This is a table of type quadgram and their frequencies. Use it to search & browse the list to learn more about your study carrel.
quadgram | frequency |
---|---|
the surface of the | 52 |
at the same time | 50 |
in the case of | 46 |
on the other hand | 39 |
the end of the | 36 |
of the fifteenth century | 30 |
as soon as the | 28 |
the work of the | 28 |
at the end of | 27 |
by means of a | 26 |
that is to say | 26 |
it is necessary to | 25 |
the lines of the | 24 |
it is well to | 24 |
the use of the | 24 |
one of the most | 23 |
of light and shade | 22 |
the back of the | 22 |
surface of the stone | 22 |
it is possible to | 21 |
the stone must be | 20 |
as well as the | 19 |
on account of the | 19 |
the quality of the | 19 |
if the stone is | 18 |
by the use of | 18 |
the rest of the | 18 |
the art of engraving | 17 |
the fact that the | 17 |
the size of the | 17 |
in the form of | 16 |
in the fifteenth century | 16 |
is one of the | 16 |
care must be taken | 16 |
as soon as it | 16 |
it is impossible to | 16 |
the character of the | 16 |
the action of the | 16 |
with a piece of | 15 |
it is to be | 15 |
of the art of | 15 |
and at the same | 15 |
the stone has been | 15 |
on a large scale | 15 |
for the reproduction of | 15 |
in the british museum | 15 |
the case of the | 15 |
with a hay barn | 15 |
parts of the design | 15 |
the beginning of the | 14 |
parts soap parts lampblack | 14 |
the middle of the | 14 |
a few drops of | 14 |
the art of wood | 14 |
in the history of | 14 |
with oil of turpentine | 14 |
of one of the | 13 |
in the usual way | 13 |
the nature of the | 13 |
a great deal of | 13 |
in the same way | 13 |
the top of the | 13 |
landscape with a hay | 13 |
the art of etching | 12 |
in proportion to the | 12 |
from time to time | 12 |
surface of the plate | 12 |
on the top of | 12 |
it is better to | 12 |
a flock of sheep | 12 |
it must not be | 12 |
for the sake of | 12 |
in the art of | 11 |
the edge of the | 11 |
in the same manner | 11 |
it is best to | 11 |
barn and a flock | 11 |
it will be seen | 11 |
as a means of | 11 |
the history of the | 11 |
a hay barn and | 11 |
the edges of the | 11 |
was one of the | 11 |
it is obvious that | 11 |
the form of a | 11 |
and a flock of | 11 |
and let it dry | 11 |
with regard to the | 11 |
the bottom of the | 11 |
so that it is | 11 |
the plate with the | 11 |
hay barn and a | 11 |
that it can be | 11 |
on the surface of | 10 |
in the course of | 10 |
the plate is then | 10 |
parts of the plate | 10 |
action of the acid | 10 |
the dance of death | 10 |
on the other side | 10 |
lines of the design | 10 |
the face of the | 10 |
it seems to me | 10 |
a colour print by | 10 |
in the first place | 10 |
it is evident that | 10 |
to be able to | 10 |
of the stone is | 10 |
the name of the | 10 |
at the bottom of | 10 |
of a colour print | 10 |
so that it will | 10 |
as well as in | 10 |
of the sixteenth century | 10 |
with a solution of | 10 |
the works of the | 10 |
on the back of | 10 |
oil of turpentine and | 10 |
reproduction of a colour | 10 |
as soon as i | 9 |
it is difficult to | 9 |
about the same time | 9 |
the whole of the | 9 |
a certain amount of | 9 |
that i could not | 9 |
the preparation of the | 9 |
not by any means | 9 |
the case of a | 9 |
end of the fifteenth | 9 |
in order that the | 9 |
as in the case | 9 |
towards the end of | 9 |
collotype reproduction of a | 9 |
one of the best | 9 |
back of the plate | 9 |
the power of the | 9 |
is not to be | 9 |
as far as possible | 9 |
with a mixture of | 9 |
as a matter of | 9 |
the position of the | 9 |
part of the design | 9 |
at the beginning of | 9 |
the drawing of the | 9 |
a large number of | 8 |
the same way as | 8 |
surface of the copper | 8 |
for the first time | 8 |
when the plate is | 8 |
parts of the stone | 8 |
but it is not | 8 |
de la gravure en | 8 |
that are to be | 8 |
as long as the | 8 |
sunday monday tuesday wednesday | 8 |
will be seen that | 8 |
by means of the | 8 |
in the middle of | 8 |
the strength of the | 8 |
will be found in | 8 |
of the works of | 8 |
it can be used | 8 |
can be used for | 8 |
the first half of | 8 |
the paper must be | 8 |
as a reproductive art | 8 |
all parts of the | 8 |
if the stone has | 8 |
soap parts lampblack part | 8 |
of a similar character | 8 |
to the fact that | 8 |
ship of the line | 8 |
it is almost impossible | 8 |
the manner in which | 8 |
herr von hartl to | 8 |
at the present day | 8 |
is due to the | 8 |
on the walls of | 7 |
on the stone with | 7 |
first half of the | 7 |
the stone can be | 7 |
the invention of lithography | 7 |
the most important of | 7 |
is almost impossible to | 7 |
of the work of | 7 |
the thickness of the | 7 |
the difference between the | 7 |
to the stone and | 7 |
the treatment of the | 7 |
the value of the | 7 |
when the design is | 7 |
monday tuesday wednesday thursday | 7 |
the plate with a | 7 |
if it has been | 7 |
on the plate with | 7 |
so long as the | 7 |
the pressure of the | 7 |
you will find that | 7 |
in the hands of | 7 |
if the color is | 7 |
at the head of | 7 |
the art of printing | 7 |
the design of the | 7 |
the walls of the | 7 |
the use of a | 7 |
the royal academy of | 7 |
it is usual to | 7 |
the first edition of | 7 |
history of british birds | 7 |
the design on the | 7 |
a part of the | 7 |
i do not know | 7 |
in the latter case | 7 |
of the new art | 7 |
the society of arts | 7 |
with a woolen rag | 7 |
the point where the | 7 |
to be found in | 7 |
so far as the | 7 |
i did not know | 7 |
i have told you | 7 |
the stone with a | 7 |
can be obtained by | 7 |
the depth of the | 7 |
the intensity of the | 7 |
character of the work | 7 |
to be used for | 7 |
the harbors of england | 7 |
it is not necessary | 7 |
in which it is | 7 |
the head of the | 7 |
it is desired to | 7 |
soap parts lampblack parts | 7 |
royal academy of sciences | 7 |
the stone is inked | 7 |
is withdrawn from the | 6 |
two or three times | 6 |
there is no doubt | 6 |
of the present day | 6 |
of the dry point | 6 |
that it will not | 6 |
the stone should be | 6 |
more terrible than death | 6 |
some idea of the | 6 |
it will be well | 6 |
may be regarded as | 6 |
a set of blocks | 6 |
be taken not to | 6 |
the same time the | 6 |
the outlines of the | 6 |
in order to make | 6 |
the end of a | 6 |
the very finest lines | 6 |
for the purpose of | 6 |
one part of aquafortis | 6 |
the gazette des beaux | 6 |
as if it were | 6 |
to the nature of | 6 |
one and the same | 6 |
beginning of the sixteenth | 6 |
is a matter of | 6 |
the plate is now | 6 |
the way in which | 6 |
of the design is | 6 |
the history of wood | 6 |
the etching fluid is | 6 |
there is no king | 6 |
the swelled gelatine process | 6 |
may be necessary to | 6 |
drawing on the plate | 6 |
manner of using the | 6 |
that herr von hartl | 6 |
be done with the | 6 |
there can be no | 6 |
of the most important | 6 |
it is not a | 6 |
must be taken not | 6 |
the color of the | 6 |
itself to the stone | 6 |
in the drawing of | 6 |
it is not the | 6 |
soon as it is | 6 |
of the surface of | 6 |
on the preceding page | 6 |
in that case the | 6 |
must not be too | 6 |
it is advisable to | 6 |
are not to be | 6 |
is poured over it | 6 |
the art of the | 6 |
with the exception of | 6 |
reproduction of a portion | 6 |
the paper may be | 6 |
it is certain that | 6 |
the work of a | 6 |
virgin with the holy | 6 |
that are to remain | 6 |
the effect of the | 6 |
on account of its | 6 |
be seen that the | 6 |
in the name of | 6 |
the importance of the | 6 |
it would have been | 6 |
a small piece of | 6 |
as shown in fig | 6 |
is removed from the | 6 |
in that case it | 6 |
on to the block | 6 |
king more terrible than | 6 |
victoria and albert museum | 6 |
an idea of the | 6 |
may be seen in | 6 |
it is quite possible | 6 |
