but not so thickly that the acid is entirely resisted1 it will pierce the covering and eat away more or less of the stone4 ,if the etching is continued or if the acid is strong1 the fatty coat will be destroyed entirely1 the surface of the stone will be clean1 and ready for the ensuing preparation4 ,the preparation of the stone for pen drawings with oil or soap-water and several aquatint methods1 is based on this principle1 that a very thin coating of grease can be etched away partly or wholly1 at will4 ,after eating away the surface of the stone the acids have the property of giving it a fine polish4 ,therefore if the stone has been covered with a design1 and then etched with an acid1 it could be inked and printed many times1 as long as it is kept properly dampened and not too much pressure is used in applying the ink4 ,however1 this could be done also with a thoroughly clean stone1 using only water1 though the polish obtained from etching makes it much easier4 ,but this apparent preparation is not by any means sufficient to print with certainty2 and it becomes perfect only if the stone is coated with a solution of gum arabic in water after being etched4 ,if a plate that has been merely etched and not treated with gum becomes dry during printing1 or even if too much pressure be used in applying ink or in cleaning with the more or less smutty cleaning rags1 it generally takes color and smut which are extremely hard to remove4 ,we may assume1 therefore1 that the acids have the following effects on the stone3-- 7#a7 ,they will not attack the parts coated with grease4 7#b7 ,they will penetrate more or less if the fatty coating is only thin4 7#c7 ,where they touch the stone they dissolve it and eat it away4 7#d7 ,they give it a polish that facilitates printing4 ,this polish disappears after a time on account of the cleaning with sponge or rag1 but is replaced by a new polish produced by this very means4 7#e7 ,they do not prevent the adherence of fatty material later1 as soon as the stone is dry1 for which reason the parts prepared in the beginning with acid and gum arabic must be prepared again by renewed etching1 to take the ink4 7#f7 ,finally the acids have the property of giving to prepared stones that have been used for impressions1 a rough surface instead of a polish when they are applied again1 because they attack some parts more than others1 producing little pores with sharp edges which catch the ink4 ,this fact1 as ,i will show more clearly later1 makes necessary extraordinary care if one wishes to clean prepared plates or correct defects with new etching1 because unskilled handling will often make them worse4 ,,ii ,,the ,,acids ,,specifically ,nitric acid or aquafortis1 muriatic acid1 vinegar1 tartaric acid1 and acid of wood sorrel1 all have nearly similar effects1 but aquafortis and muriatic acid are used because of their greater cheapness4 ,oil of vitriol or sulphuric acid1 very much diluted with water1 is available for light but not for extensive etching1 because it transforms the surface of the stone into gypsum and deposits it again1 so that after that the acid cannot penetrate at all1 or only partially4 ,if a part of vitriol1 say diluted with twelve parts of water1 is poured on a cleanly ground stone1 there ensues a violent action which1 however1 is only brief4 ,it might be supposed that the acid is sated with lime when it ceases to act1 but if it is moved to another part of the stone it etches anew4 ,if the acid is washed from the stone and a woolen rag be used to rub it after it is dry1 it takes on a mirror-like polish4 ,in this dry condition it can be cleansed of color as easily as a copper plate1 and if a stone thus polished is engraved with a steel tool1 it is possible to make several impressions from it just as from copper4 ,the polish is not lasting1 however1 because the skin of gypsum is very thin4 ,but it is a useful method if it is desired to engrave the stone and ink it frequently to see the effect4 ,all the acids named have the property1 previously mentioned1 of etching the stone rough if it has been prepared before or used for impressions4 ,it seems that the gum unites more strongly with some parts of the stone than with others1 admitting the acid in these latter places4 ,possibly1 also1 the bubbles caused by etching may help to produce this roughness by hindering the uniform action of the acid4 ,this seems to be confirmed by the fact that an etched stone1 prepared with gum1 does not get nearly so rough when etched again with very weak acid as it does when stronger fluid is used4 ,in still greater degree does this appear when using citric acid or a solution of alum in water4 ,take a finely ground stone1 pour diluted aquafortis over it1 prepare it with the gum solution1 and then dry it thoroughly with a clean rag4 ,now pour a little citric acid or alum solution on parts of it and let it dry4 ,then paint the parts so treated with a fat or printing-ink4 ,if the color is rubbed off with a wet rag1 it will be seen that the stone has become white again in all places except those where the citric acid or alum are4 ,those parts will have taken the color exactly as if they had been painted with chemical ink4 ,the same occurs when applying other acids1 but in a lesser degree4 ,this effect will be mentioned in future for many methods4 ,here ,i will remark only3-- ,it happens often that the stone takes color on places where it should remain clean4 ,this is caused by clumsy handling1 unclean rags1 etc41 and occurs particularly at the ends1 because they dry first and are more exposed to careless manipulation4 ,these smutted places usually can be cleansed with a clean woolen rag and gum solution or even with a wetted clean finger4 ,but sometimes the defect will not yield so easily1 especially if the printing-color is soft4 ,then the only remedy is to prepare the stone over again1 and that is the time when one must have regard to the roughening that ensues1 if the stone is not to be rendered worse instead of better4 ,therefore it is best in such cases to polish the ends of the stone with pumice stone till all dirt is gone1 and then to etch with diluted acid and prepare anew with gum arabic4 ,to be sure1 it is possible to dip a clean woolen rag in strong1 even pure acid1 and thus etch dirt away from the ends2 but great care is necessary that no drop may touch the design1 as the ink that adheres to the latter is not strong enough to resist the acid4 ,in thus cleansing the plate1 the roughening is etched away by the violent action1 and a new polish is obtained4 ,still1 in either method of cleaning dirty places1 great care must be taken not to touch roughly1 press1 or rub with dirty fatty rags or with dirty1 fatty fingers before the gum arabic is on it4 ,the acid eats away all the previous material used in preparation1 and leaves the plate practically in its clean1 natural state4 ,consequently it will take on grease readily1 and the application of gum is essential4 ,it is feasible to mix the gum directly with the acid solution1 but this mixture must be made fresh again each day1 as otherwise it loses much of its value4 ,the following points are important3-- ,first3 ,if the grease remain long on a stone that1 though prepared1 has lost its coating of gum1 it will penetrate the surface1 and according to its amount and fluidity1 will sink more or less into the stone1 which will retain its polish on the surface but become more inclined to take dirt4 ,it is better1 therefore1 to leave a small amount of gum coating on the stone in such cases4 ,second3 ,as only the extreme outer surface of the stone is prepared by the gum1 and this is rubbed away gradually by wiping during the printing1 so in the same proportion of wear and tear the original preparation would become lost1 if it were not renewed from time to time1 that is1 if the stone were not again coated with gum4 ,twice a day1 however1 is enough4 ,third3 ,because of this susceptibility of the surface to injury1 a prepared stone must not be rubbed strongly with fatty material1 because this damages the surface and the stone would readily soak up the fat4 ,fourth3 ,if a prepared plate is totally denuded of gum1 and has been dry for a time1 especially if it has already lost a part of the preparation through printing1 it will incline very much to take color and smut4 ,therefore1 when it is necessary to stop printing1 it is well to coat the plate at once with gum1 but only with a very thin coat4 ,if this has not been done1 and it is desired to use the plate again1 great care must be taken to wet it with the very purest water1 or1 better still1 with diluted etching fluid1 for instance one part aquafortis to five hundred parts of water2 and then to coat it with gum4 ,to neglect this precaution may cause the total ruin of the plate4 ,for safe-keeping of the plates1 if they are to be used again for printing1 the coating with gum is1 therefore1 absolutely necessary4 ,fifth3 ,gum can prepare only a thoroughly clean stone or one properly etched4 ,therefore1 if the surface of the stone has even the least trace of grease1 it will take color1 no matter how thickly it may be coated with gum4 ,on this fact is based the method of transferring copper-plate impressions and other printed subjects1 as will be described later4 ,sixth3 ,if the stone has had fat on its surface1 and this fat has been etched away again1 the power of the gum asserts itself1 and the stone will be thoroughly prepared even if the fat has soaked considerably into the body of the stone4 ,seventh3 ,mere grinding of the stone is not sufficient to attain a complete preparation through gum alone4 ,therefore1 if an otherwise clean stone has some places after grinding where the fat has soaked in deeply1 and one coats it with gum1 the stone will take color after a time on these fatty places1 as soon as the inked rag has been rubbed over the stone many times4 ,however1 this taking-on of color is only slight if the gum solution is thick1 and long-continued cleaning will transform it into complete preparation4 ,eighth3 ,from both preceding observations we learn3-- ,printing forces the color to sink considerably into the stone4 ,if such a stone is required for new designs1 it is not practicable to grind it so much that all the fatty places can be ground away4 ,therefore it is ground only till it is thoroughly even again4 ,then it must be well etched2 otherwise it may happen that in printing the surface will rub away and the entire previous writing or design will appear again1 a trouble hardly to be remedied4 ,if the stone is dirty in the middle1 it can be cleaned in many cases by pouring on a few drops of oil of turpentine and the same quantity of gum solution1 and rubbing it clean with a woolen rag4 ,then it must be washed with a wet sponge1 after which it is inked4 ,if it has not lost the smut1 the only remedy is new preparation4 ,as this must be done differently for each different lithographic style1 it will be described in its place4 ,if fat has soaked well into the stone in places where it is not desired1 it is always very difficult to remove it without injuring adjoining parts4 ,correction of crayon work1 if it has been etched and used for printing1 is especially difficult4 ,it is true that the defective parts can be cut out easily with a sharp instrument1 but then these places must be prepared again4 ,if weak etching fluid is used1 it will not suffice4 ,if strong fluid is used1 the fine parts are easily attacked1 and at the same time the surface will become roughened so that the stone often blackens entirely in the corrected parts4 ,to avoid this trouble1 and to facilitate corrections1 ,i made many experiments to discover an acid composition that should prepare a stone anew and perfectly and yet not roughen the surface4 ,i found the best material in phosphoric acid1 especially when mixed with finely crushed nutgall4 ,water in which phosphorus has been kept a long time becomes acid and etches the stone4 ,the acid can be obtained more quickly by burning the phosphorus and catching the smoke4 ,this method is somewhat expensive1 but one does not need much1 as it is used only for correcting defects4 ,if a few drops of aquafortis or other acid are poured on a clean ground stone1 it will be etched4 ,now wipe the etching fluid off clean and coat the plate with soap-water or chemical ink4 ,as soon as it is dry1 clean it of the fatty coating with a few drops of oil of turpentine4 ,if it is dampened then with water and inked1 it will take color everywhere1 even at the etched places4 ,if gum is mixed with the acid1 the same result occurs1 though the stone has been thoroughly prepared where this mixture touched it4 ,from this it appears that soap-water 7and the alkalis in general7 can destroy the preparation given to the stone and make it receptive again to fats4 ,it is different if phosphoric acid is used4 ,this makes a preparation that can be destroyed only by very frequent coating of soapy water4 ,still more durable and resistant to soap is the preparation if fine nutgall is mixed with the phosphoric acid and water solution4 ,nutgall gives even the other acids the property of resisting soap more than ordinarily4 ,the study of this effect led me to invent the method of transforming a relief design into intaglio4 ,also1 it is only by the use of phosphoric acid that one can do thoroughly that style of lithographic work which resembles the scraped style in copper1 or the so-called black art4 ,,iii ,,gum ,,as ,,the ,,real ,,preparation ,if a cleanly polished plate is sprinkled with a few drops of gum arabic dissolved in water1 the sprinkled places will take no color so long as they are wet4 ,when they dry1 color will adhere1 but can be washed away easily with a wet sponge4 ,this shows that the gum alone will prepare the stone4 ,the preparation will become more durable1 however1 if the stone is etched first4 ,in both cases1 however1 the preparation extends only over the outermost surface of the stone1 penetrating only slightly1 so that the least injury will make it take color as soon as it is dry4 ,on this fact is founded the intaglio style of lithography4 ,therefore1 if a clean ground stone is etched1 then prepared with gum and dried clean1 it can be coated with printing-ink or other fat substance 7excepting soap and all alkaline compositions71 and there will be no danger that it will lose its preparation4 ,the thicker the gum coating1 the less can the fat penetrate4 ,in printing1 during which the stone must be kept wet1 only the original coating of gum is necessary2 but as the surface thus prepared soon diminishes under the frequent wiping1 it is necessary in some forms of work to mix gum with the printing-color or with the water used to dampen the stone4 ,more of this will be explained in the proper place4 ,here ,i will add only that the domestic gum of cherry and plum trees is good for preparing stones some years and worthless in others1 when it cannot be dissolved in water4 ,in possessing the properties for preparing stone1 the juice of many plants and fruits1 sugar1 and most mucous materials of the vegetable and animal kingdom1 such as white of egg1 approach gum arabic more or less4 ,the latter1 however1 is to be preferred because of its reliability4 ,,iv ,,concerning ,,partial ,,preparation ,here ,i impart my experiences in regard to an astonishing phenomenon that occurs often in lithography and gives much trouble1 especially to beginners4 ,it is the so-called imperfect or semi-preparation1 wherein the stone betrays a strong inclination to take color1 and still will not do it or will do it only partially4 7a7 ,if a cleanly ground stone is marked with chemical ink1 etched1 and prepared1 the marked places will take the printing-color and produce impressions4 ,if1 after the stone is inked1 one rubs strongly with the wetted finger1 the color can be wiped from the design1 especially if it has not been on the stone long and has been standing in a damp place4 ,a place whence the color thus has been removed does not take it readily when the inking-roller is applied again2 and the reluctance is the greater in proportion to the length and violence of the rubbing and the toughness of the printing-color4 ,the stone shows clearly the traces of the penetrating fat2 indeed1 if the stone is rubbed with a wet linen rag that is inky from previous use1 the design will reappear in black4 ,but as soon as the roller is used1 instead of inking these places1 it takes the color off2 and whatever means may be tried to make the defective places receptive again to color1 it remains difficult1 often impossible4 ,what has happened is that the wet rubbing has cleansed the surface of the stone of all its fat and at the same time has polished it and made it slippery4 ,it is a sort of preparation2 and though the fat of the ink has penetrated into the interior of the stone1 the accidental preparation still offers an obstacle which prevents the printing-ink from adhering to the fat in those places4 ,as ,i will show1 these places can be prepared again thoroughly4 7b7 ,another case is when the design is too weak1 and has been attacked by the etching-fluid too powerfully1 though without being destroyed4 ,here the printing-color usually is removed by the ink-roller1 even though it adheres pretty well when being wiped4 7c7 ,a third kind of imperfect preparation is when a stone inclines to take color or smut on prepared places4 ,this happens sometimes in part1 sometimes over the whole surface1 which latter effect is described by saying that the stone has acquired a tone4 ,the cause of this phenomenon may be one of many4 ,it is either due to the appearance of a fat that has been in the stone1 or to the fact that unskilled manipulation has destroyed the preparation partially4 ,thence follow several observations again3-- 7#a7 ,mere wiping with clean water will give the stone a sort of preparation if the material used for wiping is suitable4 ,this preparation is incomplete1 but can be transformed very easily into a complete one4 ,this incomplete preparation is according to the strength with which the rubbing material affects the stone4 ,linen and cotton stuffs have the least effect4 ,more potent are animal wools and hair1 silk or wet leather4 ,the printing-color itself has a preparing property if it is made of very tough varnish or contains much lampblack4 ,this effect is increased if ,frankfurter black or powdered charcoal is mixed with the color1 and the stone is kept very wet4 7#b7 ,the partial preparation is produced more quickly and made more durable if the water contains gum or gummy stuffs4 7#c7 ,the operation is still quicker if a weak etching fluid is used4 ,a stronger fluid would make the preparation a complete one1 but would also injure the good spots4 ,then again one must remember that the second etching produces the roughness discussed already4 7#d7 ,grinding with sand1 pumice1 and other grinding materials also produces partial preparation1 which is transformed easily into complete preparation by applying gum4 ,here1 however1 the circumstance is noteworthy that a plate that has been blemished by rubbing can be made to do the reverse1 namely1 to take color1 by means of light grinding with water4 ,assume1 for instance1 that a plate designed and prepared in relief style has been spoiled by handling so that the design refuses to take color4 ,it is necessary merely to rub it all over with water and fine sand or to clean it with oil of turpentine so that all printing-color is removed from the surface4 ,then place it in a receptacle containing a great deal of very clean water4 ,if it is ground delicately then with a very clean pumice stone1 without destroying the traces of the fatty material that has soaked in1 it can be brought to take color again as well as ever4 ,take a little of the before-mentioned acid-proof ink1 smear it on the color-stone1 and apply a clean linen or cotton rag4 ,wipe the stone that is lying in the water very gently with this rag1 and the color will fix itself bit by bit on all parts of the design1 even if the entire relief produced by the etching should have been ground away4 ,it is necessary only that the fat shall have soaked in sufficiently2 and this usually is produced soon enough by the printing4 ,after the plate has accepted color completely1 it is to be completely prepared by light etching and with gum1 and then it will take the color properly from the ink-roller4 ,if this experiment is to succeed1 it is to be noted that in grinding there must be no trace of fat on the stone or the pumice1 because the rubbing during grinding might transfer this greasiness to those parts of the stone that are to remain white4 ,care must be taken1 also1 not to press too hard in applying the etching color1 because the places that have been cleansed of all gum by the water1 and thus are inclined to accept color1 will smut easily4 ,finally1 the stone must not be permitted to dry before it is fully prepared again by etching and gum coating1 for it might easily become entirely smutted and useless4 ,this experiment leads to the conclusion1 which has been proved correct in many ways1 that a soft rubbing in clean water with printing-color1 especially if it contains tallow1 is very well adapted for transforming the incomplete preparation into a condition of accepting fat perfectly1 and of giving injured places new potency4 ,also1 that the contrary effect can be produced by violent rubbing1 especially with wool1 leather1 or tough colors1 because this prepares the wet stone and makes it useless for accepting fat4 ,the first method may be used with advantage1 therefore1 for restablishing a vanished design4 ,the second method is good for getting rid of smut4 ,if the smut has occurred in previously clean and thoroughly prepared places1 it can be destroyed entirely4 ,but if it is only that the deeper fat has lost its superficial polish1 and has appeared again1 the stone will be only partially prepared by this last method and must be newly prepared on the desired places with weak etching-fluid and gum1 for durability's sake4 ,it is easy to see how important this circumstance is4 ,with the one and the same process in various degrees of manipulation1 opposite results can be produced2 and ,i may declare that only he is to be termed a perfect lithographer who has exact knowledge of this especial matter4 7#e7 ,it has been mentioned already that every sort of preparation can be destroyed by a renewed etching1 and particularly with alum and citric acid4 ,the same is caused by soap and alkaline compositions2 therefore also by chemical ink if it contains a sufficient amount of alkali4 7#f7 ,simply letting the stone plate rest produces important1 often contradictory1 phenomena4 ,if smeared parts refuse color1 clean water poured over these places runs from them as quickly as it does from the fatty parts4 ,this is the surest sign that they still have fat1 though it is not sufficient to attract the color4 ,if such a stone is permitted to lie idle a few days1 even if coated with gum1 it will often take the color thereafter4 ,on the contrary1 if a stone plate has taken on color at the well-prepared places 7usually readily removable by wiping with oil of turpentine and gum solution1 but generally reappearing71 it need merely be inked after such cleansing1 coated with gum and left idle1 and in a few days it loses the readiness to take dirt4 ,the cause of both phenomena is that in the first case the fats that lie deep gradually work upward into the partly prepared surface and practically restablish their interrupted communication with the printing-color4 ,in the second case1 the small quantity of fat that has adhered merely to the surface has penetrated into the stone1 so that it loses its effectiveness4 ,added to this1 in the latter case1 is the fact that the linseed oil1 and the varnish prepared from it1 acquire the property of losing their fats when they are dried in the air1 and thus will take color poorly or not at all4 ,this observation led to the invention of an artificial stone or stone-paper4 7#g7 ,in contrast with preparation by wet wiping there is the wiping with dry and fatty bodies1 which produces full acceptance of color on the partially prepared plate1 while in the case of the fully prepared plate there occurs at least partial color acceptance or semi-preparation4 ,as every property of the stone can be used for good impressions just as well as it serves in unskilled hands to ruin a design1 so in this case2 the lost parts can be restored through proper use of rubbing with a dry1 fatty substance1 and the clean1 prepared portions of the plate can be smutted4 ,there will be more about this4 ,v ,,short ,,review ,,of ,,the ,,preceding ,as the entire art of stone-printing depends on proper preparation1 it will not be out of place to express my views as to the nature of the process4 ,this will serve also as recapitulation4 7#a7 ,limestone has countless little pores4 ,these can soak up fatty as well as watery substances4 7#b7 ,these can adhere easily to the limestone particles1 but are easily separated again1 as long as the nature of the stone is not altered4 ,this alteration is produced most readily by sulphuric acid1 tartaric acid and phosphoric acid4 7#c7 ,water evaporates from the pores as the stone dries4 ,gum and other slimy substances do not4 7#d7 ,fats soak into the stone more and more4 ,there is no means of destroying them except to remove the limestone itself by grinding or etching4 7#e7 ,printing-color cannot adhere to the stone so long as a proper amount of moisture forms a wall between it and the stone4 ,under any circumstances it adheres only poorly to the lime particles1 and assumes great power of adherence only when the pores of the stone are filled with fat1 which are pinched in them1 so to speak1 and with which the printing-color strives to unite because of mutual affinity4 7#f7 ,this stronger adherence 7or complete color reception7 thus happens only when the outer color can reach and touch the inner fat4 ,if the latter is deep in the stone1 so that the communication is broken1 it becomes difficult and the communication must be restored4 7#g7 ,this interruption occurs either if the color is rubbed away by force and with help of moisture1 or if a substance that closes the pores unites with the stone4 7#h7 ,the rougher1 sharper1 and more angular the pores are1 the more readily does the color find adhering points4 ,it adheres at first to the surface by virtue of merely mechanical conditions4 ,but when the moisture which hinders a complete union and greater penetration has dried1 the color begins to penetrate deeper into the stone and to fill its pores4 ,the most color will always adhere to rough spots4 ,therefore1 it happens often1 in some styles of work1 that a stone too highly polished will seem perfectly black when inked1 and still fail to yield a strong impression4 ,for the same reason the impressions from soft stones usually are the stronger1 especially if the mode of printing demands the use of thin printing-color4 7#i7 ,the effect of the etching fluid is in part a greater polishing of the surface1 in part a filling of pores4 ,both make the stone reluctant to take color4 7#aj7 ,if the stone has been prepared and polished already1 it can be made rough again and receptive to color by being retched4 ,at the same time the prepared surface can be destroyed by etching1 and a communication established