align="left"> Historical and Theoretical

77 C.  Catalogues of the Works of the Artists 77    (a.) Dictionaries 77    (b.) Individual Artists 78

---

INTRODUCTORY CHAPTER.

THE TECHNICAL ELEMENTS OF ETCHING.

As explained in the Preface, this chapter has been added to enable the beginner to master the most necessary technical elements of etching, without complicating his first attempts by artistic considerations. Let him learn how to use his ground, his points, and his acid, before he endeavors to employ these requisites in the production of a work of art.

All the materials and tools necessary for making the experiment described below can be bought at the following places:[A]—

New York: Henry Leidel, Artist's Materials, 341 Fourth Avenue.
Philadelphia: Janentzky & Co., Artist's Materials, 1125 Chestnut Street.
Boston: J. H. Daniels, Printer, 223 Washington Street.

But any one living within reach of a druggist, a paint-shop, and a hardware-store can do just as well with the exercise of a little patience and a very little ingenuity. For the benefit of such persons all the necessary directions will be given for making what it may be impossible to buy.

---

---

---

1. Definition of Etching.—To be able to get an impression on paper from a metal plate in a copper-plate printing-press, it is necessary to sink the lines of the design below the surface of the plate, so that each line is represented by a furrow. The plate is then inked all over, care being taken to fill each furrow, and finally the ink is cautiously wiped away from the surface, while the furrows are left charged with it. A piece of moist paper pressed against a plate so prepared, will take the ink up out of the furrows. The result is an impression. In engraving proper these furrows are cut into the plate by mechanical means; in etching chemical means are used for the same purpose. If nitric acid is brought into contact with copper, the acid corrodes the metal and finally eats it up altogether; if it is brought into contact with wax or resinous substances, no action ensues. Hence, if we cover a copper plate with a ground or varnish composed of wax and resinous substances, and then draw lines upon this ground with a steel or iron style or point, so that each stroke of the point lays bare the copper, we shall have a drawing in lines of copper (which are affected by nitric acid) on a ground of varnish (which is not thus affected). If now we expose the plate to the action of nitric acid for a certain length of time, we shall find, upon the removal of the ground by means of benzine, that the lines have been bitten into the plate, so that each line forms a furrow capable of taking up the ink. The depth and the breadth of the lines depends upon the thickness of the points used, and upon the length of time allowed for biting; or, in other words, by varying the size of the points and the time of exposure the lines may also be made to vary. This is the whole of the science of etching in a nutshell.

2. Requisites.—The following tools and materials are the only ones which are absolutely necessary for a first experiment:—

1. A Copper Plate on which to execute your etching. Do not waste your money on a large plate. A visiting-card plate is sufficiently large. If you happen to have an engraved plate of that kind, you can use the back of it. If you have none, get one at a card-engraver's. The price ought not to be over fifteen cents. If you do not live in any of the large cities named above, or cannot find a card-engraver, send fifteen cents in stamps to Mr. Geo. B. Sharp, 45 Gold St., New York, N. Y., who will forward a plate to you by mail. Be very particular in giving your full and correct post-office address. These plates only need cleaning to fit them for use.

2. Benzine, used for cleaning the plate, sold by grocers or druggists at about five cents a pint for common quality.

3. Whiting or Spanish White, also for cleaning the plate. A very small quantity will do.

4. Clean Cotton Rags.—Some pieces of soft old shirting are just the thing.

5. Etching-Ground, with which to protect the plate against the action of the acid. This ground is sold in balls about the size of a walnut. If you do not live in a city where you can buy the ground, you may as well make it yourself. Here is a recipe for a very cheap and at the same time very good ground. It is the ground used by Mr. Peter Moran, one of the most experienced of our American etchers. Buy at a drug-shop (not an apothecary's) or painter's supply-store:—

Two ounces best natural asphaltum (also called Egyptian asphaltum), worth about ten cents.

One and a half ounces best white virgin wax, worth about six cents.

One ounce Burgundy pitch, worth say five cents.

Break the wax into small pieces, and reduce the Burgundy pitch to fine powder in a mortar, or have it powdered at the drug-shop. Take a clean earthenware pot glazed on the inside, with a handle to it (in Boston you can buy one for fifteen cents at G. A. Miller & Co.'s, 101 Shawmut Avenue), and in this pot melt your asphaltum over a slow fire, taking very good care not to let it boil over, or otherwise you might possibly set the house afire. When the asphaltum has melted add the wax gradually, stirring all the while with a clean glass or metal rod. Then add the Burgundy pitch in the same way. Keep stirring the fluid mass, and let it boil up two or three times, always taking care to prevent boiling over! Then pour the whole into a pan full of tepid water, and while it is still soft and pliant, form into balls of the required size, working all the while under the water. If you touch the mass while it is still too hot, you may possibly burn your fingers, but a true enthusiast does not care for such small things. You will thus get about eight or nine balls of very good ground at an outlay of about thirty-six cents in cash, and some little time. Nearly all recipes order the wax to be melted first, but as the asphaltum requires a greater heat to reduce it to a fluid condition, it is best to commence