surface of the paper | 6 |
the plate has been | 6 |
is not by any | 6 |
of the th century | 6 |
the beauty of the | 6 |
in the following year | 6 |
is no king more | 6 |
in the spencer library | 6 |
as well as for | 6 |
of the new process | 6 |
the director of the | 6 |
is by no means | 6 |
so that it may | 6 |
a small quantity of | 6 |
it will be noticed | 6 |
be found in the | 6 |
can be done with | 6 |
dissolved in oil of | 6 |
in the following manner | 6 |
no king more terrible | 6 |
that he did not | 6 |
and it can be | 5 |
in the sistine chapel | 5 |
with aquafortis and gum | 5 |
may be used for | 5 |
if it is desired | 5 |
it is easier to | 5 |
portion of the print | 5 |
that i did not | 5 |
is that of the | 5 |
that the art of | 5 |
the stone is not | 5 |
the form of the | 5 |
is very difficult to | 5 |
will be necessary to | 5 |
if you desire to | 5 |
the life of the | 5 |
the mouth of the | 5 |
may be used in | 5 |
with a clean rag | 5 |
transfer itself to the | 5 |
of landscape with a | 5 |
the figure of the | 5 |
at the top of | 5 |
in oil of turpentine | 5 |
with spirits of turpentine | 5 |
of the british museum | 5 |
general history of quadrupeds | 5 |
block books of the | 5 |
as well as possible | 5 |
on the face of | 5 |
what you are doing | 5 |
of the fact that | 5 |
one above the other | 5 |
and oil of turpentine | 5 |
so as not to | 5 |
seems to have been | 5 |
the first book printed | 5 |
in the middle ages | 5 |
it was to be | 5 |
be obtained by the | 5 |
the best way to | 5 |
and the stone is | 5 |
will not take the | 5 |
not in the least | 5 |
with freiherr von aretin | 5 |
great care must be | 5 |
will be found to | 5 |
the death of the | 5 |
so long as it | 5 |
the outline of the | 5 |
despite the fact that | 5 |
the drawing may be | 5 |
if it is not | 5 |
are to be printed | 5 |
by the dry point | 5 |
the expression of the | 5 |
in the very beginning | 5 |
the majority of cases | 5 |
when the stone is | 5 |
in some of the | 5 |
is necessary merely to | 5 |
on the stone in | 5 |
solution of nitric acid | 5 |
but on the whole | 5 |
that it may not | 5 |
that it is not | 5 |
the skill of the | 5 |
well as in the | 5 |
in its application to | 5 |
in one of the | 5 |
and as soon as | 5 |
passion of our lord | 5 |
a matter of fact | 5 |
the subject of the | 5 |
the same manner as | 5 |
and herr von hartl | 5 |
out of the lines | 5 |
end of the century | 5 |
in the sixteenth century | 5 |
may be made by | 5 |
a general history of | 5 |
herr von hartl had | 5 |
that there is no | 5 |
permit itself to be | 5 |
the hands of a | 5 |
are to remain white | 5 |
to the action of | 5 |
one of the first | 5 |
obtained by the use | 5 |
be used for printing | 5 |
in the midst of | 5 |
of the print on | 5 |
dance of death the | 5 |
then the stone is | 5 |
mixed with a little | 5 |
first book printed in | 5 |
it is the most | 5 |
a more or less | 5 |
it happens often that | 5 |
if the plate is | 5 |
both sides of the | 5 |
is the work of | 5 |
may be obtained from | 5 |
can be made by | 5 |
gazette des beaux arts | 5 |
for the most part | 5 |
the southern coast series | 5 |
it will be necessary | 5 |
the construction of the | 5 |
the northern and southern | 5 |
to the lithographic stone | 5 |
light and shade in | 5 |
a solution of gum | 5 |
is not the case | 5 |
of the fifteenth and | 5 |
hundred and fifty gulden | 5 |
a piece of wood | 5 |
in the first half | 5 |
as has already been | 5 |
conceived the idea of | 5 |
as well as on | 5 |
of the best of | 5 |
that it is possible | 5 |
the fact that it | 5 |
it is easy to | 5 |
on it with a | 5 |
if the design is | 5 |
with the aid of | 5 |
it is necessary merely | 5 |
of tools and materials | 5 |
has the property of | 5 |
herr von hartl was | 5 |
be seen in the | 5 |
in a short time | 5 |
of the print shown | 5 |
tuesday wednesday thursday friday | 5 |
to be regretted that | 5 |
the work has been | 5 |
there is not the | 5 |
about the middle of | 5 |
that may have been | 5 |
but as soon as | 5 |
of the southern coast | 5 |
will be noticed that | 5 |
is not necessary to | 5 |
the virgin with the | 5 |
to one part of | 5 |
thrown up by the | 5 |
of some of the | 5 |
intensity of the light | 5 |
as an example of | 5 |
the print shown on | 5 |
the result will be | 5 |
of the first edition | 5 |
work of the acid | 5 |
the same number of | 5 |
the same quantity of | 5 |
in the majority of | 5 |
is obvious that the | 5 |
it must be remembered | 5 |
the stone may be | 5 |
a quarter of an | 5 |
so that you can | 5 |
is not at all | 5 |
the production of a | 5 |
on the subject of | 5 |
the city of panama | 5 |
two kinds of biting | 5 |
to the amount of | 5 |
have the property of | 5 |
is ready for printing | 5 |
of many of the | 5 |
as far as i | 5 |
the plate can be | 5 |
with a small brush | 5 |
before the royal academy | 5 |
by the character of | 5 |
it may be mentioned | 5 |
and for this reason | 5 |
reproduction of a drawing | 5 |
as i told you | 5 |
mouth of the canal | 5 |
long as it is | 5 |
of the size of | 5 |
if it is too | 5 |
the drawing is made | 5 |
with a few drops | 5 |
in the fact that | 5 |
the best of the | 5 |
to that of a | 5 |
the print on the | 5 |
are the same as | 5 |
so far as they | 5 |
the light and shade | 5 |
of oil of turpentine | 5 |
on one side only | 4 |
laid on the stone | 4 |
so long as they | 4 |
from his own design | 4 |
work on the stone | 4 |
many of the cuts | 4 |
on the fact that | 4 |
engraved many of the | 4 |
is in the british | 4 |
few drops of oil | 4 |
the plate to cool | 4 |
to note that the | 4 |
the plate for the | 4 |
of the panama canal | 4 |
the management of the | 4 |
with a very fine | 4 |
of the original drawing | 4 |
the folds of the | 4 |
gently to and fro | 4 |
it follows from this | 4 |
as it is dry | 4 |
the difference in the | 4 |
of any part of | 4 |
stone has been prepared | 4 |
must be done by | 4 |
the fineness of the | 4 |
in a piece of | 4 |
the impression is made | 4 |
will be possible to | 4 |
that i do not | 4 |
to the invention of | 4 |
parts of the surface | 4 |
the part of the | 4 |
a good quantity of | 4 |
it was impossible to | 4 |
is more or less | 4 |
in such a manner | 4 |
from a set of | 4 |
that it may take | 4 |
by means of wood | 4 |
in the works of | 4 |
i will describe the | 4 |
it is interesting to | 4 |
in the th century | 4 |
though it is not | 4 |
the names of the | 4 |
a high degree of | 4 |
of the virgin with | 4 |
on each side of | 4 |
that it shall be | 4 |
the plate is etched | 4 |
the stone in the | 4 |
for the use of | 4 |
figure detail of landscape | 4 |
in black and white | 4 |
does not appear to | 4 |
the waters of the | 4 |
one of the chief | 4 |
it to the stone | 4 |
it must be very | 4 |
wax parts tallow parts | 4 |
at the age of | 4 |
the plate into the | 4 |
position of the hands | 4 |
it may be necessary | 4 |
tailpiece by thomas bewick | 4 |
it is coated with | 4 |
into the stone and | 4 |
in order to be | 4 |
of the line is | 4 |
pleasure given to the | 4 |
may be proceeded with | 4 |
as will be seen | 4 |
which is to be | 4 |
to the reproduction of | 4 |
other forms of printing | 4 |
be applied to the | 4 |
we have before us | 4 |
can be made with | 4 |
drawing on the stone | 4 |
is covered with a | 4 |
with a soft brush | 4 |
this may be done | 4 |
of a piece of | 4 |
is divided into two | 4 |
phosphoric acid and gum | 4 |
will be described in | 4 |
as well as a | 4 |
for a few hours | 4 |
that it has a | 4 |
on the bare copper | 4 |
each of which is | 4 |
lines of the engraving | 4 |
the stone with gum | 4 |
at one and the | 4 |
been transferred to the | 4 |
for the making of | 4 |
and cut by the | 4 |
over and over again | 4 |
stone that has been | 4 |
of the cumaean sibyl | 4 |
if you happen to | 4 |
the lines in the | 4 |