with the fat lying in the interior4 ,the result is according to the manipulation4 ,so much in general4 ,in describing the various styles ,i will make everything clearer4 ,,chapter ,,iv ,,the ,,necessary ,,tools ,,and ,,appliances ,in lithography there is use for many various tools and utensils4 ,i will mention here merely those that are made primarily and exclusively for the art4 ,i ,,concerning ,,steel ,,pens ,one of the most necessary tools of lithography is the steel pen for writing and drawing on the stone4 ,simple as its manufacture is in principle1 it demands much care and skill4 ,the beauty of the work depends largely on a good and well-cut pen4 ,the best artist1 using the best chemical ink on a perfectly prepared plate1 cannot do good work unless the pen is good and cut to suit his hand4 ,therefore it is necessary to learn how to make these pens1 because1 apart from their costliness1 it is difficult to get a suitable one from a worker in steel4 ,the ordinary steel pens that can be bought ready-made from stationers are fairly available for coarser writing and drawing2 but for better work one must have much finer pens4 ,following is the way to make them3-- ,take the spring of a pocket watch1 not too small nor too broad2 one and a half to two lines in breadth is best4 ,clean off all fat by polishing with sand or chalk4 ,lay it in a glass or porcelain vessel1 and cover it with a solution of aquafortis and water in equal parts4 ,let the acid etch the steel till it has lost about three fourths of its thickness1 and has become as pliable as a similar strip of letter-paper4 ,from time to time the steel must be removed from the fluid and dried with tissue paper4 ,this produces uniformity of etching4 ,the steel rarely is quite uniform1 and it has happened to me often that it is attacked unequally and that holes are eaten into it before it has been etched away sufficiently4 ,that this1 however1 is due mainly to the quality of the acid1 ,i learned because ,i found that the same steel would be attacked clean and uniformly as soon as ,i obtained aquafortis from some other source4 ,a pen is poorly etched if it has many elevated points or pits and holes4 ,the former appears to result from insufficient cleansing1 the latter is due to the quality of the acid4 ,oil of vitriol diluted with water1 or nitric acid can be used4 ,those who have a very light touch may etch their pens to great thinness1 and will be enabled to do very delicate work4 ,for a heavy touch they must be firmer1 otherwise fine strokes will look shaky4 ,when the steel is thin enough1 it is removed and cleansed with fine sand that it may not become rusty in future4 ,then it is cut into pieces two inches long with good ,english shears4 ,now these must be shaped half-round4 ,to do this1 lay them on a flat stone and beat them lengthwise till they bend1 using a small watchmaker's hammer1 whose faces are pretty thin but well rounded4 ,two or three sheets of paper laid under the steel facilitate the work4 ,another way to give it the half-round form is to file a groove into a stone1 giving it the exact shape the pen is to have4 ,into this groove lay the piece of steel1 put in a drop of vegetable oil1 and polish with a steel instrument whose end resembles a broken but well-rounded nail4 ,use sufficient pressure1 and the steel will gradually assume the desired shape4 ,either of these methods may be used1 according to preference4 ,it is to be noted that the degree of roundness depends on the artist's need1 one finding a well-rounded pen better1 another preferring one not so well-rounded4 ,the less the pen is rounded1 the more it will resemble a brush when used1 but the points will not spread so well without considerable pressure4 ,the more they are hollowed1 the stiffer are the pens and the more easily will the points spread when pressed4 ,after the pen is curved1 it must be cut4 ,with small1 well-sharpened scissors cut a slit about one line in length into one end4 ,then cut away from the two sides as much as necessary till the point is sufficiently fine4 ,do not cut away too much at once1 as the pen bends easily and then must be straightened out again1 which demands especial skill4 ,it is well to do the cutting from the point toward the sides4 ,a good pen must have both points very uniform1 so that they touch perfectly and lie on the stone evenly in the position given them by the hand when working4 ,the cutting alone will do this1 but a small1 very fine whetstone may be used to aid4 ,a newly cut pen is somewhat rough at times and cuts into the stone1 thus gathering powder that hinders the work4 ,this defect generally cures itself after a few strokes on the stone4 ,beginners generally spoil their pens by bending them every few moments4 ,then they must be straightened out1 which demands practice and judgment4 ,it cannot be described1 because the bending may assume a thousand shapes4 ,it may be mentioned1 however1 that the points must always touch1 but must under no circumstances interfere1 one being forced behind the other4 ,it is good1 sometimes1 if one can see through the slit when looking backward from the point4 ,some even cut a tiny bit out of the middle for this purpose1 but that demands great skill and extremely good scissors1 as otherwise the opening will be too large1 which will spoil the pen entirely4 ,the ordinary drawing-pens1 which can be loosened or tightened with screws1 can be used very readily for drawing lines1 if their points are made from very good steel that can be ground very fine and thin4 ,however1 for much line-work1 for instance the background of a picture which consists of lines hatched crosswise1 it is better to use the other pens4 ,the ordinary drawing-pens are too likely to catch a little dust or dirt between their points1 and then will spoil the lines4 ,of all work of the pen style in lithography1 the most difficult is to draw very fine and even lines with a ruler4 ,i have succeeded best by using a pen previously so cut or ground that both points touched in the position in which ,i was accustomed to hold the pen when guiding it with the ruler4 ,it is evident that the pen must be held to the ruler on its side1 so that the groove that contains the ink does not point in the direction of the ruler1 but away from it4 ,it is well if there is a tiny space in the slit1 as it helps the free supply of ink4 ,,ii ,,concerning ,,brushes ,brushes are used for various purposes1 as to prepare the plates1 cleanse1 etch1 etc4 ,here1 however1 we speak chiefly of the small brushes required for writing and designing4 ,for this are used the very smallest and best miniature brushes1 and they must be especially treated4 ,if it is desired that the brush make thicker strokes under pressure1 the ordinary condition of it1 in which all the bristles come to a point1 is quite sufficient4 ,but it is very difficult to lay on strokes of uniform thickness with them4 ,press the brush on the table1 spread the bristles fanwise with a knife and cut away from each side about a half-line deep4 ,turn the pencil to the other side1 stroke it again to spread it1 and cut the same amount as before from each side4 ,continue this till there remain only ten or twelve bristles of the original length in the brush4 ,then cut these even at the ends4 ,these should not be altogether the middle ones if the pencil is to be first-class4 ,neither should they be too far apart4 ,they should hang together well when the brush is dipped into the ink1 but not so closely that they will not let the ink pass well4 ,with a brush successfully trimmed thus1 the handsomest drawings1 resembling copper plate1 can be done with ease4 ,for coarser strokes1 coarser brushes are needed4 ,more bristles are permitted to remain in them4 ,,iii ,,concerning ,,engraving ,,needles ,these serve for the intaglio process1 to draw into the stone1 and must be of the best and hardest steel4 ,in ,munich there are also used the little five-angled watchmakers' borers1 which are glued between two pieces of wood planed round in form of a pencil and so cut at the end that only a bit of the tool is visible4 ,in using very thin needles one has the advantage that they are ground and sharpened easily4 ,for coarser strokes1 coarser needles are needed4 ,for fine strokes1 especially if they are to go in all directions1 the needles are best ground perfectly round4 ,,iv ,,concerning ,,the ,,drawing-,,machine ,to transfer drawings very accurately and reversed on the stone1 which is necessary especially in the case of charts and plans1 a pantograph is used in ,munich1 which is so arranged that the stone is upside down and elevated4 ,the inscribing-needle is just opposite the one that is managed by the hand1 and when one follows the lines of the original exactly1 there results a perfect but reversed copy on the stone4 ,such drawing-machines can be obtained from ,herr ,liebherr and ,company in ,munich4 ,this skilled mechanician also makes a sort of pantograph of his own invention1 with which drawings can be transferred to stone1 reversed or otherwise1 and in any desired proportion4 ,pictures of such machines may be obtained from him4 ,v ,,concerning ,,other ,,appliances ,these are3 a grinding-table1 an etching-trough1 some rulers1 a writing-table1 some music-writing pens and rastrums for those who wish to print music1 small brush for spatter-work1 a wiping-machine for the wiping method1 several rollers and balls for inking1 and some presses for wetting and pressing the paper4 ,any firm table may be used for grinding1 but it is better to have one made heavy enough to resist the strain of the powerful friction1 and so made that the stones can be fastened on it readily4 ,if this work is done in a room1 it must have a depression in the middle and a hole1 that the water may run off into a receptacle4 ,along the sides should be a low rim1 that the sand and dust may not drip all over the floor4 ,the etching-trough is a square1 well-pitched box whose bottom is depressed toward the middle1 that the etching fluid may gather there and run through a hole into a receptacle1 so that it can be poured over the stone again4 ,the trough must be large enough to accommodate the stones easily4 ,these must not1 however1 touch the bottom1 but must rest on little pieces of wood or cross-pieces4 ,besides the ordinary rulers1 a large1 broad one is required1 about three to four feet long1 five inches wide1 and so shaped that on one side it is one-half inch thick1 on the other only two lines thick4 ,on this latter side a strip of pear wood must be glued and very truly planed off4 ,thus it can be used for drawing lines1 although the real purpose of this ruler is only for supporting the hands when working on stone1 that they may not touch the prepared surface4 ,if the work-table is made with high pieces at the ends so that the ruler can rest on them without touching the stone1 no ruler supports are required4 ,otherwise one must have these two pieces1 a little higher than the stone1 so that the ruler may rest on them4 ,a specially made work-table has another advantage4 ,in the middle there can be a turntable on which the stone rests1 so that it can be moved easily into any position1 something that is very difficult with large stones without this arrangement4 ,music-writing pens are brass or silver tubes which have the shape of musical notes underneath1 and which take up such a quantity of chemical ink that one can make about twenty notes without re-dipping4 ,that they shall not take up too much ink1 a fine wire is fastened in the centre4 ,these instruments must be very exactly ground and their use demands some skill if the notes are to be uniform4 ,instead of this instrument a piece of wood may be used1 but this must be inked anew for each note4 ,to avoid dipping too deep1 it is best to spread some ink on a little stone and ink the instrument from this4 ,it must be wetted in the beginning1 that the ink may be sucked up about three lines high4 ,after that the ink on the stone need merely be touched with it1 and this makes the work very uniform4 ,beginners find this easy to use4 ,but one works more swiftly with the other4 ,of the rastrums1 there is nothing to say except that they are of steel and very even at the ends so that they touch the stone in all places4 ,they serve to draw the five lines for music4 ,for making the broad strokes for notes1 one can use coarse drawing-pens1 or coarsely cut steel pens2 but the best are those adjustable drawing-pens that are made from three blades4 ,the brush for spatter-work1 the wiping-machine1 and the dauber will be described in the description of the styles of work for which they are used4 ,ink-rollers and balls are for laying on the printing-color4 ,the latter are made from soft leather1 stuffed with horsehair1 like the ordinary book-printer's balls4 ,the former are wooden cylinders with thin handles1 of any requisite length and about four to five inches thick4 ,they are wound with two or three thicknesses of woolen cloth and then covered very firmly and evenly with leather4 ,usually there is used sheep's leather from which the grease has not been entirely removed4 ,calfskin1 worked white1 is good and more durable4 ,dogskin is considered best4 ,some printers use soft red calfskin1 turning the inner side out4 ,the leather must not be stitched with linen but with silk thread1 because linen does not take the ink as well as leather and silk do4 ,the leather must be dampened when being drawn over the cylinder4 ,a fair stock of these rollers is required1 because they are liable to become water-soaked during use1 when they lose much elasticity and fail to give good service1 so that dry ones must be on hand4 ,it is not well to have movable handles on the rollers1 because then they are likely to roll over the stone too lightly and it is not within one's power to lay on the ink thoroughly4 ,to prevent blistering the hands1 thick leather covers may be used4 ,then it is possible to use any desired pressure4 ,paper presses are needed both to obtain a uniform dampening of the paper as also to restore the proper flatness to the printed paper4 ,models are to be seen at the shops of all book-printers and binders4 ,,chapter ,v ,,concerning ,,paper ,three kinds of paper are used mainly in lithography4 ,they are3-- 7a7 the transparent1 oiled or varnished paper2 7b7 underlay or waste paper2 and 7c7 the printing-paper4 ,i ,,transparent ,,paper1 ,,and ,,the ,,transfer ,,of ,,outlines ,,to ,,the ,,stone ,oiled paper is used for tracing a drawing accurately and then transferring it to the stone either by transferring or by re-tracing it on the stone4 ,it must have the following properties3-- 7#a7 ,it must not smut the original drawing on which it is laid4 ,consequently it must be absolutely dry4 7#b7 ,it must be very transparent1 like glass1 so that the underlying drawing or painting can be seen perfectly4 7#c7 ,the ink or lead crayon used for copying must lie on it easily and plainly4 ,it is at its best if it is easy to work on it with a fine brush1 using ,chinese ink1 or1 7if the drawing is to be transferred directly to the stone71 with the soft chemical ink described under the caption ,transfer ,ink4 ,generally this can be done without further preparation in the case of most papers made transparent by oiling4 ,varnished paper1 however1 which is far more transparent1 generally must be well washed with milk and dried again beforehand1 that it may take the ink well and permit work with the finest strokes4 7#d7 ,finally1 a good tracing-paper must be very fine1 pliable1 tender and yet not in the least brittle4 ,there is some very transparent varnished paper1 but it breaks at the first attempt to bend it1 so that it is hard to trace the drawing afterward on stone with the tracing-needle1 because nearly every stroke tears the paper and the lines and outlines become coarse4 ,very good transparent paper may be made as follows3-- ,take the finest writing or vellum paper and soak it with nut or poppy oil1 mixed with a little sugar of lead to make it dry more readily4 ,when well soaked with oil1 dry it a bit between waste paper and hang it up4 ,usually it is available in a few days4 ,this paper is cheaper than the paper sold by stationers under the names of straw paper1 etc41 and about equally transparent4 ,still more transparent will it be if instead of the oil a varnish cooked from the oils is used4 ,in this also the sugar of lead is an excellent drier4 ,to make the varnish easier to manipulate and more readily penetrative for the paper1 it may be thinned down with oil of turpentine4 ,if it is desired to manufacture a greater quantity of this paper1 one sheet is laid on another and painted with varnish4 ,then the whole mass is left for some time covered with a stone plate or a board1 that the varnish may soak properly and evenly into all the sheets4 ,afterward the sheets are hung up singly to dry4 ,the more varnish they have1 the more transparent will they be2 but too much is not good4 ,care must be taken that no drops of varnish adhere4 ,it is best to brush the varnish evenly over each sheet before hanging it up4 ,silk paper1 such as is used in copper-printing to lay between impressions to prevent off-set1 is still better for varnishing because it is finer4 ,only it must be very even and have no holes4 ,the very greatest fineness of paper is desirable1 for the reason that then the strokes made by the needle on the stone are fine and not coarse4 ,instead of varnish made by boiling down nut or poppy oil1 one can use ,venetian turpentine1 which merely has been thinned down with one half as much oil of turpentine4 ,such paper generally is dry enough after twenty-four hours4 ,too large a quantity must not be made at one time1 because it becomes tough and brittle after a while4 ,even with the most transparent paper it occurs that certain delicate drawings1 and especially color pictures1 will not show through sufficiently4 ,then the drawing must be fastened to a window pane to obtain added illumination4 ,this manner of work is very uncomfortable1 however1 and the arms hurt one soon1 so that it is necessary to stop4 ,it is better to have a tracing-board made with a strong1 clear pane of glass in the centre4 ,under it is a mirror so adjusted that it reflects light upward through the drawing4 ,it is understood1 of course1 that in tracing only the outlines are copied and not every stroke of shading1 etc4 ,although the final work is greatly facilitated by the observation of the utmost care in tracing1 the tracing of every little detail will merely make the work involved and perplexing4 ,practice must show the proper degree of exactness4 ,a very good and skillful artist often needs only a few main outlines1 to reproduce the original picture with the greatest accuracy4 ,once the drawing has been traced sufficiently1 the transfer paper must be coated very lightly and evenly with red chalk4 ,then it is fastened to the stone with wax and all the lines are traced under moderate pressure with a well-polished needle whose point is not sharp but rounded4 ,where the needle presses the tracing-paper1 the color that is on the other side will take hold of the stone and thus transfer the drawing to it4 ,if the needle is too sharp1 it will injure the paper1 and often the stone and the etching surface4 ,the color on the paper must be rubbed off very carefully with a soft rag4 ,if it is too thick1 it will transfer itself coarsely to the stone4 ,the red chalk may be put on the side of the paper that has the drawing on it1 or on the reverse4 ,this is decided according as the picture is to be on the stone in the same position as the original or reversed4 ,if the impression is to be like the original1 the drawing on the stone must be reversed2 therefore in that case the tracing-paper is coated on the same side as the drawing4 ,this side is laid on the stone1 and the picture1 which shows through1 is traced4 ,in some cases it is good to transfer the drawing from the tracing immediately to the stone without tracing it with the needle4 ,in this case1 the paper is not coated with red chalk4 ,the paper is merely laid on the prepared stone1 drawing face down1 and put through the press4 ,if the drawing has been made with the chemical transfer ink1 blackened with lampblack or colored with vermilion according to need1 it will transfer itself to the stone4 ,this will occur also in the case of a clean stone prepared for pen drawing if the drawing is made with lead pencil or with red chalk1 wet or dry4 ,even the ordinary ink made from nutgall and vitriol of iron will transfer if it contains a little sugar or gum1 but the paper must be well dampened and good pressure must be applied to the press4 ,in the pen-drawing process1 the stone must be cleansed of possible surplus of color after the transfer4 ,this is done by light rubbing with sand4 ,it is not necessary in other processes4 ,any surplus of color that may have fixed itself to the stone is removed by gentle dusting with a soft brush4 ,,ii ,,waste ,,paper ,this is used partly for cleansing plates1 partly and chiefly as underlay in printing4 ,if sheets are to be printed on both sides1 usually a little of the first impression off-sets on the underlay paper1 and if it were used again at once1 it would off-set on the next impression4 ,therefore a fresh underlay paper must be used for each impression of the second side4 ,this must not be coarse1 for fear of causing unevenness or holes in the leather in the printing-frame or in the so-called scraper-wood that makes the impression4 ,a good quantity of this must be on hand1 that fresh paper may always be available while the used paper is drying again4 ,each sheet that has been used should be hung up at once1 and not more than three or four sheets should be hung over each other1 to facilitate the drying4 ,a special appliance is needed for this as well as for drying the impressions4 ,a number of slats are fastened to the ceiling1 leaving a space under it of about two feet1 and about one foot distant from each other2 and the sheets are hung on these with a pole made for the purpose1 such as may be seen in any printery4 ,,iii ,,printing-,,paper ,not all kinds of paper are equally good for lithography4 ,on the whole1 however1 it may be assumed that this form of printing is very similar to copper-printing and book-printing1 and that the paper that is good for these branches is suitable also for the stone1 if only it does not contain too many impurities1 grains of sand and other substances that make any considerable roughnesses4 ,such roughnesses1 if considerable1 have an ill effect not only on the impression1 but chiefly on the leather in the printing frame4 ,if the scraper is of wood1 the leather will suffer less1 but there will be caused grooves in the scraper that must be planed out again1 because otherwise each following impression will show a more or less plain streak4 ,if the scraper is of metal1 the leather may tear or the stone itself may be injured if the foreign substance in the paper is very hard4 ,therefore it is well to hold the paper to the light before dampening or printing and to remove any apparent defect of magnitude with a little knife4 ,usually the paper considered most excellent for copper-plate work is thick1 tender1 uniform paper1 half-sized or not sized at all4 ,it may be the same for lithography4 ,however1 it must not be supposed that good impressions cannot be obtained with sized paper4 ,i have seen some that were as good as1 and even better than1 impressions made at the same time on unsized paper4 ,much depends on the dampening of the paper1 on its make1 and chiefly on the manner of sizing it4 ,on the best sized ,english vellum paper1 ,i have made blacker impressions than ,i could make on the best ,swiss copper-plate printing-paper1 so that ,i had to use fifty per cent less printing-color4 ,on the contrary1 in using an indubitably genuine ,english vellum paper with a bluish tinge1 which had been sized only too well1 ,i could not get good impressions despite all efforts4 ,it was very hard to dampen also4 ,every sheet must be dampened singly1 turned frequently and manipulated to smooth out the thousand irregularities that are caused by the moisture4 ,equally difficult to use were some sorts of genuine ,holland paper1 because they took color reluctantly4 ,if1 however1 the correct degree of moisture is attained1 if the paper takes it well1 and1 finally1 if the color is right for it1 it can be used with thorough success4 ,i must mention a circumstance that may defeat all efforts of a beginner should he try to use a certain kind of paper which is very handsome1 durable1 very white1 well sized1 but a little rough and possessing an odor somewhat resembling honey as well as urine4 ,sometimes it is called ,khnel1 and comes from a ,french factory4 ,this paper has the property of depriving the stone of its preparation1 and consequently to smut it4 ,this paper can be used only for dry printing1 where it does not require any dampening at all4 ,it is said that this property of smutting the stone is due to the chemical bleaching4 ,others ascribe it to a peculiar kind of size4 ,perhaps it is both4 ,the same defect is found in many sorts of colored papers if there is much alum in the coloring-matter1 or if the tints are made from alkaline colors or those that contain soapy matter1 or if it has been smoothed with soap4 ,this1 however1 is readily understood after my explanation of the chemistry of the stone4 ,,iv ,,dampening ,,the ,,paper ,dry paper may be used for printing4 ,in certain work it is necessary1 in order not to spoil the paper4 ,as a rule1 however1 paper is moistened in lithography as well as in other forms of printing1 to make it softer and more receptive to the printing-color4 ,after what ,i have said of chemical printing1 it would seem that1 as dampness is antagonistic to the reception of color1 the moisture of the paper would hinder1 rather than aid1 printing4 ,but experience proves the opposite4 ,a damp paper takes color better than a dry one4 ,but this is not because damp paper is an exception to the rule4 ,on close study1 we see that here1 too1 it only proves all that ,i said about the stone4 ,perfectly clean1 and especially unsized paper1 refuses color like the prepared stone1 when it has been wetted thoroughly so that it is saturated4 ,but here1 too1 mere water is not a complete preparation4 ,under strong pressure it is forced away readily from the paper1 the printed places are dried and the color adheres4 ,if the pressure is not sufficient to force all the water away1 the impression will be imperfect4 ,the tougher the printing-color is1 the more will it resist the dampness and the greater must be the pressure4 ,experience has taught me the following3-- 7#a7 ,every paper not spoiled with fat will permit itself to be prepared1 like the stone1 with water so that it will take no color4 ,in the case of entirely clean1 unsized paper1 water alone is sufficient4 ,mucous1 gummy1 and acid substances increase its power4 ,unsized printed paper need merely be dipped in water1 laid on a stone1 and coated with oily color1 and the printed parts will all take the color while the rest of the paper remains white4 7#b7 ,any great pressure will remove this preparation and the whole paper will take color4 7#c7 ,the oil color must be very thin and fluid1 because a tougher one will take hold of the fibres of the paper and tear them off4 ,the foregoing experiences