of history and technology | 4 |
the reproduction of drawings | 4 |
are more or less | 4 |
water to one part | 4 |
the details of the | 4 |
is made on the | 4 |
the date of the | 4 |
is better to have | 4 |
will be observed that | 4 |
set aside to dry | 4 |
in the southern coast | 4 |
and most of the | 4 |
in the character of | 4 |
in regard to the | 4 |
the pleasure given to | 4 |
all over the plate | 4 |
and description of the | 4 |
out of the bath | 4 |
should be allowed to | 4 |
he was one of | 4 |
be coated with a | 4 |
in various parts of | 4 |
to fill in the | 4 |
of the process is | 4 |
with a leather ball | 4 |
the block books of | 4 |
in connection with the | 4 |
is evident that the | 4 |
in the collection of | 4 |
is supposed to be | 4 |
london electrotype agency ltd | 4 |
sheets of printing paper | 4 |
so that they will | 4 |
bur thrown up by | 4 |
out of the way | 4 |
with the palm of | 4 |
the paper is not | 4 |
the genius of the | 4 |
an easy matter to | 4 |
will find that the | 4 |
may be obtained by | 4 |
manner in which they | 4 |
it is probable that | 4 |
the arrangement of the | 4 |
one part of the | 4 |
and a piece of | 4 |
white of the paper | 4 |
booke of christian prayers | 4 |
light and shade is | 4 |
wax parts shellac parts | 4 |
at the disposal of | 4 |
may be mentioned that | 4 |
as you would with | 4 |
is placed in the | 4 |
the stone with the | 4 |
it will not be | 4 |
reasonable to suppose that | 4 |
the direction of the | 4 |
there is also a | 4 |
and there is not | 4 |
rubbed down in a | 4 |
was an artist of | 4 |
for a long time | 4 |
the two register marks | 4 |
a considerable amount of | 4 |
as works of art | 4 |
is rubbed down in | 4 |
that it would not | 4 |
hands in using the | 4 |
quarter of an hour | 4 |
one hundred and fifty | 4 |
in the presence of | 4 |
brief history of wood | 4 |
with herr von hartl | 4 |
books of the fifteenth | 4 |
the engraving of the | 4 |
the design is finished | 4 |
the impression is to | 4 |
parts that are to | 4 |
this is not the | 4 |
part of the work | 4 |
over the whole surface | 4 |
impressions can be made | 4 |
supplied by the london | 4 |
on the right of | 4 |
are to be used | 4 |
may be made to | 4 |
to the manner of | 4 |
of the french canal | 4 |
of the royal gallery | 4 |
is done with a | 4 |
i have no doubt | 4 |
this course of lectures | 4 |
in which they are | 4 |
of the society of | 4 |
so that they cannot | 4 |
in the treatment of | 4 |
of the hands in | 4 |
detail of landscape with | 4 |
the idea of a | 4 |
much sibyl as possible | 4 |
zinc and aluminium plates | 4 |
the reproduction of a | 4 |
of water to one | 4 |
revarnishing with the roller | 4 |
the front of the | 4 |
you happen to have | 4 |
over with french chalk | 4 |
and i hope that | 4 |
tension of the press | 4 |
as well as of | 4 |
through the lithographic press | 4 |
may be used to | 4 |
it can be done | 4 |
in this way the | 4 |
and playe of the | 4 |
if the paper is | 4 |
to that of the | 4 |
the whole surface of | 4 |
it seemed to me | 4 |
inches in height by | 4 |
by the swelled gelatine | 4 |
if it is only | 4 |
to obtain the franchise | 4 |
parts lampblack parts the | 4 |
by one of the | 4 |
in many of the | 4 |
we are able to | 4 |
if it has not | 4 |
that they will not | 4 |
back of the paper | 4 |
coat the stone with | 4 |
delicate parts of the | 4 |
strength of the acid | 4 |
the part in question | 4 |
to the end of | 4 |
of the first state | 4 |
in much the same | 4 |
it is too thick | 4 |
of the paper is | 4 |
be his best work | 4 |
as well as those | 4 |
a ship of the | 4 |
as soon as possible | 4 |
of which we give | 4 |
considered to be his | 4 |
a third of the | 4 |
on the whole the | 4 |
design is to be | 4 |
in which there are | 4 |
over the whole stone | 4 |
the library of congress | 4 |
better to have a | 4 |
few drops of water | 4 |
and the work of | 4 |
in the development of | 4 |
paper on the plate | 4 |
then it must be | 4 |
the hands of the | 4 |
in the gazette des | 4 |
in using the knife | 4 |
as if it had | 4 |
as we have seen | 4 |
as well as his | 4 |
drawing may be made | 4 |
is no doubt that | 4 |
but it is necessary | 4 |
it is said that | 4 |
with gum solution and | 4 |
it takes up the | 4 |
half of the fifteenth | 4 |
water over it and | 4 |
to go to vienna | 4 |
this is done by | 4 |
that is to be | 4 |
is to be noted | 4 |
the most celebrated of | 4 |
was to be done | 4 |
the stone well with | 4 |
of the design are | 4 |
of the drawing is | 4 |
by the addition of | 4 |
may be indicated by | 4 |
one and a half | 4 |
for the benefit of | 4 |
for this purpose a | 4 |
artistic point of view | 4 |
the stone is rubbed | 4 |
is not the slightest | 4 |
in italy in the | 4 |
is the same as | 4 |
in italy and france | 4 |
the reason for this | 4 |
over its whole surface | 4 |
to be taken from | 4 |
if it had been | 4 |
in this book are | 4 |
in the matter of | 4 |
with the text in | 4 |
recommendations and auxiliary processes | 4 |
i was able to | 4 |
it is very difficult | 4 |
must be remembered that | 4 |
same length of time | 4 |
as much as possible | 4 |
it was not possible | 4 |
if you were to | 4 |
and fro over the | 4 |
as one of the | 4 |
which must not be | 4 |
all the lines of | 4 |
in the print room | 4 |
make use of the | 4 |
showing treatment of tree | 4 |
as it has been | 4 |
are in the main | 4 |
the illustrated london news | 4 |
and i do not | 4 |
clean the plate with | 4 |
must be done with | 4 |
that it may be | 4 |
way in which the | 4 |
must not be imagined | 4 |
the following may be | 4 |
it will be observed | 4 |
fourteenth and fifteenth centuries | 4 |
gleissner and his family | 4 |
pour clean water over | 4 |
if the ink is | 4 |
and rolled up with | 4 |
but it is very | 4 |
as much sibyl as | 4 |
to the number of | 4 |
so that it can | 4 |
in which i was | 4 |
used for the reproduction | 4 |
it is ready for | 4 |
the victoria and albert | 4 |
not to be found | 4 |
gum solution over it | 4 |
to the surface of | 4 |
so as to remove | 4 |
at the rate of | 4 |
cut by the author | 4 |
it is true that | 4 |
a study of the | 4 |
be permitted to dry | 4 |
are to be seen | 4 |
the same length of | 4 |
the fourteenth and fifteenth | 4 |
the first thing to | 4 |
to the use of | 4 |
in england in the | 4 |
by the london electrotype | 4 |
of the work is | 4 |
far as i know | 4 |
of painting in italy | 4 |
the dry point is | 4 |
soon as it has | 4 |
of about the same | 4 |
in the preparation of | 4 |
in the preface to | 4 |
the sheets of paper | 4 |
in the direction of | 4 |
the paper on the | 4 |
it is a small | 4 |
you will have to | 4 |
revarnishing with the brush | 4 |
the sails of the | 4 |
to the work of | 4 |
appears to have been | 4 |
between the years and | 4 |
that there is not | 4 |
wax parts soap parts | 4 |
print on the preceding | 4 |
of the work are | 4 |
with the holy infant | 4 |
is possible to make | 4 |
the conditions under which | 4 |
when the stone has | 4 |
coat the plate with | 4 |
end of a word | 4 |
is laid on the | 4 |
the hands in using | 4 |
exposed under the negative | 4 |
if they had been | 4 |
but it must be | 4 |
with a pair of | 4 |
then it is coated | 4 |
did not wish to | 4 |
or they may be | 4 |
the collection of the | 4 |
with a composition of | 4 |
to cover it with | 4 |
whole surface of the | 4 |
the traces of the | 4 |
i have tried to | 4 |
to and fro over | 4 |
more or less of | 4 |
the stone will not | 4 |
museum of history and | 4 |
the bur thrown up | 4 |
at the british museum | 4 |
especially in the case | 4 |
by the action of | 4 |
of the seventeenth century | 4 |
the course of the | 4 |
of the state of | 4 |
in which the lines | 4 |
in the work of | 4 |
of a portion of | 4 |
block supplied by the | 4 |
the stone is etched | 4 |
the stone will be | 4 |
parts of water to | 4 |
drawn and engraved by | 4 |
of which we have | 4 |
only a thin film | 4 |
given to the eye | 4 |
in the production of | 4 |
the design is made | 4 |
of herr von hartl | 4 |
work of the kind | 4 |
so as to get | 4 |
of the same kind | 4 |
the plate and the | 4 |
we are enabled to | 4 |
on the part of | 4 |
the lampblack is added | 4 |
but at the same | 4 |
surface of the block | 4 |
was at that time | 4 |
descriptive catalogue of the | 4 |
i had invented the | 4 |
dampening of the paper | 4 |
it has already been | 4 |
the other side of | 4 |
the london electrotype agency | 4 |
as described in the | 4 |
is the case with | 4 |
other side of the | 4 |
the etched lines in | 4 |
the progress of the | 4 |
the shape of the | 4 |
of the stone and | 4 |
far in advance of | 4 |
reduced copy of the | 4 |
design on the stone | 4 |
in the collections of | 4 |
the style of a | 4 |
to be his best | 4 |
plate with the needle | 4 |
be removed from the | 4 |
that the design is | 4 |
if the scraper is | 4 |
the description of the | 4 |
he had seen the | 3 |
must be at least | 3 |
and one of the | 3 |
as the stone is | 3 |
all the resources of | 3 |
there must be no | 3 |
is interesting to note | 3 |
would be needed for | 3 |
if there is a | 3 |
a full description of | 3 |
with pen or brush | 3 |
i have ever seen | 3 |
the time of the | 3 |
de graver en taille | 3 |
drops of oil of | 3 |
in the style of | 3 |
as i could see | 3 |
the complete works of | 3 |
first page of the | 3 |
allowed to remain on | 3 |
after the picture by | 3 |
in any of the | 3 |
palm of your hand | 3 |
coated with chemical ink | 3 |
to suppose that the | 3 |
to a high degree | 3 |
for this purpose the | 3 |
in the finished print | 3 |
than that of the | 3 |
the scraper must be | 3 |
the inventor of the | 3 |
within the reach of | 3 |
be added to the | 3 |
care must be exercised | 3 |
in a few seconds | 3 |
allow the plate to | 3 |
the example of the | 3 |
of the life of | 3 |
there is danger of | 3 |
with a straight line | 3 |
is drawn on the | 3 |
is according to the | 3 |
when the drawing is | 3 |
best for all methods | 3 |
that part of the | 3 |
in advance of any | 3 |
leather in the printing | 3 |
the following must be | 3 |
with the permission of | 3 |
in lithographic machine printing | 3 |
enough to melt the | 3 |
can be expressed by | 3 |
edition of the work | 3 |
is known as the | 3 |
remind you of what | 3 |
as opposed to the | 3 |
may be able to | 3 |
has been laid on | 3 |
at once on the | 3 |
little holes in the | 3 |
after a few minutes | 3 |
to get rid of | 3 |
shellac parts soap parts | 3 |
fact that the color | 3 |
the grain of the | 3 |
in which it was | 3 |
is quite possible to | 3 |
death of the virgin | 3 |
with the rag only | 3 |
the leather in the | 3 |
the isthmian canal commission | 3 |
i did not need | 3 |
have before us a | 3 |
of the eighteenth century | 3 |
or less of the | 3 |
is the best way | 3 |
if the pressure is | 3 |
wednesday thursday friday saturday | 3 |
of the cut is | 3 |
of the set of | 3 |
wood engraving and the | 3 |
after the manner of | 3 |
the banks of the | 3 |
is the head of | 3 |
so as to prevent | 3 |
the way of the | 3 |
this is the most | 3 |
is well to mix | 3 |
designed and cut by | 3 |
the foundation of the | 3 |
the simplest possible character | 3 |
the exception of the | 3 |
of line in the | 3 |
the present state of | 3 |
which the design is | 3 |
and the back of | 3 |
printed by hand on | 3 |
of holding the paper | 3 |
to make his own | 3 |
a new edition of | 3 |
can be produced by | 3 |
of wood between knife | 3 |
that i would have | 3 |
of the plate in | 3 |
there are very few | 3 |
like that of the | 3 |
nymph beloved of apollo | 3 |
which it would be | 3 |
is the most difficult | 3 |
the print room of | 3 |
the third edition of | 3 |
on the strength of | 3 |
and a half inches | 3 |
the stone is ground | 3 |
be used in the | 3 |
it has the advantage | 3 |
prepared for pen work | 3 |
or ought to be | 3 |
if it does not | 3 |
and on the right | 3 |
all that is to | 3 |
as elsewhere in text | 3 |
so that at last | 3 |
till the mass is | 3 |
a plentiful supply of | 3 |
can be given to | 3 |
to the eye is | 3 |
in one or two | 3 |
the development of a | 3 |
to be made in | 3 |
it will be best | 3 |
the plate must be | 3 |
to enable the printer | 3 |
certain classes of work | 3 |
of the christian church | 3 |
all that is needed | 3 |
in a very few | 3 |
further experiments with this | 3 |
we give as an | 3 |
head and tail pieces | 3 |
the amount of light | 3 |
in a moment that | 3 |
i did not wish | 3 |
of the most beautiful | 3 |
of the stone with | 3 |
the story of his | 3 |
would be likely to | 3 |
if the plate were | 3 |
and this can be | 3 |
in order to avoid | 3 |
the case with many | 3 |
to the size of | 3 |
that it might be | 3 |
in the first inking | 3 |
it is not possible | 3 |
no doubt that the | 3 |
such as is used | 3 |
which can only be | 3 |
a knowledge of the | 3 |
is allowed to dry | 3 |
relation of engraving to | 3 |
art of wood engraving | 3 |
plate is covered with | 3 |
those parts of the | 3 |
the drawings were made | 3 |
at right angles to | 3 |
the stone is coated | 3 |
the whole design is | 3 |
be cut on the | 3 |
outlines of the design | 3 |
at the root of | 3 |
with chemical ink on | 3 |
the stone and to | 3 |
for a moment that | 3 |
the illustration of books | 3 |
the cylinder at the | 3 |
it has been used | 3 |
my contract with the | 3 |
that one of the | 3 |
herr gleissner and his | 3 |
in front of the | 3 |
and some of the | 3 |
as it may be | 3 |
and you will find | 3 |
the roller must be | 3 |
will be necessary for | 3 |
and cover it with | 3 |
that herr alois senefelder | 3 |
in order to obtain | 3 |
whenever it is necessary | 3 |
state of the plate | 3 |
a little of the | 3 |
i can show you | 3 |
the power required to | 3 |
who was born at | 3 |
the only remedy is | 3 |
if you will examine | 3 |
the possibilities of the | 3 |
we give a copy | 3 |
off under the needle | 3 |
be bought at the | 3 |
take hold of the | 3 |
and a very little | 3 |
print shown on the | 3 |
at the foot of | 3 |
and to some extent | 3 |
in a letter to | 3 |
to herr von hartl | 3 |
seems to me to | 3 |
such a way that | 3 |
and there is a | 3 |
to the feelings of | 3 |
is mixed with the | 3 |
of engraving on wood | 3 |
macault reading his translation | 3 |
in each case the | 3 |
the study of anatomy | 3 |
is made up of | 3 |
you will find it | 3 |
the fat of the | 3 |
the best of them | 3 |
quality of the work | 3 |
because it was more | 3 |
was said to be | 3 |
half tone three colour | 3 |
in the minds of | 3 |
what is known as | 3 |
that he does not | 3 |
of the japanese prints | 3 |
from the top of | 3 |
the line may be | 3 |
one side only of | 3 |
withstand the etching fluid | 3 |
one third of the | 3 |
from a general history | 3 |
far as i can | 3 |
the disposal of the | 3 |
but it must not | 3 |
i told you in | 3 |
are going to use | 3 |
the religious tract society | 3 |
compared to that of | 3 |
of the most perfect | 3 |
and after a few | 3 |
know that it is | 3 |
reproduced by means of | 3 |
be seen from the | 3 |
here is a little | 3 |
of cutting on wood | 3 |
the paper used for | 3 |
tallow parts soap parts | 3 |
etching after claude lorrain | 3 |
on a stone that | 3 |
the fountain of castalia | 3 |
took the color well | 3 |
as soon as you | 3 |
forty parts of water | 3 |
is not so great | 3 |
and that of the | 3 |
be described in the | 3 |
a piece of cotton | 3 |
on the art of | 3 |
and used for printing | 3 |
the fact of the | 3 |
sir isaac pitman sons | 3 |
to free it from | 3 |
so as to give | 3 |
may be represented by | 3 |
works of john ruskin | 3 |
as to get a | 3 |
the elementary principles of | 3 |
wood cuts and engravings | 3 |
if it were not | 3 |