applied to the theory of the print itself lead to the following conclusions3-- 7a7 ,the paper to be used for printing must never be too wet1 because the most powerful pressure could not remove the water sufficiently4 7b7 ,paper that is too wet is prone to adhere to the stone with its printed parts1 which are likely then to tear away easily1 thus damaging or ruining the work4 ,this happens the more readily if the pressure be not sufficient4 ,if the scraper or the stone is not uniform and even1 it is very prone indeed to tear at the places subjected to the least pressure1 because there1 where the water has not been sufficiently squeezed away1 the paper remains soft and fragile1 while the pressure still is great enough to grip the fibres of the paper4 7c7 ,therefore the paper must be only slightly dampened if the color is very tough1 partly to prevent tearing1 partly to oppose no undue obstacle to the reception of the color4 7d7 ,paper dampened too much stretches in printing and produces uneven and dirty impressions4 7e7 ,the quality of the water is not important so long as it is not dirty or putrid1 in which latter case it may infect the paper and rot it4 7f7 ,just how much the paper must be dampened can be learned only from experience1 because papers vary very much and in the case of sized papers it depends chiefly on the kind of sizing4 ,on the average1 we may calculate one wet sheet to eight dry ones in sized papers and one wet one to ten or twelve dry ones in unsized papers4 ,the following is the best way to dampen paper3 ,lay two or three dry sheets on a straight board4 ,then dip a sheet into water4 ,let the water drip off a little and lay the damp sheet carefully on the others4 ,now lay eight or ten dry sheets on top of this4 ,then put on another wet one and then eight or ten dry ones and so on till all the sheets destined for printing have been so piled up4 ,put over all a board weighted with a medium heavy stone plate4 ,after half an hour increase the weight to several hundredweight or squeeze the paper in a press4 ,leave it thus at least twelve hours4 ,then it is generally ready for print4 ,in aquatint it must be dampened more1 about six dry sheets coming to one wet one4 ,very thoroughly sized paper is easier to moisten if each sheet1 or at least each second one1 is wetted with a sponge4 ,sometimes it is necessary to turn the dampened paper in order to remove the creases4 ,separate the sheets into two piles and lay a few sheets from one to the other so that the altered positions will press the sheets flat again4 ,with many papers1 especially the unsized1 it is possible to use the method of book-printers1 who immerse a whole book in water and then lay the sheets in two equal parts4 ,this would be best studied at a printer's4 ,it requires much practice4 ,if dampened paper is permitted to lie some hours without being weighted down1 the margins will become too dry1 and then there will be creases during printing1 which can be remedied only by a second dampening4 ,the reason is that dry paper is not so large as wet paper1 so that the dry margins form a kind of frame which is too small for the inner wet portion4 ,in printing-processes that require many plates1 and especially if the sheets are large1 only dry paper can be used1 as otherwise the register will be imperfect4 ,to be sure1 it can be done by using great care1 but too much practice and attentiveness is needed4 ,with the exception of the aquatint processes1 good printing can be done with dry but unsized paper4 ,but the press must have twice or thrice the pressure4 ,this makes the printing more difficult and endangers the stone if it is not thick4 ,,chapter ,,vi ,,presses ,an exact description of all presses used hitherto for lithography would demand a book that would nearly equal the present one in magnitude4 ,many drawings would be necessary1 which would increase the cost of this text-book without adequate benefit1 as ,i have learned that one rarely can find a mechanician skillful enough to make a machine even when he has the very best description and a perfect illustration before him4 ,i advise all who intend to enter lithography to send for a model to ,munich or some other place where the art is being practiced with success4 ,i myself am willing to furnish exact models for the price of one louis d'or1 which must be remitted with the order4 ,there is no press as yet that is so perfect for lithography that it leaves nothing to be desired4 ,the press whose plan ,i laid before the ,royal ,academy of ,sciences in ,bavaria1 which does its own inking-in and which can be worked by water-power1 has not yet been built on a large scale1 so that its value cannot be stated exactly4 ,i am only too well aware1 however1 of a grave defect in lithography1 which is that the beauty and even the number of impressions depend mainly on the skill and the industry of the printers4 ,a good press is necessary1 to be sure2 but even with the best a poor workman will produce nothing but trash1 because in this respect lithography is far more difficult than any other printing-process4 ,i shall not admit that lithography has made a great step toward the utmost perfection until the erring work of the human hand has been dispensed with as much as possible and the printing is done almost entirely by machinery4 ,therefore ,i am determined to realize the ideas ,i have in this direction and ,i shall inform the friends of the art of my success at once4 ,i ,,properties ,,of ,a ,,good ,,press ,it has been observed that inscriptions1 and particularly drawings1 look better on the stone than on the impression afterward made from the stone4 ,partly this may be due to the color of the stone which softens the picture1 because an impression made on yellow paper resembling the stone color looks very much like the drawing on the stone4 ,but the great cause of the difference is that the color does not transfer itself to the paper with the degree of strength and clearness that it possesses on the stone4 ,that this perfect degree can be attained1 none the less1 there are many successful impressions to prove4 ,if the plate is well designed and well prepared1 it will take the color well and clearly1 but the printer may apply too much or too little1 the color may be too hard or too soft1 or1 even if the stone is properly inked1 the paper may accept color poorly or be too damp or dry4 ,chiefly1 however1 it is the press1 according to my experience1 that most affects the quality of an impression4 ,in most lithographic presses the printing is done by the so-called scraper4 ,this is a thin slat of hard wood1 mostly maple1 pear1 or boxwood4 ,it is one line thick on the side intended to do the printing1 and the mechanism of the press forces it on the paper1 which is on the stone and covered with an overlay of waste paper and tensely stretched leather4 ,this pressure forces the color against the paper along the whole length of the slat1 and only one line broad4 ,the scraper is forced bit by bit over the entire plate1 or it remains motionless and the plate is drawn underneath it4 ,it will be observed that this kind of press does not produce the entire impression vertically and at once as in book-printing1 but that it is successive1 as in copper-plate printing1 with the difference that the copper-plate press uses a roller instead of a scraper4 ,as the scraper must be pressed down with great force 7often as much as sixty and more hundredweight7 and must pass over the leather with this immense pressure1 there is a tremendous friction1 and despite the fact that the leather is tensely stretched and lubricated with fat1 it is considerably pulled and strained by the scraper4 ,this pulling and straining communicates itself to the paper under the leather4 ,thus all the lines of the design become a little bit squashed in the direction described by the scraper4 ,if1 however1 the leather is very good and very tensely stretched in the frame1 if it is well lubricated1 and if the printing-paper with its underlay is not too wet1 the pulling is inconsiderable so that scripts and drawings in broad effects are not affected noticeably4 ,drawings in detail1 however1 and crayon work wherein there is hardly a perceptible space between the dots1 are so affected by the slightest displacement that they produce a smeared1 sooty impression4 ,the scraper has a second fault4 ,if the paper has impurities1 it injures the scraper readily4 ,a groove scratched into the scraper will prevent any further good impression if the injury is considerable1 because it will leave a streak4 ,the only remedy is to take the scraper off and plane it1 fashioning it accurately to the surface of the stone4 ,i have tried to remedy this by making a scraper of metal4 ,as this causes even more friction than wood1 ,i laid a strip of strong paper over the scraper1 which generally was good for three hundred impressions before it was worn out4 ,then ,i merely needed to move it forward a bit2 so that a strip of paper as long as the scraper and six inches wide was available for some thousands of impressions4 ,the pressure attained with a metal scraper is greater than with wood2 but it has the disadvantage that it is hard to print a stone whose surface is not absolutely level1 whereas a wooden scraper can be planed to suit any irregularity in the stone4 ,the foregoing shows that a good lithographic press must have these two properties3-- 7#a7 ,it must not pull or shift the paper in the least4 7#b7 ,it must produce a uniform impression without weak spots or streaks4 ,the other properties it needs in common with other presses1 such as3-- 7#c7 ,it must be powerful enough to produce the necessary pressure4 7#d7 ,it must combine the greatest possible speed with this power4 7#e7 ,it must be easily operated1 to save the workman4 ,all these qualities combined are not to be found in any press hitherto applied to lithography4 ,,ii ,,application ,,of ,,book- ,,and ,,copper-,,plate ,,presses ,,to ,,lithography ,if we consider the peculiarities of book and copper print1 we find a decided difference between them that affects printing importantly4 ,the letters of book-type are raised1 the engraving in copper is depressed4 ,it is evident that the former requires no such power for making impressions as the latter4 ,therefore the presses are so different that copper plates cannot be printed on a book-press and vice versa4 ,now1 as the stone combines both the elevated and the depressed principles1 the natural idea would be to combine the fundamental principles of both presses as nearly as possible for stone-printing4 ,in book-print1 only the types are exposed to the pressure1 and in the average printed sheet these are only one fourth part of the entire surface4 ,the remaining white space is not affected at all by the press4 ,in the stone1 however1 the elevation of any part of a design is so slight that the entire surface is affected1 and consequently a stone plate offers four times as much resistance4 ,a book-press therefore would print a stone only if it were arranged for a pressure four times greater4 ,now1 for a stone of the size of a letter-sheet the power required to print with one vertical pressure would be five or six hundred hundredweight1 a pressure that could be supported only by a thick stone laid very exactly on a perfect foundation4 ,an ordinary copper-plate press increases the pulling of the paper so much in the case of a stone plate that the impression would be worthless4 ,this pulling is not caused1 as in the case of the scraper1 during the impression itself1 as already described1 but it is caused before the impression through the endeavor of the cylinder to force the plate along under it4 ,once the stone is under the cylinder1 the paper is not pulled noticeably1 because the cylinder glides over the leather much more gently and with much less friction than the scraper4 ,this defect might be corrected3-- 7a7 ,by supporting the cylinder so that it would come down on the stone only at the point where the print is to begin4 ,but as the stone must be drawn pretty well forward for convenience in inking1 this would demand that the cylinder be revolved forward and backward again as far as is needed for the impression1 which means a great demand on the strength of the printers1 not to count the loss of time4 7b7 ,a second way would be to plane off a piece two inches wide from the cylinder at the point where the impression is to begin4 ,the stone could be forced under this space readily1 and when the cylinder revolves1 it presses forcibly at once without pulling the paper very much4 7c7 ,the press might be fitted with iron wheels with cog teeth to engage similar cogs on the cylinder4 ,this would prevent pulling1 but the mechanical work would need to be very accurate4 7d7 ,the best arrangement will be the following3 ,set the upper cylinder so high that the stone can be brought under it without touching4 ,then bring it down with a screw1 or better still1 with a lever that can be operated by the foot4 ,the first figure in the plate showing presses represents about how a copper-plate press is to be fitted for this work4 ,on the whole1 this is an ordinary copper-plate press1 but the upper roller is set with its two axles or spindles in two iron levers1 each of which is fastened to a piece of wood with iron screws one inch thick4 ,each of these pieces of wood is covered with strong sheet iron and can be adjusted higher or lower with two screws or with underlay of pasteboard4 ,this is necessary that the press may be adjusted to varying pressures4 ,the two other ends of the two levers1 in which the cylinder sits1 can be raised or lowered1 so that the cylinder also can rise or sink4 ,now two springs or two weights are so adjusted that the cylinder with the levers always remains elevated4 ,to force it down on the stone1 an iron beam enters both sides of the press with two pegs so adjusted that when the beam is turned ninety degrees the levers are depressed at least two inches4 ,as the cylinder is about in the middle of the two levers1 it will thus be depressed one inch1 which suffices to permit the stone to pass under it freely while it is elevated and gives the greatest pressure when it is depressed4 ,however1 the upper cylinder must not be one inch distant from the stone1 but at the most only one fourth inch1 for the remaining space of three fourths inch is required to provide margin for the elasticity of the various materials1 and also to give margin for increased pressure whenever demanded4 ,on one end of the iron beam with the two pegs is an arm or lever which is joined to a thin stick with a treadle4 ,this tread is so arranged that it remains elevated of itself4 ,if the pressure is to reach sixty or more hundredweight1 it must not be fastened directly to the treadle1 but a second lever is required which is affixed to the side of the press4 ,without going into tedious detail ,i cannot further describe this press4 ,mechanicians will understand me readily and perhaps be able to add many improvements4 ,my belief is that a copper press so arranged would diminish all danger of squashing and pulling the impression1 furnish powerful pressure1 permit overlays of felt or fine cloth1 and make possible considerable facility and celerity1 which is a great advantage1 because impressions always are better if too much time is not lost between inking and printing4 ,to safeguard the stone against cracking in such a press1 the following points are to be noted3-- 7#a7 ,the stone must be ground very true on the under side as well as the upper4 7#b7 ,both cylinders must be perfectly true1 and care is to be taken particularly that one cylinder is not thin toward the middle and the other thick1 as this would easily crack the stone lengthwise4 ,the board on which the stone rests must be equally true and uniformly thick4 ,at the same time it must be very thin1 only one half inch thick at most4 ,it will get very heavily squeezed during the printing1 and the more the impression approaches the centre1 the more concave will it become4 ,the parts farthest from the point of pressure then resist unduly if the board is thick1 and thus become the chief cause of cracking the stone4 ,if the rollers are very true and the stone is very uniform1 it is almost impossible to crack it if it is passed between the two rollers without a board underneath4 ,if the board is thin1 it is as if it were not there4 ,i believe that competent mechanicians can improve the present presses greatly4 ,,iii ,,lithographic ,,presses ,,used ,,hitherto ,most owners of lithographic printeries have tried their hands at inventing presses1 but in the end it has always been something based on the scraper or the cylinder principle4 ,i myself have made more than twenty designs4 ,some were very useful and had advantages either in power or convenience1 but generally were handicapped by some defect1 so that ,i cannot even say with certainty which was the best of them all4 ,so much depends on the mechanic's execution of one's plans1 and a perfect design can be so spoiled by a workman that it is worthless4 ,i will1 however1 recount the best that has been done so far for lithography4 ,in ,munich two kinds of stone presses are mostly used4 ,they are3-- 7#a7 ,the lever press1 or1 as the workmen generally call it because of its form1 the ,gallows ,press4 7#b7 ,the ,cylinder or so-called ,star ,press1 the latter term being used because a star-shaped lever is commonly used instead of a crank to turn the rollers4 ,i have tried and found good the following3-- 7#c7 ,a press with double levers4 7#d7 ,a gyrating or sliding press4 ,i know also-- 7#e7 ,the roller press used by ,herr ,andre4 7#f7 ,and the press of ,herr ,steiner in ,vienna4 ,herr ,mller in ,karlsruhe and ,herr ,ackermann in ,london have a press with paper cylinders the construction of which is unknown to me4 ,,iv ,,the ,,lever ,,press ,this was the first press that ,i used with advantage1 and it is used still in ,munich in all important establishments for work that demands speed particularly4 ,it would be an excellent printing-machine in all respects if it did not have the defect that its power cannot be increased much more than six hundredweight without forcing the workmen to undue exertions4 ,therefore it is no longer available for large plates or for works that require immense power4 ,it is very good for pen designs not larger than a letter-sheet1 and two workmen1 one to ink-in and the other to print1 can produce twelve hundred impressions in a day without hardship4 ,the pressure is produced by a lever six to twelve feet long1 fastened to the scraper below and to a spring 7an elastic board7 above4 ,it is connected with a tread1 and when forced down1 presses with the desired force on the scraper and so on the plate4 ,the board holding the lever overhead must be partially movable like a spring because the lever describes a part of a circle on the plate below4 ,hence the pressure at the beginning and end of the impression is not so great as in the middle1 and great care in choice of wood and manufacture is demanded to give the spring board the necessary elasticity and power combined4 ,i have found a board of young dried pine the best1 the dimensions being six feet long1 eight inches wide1 and two inches thick1 provided that the fibres all ran lengthwise4 ,it is not always possible to find a good board at once4 ,often ,i have found that the difference between two boards made a great difference in the effectiveness of two presses otherwise exactly the same4 ,the scraper arm consists of two parts1 of which the shorter one1 to which the scraper is fastened with a screw1 is only one and one quarter feet long4 ,the other part is as long as the height of the press permits4 ,the higher a lever press is1 the better is it1 because then the circular motion described by the scraper wood approaches a straight line more and more1 so that the press exercises a more uniform pressure during all stages of the impression and is easier to handle4 ,the second illustration shows this kind of press in the moment when the impression has been finished1 the printing-frame opened1 and the scraper arm swung back again4 ,the printing-frame is much like a book-printing frame1 and is furnished inside with a second small frame which holds the paper1 being furnished with small springs or strings4 ,when the frame has been turned over the stone1 the paper must be at least half an inch from the stone to avoid smutting1 which will occur if it touches4 ,the paper must not touch the stone till pressure is applied1 and then only on the spot pressed downward by the scraper4 ,as soon as both parts of the scraper arm are in a straight line1 so that they form practically one piece1 the scraper wood is pulled down and the printer draws it toward himself over the printing-frame and the stone plate4 ,at this time the following is to be observed3-- 7#a7 ,both parts of the arm must be so fastened to each other that they may be bent like a knee1 but once they are straight in line1 they must stay in that position4 ,it is well1 therefore1 so to adjust the parts that they will not be directly over each other1 but rather exceed a straight line under pressure1 and bend a little inward4 ,the position of the scraper must be considered also4 ,on the whole the following rule holds good3 the point where both parts are united with a nail or a screw must not be in a perfectly straight line between the point where the scraper rests and the point where the arm is fastened above1 but should be at least two and a half inches forward of that point4 ,otherwise the arm may spring outwards toward the workman and injure him severely4 ,the third illustration shows the construction of the scraper arm and the scraper4 7#b7 ,the arm must be grasped as low as possible when being drawn toward one's self1 in order to diminish the danger of springing outward4 7#c7 ,the workman must press his body tightly to the table of the press to get proper leverage4 ,standing free1 a man of moderate strength could not move the scraper at all when the pressure is on1 but a man standing in correct position can do it without difficulty4 7#d7 ,under very heavy pressure the inker-in1 who stands on the other side of the press1 can help by pushing4 ,the scraper is a piece of pear wood as long as the size of the plate demands4 ,its height is about four inches1 its thickness one inch4 ,the end that rests on the leather is trimmed down so that it has a thickness of only one line4 ,this end must be especially true and planed to fit the stone1 also neatly rounded off4 ,it should be so fastened to the arm that it may be adjusted to the position of the stone4 ,the stone does not always lie truly horizontal in the press1 sometimes because it is not uniformly thick1 sometimes because the underlay is not quite even1 and sometimes because the press itself has been a little strained4 ,if the scraper has been made properly1 it will adjust itself to the stone1 even if the scraper arm is not quite plumb on the stone1 a condition that often occurs with small work1 such as titles and other things that are at the end of a stone4 7#e7 ,for every press a number of scrapers of different dimensions must be in stock4 ,generally a lever press is so made that the printing-frame can be raised or lowered according to the thickness of the stone4 ,then the scraper must be changed accordingly4 7#f7 ,the connection of the upper board with the tread is made by a thin stick that is fastened to a lever below1 by means of a small iron piece which contains several holes that serve to adjust the height of the tread according to need4 7#g7 ,the leather in the printing-frame is strong calfskin4 ,it must be stretched very evenly and tensely and must be smeared from time to time very thoroughly with tallow4 7#h7 ,on the outer side of the frame there are four wooden strips that can be adjusted as desired4 ,one serves to show the point where the impression is to begin4 ,another shows where it is to end4 ,both must be so strong that they can resist the scraper4 ,the other two are adjusted at the sides and guide the scraper4 ,v ,,the ,,cylinder ,,presses ,when ,herr ,professor ,mitterer installed a lithographic institution for the ,feyertags-,schule1 the lever press appeared to him to demand too much labor1 especially when powerful pressures were desired4 ,he invented the so-called ,cylinder or ,star ,press1 which has its place in most establishments1 especially those in other countries4 ,it has had minor changes made in it by many persons1 but on the whole1 nobody has succeeded in improving it notably1 except for a considerable improvement made by ,herr ,mitterer himself4 ,my description will include this improvement4 ,the cylinder press might almost be called a reversed lever press4 ,herr ,mitterer borrowed from it the idea of effecting the impression with a scraper1 but he did not let it move over the plate1 as in the lever press4 ,he gave the scraper a fixed1 immovable position while the stone was drawn through underneath1 thus making his press resemble a copper-plate printing-press somewhat4 ,illustration number #d shows this machine in the moment when the impression has been made4 ,in the middle of the machine is a cylinder ten to twelve inches thick and as long as the breadth of the press4 ,it has strong iron spindles that revolve in well-lubricated brass bearings4 ,above the cylinder is a board on which is fastened the stone with the printing-frame4 ,the scraper is on a strong lever that is held up by a counterpoise4 ,when everything is ready for printing1 the scraper is forced down4 ,by means of a strong iron hook it engages the treadle and thus can be pulled down with the utmost tension4 ,then the cylinder is turned by means of two levers affixed to the crank1 and this draws the stone and printing-frame through under the scraper4 ,one workman alone can do this under ordinary pressure1 but an appliance at the other end of the press enables a second workman to help4 ,,vi ,,gyrating ,,scraper ,,and ,,double ,,lever ,,presses ,i have already mentioned the gyrating scraper press4 ,i have improved it considerably4 ,it has the form of the ordinary lever press1 but all the parts can be much lighter4 ,for instance1 the lever is only one and a half inches thick4 ,the spring 7the elastic board7 is very elastic and need exert a pressure of only one hundred pounds4 ,the little scraper is only an inch long and presses on the plate with a force of fifty pounds4 ,the press is useful for very thin stones that might crack under greater pressure4 ,the pressure1 nevertheless1 is great1 because it is all exerted on such a small area4 ,the press has two defects4 ,it is easy to miss many parts of the design with the small scraper1 and the paper is likely to stick to the leather1 producing poor register4 ,i have obviated these faults with the following invention3 ,a large scraper is fastened to the lever to press on the plate with a force of one hundred pounds4 ,a small one is fastened to this in such a manner that it can be moved to and fro easily4 ,while one workman rubs to and fro with the small scraper1 another draws the entire stone and printing-frame slowly along under the large one4 ,if good underlays are used in addition1 this process will produce beautiful work that cannot be produced so well with any other machine4 ,however1 a large field is left in this form for improvement4 ,the fact that the concentric motion produced by a single lever can be transformed into an almost straight motion by use of a second lever1 led me to design a double lever press1 which has turned out very successful1 giving great force with speed4 ,as its description would demand much space1 and since on the whole it ranks equally with the improved cylinder press1 ,i offer to send models to those who desire to have everything useful for the art4 ,,vii ,,the ,,other ,,stone ,,printing-,,presses ,the cylinder press of the ,chemical ,printery in ,vienna would1 without question1 be of excellent service for the art if it were more powerful4 ,its construction is as follows3 ,the stone is fastened to a table with the printing-frame which has fine felt instead of leather4 ,to make the impression a brass cylinder eight inches thick is rolled over it4 ,as this cylinder would not produce enough pressure from itself1 despite its massive make1 two iron beams are fastened to the axles4 ,they pass through the table and are fastened to a box that contains iron or leaden weights4 ,unfortunately the space prevents the use of more than five or six hundredweights1 and this is too little for the large surface of the cylinder1 thus forbidding any sharp1 clear impressions4 ,this kind of press could be greatly improved if it were built higher to give more room below for weights1 or the beams could be lengthened and passed through the floor into a lower room1 thus giving space enough to add weights up to fifty and more hundredweight4 ,the press of ,herr ,andre is much like this1 except that its cylinder is only three inches in diameter and that it is forced on the stone not with weights1 but with a lower cylinder that presses upwards4 ,it prints fast1 like the other1 but does not possess enough power4 ,in conclusion1 ,i must remark that the concentration of ideas caused by writing this chapter has led me to begin experiments toward making a lithographic press which shall leave nothing to be desired4 ,as soon as my affairs permit1 ,i shall execute this on a large scale1 and if the result fulfills my hopes1 it will be a pleasure to describe it accurately to all friends of my art1 or to furnish them models at cost4 ,,part ,,ii ,,concerning ,,the ,,various ,,methods ,there are two principal methods of stone-printing1 ,relief and ,intaglio4 ,in the former1 the fatty parts of the stone are not attacked by the etching fluid1 while the rest of the stone is dissolved more or less4 ,therefore the fatty places are left in relief4 ,in the second method1 the design is either engraved into the stone with a sharp steel instrument or etched-in with acid4 ,the relief method has the advantage of greater speed and1 generally1 a greater number of impressions4 ,it is easy for the artist to apply1 especially in crayon work4 ,the intaglio1 however1 makes possible finer and more powerful work1 and again1 in many cases1 is the easier of the two for the artist4 ,therefore it is impossible to say in a general way which is the better4 ,it depends on the work to be done4 ,,chapter ,i ,,relief ,,method ,to this method belong principally3 7a7 ,brush and pen designs2 7b7 the crayon method2 7c7 the transfer method2 7d7 the wood-cut method2 7e7 a sort of scraped style2 and 7f7 spatter-work4 ,i ,,brush ,,and ,,pen ,,work ,this is one of the best in lithography1 and perhaps the best1 because it touches daily needs most directly4 ,it can be used not only for all kinds of writings1 but also for illustration that does not demand the supreme perfection of copper plate4 ,the ease of manipulation1 the speed and the almost countless number of impressions recommend it especially4 ,it may even be prophesied that in future1 when true artists have become better acquainted with it1 it will be used for high forms of art4 ,much as this method has to recommend it1 it has been used mainly for script and music1 and it is difficult to gain adherents and followers for it4 ,the reason is an apparently trivial thing1 but it has made most artists averse to it4 ,since stone-printing exists ,i have found only two persons who could do anything with the steel pen at the first attempt4 ,these were my brother ,klemens1 and a ,herr ,porner1 who works now in the establishment of ,herr ,mller in ,karlsruhe4 ,all others have had to struggle more or less with this slight trouble1 and yet it does not demand more than a few days of patience and study4 ,for pen work one must not be too particular in selecting stones1 as the less perfect ones are more available for this than for any other method4 ,however1 the general rule holds good here1 too1 that the purest and hardest stones are best4 ,if they have been used previously1 so that the fatty inks have penetrated pretty well1 they still need not be ground too deeply1 but it will suffice to grind them merely till all depressions and elevations of the previous design have vanished4 ,they may be ground with sand or pumice1 so long as they are made smooth so that no roughness can be perceived4 ,the smoother and finer the surface is1 the easier will it be to work on it with the pen4 ,to design well on stone with chemical ink1 the stone must be prepared after grinding so that the ink shall not flow and spread4 ,dissolve one part of tallow in three parts of oil of turpentine and coat the dry stone very quickly4 ,with a clean rag or tissue paper wipe it at once so thoroughly that the coating vanishes again almost entirely1 leaving only a thin film that can be easily devoured and removed when the etching fluid is applied later4 ,it is well to do this some hours before beginning work on the stone1 partly to give the turpentine odor time to evaporate and partly because it is easier to work after a little while than immediately after coating the stone4 ,the stone can be prepared far in advance1 even so long as some months before using4 ,in that case it is necessary merely to clean the dust away with a cloth or fine brush4 ,this should be done anyway at intervals during the work1 or it will clog the pen4 ,i prefer another way of preparing the stone for designing1 because it is one that insures the stone against containing any hidden preparation1 which can easily occur in grinding owing to carelessness or uncleanliness on the part of the workman1 especially if many old plates are being reground1 when the gum which most of them contain from previous use will mix with water during grinding and thus form a partial preparation of the stone4 ,i coat the plate with strong soap-water containing many soapy particles1 and dry it off as well as possible4 ,now1 there will be too much alkali on the plate1 which will not be good for fine work4 ,i pour a few drops of clean water on the stone1 make it quite wet with this and dry it again thoroughly4 ,the fat of the soap will then have precipitated itself on the stone and at the same time has lost all alkali4 ,the soap-water must not be too thin1 as in that case it will precipitate too much fat on the plate at once and the etching fluid will not be able later to destroy it properly4 ,this would mean the total destruction of the design4 ,to make quite sure1 ,i advise beginners1 after applying soap-water and drying it1 to coat the stone with the tallow and turpentine solution1 clean it quickly1 and thus be absolutely assured that the plate is thoroughly prepared for the design4 ,it must not be imagined that this preparation for work is not very important4 ,i am convinced that less depends on the quality of the ink than on a surface freed from all acid and mucous substances and provided with a sufficient amount of fat4 ,on the stone thus prepared the rough design may be done with lead crayon or red chalk or by tracings or transfers4 ,any surplus of lead or red chalk would make trouble during the succeeding completion of the design with chemical ink1 and must be removed carefully4 ,if the design has been laid on by transfer1 the resultant fattiness must be lightly rubbed away with a fine sand1 but not so as to injure the design4 ,this method1 of first drafting the design on paper with soft chemical transfer ink and then transferring to stone1 offers such advantages that it pays to practice it4 ,care must be taken to remove all surplus of color1 as otherwise all lines that should not appear will resist the etching fluid and gradually show again4 ,those who fear destruction of the design by the use of sand can effect the same purpose by printing off on clean waste paper a few times1 or the design may be printed off on paper before being transferred1 thus cleansing it of surplus fat4 ,when the design has been laid on the stone clean and strongly with chemical ink1 the plate can be etched and prepared1 but not till the whole design is perfectly dry1 because otherwise it cannot resist the action of the fluid4 ,the parts finished first usually are dry long before the entire work is finished4 ,a trained eye can recognize the proper degree of dryness from the sheen1 which varies with different kinds of ink1 but on the whole is always duller when the design is dry than while it still is wet4 ,it is highly necessary that the design be thoroughly dry4 ,it is possible to keep a designed plate for years without etching it1 so long as it is protected against injury4 ,etching is done in two ways1 painting the fluid on and pouring it on4 ,the former method is less circumstantial1 but is used only in coarser work1 because there is always danger of damaging delicate parts of the design4 ,it has the advantage1 however1 that any dirt caused by corrections will be removed4 ,a mixture of three or four parts of water with one part of aquafortis is painted over the stone with a soft brush of fox- or badger-hair4 ,the brush must be dipped continually because the fluid loses its power4 ,for the second method the stone is placed in a large wooden trough or box1 provided with cross-pieces to keep the stone from the bottom4 ,the acid1 thinned down with thirty or forty parts of water1 is poured over it4 ,it is rather immaterial how much one may dilute the acid4 ,very weak solutions simply mean that the pouring must be repeated oftener4 ,the fluid acts on stones according to their degree of hardness4 ,regard must be had1 too1 to the delicacy of the design1 very fine lines being unable to resist etching that does not affect coarse lines4 ,only slight experience is needed to recognize the effect of the acid4 ,by looking at the stone sidewise and against the light1 the growing elevation of the design can be perceived easily4 ,when the fatty coating caused by the soap or turpentine wash has been etched away completely1 and the water adheres equally everywhere1 the stone generally is sufficiently etched to be ready for preparation and printing4 ,for the sake of easier printing1 and also so that future grinding and any desired improvement may be done on the stone1 there should be a little more etching1 if the design is not too delicate4 ,but if the design is very fine1 the etching absolutely must not be more than strictly necessary1 because the fine lines might easily be eaten away4 ,coarser designs can bear strong etching which often may reach the depth of a thick paper4 ,but an inordinate amount of etching is not to be recommended1 even if the design can bear it1 because the edges of a deeply etched line are rough and take the color so strongly that it works into the cavities and is very hard to get out4 ,when the stone has been properly etched1 clean water is poured over it to wash away the free acid4 ,then the work of preparing the plate with a solution of gum arabic in four or five parts of water can begin at once1 or the stone may be set aside to dry1 thus giving the finer parts of the design1 that may have been most affected by the acid1 time to adhere again to the stone and soak in1 which can occur only in the dry state4 ,this is entirely unnecessary with most pen drawings1 but with brush and especially with crayon work it is of great value4 ,when the stone has been prepared with gum1 it is set aside to rest for a few minutes4 ,then pour a few drops of water and exactly the same quantity of oil of turpentine on it1 spread it in all directions uniformly and wipe the entire design off clean with a woolen rag4 ,hard ink1 especially if it has been on the stone for some time1 is more difficult to remove and a little more turpentine is required4 ,the stone should now be inked-in at once1 because the turpentine1 and with it all the fattiness1 is liable to extensive evaporation1 and then the stone will not take color well4 ,inking-in of the pen designs is done as follows3 ,a clean linen or woolen rag is soaked in clean water and wrung out till it is damp rather than wet4 ,this is passed over the whole stone so that it becomes a little wet everywhere4 ,immediately after this dampening1 the well-inked printing-roller is passed to and fro over the plate several times4 ,the roller must be lifted frequently during this work so that the points of contact change4 ,to lay the color on well and quickly1 the roller should be held rather firmly in the beginning1 well pressed down and used with a certain rubbing motion that will tend to lay color on the design sideways1 so to speak4 ,then the roller must be allowed to roll to and fro a few times without much pressure1 to spread the color and take away any surplus4 ,do not roll too long1 till the stone dries1 because then it will take dirt immediately4 ,should this occur1 it must be wiped instantly with the damp cloth till it is clean again4 ,if dirt is left too long1 it will be extremely hard to remove4 ,beginners usually wet their plates excessively to counteract this trouble of drying during the inking-in4 ,this results in wiping away fine strokes1 and the roller gets so wet that no good impression can be made till it has been dried sufficiently again4 ,for this reason beginners should not use bath-sponge1 because1 though it is excellent1 it leaves too much water on the stone unless one knows exactly how to use it4 ,some printers put a little gum1 others a little aquafortis into the water to wet the stone4 ,others use stale beer1 or even urine4 ,i consider all this unnecessary1 if the stone has been prepared correctly and the color is good4 ,i have described the ink-rollers4 ,i repeat that they must be uniform1 soft1 and elastic4 ,as to the inking-in color1 ,i am not able yet to lay down a strict rule4 ,all that ,i can say1 as a result of my experiments and experiences1 is3-- 7#a7 ,the firmer the varnish in a color is1 the cleaner is the work of inking-in4 7#b7 ,the same is true the more lampblack it contains4 ,but in both cases the finer parts of the work are easily rubbed away1 and too much lampblack makes the lines squash the impression4 7#c7 ,the toughness or fluidity of the color must bear correct proportion to the power of the press4 ,the harder the varnish1 the more power is required in the press4 7#d7 ,tough varnish is not so liable to squash under pressure1 but if it has once been pressed into the spaces between the lines of the design it is not readily removed by the mere action of the inking-roller1 and this causes more and more smutting and1 finally1 total ruin to the stone4 ,generally when a tough color has adhered too much1 there is no other remedy than to clean the stone well with gum and oil of turpentine2 and this1 if done too often1 damages the preparation and makes the impressions continuously poorer4 7#e7 ,soft color spreads more readily under pressure1 but is removable after each impression by merely dampening the plate4 7#f7 ,in using soft color1 the paper may be kept damper than with hard colors4 7#g7 ,soft as well as hard printing-color1 if not mixed with the proper amount of varnish1 has the property of producing poor1 sooty impressions because of a defect called shading4 ,shading is caused as follows3 ,if a drop of oil falls into a basin of clean water1 a part of the oil will spread immediately4 ,now1 a stone is wetted before inking-in4 ,after the inking a considerable portion of dampness remains4 ,if the ink is very fluid1 it will happen often that a part of it will spread away from the design to the surrounding moisture1 producing something that looks like a shadow around every part of the design4 ,this does not occur instantly1 as in the case of the pure oil1 but gradually1 so that it is not as noticeable when the swifter lever press is used as with the slower cylinder press or if the workmen are slow4 ,if a stone can be dampened so exactly that with the last touch of the ink-roller the last vestige of dampness is removed1 this is not likely to happen4 ,but it is difficult to arrive at such accuracy4 ,it is better to add enough lampblack gradually to the varnish to make it lose its elasticity1 when the shading effect will cease4 7#h7 ,while shading is obviated largely through enough intermixture of lampblack or other coloring substances to take away the fluidity of the printing-color1 this intermixture will cause other troubles4 ,the finer places will not take the harder color so well1 whereas at other places too much will be taken4 ,also an impression made with much lampblack will off-set more than one made with color in which varnish predominates4 ,neither will the impressions be so black4 ,experience teaches that a printing-color that has less lampblack will be blacker1 because the sheen of the varnish will make the color strong and lacquer-like4 ,i have tried to invent a kind of varnish that would not be so liable to shading and thus would permit a greater fluidity with safety1 but lack of time has prevented me from exhausting the possibilities4 ,i am sure1 however1 that it can be done1 for ,i have found that the common linseed oil varnish can be made to lose its property of shading by admixture of fatty and resinous bodies4 ,for instance1 the addition of a slight amount of ,venetian turpentine permits a greater fluidity4 ,very good is the following composition3 ,six parts linseed oil1 two parts tallow1 one part wax1 melted together and thickened by boiling down and burning like the ordinary linseed oil varnish4 7#i7 ,the inner composition of the stone and the temperature have a considerable effect on the print and also react on the color4 ,a stone1 especially a porous one1 has much less internal moisture on very warm1 dry days4 ,then the dampening done before each impression often evaporates instantly and unequally1 so that it is difficult to ink-in uniformly with a soft color or one lacking varnish1 unless one wets the stone unduly1 which1 again1 injures the impressions4 ,in that case one must use a color that is firmer than should be used according to ordinary rule4 ,it is also well1 before printing from the stone1 to lay it in clean water for a few hours1 or overnight1 so that it may soak in enough moisture to make it easier to dampen4 7#aj7 ,if the drying of the printing-color is to be hastened1 as is necessary with some work1 a little finely powdered mennig may be mixed in4 ,finely powdered litharge of silver dries still better1 but only a small amount of printing-color must be mixed with it1 because it toughens within an hour4 ,it will not keep for another day1 because the mennig will dissolve after a while4 ,in printing from the pen design1 the following must be observed3-- ,even if the stone has been inked-in uniformly and well with a good color1 the impression can be spoiled in various ways3 if the paper has not been dampened as required by the nature of the color and the power of the press2 if the pressure is not in proportion to the consistency of the color2 if the scraper is not even1 and if the leather is not properly stretched4 ,therefore care must be taken in printing pen designs3-- 7#a7 ,the paper must not touch the inked design till the scraper forces it down4 ,it is not advisable to lay the paper directly on the stone4 ,it should be in the printing-frame1 which1 as already described1 should be so arranged that it will keep the paper at least one fourth inch away from the stone4 7#b7 ,the proper dampening of the paper is not a matter of the greatest importance in pen designs1 so long as it is not too wet1 in which case it causes squashed impressions1 does not take color uniformly1 and1 if the printing-color is tough1 will stick to the stone4 ,in general1 the rule holds good that the degree of dampening must be in proportion to the firmness of the varnish1 and that a softer varnish permits increased dampening4 ,dampening is done chiefly to soften the paper1 and the qualities of the paper dictate the amount necessary to a large extent4 7#c7 ,the tension of the press must be more powerful with hard printing-color and carefully graduated with soft color4 ,besides this1 it depends-- 7#d7 ,on the structure of the scraper4 ,if it is not absolutely uniform and well fitted to the stone1 more power is needed4 ,thus the defect often is corrected2 but this may make the color squash and spread in other spots1 therefore it always is better to correct any defects in the scraper4 ,the sharper the scraper is1 the clearer are the impressions1 because then the whole force of the pressure concentrates on the smallest area4 ,but usually the scraper soon becomes dull1 and then the press must have more power4 7#e7 ,insufficient tension of the leather also may produce poor impressions1 especially if the color is soft and the paper very wet4 ,therefore as soon as impressions appear blurred and squashed1 the leather should be tautened and well lubricated with tallow4 ,now we come to an important matter1 namely1 the correction of errors4 ,it does not happen often that a drawing or inscription can be made entirely without error1 and it would be a great imperfection in lithography if these mistakes could not be corrected at once4 ,errors may be observed before etching or afterward4 ,different ways of making corrections are required4 ,it is very easy to make corrections before etching4 ,if the error is observed as soon as it is made1 while the ink still is wet1 it may be corrected by merely wiping out the defect with the finger4 ,if the ink is dry1 oil of turpentine is required4 ,in each case the ink must be well removed so that it will not resist the etching fluid later4 ,if only tiny spots are defective they can be corrected by delicate use of a sharp eraser4 ,defects that need merely to be destroyed without drawing anything else in their place may be scraped off with a knife or with pumice stone4 ,after the plate is etched1 errors demand treatments that differ according to whether a defect or blemish is merely to be removed1 whether something else is to be drawn in place of the removed part1 or if something has been forgotten and is to be added4 ,the area of the correction also makes a difference4 ,if it is only a matter of removing small defects or places1 delicate erasure will do4 ,the same1 or polishing with pumice1 is done if the area is larger4 ,then the corrected spots must be coated with a mixture of gum and aquafortis1 using a soft brush very carefully that it may not touch any of the sound places4 ,if something new is to be drawn in1 the process is different4 ,ink-in the stone very clean1 and coat it with gum and water that is very thin and delicate4 ,let it dry4 ,then scrape the defective places away very carefully or grind them away by rubbing with pumice stone4 ,coat the spots cautiously with soap-water or oil of turpentine and clean off again as thoroughly as possible4 7,this coating is not necessary in the case of a few isolated small lines or points47 ,now draw in your new design with chemical ink1 and as soon as this is dry1 etch the corrections carefully with a small brush and then prepare with gum4 ,the third case1 where something has been forgotten1 is treated almost the same way4 ,if it is only a very small thing1 the stone need merely be scraped carefully4 ,then the drawing may be put in1 preferably with a thicker ink4 ,if the area is large1 the stone must be ground where the design is to be added1 coated with soap-water or oil of turpentine1 and then treated as explained before4 ,when the stone has been corrected and prepared for printing1 it can be used at once or set aside for some length of time4 ,in the latter case it should be inked with a firm color and coated delicately with gum solution4 ,then it can be held as long as desired4 ,coating with gum solution is advisable not merely for storing away1 but for every interruption of printing that lasts more than five minutes4 ,if a stone has stood longer than a day without being freshly inked1 it must be wiped off first of all with gum solution and oil of turpentine1 that it may take the color well1 so that the very first impression may be perfect4 ,during the progress of printing1 the following points are important3 ,uniform distribution of water1 the same of printing-color1 frequent inking of the inking-roller1 and the very greatest speed possible4 ,in the main points the brush process is like that of the pen4 ,the chief difference is that it is not possible to make the brush strokes as strong as those with the pen4 ,therefore1 brush work does not resist etching so well and must not be treated too powerfully4 ,much depends on the treatment of the brush and the consistency of the ink4 ,the brush does not permit such a flow of ink as does the pen1 and generally requires one that is more fluid4 ,a good brush ink is made as follows3-- ,mix two parts of pure white wax and one part of good tallow soap into a mass not larger than a hazel nut4 ,the ink loses its good properties quickly and should be made fresh day by day4 ,mix the two materials with a thick knife on a lukewarm 7but positively not warm7 stone1 separate into small parts and moisten with rain water4 ,as soon as the water has softened the mass a trifle1 add as much lampblack as will lie on two knife points and mix the whole mass together once more till it is thoroughly mixed and quite firm4 ,when required1 a bit of this is rubbed down in a clean saucer with rain water4 ,as a better flow of ink is needed for brush work than for pen work1 it is evident that it would not be requisite to treat the stone with soap-water and oil of turpentine1 as for pen work4 ,however1 it often pays to make certain fine lines with the pen1 and therefore it is better to combine both processes and prepare the stone as for pen work4 ,it is well1 however1 after drying the coating1 to rub it very gently with dry sand1 which will not make the pen strokes flow to any extent and still will prepare the stone so that it will take the brush strokes well and not make necessary such strong etching4 ,if a brush design is to be etched in high relief1 for ease in printing or for durability1 it must be etched only to the extent absolutely required at first4 ,then it must be prepared with gum and inked-in with good acid-proof color4 ,set it aside for a while1 that the color may concentrate so that it will resist the acid well1 and then etch the stone to the desired degree4 ,after etching1 wash with water1 coat with gum and put aside to dry4 ,owing to this latter procedure any fine parts that may have been unduly affected by the acid will adhere to the plate anew and it can be printed then like a pen design4 ,if pen and brush work are to be combined on a stone1 and absolute certainty is desired1 that even the very finest lines shall not suffer from etching1 the following process will serve3-- ,over the cleanly ground plate pour a solution of weakened but pure aquafortis1 about forty