between the plate and | 3 |
with a very clean | 3 |
of water over the | 3 |
a modern mezzo engraver | 3 |
block of a print | 3 |
be an easy matter | 3 |
the degradation of the | 3 |
must be allowed to | 3 |
must be taken that | 3 |
can be used with | 3 |
hold of the stone | 3 |
for the illustration of | 3 |
of which are in | 3 |
its echo to the | 3 |
be used for the | 3 |
is not sufficient to | 3 |
for the printing of | 3 |
and the rest of | 3 |
the same time to | 3 |
the south kensington museum | 3 |
up by the dry | 3 |
paper used for the | 3 |
the base of the | 3 |
he was the first | 3 |
must be prepared again | 3 |
the set of blocks | 3 |
be used as a | 3 |
may next be considered | 3 |
in a series of | 3 |
dots of varying size | 3 |
that are not to | 3 |
which i propose to | 3 |
of the plate with | 3 |
as a mode of | 3 |
in consequence of which | 3 |
is a small folio | 3 |
the composition of a | 3 |
stroke of the point | 3 |
the pleasure of the | 3 |
with the knife on | 3 |
lines which are to | 3 |
it is not difficult | 3 |
the same is true | 3 |
to wet the stone | 3 |
the stone is prepared | 3 |
of this method of | 3 |
by no means the | 3 |
if they are to | 3 |
to be printed on | 3 |
is to be hoped | 3 |
and not at all | 3 |
i was determined to | 3 |
a great number of | 3 |
as well as to | 3 |
if one wishes to | 3 |
is passed over the | 3 |
most important of all | 3 |
the advantage that the | 3 |
by the side of | 3 |
facsimiles of the original | 3 |
the size of a | 3 |
said to have been | 3 |
little more than a | 3 |
a great love of | 3 |
the lines and spots | 3 |
it is a photo | 3 |
the midst of the | 3 |
it is in this | 3 |
some of which have | 3 |
the acid acts more | 3 |
of the lithographic press | 3 |
the delicacy of the | 3 |
are known to have | 3 |
there is yet another | 3 |
when the work is | 3 |
contrasts of light and | 3 |
that it could be | 3 |
very weak solution of | 3 |
is to be regretted | 3 |
permitted to dry before | 3 |
there is a very | 3 |
should be printed first | 3 |
clean water over it | 3 |
to a certain extent | 3 |
lines must not be | 3 |
with several sheets of | 3 |
lines of the sky | 3 |
it will be found | 3 |
was on the isthmus | 3 |
in the end it | 3 |
other work of the | 3 |
without any tendency to | 3 |
may be shewn by | 3 |
make sure that it | 3 |
early years of the | 3 |
by any means a | 3 |
be reduced to a | 3 |
as it lies on | 3 |
only a small amount | 3 |
needles of various sizes | 3 |
a moment that the | 3 |
known to have been | 3 |
with a sponge dipped | 3 |
part of the fifteenth | 3 |
have been executed with | 3 |
surface of the cylinder | 3 |
that the drawing of | 3 |
the plate out of | 3 |
from engraved metal plates | 3 |
order to render the | 3 |
of tone in the | 3 |
i was on the | 3 |
not be done with | 3 |
was the first who | 3 |
to the level of | 3 |
the fuchs lang manufacturing | 3 |
and it is very | 3 |
so far as it | 3 |
the study of the | 3 |
clearing of wood between | 3 |
full of the most | 3 |
may be coated with | 3 |
and coated with gum | 3 |
follows from this that | 3 |
that he could not | 3 |
so as to produce | 3 |
on to the stone | 3 |
cleansed with water and | 3 |
i have found that | 3 |
i must endeavor to | 3 |
see to it that | 3 |
used for this purpose | 3 |
to have been engraved | 3 |
a japanese wood block | 3 |
collections of the library | 3 |
into the copper with | 3 |
of the cathedral of | 3 |
the mind of the | 3 |
the permission of phaidon | 3 |
on to the plate | 3 |
the line is to | 3 |
to the close of | 3 |
can be bought at | 3 |
of the water is | 3 |
not possible to make | 3 |
the middle or end | 3 |
to such an extent | 3 |
there is not a | 3 |
little that is new | 3 |
the early years of | 3 |
of spirits of turpentine | 3 |
as in the original | 3 |
it lies on the | 3 |
a description of the | 3 |
according to his own | 3 |
quality and condition of | 3 |
the etching fluid may | 3 |
that it is a | 3 |
he desires to be | 3 |
design of the print | 3 |
has been used for | 3 |
till all the work | 3 |
is hardly necessary to | 3 |
one of the principal | 3 |
is to be used | 3 |
of turpentine and gum | 3 |
high degree of perfection | 3 |
of different degrees of | 3 |
by far the most | 3 |
to the quality of | 3 |
the negative and the | 3 |
the imperial library at | 3 |
drawings for reproduction by | 3 |
in some of his | 3 |
thomas bewick and his | 3 |
how he came to | 3 |
have nothing to say | 3 |
in the old manner | 3 |
of a ship of | 3 |
of which i had | 3 |
as in the preceding | 3 |
part of the plate | 3 |
ships of the line | 3 |
a pint of water | 3 |
the further advantage that | 3 |
in the library of | 3 |
connection with freiherr von | 3 |
to a great extent | 3 |
have a number of | 3 |
if the drawing is | 3 |
remind us of the | 3 |
or any of the | 3 |
are consistent with it | 3 |
a proper amount of | 3 |
of the various distances | 3 |
was the first book | 3 |
is to be cut | 3 |
playe of the chesse | 3 |
quite possible to make | 3 |
its application to lithography | 3 |
a sufficient amount of | 3 |
other styles of engraving | 3 |
on a black ground | 3 |
edges of the lines | 3 |
for the fact that | 3 |
parts shellac parts soap | 3 |
how is it that | 3 |
effect produced by the | 3 |
first edition of the | 3 |
but the work of | 3 |
on a stone prepared | 3 |
the southern coast view | 3 |
john and mary byfield | 3 |
in the one case | 3 |
it is doubtful if | 3 |
which the stone is | 3 |
on the stone than | 3 |
the same time i | 3 |
in a solution of | 3 |
water and let it | 3 |
is said to be | 3 |
the new printing process | 3 |
be in proportion to | 3 |
it is believed that | 3 |
with a view to | 3 |
plate is well designed | 3 |
the wonder of work | 3 |
it will take the | 3 |
a piece of very | 3 |
stone prepared for pen | 3 |
to establish a lithographic | 3 |
the most scrupulous care | 3 |
or a piece of | 3 |
that there are no | 3 |
how to use it | 3 |
on an enlarged scale | 3 |
it will be possible | 3 |
did not have the | 3 |
two or three of | 3 |
of the first to | 3 |
the tone of the | 3 |
biting with stopping out | 3 |
is intended to represent | 3 |
the convenience of the | 3 |
part of the stone | 3 |
of the lines and | 3 |
to make use of | 3 |
the impression will be | 3 |
to the best of | 3 |
to the drawing of | 3 |
but there is no | 3 |
the course of his | 3 |
those parts that are | 3 |
by the fact that | 3 |
from an artistic point | 3 |
in place of the | 3 |
academy of sciences in | 3 |
in the way of | 3 |
stone must be ground | 3 |
the completion of the | 3 |
the annals of botany | 3 |
this is the first | 3 |
the close of the | 3 |
which are to be | 3 |
of the first biting | 3 |
from the pen of | 3 |
that i was not | 3 |
the design will be | 3 |
be mixed with the | 3 |
from history of british | 3 |
to use it for | 3 |
there is always a | 3 |
the drying of the | 3 |
of the royal society | 3 |
manner of holding the | 3 |
number of impressions which | 3 |
that the ink may | 3 |
so that one can | 3 |
when the varnish is | 3 |
to know how many | 3 |
the resources of the | 3 |
the kind of work | 3 |
to enable you to | 3 |
in light and shade | 3 |
after it has been | 3 |
of printing from stone | 3 |
is largely due to | 3 |
itself on the stone | 3 |
it is by no | 3 |
drawings on the wood | 3 |
from a drawing by | 3 |
that herr andre had | 3 |
la gravure en bois | 3 |
i wish you to | 3 |
but it was impossible | 3 |
to the position of | 3 |
as the design is | 3 |
as large as the | 3 |
on the one hand | 3 |
the men who have | 3 |
the lithographic draughtsman to | 3 |
development of the art | 3 |
of the second order | 3 |
each side of the | 3 |
it is hardly necessary | 3 |
it is no wonder | 3 |
to hold the paper | 3 |
could not be done | 3 |
to me that i | 3 |
the world has ever | 3 |
be prepared in the | 3 |
even at that time | 3 |