parts of water to one part of aquafortis4 ,repeat this several times4 ,then pour a great deal of water over the stone1 to wash off all acid1 and let it dry4 ,pen as well as brush work is easy on such a stone1 by using the proper ink for each method4 ,when the work is finished and dry1 the stone is merely coated with gum solution4 ,after a few minutes it can be inked-in with acid-proof ink and treated as described before4 ,,ii ,,the ,,crayon ,,method ,the fat of the chemical ink penetrates the stone in dry form as well as in fluid form1 and makes the plate receptive to printing-color4 ,if the dry ink is cut into long pieces and sharpened1 it can be used much like lead or black crayon4 ,if the stone is ground very smooth1 the work can be made quite fine and resembles that done with fluid ink4 ,the crayon1 however1 wears away too quickly4 ,if the stone is ground rough1 so that instead of a polished surface it has one resembling rough paper1 the crayon work appears as a mass of dots that are coarser or finer according to pressure with the crayon1 and produce an effect similar to crayon designs on paper4 ,as almost every artist and painter knows how to use crayon1 no particular practice is required for working on stone1 and there are no obstacles such as the difficulty of using the steel pen4 ,that crayon work on stone is capable of high perfection1 and that it can represent the essentials of a painting in a manner scarcely to be excelled by the best copper-plate engraver1 has been demonstrated by many successful productions4 ,add to this that in no other style can one work equally fast1 either on copper or stone1 and we see that the crayon method is a genuine advantage for the art4 ,for crayon work the stones must be uniform and hard4 ,they must either be new1 or1 if they have been used1 they must be ground so thoroughly that all traces of fat are destroyed and removed absolutely to a degree where it is certain that they will not appear again and take color1 even if the stone is etched only lightly4 ,as soon as the plates have been ground true1 they must be grained by strewing some fine sand or powdered sandstone on them and rubbing in all directions with a small piece of limestone4 ,the work can be done dry or wet4 ,soap-water is best4 ,it gives the stone a handsome grain4 ,practice is demanded to get good results without scratching the stone4 ,the artist must decide for himself what grain he needs4 ,i think that it would be good if the artist himself were to grain the stone in varying degrees according to the need of his design4 ,for instance1 a coarser grain might be good for foregrounds4 ,as soon as the stone has been grained1 it must be cleansed perfectly from dust and dirt4 ,it is best to pour clean water over it and wash it with a clean rag4 ,the dust and sand must all be removed1 otherwise they will not let the crayon reach the stone where it is used delicately4 ,when the design is finished1 it should be set aside for a day1 that it may take good hold of the stone4 ,it does no harm to let plates rest for years before etching4 ,etching must be done by pouring4 ,painting the etching fluid on is dangerous because of the danger of taking away fine spots4 ,about one hundred parts of water are used to one part of aquafortis4 ,everything depends on not etching a bit more than necessary4 ,it is best to etch the coarser parts specially with a small brush and stronger etching solution1 and it is very good to wash the stone with clean water after etching and let it dry completely before coating with gum4 ,when the stone has been prepared1 it should not be cleansed at once with oil of turpentine1 but should be inked-in first with a light printing-color4 ,only after it has taken this well should it be cleansed of the crayon and treated to a firmer color4 ,in the first inking-in there should be very little pressure with the sponge or wet cloth when dampening it1 as the lightest parts of the design are easily rubbed away before they have taken color4 ,if such parts should vanish1 the easiest way to restore them is as follows3-- ,coat the plate with gum solution and wipe with a clean dry cloth till it is perfectly dry4 ,then take a flat1 knife-like instrument of steel1 which is cleanly ground so that it has no nicks or other defects that might injure the stone4 ,scrape with moderate pressure to and fro over the defective places1 but only so that it touches the elevated points and not the surface of the stone itself4 ,smear a little fat1 such as linseed oil varnish1 over it and wash this away again instantly with gum solution4 ,generally the parts all reappear very nicely when the stone is inked-in again4 ,a second kind of correction is as follows3 ,ink the stone with firm color1 wash it well with plenty of pure water and let it dry4 ,now redraw the lost places with crayon4 ,printing crayon work is the most difficult of all lithography1 but can be done perfectly if all necessary precautions are taken4 ,these are mainly3 7a7 proper dampening of the paper2 7b7 perfect dampening of the stone2--too much meaning that the fine points will not take color well1 too little making the stone smut easily2 7c7 good stretching of the leather1 industrious lubrication1 and an underlay of taffeta2 7d7 a good1 finely mixed inking-color that will not shade off in printing and yet does not contain too much lampblack2 7e7 soft and well-dried ink-rollers2 7f7 proper tension of the press2 7g7 utmost possible speed in printing4 ,the latter aids enormously1 because the stone does not get so much time to dry out4 ,aside from the spreading and running-together of the darker parts1 one of the commonest faults of crayon work is that it is very liable to get a tone1 which spreads over the whole design like a veil2 or that the designs lose their firmness and appear monotonic because the shadings spread and thicken4 ,the first fault comes from weak etching or from oil that was rancid when it was used to prepare the varnish4 ,the latter fault makes the color adhere and smut the stone4 ,the same fault is developed if the printing-color contains soap1 which some printers mix into it for better adherence4 ,it can occur also if the stone has lost its preparation owing to frequent cleansing and strong rubbing with a dry rag that is inky4 ,even strong rubbing with clean water can cause it if the rag contains fats4 ,as to the monotonic effect1 it is frequent1 and ,i have learned that it can be caused in two ways1 namely1 if the color is squashed continually during the print1 which makes the stone sooty2 or if the color spreads1 as1 for instance1 during the night or during the noonday rest4 ,the stone is prepared only on the surface4 ,in the pen style1 all lines are prepared on the sides also1 so that they cannot spread because they are considerably more elevated than the crayon designs4 ,if a crayon design dries after printing and is not coated properly with gum1 the color is liable to spread away from the design and give the plate the before-mentioned tone4 ,even if it is coated with gum1 the color will spread1 at least in the inner parts of the stone2 and as soon as the very thin surface has been at all wiped away by rough usage1 the underlying fattiness will appear gradually1 and begin to take color4 ,both faults of crayon work1 namely1 the taking of tone and the development of a monotonic condition1 can be remedied by inking the plate for a while with a firmer color4 ,if this does not help1 the following must be resorted to3 ,ink-in the plate as well as possible1 lay it in the etching-trough and pour over it very weak aquafortis once or twice4 ,then wash it with pure water and paint the gum solution over it4 ,the etching must be done with great caution1 with a solution so weak that the acid is scarcely perceptible4 ,if the plate is to be saved at all without extensive corrections and re-drawing1 this is the best way4 ,if it is done correctly1 it harms the design so little that ,i advise it even when the plate looks quite well1 but has been standing very long after the first printing4 ,i have etched several crayon designs over again1 and rather extensively1 to make them more durable and facilitate printing1 and with good success4 ,this gives the further advantage that corrections can be made at the same time4 ,the correction of crayon designs1 that have been etched already and used for printing1 always has been so difficult a task that few have succeeded4 ,this has led me to give the matter my best attention2 and ,i hope that the following rules1 based on many experiments1 will show the way1 at least1 even if they do not produce absolute results4 ,when a copper-plate engraver has partially finished his plate1 he can have a proof pulled to enable him to study his work4 ,then he can make corrections as he pleases1--an advantage that the stone worker has lacked hitherto4 ,to produce an impression that shall be faithful to all the beauties of a crayon design is a matter dependent on so many trivial details that of the many hundred crayon designs that have been produced by lithographers since the origin of the art1 hardly one has realized the designer's hopes and ambitions4 ,the commonest fault is that the more delicate parts of the design print too light and the heavier ones too dark1 thus destroying the balance of tones4 ,the lightening occurs because the finest parts of the design have lost their power of taking printing-color4 ,the darkening occurs because the closely shaded parts flow together1 either because the etching has not made enough white space between the points and lines or because they are squashed in the pressure of printing4 ,from this1 two other faults may arise1 that become visible after inking-in the plate3 ,the first is the appearance of white dots1 sometimes pretty large4 ,the second is that black dots and smut-marks appear4 ,the white dots are caused by speaking during the work1 and thus dropping spittle on the plate4 ,if the spittle is mucous1 the plate covers itself there with a fine crust that resists the chemical crayon so that it does not soak into the stone and is wiped away by the inking-in4 ,if the spittle is fatty1--for instance1 if one has eaten anything greasy1--the dots that appear will be black4 ,the same results from touching the plate with fatty hands4 ,sometimes a whole picture of the fingers and skin will appear on the impression4 ,let us suppose that after inking-in1 a plate shows all these faults3 the finest shadings vanished entirely1 the darker places run together1 white and black dots and smut-marks so that the plate has become useless in every respect4 ,can this be remedied8 ,if so1 how8 ,i answer that it can be remedied in every point2 but that the artist himself must decide if it will not pay better to do the whole design anew4 ,the second question ,i answer as follows3-- ,before everything else1 it is necessary to remove all that should not be on the stone1 all smut-marks and black dots2 and where the design has darkened1 white points or lights must be graved-in4 ,to accomplish this1 the stone is inked-in first with a firm acid-proof color1 and over this with a lighter one4 ,then erase or grind away the dirt that is outside of the design and that would dirty the margin of the printing-paper4 ,no erasing or grinding must be done within the design itself because then the grain would be destroyed and the necessary drawing could not be done as it should be4 ,therefore the faulty parts must be removed by engraving1 with a more or less sharp needle of good steel1 so that what remains looks quite like a good grain4 ,a little practice will show that this work is not at all difficult and can be done quickly4 ,places that have run together can be cleared and made transparent and clean in a few minutes4 ,if certain points have become too large1 they can be corrected by engraving a white point in their centre or by engraving a line through them4 ,here ,i must note that parts of crayon designs thicken sometimes because the crayon has slipped in drawing1 without leaving traces perceptible at the time4 ,if the etching is weak1 it may happen easily that this place takes printing-color4 ,skillful engraving may not only correct the defect1 but actually gives the design a beautiful tone and power such as cannot be easily produced by the crayon itself4 ,when the plate has been cleansed thus of all surplus and blemishes1 weak aquafortis is poured over it several times and then it is coated with gum4 ,after a few minutes it is inked-in with fairly firm color4 ,then it will be seen that the design is clean1 but that all the parts that were too light are not darker1 but perhaps even lighter1 having been affected by the etching4 ,to remedy this1 coat the stone with gum solution and then wipe it off with a dry clean rag so thoroughly that only a thin film of gum remains behind4 ,to judge this better1 it is well to mix a little red chalk with the gum4 ,when the plate is wholly dry1 take a knife-like tool of steel as described before1 and scrape the defective parts under moderate pressure1 without injuring the elevated points of the design4 ,great care must be taken during this process to let no moisture1 not even the breath1 touch the stone1 because that would produce the very opposite of what is aimed at4 ,when all faulty places have been treated1 a little tallow or linseed oil is smeared over the plate and then washed away well but gently with thin gum and water4 ,if this manipulation has been done accurately1 the lost parts of the design will appear when the plate is inked with a somewhat softer color4 ,those who fear that they do not possess the skill necessary for this rubbing-up of the defective parts may attain the object by re-drawing them4 ,the stone must be washed off first with a great deal of very pure water and the crayon must contain much soap4 ,this kind of correction must be finished as quickly as possible and the stone should not be set aside for any length of time without a gum coating4 ,if the corrections are extensive1 it is better first to ink the stone well with acid-proof color and then to wash it in pure water and let it dry4 ,then if it is inked-in after the design is finished1 and if weak aquafortis is poured over it and it is prepared with gum1 it will keep for several months4 ,slight blemishes1 white specks1 etc41 can best be corrected by gentle touching-up with crayon during the proof-printing on the wet plate4 ,it is understood1 of course1 that one can also work with pen or brush in a crayon design that has been already etched4 ,parts that are too dark can be made lighter by passing over them a few times with a brush dipped in weak aquafortis and then re-coating with gum4 ,these are about the best ways for correcting a crayon design that proves after etching to be imperfect4 ,i close with the following3-- 7#a7 ,the tanners of ,munich manufacture an inking-ball1 made especially for printing1 of sheepskin1 such as ,i could not obtain in other places1 like ,london1 ,offenbach1 and ,vienna4 ,it is not white like alum-dressed leather1 but yellowish1 and the oil has not been completely washed out4 ,i have had dogskin and thin calfskin worked in the same way and have found them even better1 because of their greater durability4 ,if a roller is covered with this leather1 so that the side that was hairy comes outermost 7not innermost as many do71 it develops a decided property of taking-on color1 probably because of its smoothness and elasticity4 ,this aids much in spreading the color uniformly over the stone4 ,the property is increased if the roller is dampened slightly before being inked2 but on the contrary1 if the stone is kept too wet1 the constant moisture will gradually prepare the roller1 so to speak1 and it will take less color and let it go quickly1 thus inking the stone badly4 ,if a roller has been used a long time1 it loses its elasticity and softness and becomes useless for fine work4 ,still worse is a roller that has hardened from the drying of the ink4 ,it is surprising to see what a difference it makes if one has worked for a time with a poor roller and then replaces it with a good one4 ,it is almost impossible to believe that the new impressions come from the same stone4 ,i am inclined1 therefore1 to believe that the quality of the ink-roller has more effect on good impressions of crayon and fine pen work than even the quality of the printing-color4 ,as stated1 it is well to change rollers frequently1 and it is wise to clean them with linseed oil or butter after use to keep them soft and tender4 ,in working on crayon designs of superior value ,i advise the use of new rollers4 7#b7 ,it has been remarked before that the color of the stone often deceives the artist as to the values and proportions of his work and that the designs always look better on the soft-colored stone than they do on the glaring white paper4 ,this observation led to printing on paper tinted like the stone1 and the results fulfilled expectations4 ,there were difficulties however4 ,the very best quality of this paper is extremely dear1 and other qualities had the property of dirtying the stone1 on account of the coloring-matter used for tinting them4 ,therefore the attempt was made to print the design on white paper and to color it afterwards4 ,here1 too1 there arose many inconveniences1 so that at last there came the thought of laying a yellow tint over the impression by means of a second printing4 ,this method proved to be not only the most economical and quick1 but it had the further advantage that the margins of the paper could be left white1 thus enhancing the value of the design4 ,hardly had it been used with success a few times before ,herr ,piloty conceived the idea of printing the high lights into the design with white printing-color1 so that the impressions would resemble actual drawings4 ,my experiments toward that end did not result satisfactorily1 because no white oil color will print well enough2 and ,i proposed that the high lights be engraved into the tint plate and thus permit the original white of the paper to show4 ,so there came that kind of crayon impression with one or more tint plates1 which has become so popular that various art connoisseurs hold it to be the triumph of the lithographic art4 ,to make and print these tone plates1 ,i have thought out many ways2 but as ,i am sure that they will suggest themselves to those who have grasped my text-book1 ,i will describe only the best of them all4 ,take a stone of good average quality1 the best not being essential1 and grind it as for crayon work with a grain not too coarse4 ,when it is clean and dry1 cover it uniformly with the following chemical ink1 which must be laid on so thickly that it surely will resist the aquafortis sufficiently1 yet not so very thickly that it will hinder the drawing-in of the lights later on4 ,the chemical ink for use on the tone plates is made of four parts wax1 one part soap1 and two parts vermilion4 ,the two first materials are melted in a clean vessel over a moderate fire and then the vermilion is stirred in4 ,a piece of ink as large as a hazel nut is rubbed down in a clean coffee cup and then dissolved in rain water till it is just fluid enough to lie evenly and nicely on the plate when applied with a soft brush4 ,when the stone thus has been painted red1 it must be permitted to dry thoroughly4 ,when it is dry1 a strong impression of the design is made on sized but well-dampened paper with a printing-color rather soft than firm4 ,before the paper has a chance to dry and thus to shrink1 the red stone is placed in the press and the impression is laid on it face down4 ,use moderate pressure4 ,the drawing will transfer itself to the red surface1 but the paper will stick4 ,wet it with weak aquafortis till it is completely softened and permits itself to be removed4 ,care must be taken not to spoil the drawing by violent wiping and rubbing4 ,this method is easier if a special transfer paper is used4 ,coat well-sized1 very clean paper with a thin paste of starch such as laundresses use for stiffening linen4 ,this paper must not be dampened very much1 because then it will not take the impression well4 ,it also is removed from the tone plate by washing with weak aquafortis and it yields very easily1 because the paste lets go of the color readily4 ,when the design has been transferred to the tone plate1 take good iron instruments and remove the wax surface wherever the high lights are desired4 ,as the stone is ground rough1 the scraping will produce only small specks at first1 because the instrument will touch only the relief points4 ,the more the scraping proceeds1 the deeper it will go1 till at last one reaches the bottom of the coating and thus obtains a white light4 ,experts can so manipulate the tint plates that the lights will be graduated from the softest to the most glaring4 ,as soon as the lights are drawn in1 the margins of the drawing are scraped the same way4 ,then the plate is treated to several washings of pretty strong aquafortis1 about twenty parts of water to one part of aquafortis4 ,after coating with gum1 it is ready for printing4 ,the most important requisite for this printing is a good arrangement that will insure an exact register of the second impression with the first1 that the lights may appear exactly where they belong4 ,to achieve this1 the practice used to be to draw two register marks on the stone holding the original design1 which were transferred to the tint plate with the rest of the design4 ,when the first impression was made1 the printed paper was cut away exactly at the marked points1 and laid accurately1 on the tone plate1 being guided by the two marks there4 ,this was effective1 but it had the fault that the paper had to be trimmed off carefully for each impression and that the slightest inaccuracy spoiled the register4 ,however1 it is very useful for printing proofs4 ,it is far better to have a printing-frame that is so fixed that it will never shift its position in the slightest degree4 ,to this is fastened a little movable frame that has two steel needles whose position is adjustable at will4 ,lubricate the leather inside with wax and lay a sheet of white paper on it4 ,see that the tint plate is so fastened in the press that it cannot stir out of place4 ,make an impression and take care especially that the two register marks print off well4 ,now set the needles in the little frame so that they will be exactly over these two marks4 ,if1 then1 an impression of the design is laid on so that the two guiding-marks on it come exactly under the two needles1 it will1 of course1 register perfectly4 ,of course the little frame must be so adjusted that it can be folded back out of the way before each impression1 and the printing-frame must hold the sheets of paper so that they cannot move4 ,to color the tint plate1 use a firm varnish tinted with umber1 or any other color that will give the desired effect4 ,new rollers are best1 insuring a fine1 even1 unspotted tone4 7#c7 ,in rough-grinding the stones1 it is difficult to prevent scratches and furrows caused by the coarse sand4 ,no design of value should be made on such a stone1 but if one is used1 the defects should be touched up with chemical ink and a fine brush1 as crayon will hardly do it4 7#d7 ,as the delicate places in crayon work are not durable1 etching having the property of reducing the light portions and darkening the darker ones1 ,i tried the method of drawing the lighter portions on a separate stone in rather stronger manner and printing from it with paler ink4 ,the success was so great that ,i hope in time to produce true masterpieces with the aid of skilled artists1 and here call attention to it in advance4 7#e7 ,after learning how to make a second impression over a first one1 it is not difficult to pass on to printing with several stones and from that going on to color-printing4 ,in the early days of my invention ,i tried color-printing with a crayon plate and had the best success by using stencils such as are used by the painters of cards4 ,on oiled stiff paper ,i made as many impressions of a design as there were to be colors4 ,then all that was to be red was cut out from one stencil1 green from another1 and so forth4 ,then the stone was wetted1 the stencil laid on it and the uncovered parts of the stones inked-in with the right color4 ,after all the colors had been applied1 ,i made the impression1 which generally looked neat enough1 but still resembled a sketchy drawing rather than a painting1 because no color except black1 zinc red1 and dark blue permitted itself to be printed strongly enough4 ,but by using several stones1 each of which can be designed and treated according to the necessities of color1 impressions can be made that resemble the ,english colored copper prints very closely1 especially if the crayon and pen or brush methods are united4 7#f7 ,a stone plate may be etched so that it will have the roughness needed for crayon work4 ,grind it as clean and smooth as possible with pumice1 pour aquafortis over it and coat with gum4 ,wash it well in water and dry with a clean cloth4 ,coat it very thinly but uniformly with tallow into which is mixed a little lampblack1 so that one can see if the coating is perfectly even4 ,with a small ball or roller covered with fine cloth1 roll or pat the stone till it has a very uniform tone4 ,now pour a little diluted aquafortis on one end as a test to see if it penetrates uniformly through the fatty coating4 ,practice is needed to hit just the right thickness that the tallow coating must be4 ,it must be thin1 and yet sufficiently thick to resist the aquafortis somewhat1 so that it yields only at those places where the roughness of the cloth on the roller has removed it more or less4 ,if the test is satisfactory1 make a raised border of wax around the stone and pour the aquafortis solution on it4 ,a solution of forty parts of water to one part of aquafortis is better than a stronger one because the stones are more equally attacked4 ,as soon as the resulting bubbles are as large as the head of a small pin1 the etching fluid is poured away quickly and replaced with pure water to get rid of the bubbles4 ,pour away the water and apply etching fluid again4 ,repeat this four or five times1 according to the grain desired1 and in the end wash the stone well with oil of turpentine to remove all fattiness4 ,then it must be washed with weak but very pure aquafortis1 followed by a great deal of very pure water4 ,after cleaning and drying very carefully with a clean rag1 it is ready for use2 and if the work has been well done1 a grain will have been produced that is prettier and much more even than can be produced by rubbing with sand4 7#g7 ,the instructions given here teach how to draw on a stone that has been prepared beforehand with aquafortis and gum4 ,this is not in the least inimical to the durability of the design if only the union of the gum with the stone has been destroyed again by washing afterward with diluted but pure aquafortis and every trace of this acid again has been removed by copious washing with pure water4 ,if there is a considerable amount of the soap in the crayon1 the good result will be greater than with an entirely clean stone1 because1 since it has already been etched twice1 the etching after the design may be very limited1 so that it is not harmful to even the most delicate shadings in the design4 7#h7 ,some attempts made by me to etch crayon designs more powerfully than usual proved that the more delicate places would suffer1 but if ,i rubbed them up with a flat knife as described before1 they appeared again and ,i had the advantage that the whole plate was much better prepared than it is with weak etching4 7#i7 ,if a crayon plate is spoiled in printing through carelessness or lack of skill1 the rules for remedying the trouble are the same as those named for pen work1 and the judgment of the worker must decide which method is the most applicable4 ,in general1 it may be assumed that the best remedy for blurred spots is to draw them over again with crayon2 and for smutted parts the best is to apply firmer printing-color1 or to cleanse with oil of turpentine and gum and afterward ink-in with acid-proof ink1 and then use light etching with weak aquafortis followed always by coating with gum and water4 ,,iii ,,transfer ,,and ,,tracing ,in the pen and crayon method all the lines that are to take printing-color are drawn directly on the stone with a fatty preparation4 ,but lithography has a unique way of transferring to the stone a drawing or inscription that is first put on paper with the fatty substance4 ,this is possible only for lithography1 and ,i incline to the belief that it is the most important of all my inventions4 ,it makes it unnecessary to learn reverse writing4 ,everybody who can write on paper with ordinary ink can do so with the chemical transfer ink1 and this writing can then be transferred to the stone and manifolded indefinitely4 ,in ,munich and ,petersburg this method has been introduced for government work4 ,the measures adopted in council are written during the session by the secretary1 with chemical ink on paper1 and sent to the printery4 ,within an hour impressions are ready to distribute among the members4 ,i am convinced that within ten years every ,european ,government will have a lithographic establishment4 ,in war the method would have a great value4 ,it would replace the field printery1 and it permits greater speed and secrecy4 ,the commander need merely write his orders himself and have them printed in his presence by a man who cannot read1 to be sure that his plans will not be betrayed4 ,the engineer officers can draw plans and have them circulated among the officers who need them4 ,authors and scientists will find the method to be the means of circulating their works in manuscript very cheaply4 ,even artists will respect the method when its gradual perfection enables them to draw their pictures on paper with ink or crayon and reproduce them4 ,not from boastfulness1 but from conviction of the importance of the method1 have ,i thus recounted its advantages4 ,i could fill a whole book with detailed explanations4 ,i wish to gain friends for the method1 that it may be improved to its ultimate degree by skilled artists4 ,the chemical ink used for the paper may be soft or firm4 ,the paper may be specially prepared or not4 ,the stone may be warm or cold4 ,the design leaves the paper entirely and clings to the stone1 or does so only partly4 ,to describe all this would take too much space4 ,i will describe only the method that ,i consider best1 namely1 a method under which the work is done with a soft ink1 and transferred to an unwarmed stone4 ,this is the quickest and surest1 and has the advantage of not spoiling the original4 ,in a clean coffee cup rub down a piece1 as large as a hazel nut1 of the chemical ink described under the heading ,transfer ,ink in an earlier part of this work4 ,dissolve with rain water or soft river water4 ,the amount of water is determined according to the need for fine or coarse work4 ,in the latter case1 the ink should be thinner1 that there may not be too much ink in the design after it dries4 ,while the writing or design is drying1 select a stone that either has not been used before or at least has been thoroughly ground off1 and grind it down once more with pure and dry pumice stone without water1 until it is certain that all parts of the surface have been rubbed down so thoroughly that the stone may properly be considered a new one4 ,clean away the dust with clean paper1 fasten the stone in the press1 examine the scraper to make sure that it is even1 adjust the press for the proper pressure2 in a word1 do all that is necessary for good impressions4 ,from this time on the greatest care must be taken not to touch the polished stone with as much as a finger1 not to mention keeping grease and dirt away from it4 ,as soon as every point in the design on the paper is perfectly dry1 wet it on the reverse side with a sponge dipped into weak but pure aquafortis until the paper is quite soft4 ,lay it between waste paper sheets for a time1 to prevent it from pulling out of shape and to remove the excess moisture4 ,it must be soft1 but not wet1 when the impression is made4 ,lay the paper face down on the stone4 ,on it lay two sheets of dry waste paper1 then an equally large piece of taffeta1 another sheet of waste paper and make the transfer print with a moderately swift motion of the press1 which must have more tension than is used for ordinary impressions4 ,the power of a lever press is insufficient for larger stones1 and a cylinder press is required4 ,after a few minutes the stone is withdrawn from the press1 the paper is lifted off and the stone permitted to dry for a minute4 ,it is better if one can wait longer4 ,then put it into the etching-trough1 and pour over it1 quickly and only once1 a clean but weak solution of one hundred parts of water to one part of aquafortis4 ,it is necessary to be skillful enough to cover the whole surface with one application4 ,then the stone is washed by pouring pure water over it1 and1 if time permits1 set aside to dry4 ,if time is limited1 the gum solution to prepare the stone can be put on at once4 ,now the transfer is on the stone1 properly etched and prepared4 ,to make clean impressions1 however1 the printing-color must first be rubbed on1 then the stone must be inked-in with acid-proof color and after that undergo another etching1 a trifle stronger4 ,to rub on the printing-color1 rub a little acid-proof color into a piece of clean linen or cotton1 so that it is well permeated but not thickly covered4 ,rub this rag gently to and fro over the transfer while the gum is still on it1 till every part of the design is nicely inked4 ,this rubbing-in of color is an important part of many of the processes that will be described later4 ,now clean the stone well with water1 ink-in with acid-proof ink1 and etch it again as has been described several times4 ,then it is ready for printing4 ,the last etching is not necessary if only a few impressions are desired4 ,transfer is applicable not only for pen designs but also for crayon4 ,the crayon used for the purpose should be softened a little with tallow1 or1 if the harder crayon is used1 the stone should be warmed when making the transfer4 ,but it must not be inked-in or have color rubbed on1 until it is quite cold again4 ,for crayon transfer the paper used generally is fine drawing-paper4 ,it must be wetted with somewhat stronger aquafortis that it may release the crayon more readily4 ,the rest of the process is the same4 ,besides these two methods1 the transfer process can be used for all products of the book-printer's art1 type as well as wood-cut4 ,a freshly printed sheet can be transferred directly to a stone1 especially if the printer has used our before-mentioned acid-proof ink instead of his ordinary printer's ink4 ,to get a perfectly clear transfer it is necessary merely to see that the printer does not use too much overlay1 which would stamp the type too deeply into the paper2 and that before trying to transfer the printed sheet to the stone it is subjected to gentle pressure in the press to free it from all inequalities4 ,to do this without at the same time risking any loss of ink which might subsequently weaken the transfer1 the sheet is well wetted1 laid on a clean1 wet stone that has been prepared so that it will not have any inclination to take color1 and subjected to a very slight pressure1 the press being used with almost no tension4 ,this makes the printed sheet beautifully even4 ,then if it is transferred to a stone properly prepared as described before1 the transfer will be perfect4 ,even old book pages can be freshened up and transferred4 ,i have spoken already of those that are on unsized paper4 ,with prints on sized paper the method is as follows3-- ,make a paint-like mixture of fine chalk and starch paste4 ,thin it down with water and paint the sheet4 ,dip a bit of linen rag into a thin color made of thin varnish and tallow tinted with vermilion4 ,touch-up the wet paper with the rag till every bit of type has taken red color4 ,pour clean water over it and touch-up the paper everywhere with a ball of fine cloth stuffed with horsehair4 ,this will remove all surplus color4 ,continue this till the type matter is only faintly red4 ,then the paper must be washed very thoroughly with many pourings of water and laid between waste paper sheets to remove all surplus moisture4 ,the transfer and so on must be done then as in the other cases4 ,good transfers can be made also from a copper-plate engraving if the copper-plate impression is made with our acid-proof ink4 ,the ordinary copper-plate ink is not so good4 ,it will be self-evident that designs on stone can be transferred and reproduced the same way4 ,the tracing process has the property in common with the transfer process that it transmits only a small amount of fattiness to the stone and requires subsequent rubbing-in of color to give it strength4 ,coat a piece of thin and clean vellum paper with tallow and lampblack and wipe it off again as neatly as possible1 so that there remains only a thin film1 which will not smut the stone when laid face down1 unless pressure is exerted4 ,now draw on this with a clean ,english lead pencil that contains no sand1 or with a composition of lead1 zinc1 and bismuth1 and the pressure will force the design on the stone and transfer its fat1 which then penetrates the stone and will give impressions4 ,in preparing a stone thus made1 greater care in etching is necessary than even in the transfer process4 ,very weak aquafortis solution must be used4 ,the process is something between pen and crayon work4 ,it is quite applicable for sketches and pictures that are to be illuminated4 ,,iv ,,concerning ,,the ,,wood-,,cut ,,style ,for this purpose1 the stone is coated completely with chemical ink on the places where this style is to be used4 ,as soon as it is dry1 the lights are drawn into it with a steel engraving-needle that is ground to a sharp or broad point according to requirement4 ,those parts that are to be very white1 with fine lines and specks1 are best drawn in with the pen4 ,thus the wood-cut style differs from the ordinary pen design chiefly in character and in the treatment of the darker parts4 ,its practice is much easier on the stone than on wood1 and it can be combined with crayon work4 ,etching1 preparation1 and printing are the same as with other styles4 ,v ,,two ,,kinds ,,of ,,touche ,,drawing ,one of these resembles the wood-cut style in method but in effect approaches copper-plate work4 ,the stone is grained as for crayon1 etched1 prepared with gum1 cleansed with water1 coated well with soap-water1 wiped1 dried1 and finally coated with a thin1 colored covering of fat1 by either coating with acid-proof ink or with hard chemical ink4 ,this first etching and preparation are required to prevent the fat to be applied afterward from penetrating too deeply into the stone1 so that it may adhere only to the surface4 ,now the design is made on it with a steel scraper4 ,the manipulation is like that for making tint plates4 ,it demands greater care1 however1 and better etching4 ,the completed design is etched 7phosphoric acid being best7 and coated with gum4 ,a few drops of oil of turpentine are poured on and all the color is wiped away with a woolen rag1 but without any rough rubbing4 ,then the plate can be inked-in with fairly firm acid-proof ink4 ,the second method would excel crayon work if it were perfected4 ,i have advanced pretty far with it4 ,it is an imitation of the ordinary wash drawing which is done with a brush and dissolved ,chinese ink on paper4 ,the stone1 which must be very clean and free from all fat1 is grained1 coated with soap-water1 cleaned with oil of turpentine1 and dried4 ,then a hard chemical ink1 which may contain a little more soap than usual1 or the ink described for brush work1 is dissolved in pure rain water and used on the stone with a brush just as it would be used on paper4 ,when the design is finished and very well dried1 the entire surface of the stone is rubbed gently with a fine cloth1 in order to perforate the color with tiny holes everywhere4 ,as it will perforate more readily in the parts where the ink has been laid on thinly1 the succeeding aquafortis will eat through there more easily1 and thus the etching will correspond nicely with the tones of the design4 ,it is necessary1 however1 to know the strength of the acid and the resisting power of the ink very accurately4 ,it is well to experiment and write down the best proportions4 ,in any case1 the etching fluid must not be too strong and the etching must not be done by pouring or brushing1 but in the copper etcher's manner1 by framing the stone with wax so that the fluid will lie on the stone4 ,as soon as the resulting bubbles reach the magnitude of a pin's head1 the fluid is poured off instantly and then poured on again till the bubbles reappear4 ,how long this must be continued depends on the strength of the ink4 ,it is understood1 of course1 that the etched stone must then be coated with gum4 ,,vi ,,the ,,spatter ,,method ,this speedy and easily executed style surely will come into wide use soon4 ,it is done as follows3-- ,the outlines of a design are laid on a stone prepared for pen work1 by tracing4 ,then they are traced again1 say four times1 on sheets of paper4 ,on each sheet everything that falls into the category of one of the four chief tones is cut out with a sharp penknife so that the four sheets are like the stencils of card painters4 ,now the chief lines of the design are made on the stone with chemical ink1 using either brush or pen4 ,lay one of the stencils on it exactly1 weight it that it may not move1 and perform the operation of spattering4 ,this is done by dipping a small brush1 such as a clean toothbrush1 into chemical ink and scraping it with a knife so that the ink is spattered over the stone4 ,care must be exercised not to have too much ink in the brush1 for fear of blots or over-large spattering4 ,after practice it will be possible to produce such fine and uniform dots as cannot possibly be produced by the pen4 ,after the desired grade of shading has been achieved1 the stone is permitted to dry4 ,then the second stencil is laid on and the operation repeated till all have been used4 ,if enough stencils are made1 the whole design can be made by spattering4 ,it is not necessary1 however1 to make many1 as the design has to be finished up by hand afterward anyway4 ,this finishing-up is done first with the engraving-needle1 which opens and decreases all dots that are too large1 and then with the pen1 which brings out the true proportions of the various tones4 ,,vii ,,touche ,,with ,,several ,,plates ,this really is only a process of using many tint plates4 ,it makes splendid effects possible1 equal to any produced by an artist with ,chinese ink1 and deserves the attention of all artists1 especially as it is the easiest and quickest of all methods1 even though it is a little circumstantial in the printing4 ,draw the outlines of a design on the stone in chemical ink with pen or brush1 and then make four1 five1 or six transfers on stone plates prepared for pen work4 ,register marks must be on the design4 ,now draw-in the darkest parts on the first plate1 the less dark ones on the second1 the lighter ones on the third1 and so on till the whole design is finished4 ,the work is best done with a brush4 ,one or more of the stones may be designed with crayon2 but the number of stones designed with ink must be greater1 in order to make the grain of the crayon designs unnoticeable4 ,the etching is done as in pen work4 ,for each stone the printing-color is chosen according to the tone of its design4 ,of course particular accuracy is vital2 but the artist should not permit the apparent difficulties to frighten him1 as he will see very soon after trial that no other method produces such beautiful results4 ,,viii ,,color-,,printing ,,with ,,many ,,plates ,this method1 in which the various colors are drawn on several stones1 either with pen or crayon1 resembles the one just described4 ,according to treatment the impressions will resemble a painting1 a copper-plate engraving in color1 or an illuminated copper-plate engraving1 if the color stones are used merely to lay colors over a design already printed in its entirety in black4 ,the whole process is so like the preceding one that ,i need merely recount the colors that ,i have found serviceable for the purpose4 ,,red4 ,vermilion1 red lake of cochineal1 fine madder lake1 and finally carmine if it is mixed first with ,venetian turpentine before being combined with varnish1 as otherwise it inclines to separate from the varnish and unite with water1 staining the whole printing-paper red4 ,,blue4 ,berlin blue and mineral blue4 ,use only a small amount1 sufficient for a few hours4 ,these colors dry quickly1 and1 besides1 make the varnish too tough1 so that they must be thinned down from time to time with a little linseed oil4 ,fine indigo is very good1 also a blue lake that is made of logwood and verdigris4 ,this latter is not durable in sunlight4 ,i have had no success as yet with green or yellow4 ,verdigris is difficult to manipulate because it smuts the stone easily and does not tolerate many mixtures4 ,schweinfurther green1 one of the new colors1 is much better in all respects1 but not dark enough4 ,mixtures of yellow lake with indigo or mineral blue are not very durable4 ,golden yellow ochre with mineral blue or indigo does not produce a pretty green1 and ,king's yellow mixed with blue is handsome but not durable4 ,neapolitan yellow and the newer chrome yellow with blue produce a green that is not dark enough4 ,i have obtained the handsomest and darkest green by printing the design blue first and then printing over it a yellow plate1 so that the yellow lay over the blue4 ,by using ,berlin blue and fine ochre a fairly handsome color is produced4 ,on account of its loss of color in water1 ochre cannot be used unless ,venetian turpentine is first mixed with the varnish4 ,a handsome and at the same time dark yellow is equally hard to obtain4 ,till a good color is invented1 we must content ourselves with ochre1 ,terra de ,sienna1 ,neapolitan yellow1 mineral yellow or chrome4 ,this printing with various colors is a process for which the stone is superior2 and it is susceptible of such perfection that in future true paintings will be produced by its means4 ,my experience convinces me of this4 ,,ix ,,gold ,,and ,,silver ,,printing ,this process is useful for decoration4 ,those parts of the design that are to appear in gold or silver are drawn with chemical ink on a stone prepared for pen work4 ,after the drawing is dry1 it is etched and prepared in the usual way4 ,the printing is done with a silver gray color of firm varnish1 fine crayon and a very little lampblack4 ,the paper must be entirely dry and very smooth4 ,soon after the impression has been made1 the printed parts are covered with silver or gold leaf such as is used by gilders4 ,it is pressed on slightly with cotton1 that it may adhere1 and then a sheet of paper is laid over it4 ,then the second impression is made1 treated the same way1 and so on4 ,no more impressions must be made than one can cover with silver or gold in two hours4 ,if the ink is on the paper too long1 it will draw in and not take the metal well4 ,after gilding or silvering1 the sheets must lie for some hours or till the next day1 that the ink may take perfect hold of the paper1 so that1 in the succeeding pressing1 it will not penetrate the metal and make it look sooty4 ,the pressing is done by laying six or eight impressions on a clean stone under the press and passing them through as for printing1 with the proper tension4 ,this tension must be adjusted according to the firmness of the printing-color2 therefore it is best to make test with one sheet4 ,then1 if the metal does not adhere sufficiently1 the pressure can be increased4 ,in the end all surplus gold or silver is removed by gentle wiping with clean cotton4 ,this is easy1 as it will have fastened itself only to the printed parts4 ,if the impressions can be set aside for some days without being wiped1 it is better1 and there is not so much danger of injuring the brilliancy of the metal4 ,if gold and silver are to be printed on designs where there is other color also1 or where there is black1 the print on which the metal is to be applied must always be made first4 ,only when the sheets have been gilded or silvered1 pressed1 wiped1 and cleaned1 is the black design to be printed on from the next plate4 ,that all this must be done with the register marks previously described is1 of course1 self-evident4 ,so ,i close my description of the ,relief method2 and ,i hope that ,i have made it all so clear that good results will come to all who follow my directions4 ,,chapter ,,ii ,,intaglio ,,method ,this differs from the other in that the fat1 which is to attract the printing-color1 is under the surface of the stone1 the design having been either engraved-in or etched1 and then filled with fat4 ,like the preceding method1 it has several branches4 ,the best are these3-- ,i ,,the ,,line ,,engraved ,,style ,this is one of the most useful branches of lithography1 and if the artist has attained enough skill and the printer knows his trade1 it approaches very near to the handsomest copper plates1 and at the same time is about three times easier and quicker than work on copper4 ,it is splendidly adapted for writings and charts4 ,choose a hard1 uniform stone of the best kind4 ,grind it as finely as possible4 ,etch with aquafortis and prepare with gum4 ,this1 at least1 was my early method1 and it has remained in use in all printeries4 ,later1 however1 ,i discovered that it is almost better to coat the stone with gum without previous etching1 because it can be more easily worked then4 ,only in that case it must be perfectly clean and contain no concealed fattiness4 ,immediately after the stone has been coated with gum 7not some hours later1 as many do7 the gum must be removed with water1 that it may not penetrate too deeply and thus cause a condition which will prevent the finest lines from taking on color subsequently4 ,then coat the plate with a tint made of gum solution and lampblack or red chalk4 ,use a soft brush to make the coating very thin and uniform4 ,it has the double purpose1 first1 of giving the stone a color so that the engraver can see his work1 and of covering the prepared surface of the stone with a protective coat that later will admit the fatty printing-color only where it has been pierced by the engraving-tool4 ,it is evident that this latter property is increased according to the amount of gum in it1 yet only little gum must be used in it1 the permissible amount being only just enough to insure that the coating shall not be easily wiped away during the work of engraving4 ,the stone must be absolutely dry before any work is done on it4 ,then the design is traced on it1 or drafted directly on it with lead4 ,transfer by printing from paper is not advisable1 because the resulting fattiness of the design makes the graver slip4 ,for the actual work of engraving there is no counsel to be given except to choose good and sharp needles of the very best steel1 hard enough to cut glass2 and that all lines must be graved clean4 ,there must be no excessive pressure1 and in wide strokes there must be no excessive depths4 ,in making very fine lines the stone should merely be touched by the tool4 ,if they appear white1 and a little fine dust is observed1 one may be certain that they will appear properly in the printing4 ,broad lines often can be made with one stroke of a flat needle1 but generally they are made by continued1 gradual scraping4 ,if the stone is to be only lightly wiped during printing1 the broad lines must not be deeper than strictly necessary to make them clear1 as otherwise they will squash4 ,in true art works1 however1 which are to be printed with firm color and under more powerful rubbing and wiping1 the depths of all lines must be considered carefully1 as they will print darker or lighter according to depth4 ,of all things the worker must take heed against touching the stone with dirty or greasy hands1 for a plate thus blemished is not only difficult to engrave1 but the grease finally may penetrate through the slightly gummed coating and enter the stone1 making much consequent trouble when the printing begins4 ,it is more harmful still to wet the stone in any way1 because then the coating gum will dissolve1 penetrate into the engraved lines and give them a preparation1 so that they cannot take color afterward4 ,therefore1 especially in winter1 a very cold stone must be warmed before working on it with the design1 as otherwise the moisture in the room will precipitate itself on the stone4 ,even the perspiration of the hands or the moisture of the breath may cause damage4 ,therefore a good but careful warming is very advisable4 ,if a plate has become moistened1 as1 for instance1 from a breath1 it must be permitted to dry before doing any further work on it1 and especially it must not be wiped4 ,the dust resulting from the engraving is to be removed either with a soft brush or by blowing it away4 ,faulty lines that are noticed during the engraving may be scraped flat very carefully so that no furrows are made1 or they may be rubbed off with fine pumice1 after which those places must be prepared again1 and coated with gum applied with a small brush4 ,then the corrections can be made4 ,if only tiny places are faulty1 they need merely be coated with a mixture of weak phosphoric acid1 gum1 and lampblack or red chalk4 ,this prepares them4 ,thus they will not take color during the print1 and so are practically removed4 ,when the design is finished1 the stone must be very dry that it may take color well4 ,but it must not be warmed1 as this would incline it to take smut4 ,a color consisting of thin varnish1 a little tallow1 and lampblack is now rubbed swiftly into all the depressions1 and immediately wiped away again with a woolen rag wetted with gum solution4 ,this removes the original red or black coating also4 ,thus the hitherto colored stone becomes perfectly white1 while the engraved design1 which has appeared white1 is now black4 ,the first impression that the eye will gain will be that now the design appears much finer than it did before4 ,that is because every white line on a dark background looks wider than a black line of the same thickness on a white background4 ,therefore1 while engraving1 the artist should aim to make his lines a trifle bigger than his eye would suggest4 ,in printing the stone the usual precautions required in every form