the property of resisting | 3 |
weak solution of nitric | 3 |
as far as is | 3 |
he hath no pity | 3 |
the productions of the | 3 |
complete works of john | 3 |
holes in the ground | 3 |
in cases where the | 3 |
must be used with | 3 |
with the free hand | 3 |
to be noted that | 3 |
ink the stone with | 3 |
clean with a woolen | 3 |
one in which the | 3 |
when it is dry | 3 |
drawing on a large | 3 |
what has been said | 3 |
too dark can be | 3 |
the best for all | 3 |
he was born at | 3 |
show in the proof | 3 |
three inches in diameter | 3 |
he told me that | 3 |
of the other distances | 3 |
the length of time | 3 |
great deal of very | 3 |
herr von hartl would | 3 |
the side of the | 3 |
it is a remarkable | 3 |
it would be an | 3 |
soon as it was | 3 |
off and the stone | 3 |
when the plate has | 3 |
a portion of the | 3 |
that i could print | 3 |
the ink is dry | 3 |
what is best in | 3 |
the first object of | 3 |
ready to receive the | 3 |
bewick and his pupils | 3 |
the stone than on | 3 |
according to the nature | 3 |
it is only in | 3 |
chiefly on account of | 3 |
for the artist to | 3 |
that it would be | 3 |
in the ordinary way | 3 |
one and one half | 3 |
the development of this | 3 |
to commence with the | 3 |
the plate is covered | 3 |
parts tallow parts soap | 3 |
the more so as | 3 |
with the knife held | 3 |
and it is better | 3 |
is possible to use | 3 |
will be well to | 3 |
the ship of the | 3 |
in pen and ink | 3 |
the superiority of the | 3 |
permission of phaidon press | 3 |
freiherr von aretin and | 3 |
may be considered as | 3 |
as large as a | 3 |
this can be done | 3 |
room of the british | 3 |
it is as easy | 3 |
considerable sum of money | 3 |
to the height of | 3 |
some of the best | 3 |
will not take color | 3 |
there happened to be | 3 |
the sky and the | 3 |
printing by means of | 3 |
of a series of | 3 |
there is a good | 3 |
than the death of | 3 |
and the intensity of | 3 |
in this way you | 3 |
is on the stone | 3 |
is precisely the same | 3 |
of the sixteenth centuries | 3 |
coated with a mixture | 3 |
while i was in | 3 |
a small brush and | 3 |
drawing is made with | 3 |
light and shade of | 3 |
in a general way | 3 |
as it is not | 3 |
has happened to me | 3 |
to add to the | 3 |
is a kind of | 3 |
a thick coat of | 3 |
the margins of the | 3 |
the character of their | 3 |
may be touched up | 3 |
it would be useless | 3 |
on a plate while | 3 |
a piece of fine | 3 |
the center of the | 3 |
a work of art | 3 |
of the beauty of | 3 |
that they must be | 3 |
according to the size | 3 |
by philip gilbert hamerton | 3 |
in the making of | 3 |
lines of varying thickness | 3 |
of the united states | 3 |
of the plate and | 3 |
the original blocks are | 3 |
it became necessary to | 3 |
it is brought into | 3 |
the various methods of | 3 |
use of the scraper | 3 |
not appear to be | 3 |
is not absolutely necessary | 3 |
from engraved wood blocks | 3 |
only of the paper | 3 |
an example of a | 3 |
the monasteries and convents | 3 |
of the paper used | 3 |
is a sort of | 3 |
this is a matter | 3 |
is not difficult to | 3 |
in varying degrees according | 3 |
and the plate is | 3 |
my connection with freiherr | 3 |
with a small piece | 3 |
must be ground with | 3 |
is permitted to dry | 3 |
the following points are | 3 |
impressions which a plate | 3 |
a small amount of | 3 |
so that in the | 3 |
and there is no | 3 |
it can be seen | 3 |
is a very important | 3 |
is not likely to | 3 |
for the following reasons | 3 |
if it was to | 3 |
it is laid on | 3 |
impression can be made | 3 |
first thing to do | 3 |
what i have said | 3 |
several sheets of blotting | 3 |
thick linseed oil varnish | 3 |
solution of gum arabic | 3 |
middle of the fifteenth | 3 |
on a clean stone | 3 |
the art of stone | 3 |
and look at the | 3 |
drawn in with the | 3 |
he was able to | 3 |
to the length of | 3 |
it is very good | 3 |
he did not understand | 3 |
by the aid of | 3 |
on the banks of | 3 |
the fifteenth century there | 3 |
on one of the | 3 |
far more difficult than | 3 |
of one hundred and | 3 |
in the present case | 3 |
a pair of compasses | 3 |
with that of the | 3 |
design is made on | 3 |
it is a little | 3 |
a good deal of | 3 |
plate is placed in | 3 |
to take part in | 3 |
it is not to | 3 |
has already been mentioned | 3 |
it may be assumed | 3 |
and in the end | 3 |
glass for the mind | 3 |
transferred to the stone | 3 |
of a japanese print | 3 |
so that it would | 3 |
is a mixture of | 3 |
is it possible to | 3 |
finer parts of the | 3 |
definite work of the | 3 |
as a part of | 3 |
can be no doubt | 3 |
in his house and | 3 |
the appearance of a | 3 |
in a great measure | 3 |
as are consistent with | 3 |
if the acid is | 3 |
but it was not | 3 |
the collections of the | 3 |
the fifteenth and sixteenth | 3 |
use of the dry | 3 |
plate into the bath | 3 |
preparation of the stone | 3 |
catalogue of the etchings | 3 |
an artistic point of | 3 |
the high lights are | 3 |
were to be found | 3 |
in the graphic arts | 3 |
has the advantage of | 3 |
the ground to melt | 3 |
of more or less | 3 |
of the simplest possible | 3 |
the art library at | 3 |
is brought into contact | 3 |
the author of the | 3 |
on both sides of | 3 |
the drawing of maps | 3 |
he could not have | 3 |
commercial and artistic features | 3 |
of the design with | 3 |
know how many ribs | 3 |
a descriptive catalogue of | 3 |
means of popular address | 3 |
do not doubt that | 3 |
much depends on the | 3 |
can be imparted to | 3 |
even if the stone | 3 |
part of a design | 3 |
a mixture of three | 3 |
the reign of louis | 3 |
that they may be | 3 |
the plates have been | 3 |
it is not so | 3 |
may be mixed with | 3 |
it and let it | 3 |
wood between knife cuts | 3 |
of the dance of | 3 |
when the pressure is | 3 |
in all its forms | 3 |
at that time he | 3 |
to clean the plate | 3 |
too deeply into the | 3 |
freiherr von aretin was | 3 |
made on the stone | 3 |
with one or more | 3 |
water of ayr stone | 3 |
of the library of | 3 |
plate has been bitten | 3 |
to the point of | 3 |
is coated with gum | 3 |
must be laid on | 3 |
the manner of using | 3 |
impossible for me to | 3 |
may be assumed that | 3 |
have been reproduced by | 3 |
be set aside for | 3 |
of the stone for | 3 |
hundred parts of water | 3 |
it is sufficient to | 3 |
a drawing by miss | 3 |
a treatise on etching | 3 |
must be very thin | 3 |
with a clean glass | 3 |
is not so good | 3 |
deeply into the stone | 3 |
of the same thickness | 3 |
of the illustrations of | 3 |
say a few words | 3 |
nothing to be desired | 3 |
the pores of the | 3 |
you will find the | 3 |
the same time it | 3 |
the drawing was made | 3 |
directly on the stone | 3 |
of the design have | 3 |
to make sure that | 3 |
all the rest of | 3 |
there is no other | 3 |
of twenty thousand gulden | 3 |
be found to be | 3 |
effects of light and | 3 |
to be reproduced by | 3 |
is true of the | 3 |
at that time the | 3 |
of the character of | 3 |
it is time to | 3 |
soon as the plate | 3 |
line is to be | 3 |
owing to the fact | 3 |
in the practice of | 3 |
by any other process | 3 |
to be in the | 3 |
especially if it has | 3 |
the son of lapo | 3 |
as well as with | 3 |
the paper is then | 3 |
or it may be | 3 |
enable the printer to | 3 |
must be left to | 3 |
and placed in a | 3 |
can be made on | 3 |
for want of time | 3 |
of the printing surface | 3 |
at the present time | 3 |
is not in the | 3 |
cover it with a | 3 |
revarnishing with the dabber | 3 |
one of the great | 3 |
as well as an | 3 |
under the title of | 3 |
had been in the | 3 |
is ready for use | 3 |
it has not been | 3 |
to give up my | 3 |
in which you will | 3 |
northern and southern schools | 3 |
the image of the | 3 |
face down on the | 3 |
or at any rate | 3 |
for the production of | 3 |
that the stone is | 3 |