of lithographic printing must be observed4 ,beyond that1 the matter of chief importance is the proper composition of the printing-color4 ,stone plates made in this way can be inked-in 7#a7 by rubbing-in the color and light wiping1 and 7#b7 by harder wiping1 and 7#c7 by the ink-roller4 ,for the first method1 a color can be made of thin varnish and burned lampblack1 the latter being present in fairly large quantity but very finely rubbed-down4 ,into this color is mixed a quantity1 equivalent to one half the mass1 of gum solution that is almost as thick as the color itself4 ,everything must be mixed perfectly4 ,if the solution is too watery1 it is not easy to mix it4 ,three clean rags of cotton or linen are needed for inking4 ,the first is used to wet the stone and to clean it again in the end4 ,the second is colored with a small quantity of printing-color and rubbed in by thorough wiping to and fro4 ,the third rag is used to clean away any surplus that may adhere4 ,then the first clean rag is used to cleanse the stone thoroughly4 ,all three rags must be wetted with gum solution1 and the first and third must be washed several times during the day4 ,the stone plate is harder to clean at first than after some fifty impressions have been made4 ,often there will remain little specks of color on the prepared places1 which are easy enough to wipe away but are inclined to reappear4 ,to remedy this it may be necessary to use more clean rags in the beginning or more gum solution4 ,if the stone has been polished very well in grinding1 this trouble will not be very noticeable if at all4 ,under any circumstances1 it will disappear gradually during the printing1 so that at last it will be possible to clean the surface with the very same rag that lays the color on and is permeated with ink4 ,in the second method1 the wiping is harder in order to take more color away from the shallower lines1 so that they will be pale compared with the deep ones which then will appear very black and strong4 ,if the full beauty of a well-made copper plate is to be equaled1 care must be taken1 as said before1 to achieve the proper depth of engraving1 and the stone must be wiped harder4 ,otherwise the method is the same1 except that beautiful1 shining impressions often can be made by using a firm color1 if the stone can bear the necessary tension4 ,the inking-in with the ink-roller is like the same process in other methods1 except that the color must be softer and the roller well filled with it4 ,it is necessary1 also1 to learn by practice how to work the color into all the deep lines4 ,the impression must be made immediately after inking1 as otherwise the color will sink too deeply into the stone and not give a strong impression without renewed inking4 ,the paper must be wetted a little more than in the other method4 ,the tension of the press is according to the size of the plates1 but on the whole must be two or three times greater than for the other methods4 ,more pressure still may be needed for very fine work1 as the finer lines often are harder to print than the coarse ones4 ,as soon as the first clean proof is pulled1 it must be examined for errors or faults in the design4 ,if there are any1 the stone is removed from the press after being delicately coated with gum1 and the correction is made as follows3 ,before anything else1 all such faults as are to be removed entirely are either scraped away with a very sharp knife or rubbed away with a very fine stone4 ,the manipulation must be very delicate to avoid grooves and furrows or sharp edges that afterward will hold dirt4 ,then the parts thus corrected are coated with a mixture of about six parts water1 two parts gum1 and one part aquafortis to prepare them anew4 ,if anything new is to be added to the design or drawn in place of an error1 the stone is washed with water throughout1 or1 if the correction is to be made only in a very small part1 washed at the desired place4 ,then it is coated with the red chalk as described in the beginning1 but so thinly that the design can be seen plainly through the red coat4 ,now all that is desired can be engraved1 filled again with the rubbing-in color1 and turned over to the printer1 who cleanses it with gum water and proceeds to print4 ,only a few more useful suggestions3-- 7#a7 ,it happens often that after the first rubbing-in of fat color and the succeeding cleansing with water1 the stone gets a tone over its whole surface2 that is1 it takes color at least partly1 and thus seems to have lost its original preparation4 ,this may be due to the fact that not enough gum has been used in the original coating1 or that the rubbing-in was rough enough to injure the protective coating1 or that the rubbing-in-color was left on too long before being washed away with gum solution4 ,a similar fault may develop with the second rubbing-in1 after corrections1 and from the following causes3 ,poor color containing sand2 too much pressure with the greasy rags2 the use of rags not sufficiently cleansed of any soap used in washing them2 rubbing-in of color with too dry a color rag2 in brief1 from anything that may destroy the stone's preparation wholly or in part4 ,sometimes this defect may be remedied by mixing more gum into the printing-color and into the water with which the cleaning-rags are wetted4 ,a firmer color may aid1 if it is rubbed away by fairly strong pressure of the rag as soon as it has adhered4 ,this operates as a remedy because the firm color takes hold of the dirt that has set itself into the pores of the stones1 and when it is removed1 takes the dirt with it4 ,if none of these have results1 there is nothing left except to grind off the plate very slightly and carefully with an exceedingly fine stone and gum solution4 ,in the case of very delicate designs1 this is not applicable1 because the finest lines have practically no depth4 ,therefore they must be washed instead1 a rag being dipped into weak aquafortis or very much diluted phosphoric acid1 and passed carefully over the stone till the dirt disappears4 ,it is well to mix in a little gum1 and also to rub acid-proof ink into the stone first1 that the etching fluid may not attack the design too much4 ,after this cleansing the tone will disappear1 but another fault often appears in place of it4 ,the color1 after rubbing-in1 will not permit itself to be wiped away readily1 because the etching has caused some roughnesses to which the color adheres in the form of little specks4 ,a number of clean rags with gum solution must then be used1 or the stone should be lightly rolled a few times with the ink-roller after being rubbed-in4 ,the roller will take the specks4 ,indeed1 the fault hardly ever appears if the inking-in is done with the roller1 as suggested in the remarks about the third form of inking-in4 ,as soon as some few impressions have been made1 the roughness of the plate disappears gradually and it can be wiped off without leaving specks behind4 ,gentle rubbing with pumice finely powdered and mixed with gum solution will remove the defect in the very beginning1 but care is needed lest the design be injured4 7#b7 ,a line that has so little depth that it is almost level with the surface of the stone can be made as black as a deeply engraved one by continued rubbing with the color rag4 ,in using a firmer color the lines1 especially the wider ones1 can be so overloaded after a while that the ink will squash under the press4 ,this surplus can be removed again by the use of the ink-roller1 but it is merely adding unnecessary work1 as proper practice in inking-in and the use of exactly the right consistency of color will prevent the trouble4 7#c7 ,the best way to ink-in an intaglio design is to rub it in at first with a somewhat firm color that however1 contains enough gum1 then to wipe it a bit1 and after that to rub gently to and fro over the stone under gentle pressure1 with a rag containing a less heavy color4 ,a firmer color does not adhere well to the more delicate lines1 or1 at least1 is hard to print2 but by applying it first1 the printing of the wider and deeper lines is facilitated1 while the succeeding rubbing with softer color brings out the perfection of the finer lines4 ,the second rag with the lighter color must not be filled with it in mass1 but should merely be made sooty with it1 so to speak4 ,otherwise the lighter color would penetrate the deeper lines also and mix there with the heavier color4 ,in the end the stone must be wiped again with an entirely clean rag1 as will be understood1 of course1 and thoroughly cleansed of all the color4 ,,ii ,,the ,,etched ,,method ,in this the design is not engraved into the stone by pressure of the hand1 but with aquafortis or other acid1 and only so much pressure is exerted in making the design as is required to cut through the thin coating of varnish with which the stone is covered4 ,therefore this method permits great freedom of action and is applicable especially for landscape work and for drawings in ,rembrandt's style4 ,in treatment as in effect it resembles copper plate1 and has its own advantage in that the lines may be strengthened gradually by stronger pressure on the engraving-needle4 ,they may even be engraved a little into the stone so that afterward the lines will become stronger under etching4 ,this cannot be done with copper at all or only with great difficulty4 ,these considerations and the quicker printing permitted by it recommend the method to artists4 ,in other respects it is not different from working on copper4 ,but it is necessary that a good lithographer should be a master of this form of stone work1 as it may be used for excellent work1 not only by itself but in combination with the other methods4 ,the stone must be ground as smoothly as possible1 then treated with aquafortis and coated with gum1 so that its surface thus is completely prepared4 ,the aquafortis may be as strong as that used for etching pen work4 ,it suffices1 also1 to wipe the plate merely with a sponge dipped in stronger aquafortis1 the chief point being that no roughnesses shall be caused by uneven etching4 ,a few minutes after this first operation is finished1 the stone is rinsed with water1 dried and coated with etching-ground4 ,this can be best done as follows3-- 7#a7 ,warm the stone till an ordinary copper etcher's etching-ground will become so fluid on it that it can be worked with a leather ball like a varnish1 and can be spread very thin and very evenly4 ,great care must be exercised lest uneven warming crack the stone4 ,if one can put it into a nearby baker's oven1 it will obviate the necessity for an especial apparatus1 which otherwise is demanded4 ,after coating the stone with the etching-ground1 it is reversed while still warm1 and blackened by applying the flame of a tallow or wax candle1 as the copper-plate etchers do with their plates4 ,then the stone is set aside to cool1 with great precautions against dust4 ,after it is cool1 dust will not harm it1 and it can be kept indefinitely before use1 so long as the coating is protected against injury4 7#b7 ,the method given is the best2 but if the warming of the stone is difficult1 there is a method applicable to cold stones4 ,the etching-ground is dissolved in oil of turpentine and laid on the stone with a clean ball4 ,a stone so treated must be put away for at least a day in a place safe from dust that the oil of turpentine may evaporate4 ,to tint this etching-ground1 it may be blackened by smoking with a candle1 as in the first case2 or color1 such as lampblack or vermilion1 may be mixed-in before it is applied4 ,if one wishes to be very certain that the stone will bear the etching well1 it may be coated1 very thinly indeed1 with a solution of very firm chemical ink after applying the etching-ground4 ,the design is traced through this coating to the stone4 ,it may be transferred1 also1 but in that case1 as soon as the transfer is on the stone1 it must be coated thinly once more with a solution of chemical ink that does not1 however1 contain any lampblack or other coloring-matter1 but is transparent4 ,this is necessary to fill out any little holes and other injuries that may have been caused by the pressure during transfer or by the inequalities in the transfer paper4 ,the designing with the needle is done as in the engraved manner1 except that the design is merely cut into the coating4 ,when the design is complete1 the stone is laid into the etching-trough and diluted aquafortis1 muriatic acid1 or strong wine vinegar is poured over it repeatedly1 according to the depth that the lines are to have4 ,if it is desired to etch so as to produce various tones1--some strong and some delicate1--after the manner of the copper-plate etchers1 the pouring of acid should cease as soon as the very finest lines of the design have been etched sufficiently4 ,wash away every bit of acid with clean water and let it dry4 ,then1 with a small brush and chemical ink1 coat all parts that are not to be etched further4 ,it is well if the chemical ink used for this purpose contains a little more soap than usual1 so that it can penetrate well into all the depressions and leave no little holes4 ,the coating must be done very cautiously1 and it is better to paint on too much ink rather than too little1 as the design will appear very dirty if etching fluid should penetrate here or there through the coated portions4 ,when the ink is dry1 etching is resumed till the second tones have been etched as far as desired4 ,then the procedure is repeated1 these second tones being coated4 ,thus one continues till all gradations of shading have been reached4 ,when the stone is fully etched1 clean water is poured over it1 and then all the parts that have not been coated with chemical ink are treated to a covering4 ,the object of the previous coatings was to prevent access of acid to the parts2 but at the same time the ink prepared the parts4 ,therefore the remaining portions of the design also must be sated with ink before the stone is inked-in for printing4 ,let the stone dry and then pour on it as much oil of turpentine as may be necessary to dissolve this whole ground coating1 which then is wiped off with a woolen rag wet with gum solution4 ,then the stone maybe inked-in and printed4 ,if an error is observed before etching begins1 the first question is if the defect is deeply engraved in the stone or if it has been drawn merely through the ground coating without affecting the stone itself materially4 ,in the latter case it is necessary merely to cover the defective place with chemical ink and draw into it the correction4 ,if the error has been graved deeply into the stone1 it must be covered for the time being1 but nothing new can be drawn there4 ,to do this1 one must wait till the plate has been etched and rubbed-in with color4 ,then the incorrect part is scraped or ground off as evenly as possible1 the place prepared anew with aquafortis and gum1 and the correction made with the steel needle4 ,an intaglio design often is greatly beautified by being printed with a tint plate like a crayon design4 ,it can be done with a second stone1 but it can be obtained also with the one plate that has the design on it4 ,wash the designed stone with clean water and then paint a thick coat of chemical ink containing more soap than usual over the whole stone or over only such parts as one desires to improve by adding a tone4 ,if lights are to be worked into this tone1 it can be done1 after inking-in1 with a small brush dipped into weak aquafortis4 ,in printing a stone thus toned1 it must be rubbed-in thoroughly with the black color and then cleaned as well as possible4 ,the tint that shows on the surface then is usually too dark1 and the firmer the color the darker it is4 ,then a second rag must be used with a much softer color1 which may even be thinned-down with plain oil or butter4 ,it may also contain another coloring substance4 ,rub this rag very gently to and fro without much pressure till it is apparent that the dark tone has been replaced by a light one4 ,then the stone is ready for printing4 ,stones to be treated to a tint in this manner must be etched somewhat deeper than others1 because the lines do not appear so dark against a tone4 ,in all intaglio methods there is the advantage that parts that turn out too dark can be modified by fine scraping or grinding4 ,the stone merely must be rubbed with acid-proof ink beforehand1 that the necessary preparation of the corrected places with aquafortis or phosphoric acid and gum may not attack the rest of the design4 ,those who attain skill in scraping or grinding with a small piece of black slate can make the softest gradations of shade in uniformly etched designs1 and more easily and quickly than by drawing or coating and etching4 ,if the stone has been rubbed-in with color for the first time only a short time previously1 the ground or scraped surfaces do not even need to be etched4 ,it is sufficient to wash them with a rag wetted in gum solution1 because the color will not have penetrated the stone so deeply that it is likely to reappear4 ,,iii ,,design ,,with ,,preparing ,,ink1 ,,combined ,,with ,,spattered ,,aquatint ,if a little dissolved gum is painted on a clean stone that then is inked over its whole surface with printing-ink1 none will adhere where the gum is4 ,in other words1 the stone will have been prepared there4 ,if the gum is permitted to dry before the ink is applied1 those parts will become black1 too2 but as soon as a few drops of water are poured on and the ink-roller passes over the stone1 all the gummed parts will show up white at once4 ,this led me to make a color mixed with gum1 with which one can design on stone and that would have the property of preparing it so that1 on printing1 the design or inscription will print white4 ,some drops of gum arabic dissolved in water are mixed with an equal amount of lampblack and rubbed very fine4 ,this makes an ink similar to ,chinese ink1 and keeps well when dried4 ,it is rubbed down in a saucer with a little water and then is ready for use4 ,it can be used on a clean stone1 but is likely to flow1 for which reason the stone must be painted with a little weak aquafortis mixed with a little nutgall1 and then well cleaned again4 ,still better is it to paint a clean stone some days before with oil of turpentine which is cleaned off again immediately4 ,in that case1 however1 it is well to mix a little phosphoric acid into the drawing-ink1 that the designed parts will be prepared the more surely4 ,when the design is dry1 the whole stone is inked with printing-color1 care being taken that not a drop of water touches it before it is perfectly black4 ,then a little water is poured on1 after which there must be a little more rolling with the ink-roller till all the design that is drawn with the preparing-ink is very white and clean4 ,now the stone can be used for printing1 being used in the manner used for pen work4 ,to make the design more durable1 that it may not in time thicken in its finer parts1 the stone may be well inked-in with acid-proof ink and after a few hours1 during which it draws together well1 the drawing is etched in intaglio with aquafortis4 ,then it is coated with gum and the printing is not likely to damage the design4 ,here we have an intaglio design which is prepared and prints white4 ,the case may be reversed1 and the black plate may be made white again while the design will print black4 ,this is because a stone treated with preparing-ink gives almost the same result1 once it is grounded with acid-proof ink and etched as if the design had been engraved into etching-ground4 ,the etched lines need simply be filled with chemical ink as in engraved work1 to make them take color instead of coating them with gum4 ,then there remains only the obstacle that the stone is not prepared over its whole surface and takes color everywhere4 ,however1 it is not difficult to clean the plate and prepare it perfectly1 especially if the stone is finely polished4 ,it must be rubbed well with color1 and wiped clean at once without rubbing too much of it away from the etched design4 ,to make the color easier to wipe out1 ,frankfurter black and tallow may be mixed in it4 ,then the rag that has been used for inking-in is dipped into a mixture of twenty parts water1 two parts gum1 and one part aquafortis1 or better still1 phosphoric acid1 and rubbed back and forth4 ,the rag must not be too dirty and heavy with color1 but it must contain some so that the delicate parts of the design shall not be wiped out and thus rendered susceptible to the acid4 ,the next thing is to try with the finger to see whether the color on top can be easily rubbed away or not4 ,in the latter case the wiping must be repeated till the cleansing mixture has so far prepared the surface that the wet hand or a wet piece of leather can cleanse it perfectly and free it from the dark tone4 ,now the stone is inked-in with firmer color 7acid-proof ink is best74 ,this is wiped off again thoroughly4 ,very weak aquafortis 7or phosphoric acid if it has been used for the work7 is then poured over it a few times1 and this generally prepares it so well that it can be inked and cleaned easily during the printing4 ,this method is useful for many kinds of art1 and it must not be imagined that it is superfluous because the other ways are quicker4 ,the engraving-needle is very good for drawing the finer parts of the design through the etching-ground1 but the coarser ones cause much trouble1 while with the pen1 these are the very ones that are easiest to produce4 ,by using this method1 both advantages can be combined and only that is drawn with the pen which is most readily produced that way4 ,thus the whole design1 with the exception of the finest parts1 is drawn on the white plate with the black preparing ink touche4 ,then1 when it has been covered with acid-proof ink and made white1 the finer parts are worked-in with the needle4 ,or they may be left till the end1 when they are engraved-in4 ,for grounding or blackening the plate1 one may use a substitute for the acid-proof ink if the ground is to be firmer4 ,use the etching-ground 7mentioned several times before7 of wax1 mastic1 pitch1 and resin1 dissolved in oil of turpentine and mixed with fine lampblack4 ,it will then be susceptible of being laid beautifully uniform on the stone with the ink-roller like printing-ink4 ,the spattered aquatint method resembles this4 ,the outlines of the design are engraved or etched into the stone very delicately4 ,after rubbing-in with black printing-ink and cleaning again thoroughly1 it is rinsed with a great deal of clean water to take away every trace of gum4 ,when it is dry a small brush is dipped into the preparing-ink1 and the stone is spattered as described in the article on spatter-work4 ,after drying1 the dots that are too large are treated with the needle1 and missing ones are drawn in with the pen4 ,now apply the roller with the dissolved etching-ground1 that must1 however1 have only enough color so that the outlines of the design can show through it4 ,then the spattered work is brought out by rolling with water4 ,now coat the lighter parts of the design and etch4 ,coat again and etch again1 in short do as already described for the method of successive etching till the required gradations of shade have been attained4 ,then proceed as usual with the inking-in and printing4 ,,iv ,,aquatint ,,in ,,copper-,,plate ,,styles ,,and ,,with ,,etching-,,ground ,any one who has the necessary appliances of the copper-plate worker for making the aquatint ground used by them1 and who has the necessary skill1 can do so1 although the stone is endangered by the heat1 and the process is not advisable4 ,the stone is dusted with fine resin4 ,a flame of spirits is applied below until the stone is so hot that the resin melts and forms the ground4 ,better is that copper-plate method in which the resin is dissolved in highly rectified spirits of wine and poured quickly over the whole stone4 ,by breathing on this1 the resin is made to separate from the spirits and form tiny pellets1 which thus make the required aquatint ground4 ,both methods are better for very coarse work than for fine designs4 ,etching-ground1 dissolved in oil of turpentine1 or consisting simply of tallow and put on the stone very uniformly with a cotton ball1 is much better1 and produces an effect similar to wash drawing4 ,however1 it is better suited to the lighter parts of a design1 because it will bear long and powerful etching only if one hits exactly the proper proportions between ground and etching fluid4 ,therefore1 it is well1 after the first tones have been etched and printed1 to spatter cautiously with chemical ink all those parts that are to be darker than half-tones4 ,thus these dots will prepare the design so well at those places that they can withstand the most powerful etching4 ,v ,,aquatint ,,through ,,crayon ,,ground ,this is a sort of middle process between aquatint and the scraped style4 ,it has the advantage of great speediness4 ,a stone that has been grained for crayon work is coated with the black or red gum ground described for the engraved method1 but without previous etching1 which would not do harm but is unnecessary4 ,the outlines are drawn in with the needle very lightly1 because they are to serve only to make the design visible4 ,those lines1 however1 that are not to disappear in the aquatint tone1 but are to show plainly1 must be cut as deeply as necessary for greater or lesser blackness4 ,then the stone is rubbed with color and washed with water as in the engraved method4 ,when it is entirely clean and dry1 all the design will be black and the stone white4 ,the design must be examined carefully1 and the various gradations of shading should be separated in the mind into about eight leading classes1 of which four are numbered upwards to the lightest parts1 and four numbered downwards to the darkest4 ,everything in the category of the four dark parts now is worked strongly with chemical crayon4 ,the purpose is to mass a number of evenly separated points over these parts of the design that shall withstand the etching fluid like an aquatint ground1 between which the etching fluid may eat the stone and thus form a coarser grain than could be attained merely by rough grinding4 ,then the four lighter parts must be coated with chemical ink4 ,the very lightest parts1 and all that is to remain white1 must be left white on the plate and neither touched with crayon or ink4 ,then the stone is etched for the first time4 ,following this pour clean water over it and let it dry4 ,then of the four dark parts the lightest are coated with chemical ink1 and when it is dry the etching fluid is applied again4 ,after washing and drying1 the next lighter portions of the dark sections are coated1 and so on till at last the very darkest shadows have been coated4 ,then a clean brush is dipped into gum solution and everything that should remain white is painted4 ,if a little oil of turpentine is now poured on the stone1 and the crayon and chemical ink are dissolved and wiped off1 the stone can be inked with soft inking-color and wiped again with a woolen rag4 ,then the design will look as if a black veil were over it1 because the lightest parts of it and the half-shadows are not worked out at all4 ,wet a rag with gum solution and a little phosphoric acid1 and hold it in one hand while with a fine scraper you scrape in the lights according to their gradation or grind them in with a fine stone1 for instance1 a slate pencil4 ,as you scrape wipe over the design with the wet rag2 and you will see exactly what you are doing as the various gradations will appear bit by bit4 ,the printing in this as in other aquatint methods is done with soft and thin printing-color1 and the paper may be more dampened than in other forms of lithography4 ,the press needs considerable tension and the stones must be thick4 ,,vi ,,intaglio ,,crayon ,,and ,,traced ,,designs ,the difficulty of getting impressions from crayon that shall not differ from the original design on the stone led me to consider the use of the grained style of the copper-plate engravers4 ,a crayon-like design in intaglio would have a greater strength in the dark parts and greater delicacy in the lighter2 be more durable and more easily corrected4 ,i saw at once that if ,i could attain some perfection1 it would mean a great step forward in color printing1 also4 ,thus there were originated the following two processes1 which no doubt will in time interest artists to a high degree4 ,a stone grained for crayon work is prepared with aquafortis and gum4 ,then it is cleansed with water and covered with etching-ground when dry1 as is prescribed for the etched process4 ,the ground must be laid on so thinly and evenly that the design can be put in easily and that it still will resist the etching4 ,when the stone is cold and the outlines of the design have been traced on it1 a scraper of the best steel is used to scrape in the lights and shadows4 ,the scraper touches only the most elevated points of the grained surface at first1 and produces larger points only after continued work1 just as chemical crayon does4 ,when the whole stone is finished1 it is etched as in the etched process and then cleansed and printed in the same way4 ,if the stone is etched a little more strongly in all its gradations1 it can afterward be ground down gently with very soft pumice1 or1 better still1 with black slate and a gum solution1 once it has been rubbed-in with color4 ,this destroys all roughnesses that may remain from the first manipulations4 ,parts that have turned out too dark can be lightened by this polishing1 and the over-light ones can be improved with the needle4 ,the designs made in this manner possess more delicacy as well as more strength than the ordinary crayon designs1 and there remains to be desired only that they might have the advantage of the latter of being worked black on white1 as it is so much easier for the artist to judge his work on the stone4 ,of trials made in this direction1 the two following ones met my views the best4 ,one way is to grind the stone rough1 pour diluted aquafortis and nutgall over it1 clean it with water and dry it4 ,then the design is drawn on it with a black chalk made of oil of vitriol1 tartar1 and lampblack4 ,the further treatment is the same as that in the case of designs done with preparing-ink4 ,i have not been able to give enough time to this process to invent a preparing-crayon that shall be very hard without losing its preparing-property4 ,however1 the compound mentioned will produce a crayon with which one can work well after a few days4 ,it has the advantage that it may be rubbed on a shading-stump made of rolled paper1 which will prove excellent for working the finest shadings into the plate4 ,the other way is as follows3 ,a colorless chemical ink is made of one part wax1 two parts tallow1 and one part soap4 ,this ,i dissolved in water and with it ,i coated the stone1 which had been ground rough and prepared with phosphoric acid1 nutgall1 and gum1 and then washed with water4 ,the coating was applied very lightly1 but enough so that it could bear the succeeding etching4 ,as soon as it was dry1 ,i drew the design on it with a black crayon made of tartar1 gum1 a little sugar1 and a good amount of lampblack1 or ,i used the ordinary black ,paris crayon or a fine ,english lead pencil4 ,then the design was etched1 after which alum water was poured over it1 and it was set aside to dry4 ,as soon as it was absolutely dry1 ,i coated it with fatty color1 and then cleaned the stone with oil of turpentine and gum solution4 ,if ,i wanted an exceedingly smooth surface1 ,i ground the stone gently2 but then the design had to be etched deeply4 ,the good results of these two experiments led me to the following process3 ,by following my instructions exactly the worker can produce striking imitations of wash as well as crayon drawings1 and at the same time unite the greatest possible ease of drawing as well as certainty of good impressions1 so that this process really deserves to be called one of the very best of all printing-methods4 ,the outlines of the drawing must be drawn on the finest and thinnest paper that can be obtained4 ,then a very finely polished stone is prepared with aquafortis and gum1 or1 better still1 with phosphoric acid1 nutgall1 and gum1 cleansed with water and dried4 ,then it is coated very thinly with tallow1 which is patted with a very clean leather ball or with the hand1 so that it shall be very uniformly laid over the stone4 ,everything depends on the thinness and uniformity of this tallow coating4 ,then the stone must be smoked with a wax torch or a tallow candle4 ,the durability of the ground depends on this smoking1 as without it a very thin coating of tallow would be penetrated by the acid4 ,now the stone is ready for the design4 ,it must not be touched by so much as a finger4 ,the designed paper is pasted to the stone at the ends1 without pulling1 as the least motion would injure the stone's surface4 ,the arrangement of elevated supports for the hand 7previously described7 is needed for the succeeding work4 ,the drawing is then done on the paper with ,paris chalk1 delicate ,spanish chalk1 an ,english lead pencil1 or with a small piece of lead4 ,all that is drawn on the paper will impress itself on the stone underneath and remove the ground at those places1 thus opening the surface for etching4 ,when the drawing is finished1 it is etched and covered as with the etched process1 and afterward is printed as in that process4 ,when sufficient practice has made one a master of this style1 it will be amazing what great perfection1 what miniature-like delicacy1 and also what strength can be obtained by proper etching4 ,besides1 this latter process is applicable in combination with the etched process4 ,,vii ,,touche ,,drawing ,,with ,,etching ,,ink ,this method is very useful for filling-out etched or engraved designs1 also for correcting and completing the various aquatint processes4 ,dip a little brush into lemon juice mixed with a little lampblack and draw the design on the finely polished and prepared stone4 ,the acid will eat little holes into it1 which will take color if the lemon juice is washed away as soon as it has completed its etching1 and the etched part has been dried and rubbed-in with fat color4 ,to produce darker shadings it can be laid on the same place twice1 and for lighter shadings the acid either is washed away sooner or diluted with water4 ,i do not doubt that a skillful chemist could invent an etching ink which would be even more perfect1 and then a drawing could be washed on the stone as easily as on paper1 which would mean immense advance for the art4 ,,chapter ,,iii ,,mixed ,,methods ,stone-printing has the unique property1 owned by no other process1 that it is possible to print relief and intaglio simultaneously4 ,this property makes possible so many combinations of the two processes that a book might be filled with their description4 ,i assume1 however1 that the reader will have understood the entire science of the new art from what ,i have said1 and that his own reflection will tell him what methods to use or to combine for each of his purposes4 ,i limit myself1 therefore1 to a few leading methods1 thus giving some fundamental idea of the manipulations4 ,i ,,pen ,,design ,,combined ,,with ,,engraving ,this can be utilized in two ways3-- ,when the pen drawing is finished and etched1 the stone may be coated with red gum covering and the needle used to draw-in the finest lines4 ,the printing is the same as with pen work4 ,the second way is to make the engraved or etched part of the design first1 and after the stone has been rubbed-in with acid-proof ink1 cleansed and dried1 to draw-in the rest with the pen and chemical ink4 ,as soon as the design is properly dried1 it is etched a little and prepared1 and otherwise handled like an ordinary pen drawing4 ,both ways carry the advantage that the pen can be used for those parts best done with the pen1 and the engraving-tool for those parts best done with it4 ,the latter is especially excellent for very fine and elegant script1 such as title-pages1 the finest strokes being made first with the needle and the broader ones with the pen4 ,,ii ,,intaglio ,,design ,,with ,,relief ,,tint ,this has been described thoroughly in our chapter on etched work4 ,,iii ,,intaglio ,,and ,,relief ,,with ,,several ,,plates ,as already shown1 intaglio and relief can be printed on one stone4 ,therefore it is evident that the two methods can be utilized still better for several plates1 for instance1 printing on an etched design with one or more plates that are tinted in relief1 or by printing over a crayon or pen design in relief a tone plate in aquatint in intaglio4 ,how to do this has been explained in the descriptions of relief and intaglio methods4 ,,iv ,,transforming ,,relief ,,into ,,intaglio ,,and ,,vice ,,versa ,this is1 so to speak1 the test of a good lithographer1 as it is the most difficult of all methods1 and demands exact knowledge of all manipulations4 ,i will try to explain it with a few examples4 ,,example ,i ,to etch a transfer into intaglio ,prepare a finely ground plate with phosphoric acid and gum1 wash very well with water1 and let it dry4 ,now transfer to it a design made with soft ink or crayon1 or a fresh copper-plate impression4 ,let the stone rest for a few hours1 that the fatty colors may take hold well4 ,coat it with clean gum water1 and with a rag dipped into acid-proof ink try to rub about as much color on the design as appears to be required to make it withstand some etching4 ,this etching is done with pure aquafortis which in addition has a little alum mixed with it4 ,etch only enough to eat away the uppermost parts of the prepared surface that have not been permeated with fat4 ,pour clean water over the whole stone and coat it with strong soap-water that is permitted to dry on it4 ,finally1 clean away the soap with oil of turpentine4 ,ink-in with acid-proof color which will color the whole stone4 ,now as soon as it is wiped gently with a rag dipped in gum solution and weak phosphoric acid1 the whole design will appear in white as if it had been made with preparing-ink4 ,if the stone is inked now with acid-proof ink and treated exactly as instructed in the article on the use of preparing-ink1 the design that was in relief originally will be found in intaglio4 ,this process is capable of great perfection and can produce true masterpieces especially if the stone is treated finally with the engraving tool4 ,,example ,,ii ,to etch into intaglio a design made with chemical fatty ink or crayon ,etch and prepare the clean stone with phosphoric acid and gum4 ,then put on the design with ink or crayon1 and perform the succeeding etching and other manipulations exactly as in the preceding case4 ,,example ,,iii ,to etch into intaglio any design etched into relief ,in the two examples given1 the plate is etched with phosphoric acid before transfers or designs are made on it4 ,as the weak etching with aquafortis and alum does not penetrate the places where there is fat1 these retain their phosphorus-preparation1 and thus are not so readily destroyed by the succeeding application of soap1 whereas the etched parts immediately drink in the fat as soon as the soap touches them4 ,in stones designed in the ordinary way1 where the design does not lie on the prepared surface1 but has really penetrated well into the stone1 the transforming is somewhat more difficult1 but can always be done after practice by using the following means3-- ,wash the stone with water and then coat chemical ink or strong soap-water over it and let it dry4 ,then clean the stone with oil of turpentine and ink-in well with acid-proof color4 ,dip a linen rag into gum water and phosphoric acid and endeavor to wipe away the color from the relief design4 ,after wiping to and fro quickly a few times1 try with the finger if the design will not whiten1 or if the wiping with the acid must be continued4 ,care must be taken not to injure the ground through too much pressure4 ,when the design gets pretty white1 ink the stone with firm acid-proof ink1 and then treat as in the preceding cases4 ,in this way designs in relief that have not turned out as desired can be changed into intaglio1 and then1 by the use of successive coatings and etchings1 as described before1 improved by making gradations of tones4 ,but it requires great skill1 lacking which one may destroy his plates utterly4 ,,example ,,iv ,to change an intaglio design into relief for easier printing ,many kinds of scripts and designs are easier to engrave with a needle than to do in relief with a pen2 or one may have workmen who can use the engraving tool better than the pen1 as the use of the latter requires more industry and skill than the use of the etching- or engraving-needle4 ,if one wishes to transform such a design into one in relief1 because then it can be printed more quickly and easily and also will give more impressions1 the following method will prove useful3-- ,ink the stone with good acid-proof ink1 and after a few hours etch it like a pen design till it is apparent that the design is showing up4 ,let it rest again a few hours after etching and become quite dry4 ,then coat with gum4 ,otherwise treat it for printing like an ordinary pen design4 99 99 99 99 99 ,now ,i believe that ,i have described faithfully and as clearly as ,i can all the lithographic methods to which unceasing research and endless experimentation have led me4 ,in the following ,appendix ,i merely make a few useful remarks1 which do not pertain exclusively to lithography1 yet are intimately connected with it and surely will not be unwelcome to art lovers4 ,illustration ,,appendix ,i ,,printing ,,with ,,water ,,and ,,oil ,,colors ,,simultaneously ,when a plate1 whether intaglio or relief1 has been inked-in with oil color1 it may be coated with one water color1 or it may be illuminated with several1 and then printed-off in one impression4 ,two parts of gum and one part of sugar are used for this4 ,they can be dissolved with any water color4 ,care need be taken merely that the colors are well dried before the impression is made4 ,if1 however1 it is desired that the colors have shades so that the impressions may resemble ,english or ,french colored copper-plate prints1 the process is as follows3-- ,etch all shades of the color pretty deeply in any of the stippled or aquatint styles4 ,after this1 coat the stone with gum solution1 that it shall take no color in these depressions4 ,clean off the chemical ink or the ground with oil of turpentine1 and prepare the whole plate if it has not been prepared already on its surface4 ,then coat it with red gum surface1 and into this inscribe all those lines that are to remain black4 ,then the color is rubbed-in and the stone cleansed so that it will be white everywhere except in the engraved parts4 ,when it is inked-in now1 it can take color there only1 and the other depressions 7namely the various shades of the color7 will remain white because they have been prepared4 ,now it is necessary only to coat each part with the desired water color and it will be denser1 and therefore darker1 wherever there are more and greater depressions4 ,,ii ,,simultaneous ,,chemical ,,and ,,mechanical ,,printing ,when a pen drawing is so constituted that the various lines are close together and there is no white space on it that is greater than at most one half inch in diameter1 it will permit printing in a purely mechanical way without being prepared4 ,it need merely be etched into all the relief possible without under-eating the lines4 ,all that is needed then is a color-board or a so-called dauber1 made as follows3-- ,a thin board of soft wood1 about eight inches long and six inches wide1 is planed down till it is not more than one line in thickness4 ,glue on it a piece of fine cloth or felt almost as large as it4 ,over this glue another board1 of the same area as the first1 but one quarter inch thick4 ,it must be very well-dried wood1 and must be made very true with the plane1 or better still1 by rubbing on a perfectly level stone with sand4 ,this latter board is provided with a handle2 and when all is dry this dauber is ground off true again with fine sand and oil on a stone4 ,lay the printing-color on this utensil very gently and uniformly with a leather ball4 ,tap and pat the stone1 which has first been cleaned with oil of turpentine over its whole surface1 very carefully with the appliance1 holding it as horizontal as possible and taking great pains to distribute the color evenly4 ,as compared with chemical printing1 this process in itself has no advantages1 but can be united with it and thus used to print three colors from one plate4 ,this is shown by the following ,,example ,suppose that a design shall be colored black1 blue1 and red1 and that all these colors shall be put simultaneously on one plate4 ,take a stone made ready for pen work1 and prepare it first of all with phosphoric acid1 nutgall1 and gum1 then wash it with water1 and let it dry4 ,now draw-in all that is to be red with chemical ink1 that must1 however1 contain only just enough soap to permit its solution4 ,when this drawing is dry1 etch it into pretty high relief1 the higher the better4 ,after this prepare the stone with gum1 wash it1 and let it dry again4 ,then coat it with etching-ground that has been dissolved in oil of turpentine1 and draw-in all that is to be black1 between and over the high etched parts4 ,then etch this design pretty powerfully into intaglio1 after which wash with water1 rinse with alum solution1 and dry4 ,when the plate is thoroughly dry1 rub-in printing-color1 and clean with a woolen rag dipped into gum solution and oil of turpentine4 ,then it will become white everywhere except in the deep lines where it will have taken color4 ,after cleansing again with water and drying1 draw-in all parts that are to be blue1 using a chemical ink that contains a great deal of soap4 ,let this dry well1 and cleanse the plate with gum and oil of turpentine again4 ,then it is ready for inking-in4 ,to lay on the color1 proceed as follows3-- ,first the black is rubbed-in1 as prescribed in the article on the intaglio style4 ,in the very deep parts the stone will get very black4 ,in the parts last drawn1 that are level with the surface1 it will be only gray1 if the color permits ready wiping1 which can be facilitated by the use of gum and a woolen rag4 ,then the tone remaining on the level parts drawn with the chemical ink will be so pale that it will not affect the blue color4 ,now wipe a rag dipped in blue color gently to and fro till everything that is to be blue has taken the color well4 ,then take the dauber which has been filled with red color1 and pat the stone1 which should be dry by that time4 ,then the parts of the design in high relief will take the red color1 and thus an impression can be made with the three colors at once4 ,each inking-in must be done the same way4 ,,iii ,,use ,,of ,,the ,,stone ,,for ,,cotton-,,printing ,,through ,,wiping4 ,a ,,unique ,,printing ,,process ,etched copper plates have been used for some considerable time for cotton-printing1 and as the ordinary oil colors were not suitable for this1 while the suitable colors were too fluid1 so that they were always wiped out of the engravings1 another method was devised4 ,the plate was covered with color and then a kind of straight edge was scraped across it1 which removed all color from the surface1 leaving it only in the depressions4 ,this same sort of wiping is applicable to stone1 and it is necessary merely to see that the stone is very even and highly polished4 ,the color must be one that permits itself to be wiped off clean1 and the wiper must be very uniform and sharp4 ,starch-paste or gum with some caustic material is easily scraped off4 ,,iv ,,color ,,print ,,with ,,wiping ,this process is also useful for printing papers such as cotton papers1 tapestry1 etc4 ,almost all intaglio designs permit good printing in this way1 if a handsome color is used4 ,fresh cheese1 or drops of congealed milk1 mixed with soap1 potash1 linseed oil varnish1 and the desired tint1 make an excellent composition1 with which all intaglio designs1 even aquatints1 can be printed handsomely if the plate is very smooth4 ,if the design is made well1 the various colors can be laid on quite roughly1 care being taken merely that each color shall be laid only where it is desired4 ,then the stone should be permitted to dry1 after which all the surplus colors can be scraped away with one manipulation1 without danger that one will mix with the other in the design4 ,v ,,oil-,,painting ,,print ,,through ,,transfer ,colored impressions resembling oil paintings can be made by printing with colors and several plates on paper grounded with oil color4 ,but perfect oil paintings are produced only as follows3-- ,make a considerable quantity of special paper by coating unsized paper thinly with starch-paste or glue4 ,on this make the separate impressions from each color plate4 ,if the painting itself is to be produced from these separate parts1 take a canvas that has been prepared for oil painting and lay on it a wetted impression of one of the colors1 let us say1 red4 ,print this off under light tension of the press1 and when the paper is pulled away1 it will be seen that the color has been transferred to the canvas4 ,then a wet impression of another color is laid carefully in place so that it will register exactly1 and the process is repeated1 till all the colors have been transferred to the canvas4 ,the transferring can be done with the hand or with any other method1 as no great power is needed1 since the color transfers itself readily4 ,,vi ,,stone-,,paper ,this is the name already generally adopted for a substitute invented by me for the ,solenhofen stones4 ,i had been trying for a long time to invent some stone-like mixture that would be equally suitable for printing4 ,the ordinary parchment of the writing-tablets would do if its surface were not soluble in water4 ,i made considerable progress with a composition of lime and freshly congealed milk after the mixture had aged enough so that the lime could sate itself with oxygen4 ,then ,i made a composition of chalk1 gypsum1 and glue1 which ,i dipped into a solution of nutgall and alum1 and ,i was able to use this for coarser work1 at least1 if not too many impressions were required4 ,i did not get a wholly satisfactory idea1 however1 until ,i observed that fat spots that were caused on a stone by oil1 and also designs that had been transferred to the stone with mere oil color1 refused to take color after a few weeks if they were prepared in only the slightest degree4 ,i reasoned from this that oil suffered a change from exposure to air1 and by combining itself presumably with oxygen acquired a more earthy character4 ,this deduction may be correct or not2 but it led me to experiment with oil as a binder for various earthy substances1 because ,i reasoned that such a composition would be insoluble in water4 ,the only question1 then1 would be if despite the intermixed oil it would permit itself to be prepared1 that is1 if it could be made resistant to other fats4 ,the result justified my hopes so thoroughly that ,i am convinced now that with various compositions of clay1 chalk1 linseed oil1 and metallic oxides a stone-like mass can be made that is excellent for coating paper1 linen1 wood1 metal1 etc41 and thus for making plates that not only replace the stone for printing1 but in many cases are far superior to it4 ,i shall give the world a book soon about these fortunate attempts of mine1 and thus perhaps give expert chemists an opportunity to perfect my invention still more4 ,,vii ,,chemical ,,print ,,on ,,metal ,,plates ,all metals have great inclination for fats2 but if they are quite clean1 being ground with pumice1 for instance1 or rubbed-down with chalk1 they can be prepared like a stone1 that is1 they acquire the property of resisting oil color1 thus becoming available for chemical printing4 ,iron and zinc can be prepared like the stone with aquafortis and gum4 ,to prepare zinc and lead1 aquafortis with nutgall and gum will serve1 but a slight admixture of blue vitriol will make still a better preparation1 and this in a degree that improves according to the amount of copper that the surface acquires from the coating4 ,the most durable preparation for lead and zinc is a mixture of aquafortis1 gum1 and nitrate of copper4 ,brass and copper are best prepared with aquafortis1 gum1 and nitrate of lime1 all mixed in proper proportions4 ,lime and gum are a good preparation for all metals2 also potash with salt and gum4 ,this alkaline preparation1 however1 is applicable only for the intaglio style4 ,for the relief style1 the acids are better4 ,recently ,i have applied chemical printing from metal plates to a new form of copying-machines1 with which everything written or drawn with chemical ink or crayon on paper can be transferred in a few moments and manifolded several hundred times4 ,his ,royal ,majesty of ,bavaria has had the supreme condescension to grant me a six years' patent on this invention4 ,until now ,i have not been able to give this matter the necessary attention because the work of publishing this book hindered me2 but now ,i shall make such a stock of these simple1 convenient1 and so widely useful hand-presses that it will be worth while to open a subscription1 which would enable me to sell them for a low price4 ,this would please me best1 as my highest reward would be the general use of my inventions1 to fulfill which desire ,i have taken the utmost pains in this work4 ,in the last parts of the book ,i have gone less into details1 merely because ,i assume that those who have mastered the first parts of this work will not need many words to understand the rest4 ,if the demand for this perhaps prematurely announced book had not become so vehement lately that ,i could not possibly delay its publication any longer1 ,i should have tried to produce sample illustrations that combine inner art value with good printing4 ,as it is1 ,i postpone this for a supplementary volume soon to appear1 in which ,i shall occupy myself mainly with processes and methods not yet generally known1 representing each by means of a true work of art4 ,with which ,i now end my text-book1 with the hearty wish that it will find many friends and create many good lithographers4 ,this may ,god grant6 ,the ,riverside ,press ,,printed ,,by ,h4 ,o4 ,,houghton ,,co4 ,,cambridge1 ,,mass4 ,u4,s4,a4 99 99 99 99 99 ,,transcriber',s ,,notes3 ,punctuation and spelling standardized4 ,inconsistent hyphenation retained4 ,this book has no ,table of ,contents for ,section ,i4