cut with a knife | 3 |
account of the beauty | 3 |
a case in which | 3 |
in the beginning of | 3 |
as herr von hartl | 3 |
as compared with the | 3 |
the latter case it | 3 |
a thin layer of | 3 |
be done by the | 3 |
with a thin layer | 3 |
to be the first | 3 |
and it is the | 3 |
twentieth part of the | 3 |
laid on a stone | 3 |
and when it is | 3 |
the right of the | 3 |
a sheet of paper | 3 |
it is supposed that | 3 |
of the fine arts | 3 |
but this is not | 3 |
that one can make | 3 |
the design can be | 3 |
on the old road | 3 |
who was born in | 3 |
at this point the | 3 |
this kind of press | 3 |
of the isthmian canal | 3 |
down on the stone | 3 |
parts of a design | 3 |
that the lines are | 3 |
part of the general | 3 |
a brief history of | 3 |
at the edge of | 3 |
and left to dry | 3 |
if you are not | 3 |
result will be a | 3 |
a stone that has | 3 |
a piece of glass | 3 |
it in all directions | 3 |
no effect of light | 3 |
the materials and tools | 3 |
the perfection of the | 3 |
of the great artists | 3 |
and the manner in | 3 |
director of the royal | 3 |
the lines must be | 3 |
print by the author | 3 |
more soap than usual | 3 |
in the first case | 3 |
if the stones are | 3 |
to have a number | 3 |
of the engraver is | 3 |
you are in the | 3 |
must be taken to | 3 |
it is thoroughly dry | 3 |
it may be coated | 3 |
in order to get | 3 |
in the proper place | 3 |
the early history of | 3 |
to the art of | 3 |
and there are many | 3 |
over the whole design | 3 |
this must be done | 3 |
in the same year | 3 |
the design has been | 3 |
after the plate is | 3 |
to believe that the | 3 |
with the addition of | 3 |
with finely powdered resin | 3 |
and one half inches | 3 |
that has been used | 3 |
edges of the plate | 3 |
the engravers of the | 3 |
available for chemical printing | 3 |
that the plate is | 3 |
the impression has been | 3 |
the publication of the | 3 |
that has been prepared | 3 |
at the time was | 3 |
sure that it is | 3 |
water is poured over | 3 |
italy in the fifteenth | 3 |
the decoration of the | 3 |
has been etched away | 3 |
of the paper in | 3 |
by the artist himself | 3 |
on the stone and | 3 |
may be done by | 3 |
may not touch the | 3 |
the state of the | 3 |
so that the ink | 3 |
a matter of course | 3 |
a great favourite with | 3 |
himself teacher of the | 3 |
this is one of | 3 |
stone will not take | 3 |
of impressions which a | 3 |
the process is as | 3 |
the smoke of a | 3 |
the color is rubbed | 3 |
middle or end of | 3 |
the best and most | 3 |
in order to remove | 3 |
the same as for | 3 |
not to spoil the | 3 |
introduction of metal engraving | 3 |
fully charged with ink | 3 |
and the judgment of | 3 |
the minds of the | 3 |
in order to render | 3 |
this was the first | 3 |
from black to white | 3 |
with ink or crayon | 3 |
in the article on | 3 |
top of the pile | 3 |
a theory of evolution | 3 |
in which all the | 3 |
to exhibit the qualities | 3 |
withdrawn from the bath | 3 |
is to be the | 3 |
is the portrait of | 3 |
be left to the | 3 |
level with the surface | 3 |
cut at bas obispo | 3 |
the bed of the | 3 |
side only of the | 3 |
which was to be | 3 |
be regarded as an | 3 |
an engraver on wood | 3 |
von hartl decided to | 3 |
would have been a | 3 |
an impression of the | 3 |
in a few days | 3 |
various parts of the | 3 |
is needed for the | 3 |
engraving in italy in | 3 |
of a man who | 3 |
engraving as a reproductive | 3 |
interesting to note that | 3 |
engraving in this country | 3 |
the sum of one | 3 |
the relation of engraving | 3 |
print room of the | 3 |
of the importance of | 3 |
the acids have the | 3 |
especially if they are | 3 |
diagram of knife cuts | 3 |
the death of a | 3 |
of the japanese masters | 3 |
of three or four | 3 |
affected by the acid | 3 |
the illustrations to a | 3 |
to the metal plate | 3 |
a recipe for a | 3 |
the value of a | 3 |
and the same time | 3 |
in the bath for | 3 |
the finer parts of | 3 |
brush is dipped into | 3 |
lay it on a | 3 |
are able to give | 3 |
the height of the | 3 |
the printing of the | 3 |
i am going to | 3 |
so far as i | 3 |
the parts of the | 3 |
and allow it to | 3 |
in each of these | 3 |
without the aid of | 3 |
forces the paper into | 3 |
which it will be | 3 |
to the stone with | 3 |
brought into contact with | 3 |
that it is hard | 3 |
that it was the | 3 |
it could not be | 3 |
palm of the hand | 3 |
of the line block | 3 |
to stick to the | 3 |
the moment when the | 3 |
impressed on one side | 3 |
as in that case | 3 |
the expressive power of | 3 |
as is consistent with | 3 |
of which are of | 3 |
the palm of your | 3 |
with his own hand | 3 |
be transferred to the | 3 |
is fastened to a | 3 |
the lines may be | 3 |
to give up the | 3 |
all of which are | 3 |
a piece of blotting | 3 |
order to make the | 3 |
the plate to the | 3 |
a very weak solution | 3 |
herr von hartl decided | 3 |
plate with spirits of | 3 |
the making of a | 3 |
is printed with a | 3 |
in such a way | 3 |
be found in any | 3 |
it is in reality | 3 |
to me to be | 3 |
there is nothing left | 3 |
the margin of the | 3 |
name of the engraver | 3 |
made at the same | 3 |
the voice of god | 3 |
we see that the | 3 |
in the lines of | 3 |
as to render the | 3 |
could be inked and | 3 |
the advantages of the | 3 |
was the first to | 3 |
is seen in the | 3 |
varying degrees according to | 3 |
impression of the key | 3 |
the drawing is finished | 3 |
is the most important | 3 |
with all sorts of | 3 |
ink from the surface | 3 |
the reason is that | 3 |
on the left in | 3 |
a lever press is | 3 |
technical elements of etching | 3 |
from right to left | 3 |
it is hard to | 3 |
the second part of | 3 |
in the printing of | 3 |
in the representation of | 3 |
the palm of the | 3 |
if it were more | 3 |
fifteenth and sixteenth centuries | 3 |
i do not mean | 3 |
of a print of | 3 |
when the paper is | 3 |
be the means of | 3 |
in the low countries | 3 |
a piece of soft | 3 |
can be made to | 3 |
by hand on japanese | 3 |
is to be added | 3 |
while it is still | 3 |
will be best to | 3 |
pressure of the hand | 3 |
and so on till | 3 |
the paper is too | 3 |
then the lampblack is | 3 |
to have been a | 3 |
of the school of | 3 |
in course of time | 3 |
of the design of | 3 |
according to the amount | 3 |
a few of the | 3 |
than that of a | 3 |
which you desire to | 3 |
on a piece of | 3 |
that the acid is | 3 |
the addition of a | 3 |
writing and drawing on | 3 |
and biting with stopping | 3 |
of one hundred gulden | 3 |
the reproduction of photographs | 3 |
the junction of the | 3 |
drawing is to be | 3 |
you may be able | 3 |
the printing is done | 3 |
by the author and | 2 |
the canal from the | 2 |
on the edge of | 2 |
block showing great variety | 2 |
on stone than on | 2 |
it by no means | 2 |
for those parts best | 2 |
reprinted over and over | 2 |
would be a great | 2 |
the case may be | 2 |
i will have my | 2 |
in character and sentiment | 2 |
must be mixed with | 2 |
the appearance of etched | 2 |
the colour masses are | 2 |
tints may be obtained | 2 |
the very beginning of | 2 |
the paper in printing | 2 |
has already been remarked | 2 |
you will at once | 2 |
position of register marks | 2 |
as i have told | 2 |
not intended as a | 2 |
is very good for | 2 |
take no notice of | 2 |
me to be the | 2 |
shellac parts wax parts | 2 |
know no drawing so | 2 |
it is not my | 2 |
that he would make | 2 |
waters of the lake | 2 |
to give force to | 2 |
for at least half | 2 |
and engraved by the | 2 |
can be pulled into | 2 |
includes the original illustrations | 2 |
roll a piece of | 2 |
be raised or lowered | 2 |
will merely make the | 2 |
look better on the | 2 |
of the design and | 2 |
of the catholic church | 2 |
a piece of work | 2 |
in order to gain | 2 |
old railroad from the | 2 |
a comparison of the | 2 |
the drawing should be | 2 |
you may use the | 2 |
limits of artificial printing | 2 |
engraved in the same | 2 |
kreuzer for each sheet | 2 |
lines of the key | 2 |
the twentieth part of | 2 |
design in the florentine | 2 |
is set aside to | 2 |
resist the action of | 2 |
to thank him for | 2 |
to go where i | 2 |
all were engraved by | 2 |
take part in all | 2 |
scrupulous care should be | 2 |
stone is rubbed with | 2 |
have found that the | 2 |
face downward on the | 2 |
them for the present | 2 |
writing to the stone | 2 |
the design is to | 2 |
bed of the machine | 2 |
are intimately connected with | 2 |
the invention of a | 2 |
to say nothing of | 2 |
that could not fail | 2 |
but not so as | 2 |
is not often that | 2 |
up out of the | 2 |
the technics of wood | 2 |
to remind you of | 2 |
result is obtained by | 2 |
xxv from ancon hill | 2 |
the lithographic press with | 2 |
scraper for removing the | 2 |
them by a few | 2 |
that case it is | 2 |
to familiarize yourself with | 2 |
that of other countries | 2 |
coated with a thin | 2 |
with water and boiled | 2 |
i poured a mixture | 2 |
half tone reproduction of | 2 |
drawing by hans holbein | 2 |
spaces between the lines | 2 |
machine printing the printing | 2 |
other artists of his | 2 |
which prints the line | 2 |
the intervention of the | 2 |
relative cost of blocks | 2 |
the bubbles caused by | 2 |
have taken it up | 2 |
lithographic press mechanical principles | 2 |
a few touches of | 2 |
in the early history | 2 |
some of which were | 2 |
again till it is | 2 |
is prepared as follows | 2 |
but i believe it | 2 |
in this frame are | 2 |
you will have a | 2 |
stone is ready for | 2 |
pay much attention to | 2 |
it may be useful | 2 |
not too hard to | 2 |
were probably engraved on | 2 |
xiv steam shovel at | 2 |
is but reasonable to | 2 |
and reduced to a | 2 |
i was sure to | 2 |
to know that it | 2 |
of the light on | 2 |
then it is ready | 2 |
at the station of | 2 |
the first book of | 2 |
readily soluble in water | 2 |
with his etching needle | 2 |
the influence of the | 2 |
of the design will | 2 |
is that it is | 2 |
the man who has | 2 |
gum solution and oil | 2 |
of the vessel in | 2 |
and the superfluous metal | 2 |
in order not to | 2 |
so that they touch | 2 |
treatment of tree forms | 2 |
the very next day | 2 |
on a kind of | 2 |
the work of an | 2 |
the plate with spirits | 2 |
the sides of the | 2 |
rub up the work | 2 |
or end of a | 2 |
that the precision of | 2 |
that the design can | 2 |
description of the origins | 2 |
rolled up with ink | 2 |
such an arrangement is | 2 |
were made by the | 2 |
does not suffice to | 2 |
lithographic press work are | 2 |
can be done on | 2 |
in the shops of | 2 |
it is from electrotypes | 2 |
and sayings of philosophers | 2 |
genius of the artist | 2 |
the paper to dry | 2 |
solution over it and | 2 |
proper consistency of ink | 2 |
the advantage of the | 2 |
be printed in one | 2 |
the ink should be | 2 |
then the shaded portion | 2 |
show white in the | 2 |
with an entirely clean | 2 |
that i could see | 2 |
on the block books | 2 |
some of my audience | 2 |
of the style in | 2 |
the while with a | 2 |
i drew the design | 2 |
here is a photograph | 2 |
to the works of | 2 |
the shape of a | 2 |
the plate once more | 2 |
stone or transfer paper | 2 |
chapter v on wood | 2 |
art library at south | 2 |
my first conversation with | 2 |
on the isthmus the | 2 |
compare it with the | 2 |
it was necessary to | 2 |
it would be a | 2 |
rapid and effective reproduction | 2 |
have a small i | 2 |
of engraving on metal | 2 |
proof of the first | 2 |
of the use of | 2 |
xviii laying the floor | 2 |
bed of the press | 2 |
plate is ready for | 2 |
the best artists of | 2 |
the reason why the | 2 |
which was made by | 2 |
linseed oil varnish parts | 2 |
unity of the arts | 2 |
the lifting of the | 2 |
is much used for | 2 |
impressions had been taken | 2 |
a few days it | 2 |
without waiting for the | 2 |
of the ashmolean museum | 2 |
the death of chatham | 2 |
well as all the | 2 |
the government of the | 2 |
dust over with french | 2 |
the working of the | 2 |
spirit in which the | 2 |
the world and of | 2 |
if the impression is | 2 |
them are brilliant in | 2 |
as his art was | 2 |
would permit itself to | 2 |
their lives seen the | 2 |
which are likely to | 2 |
is hardly possible to | 2 |
ought to have been | 2 |
et pratique de la | 2 |
on a copper plate | 2 |
i have learned that | 2 |
result would be a | 2 |
the british museum and | 2 |
along the line of | 2 |
in the mercure for | 2 |
that it forms a | 2 |
it has been frequently | 2 |
the cuts of this | 2 |
up should be done | 2 |
away with a very | 2 |
of the greasy ink | 2 |
they desire to produce | 2 |
to give me the | 2 |
the image of a | 2 |
as i did not | 2 |
between the lens and | 2 |
that she was to | 2 |
and then draw the | 2 |
proportion to the amount | 2 |
care being taken to | 2 |
and character of the | 2 |
with one or two | 2 |
poured a mixture of | 2 |
can be found in | 2 |
the texture of a | 2 |
be produced by the | 2 |
will be requisite for | 2 |
contents chapter i page | 2 |
the collotype plate is | 2 |
but it is a | 2 |
the stone and the | 2 |
that some of the | 2 |
and the position of | 2 |
or three inches in | 2 |
from a greek coin | 2 |
a bit of the | 2 |
and a quarter the | 2 |
in relation to certain | 2 |
be studied and worked | 2 |
the stone and make | 2 |
and towards the end | 2 |
which he desires to | 2 |
the height of about | 2 |
the use of colour | 2 |
so as to keep | 2 |
a very heavy colour | 2 |
of individuality in etching | 2 |
the following works contain | 2 |
lectures on greek sculpture | 2 |
a year and a | 2 |
on smooth bromide paper | 2 |
the work on the | 2 |
gum arabic dissolved in | 2 |
drawing on stone or | 2 |
of the robe of | 2 |
of the meaning of | 2 |
the combination of the | 2 |
will describe only the | 2 |
a piece of polished | 2 |
has set himself to | 2 |
one of his most | 2 |
royal society of london | 2 |
wetted with gum solution | 2 |
wood engraving did not | 2 |
apprenticed to ralph beilby | 2 |
the wax and soap | 2 |
ignores light and shade | 2 |
practice and history of | 2 |
when applied to the | 2 |
a road with distant | 2 |
cleaned with oil of | 2 |
detail from a japanese | 2 |
they may even be | 2 |
and the result will | 2 |
done with the bichromate | 2 |
the arm must be | 2 |
in italy at the | 2 |
or if it has | 2 |
parts which you desire | 2 |
is a reproduction of | 2 |
plaster of paris lb | 2 |
and one part of | 2 |
heat considered as a | 2 |
the plate is ready | 2 |
the sun of venice | 2 |
thick and as long | 2 |
on the wood block | 2 |
half tone process engraving | 2 |
on the metal plate | 2 |
that i was to | 2 |
the design have been | 2 |
work of the needle | 2 |
work of some of | 2 |
their application to modern | 2 |
was to be a | 2 |
are in the habit | 2 |
all the large spaces | 2 |
may nearly always be | 2 |
he showed me that | 2 |
not so as to | 2 |
it may not be | 2 |
if it did not | 2 |
transferred to a stone | 2 |
is likely to be | 2 |
as a result of | 2 |
the illustrious men of | 2 |
by means of impressions | 2 |
of the stone carriage | 2 |
lie on the stone | 2 |
with pen and ink | 2 |
the time necessary for | 2 |
reproduction of a photograph | 2 |
so that the one | 2 |
be to clean the | 2 |
reading his translation of | 2 |
to obtain the same | 2 |
of tree forms and | 2 |
swan electric engraving co | 2 |
over with a mixture | 2 |
tools and materials needed | 2 |
to remove all surplus | 2 |
case of the key | 2 |
the great resources of | 2 |
that the reader will | 2 |
frankest and most natural | 2 |
all parts that are | 2 |
the original german by | 2 |
we shall find that | 2 |
christophe plantin of antwerp | 2 |
be desired to reproduce | 2 |