m^ww THE AQUATINTER ; BEING THE- WHOLE PROCESS OF ETCHING AND ENGRAVING IN &quattnta : THE METHOD OF USING THE AQUAFORTIS, With all the necessary Tools . TO WHICH ARE ADDED, UPWARDS OF SIXTY OF THE BEST RECEIPTS FOR Grounds , Varnishes , Sic. Collected from near a Hundred that are most in Use : THE DIFFICULTIES Which may possibly occur , are pointed out , and the Method of obviating them? The whole rendered clear and practical . ®f>e CftfrO ©Mton, With many valuable Improvements and Additions, amongst which are MADAME PRESTEL’s] GROUND, Etching upon glass, stone, and steel; the new method OF CORRODING THE COPPER WITHOUT THE AID OF AQUAFORTIS, &C. WITH AN APPENDIX. LONDON: PRINTED BY J. BARFIELD, W ARDOUR-STREET, SOHO ; For J. IT. GREEN , Book and Print Seller , Wells-street , Oxford-street > SOLD ALSO BY Skerwood, Neely, and Jones, Paternoster-Row; C. Smith, 139, Strand; Gowing, Holbora- Bridge ; Fores, Piccadilly; &c. &c. 1810. Digitized by the Internet Archive in 2015 https://archive.org/details/completeaquatintOOgree DEDICATION. To the Right Honourable Charles Stanhope % Earl Stanhope , Viscount Mahon , $e. My Lord, I am happy in being permitted the favour of dedicating this edition to your Lordship ; 1 must acknowledge, that amongst the many experi- ments I have made, this is the first attempt in the science of compliment. The difficulty that must frequently occur, is, by your Lordship, removed, in the extensive patronage you have given, to every useful invention and improvement in the Arts and Sciences. You have fully evinced, that your enlightened mind and benevolent heart, are dedicated to the truest and best interests of mankind. The honour you con- iv DEDICATION’. ferred upon me, by employing and consulting me on the Art of Aquatinting, was the more flattering and grateful to my feelings, as I had no other recommen- dation than my zealous endeavours to be useful by this publication. That your Lordship's eminent ta- lents, and disinterested zeal, may at all times prove successful in advancing and extending useful know- ledge for the service of your country, is the ardent wish of Your Lordship's Most obedient, Most devoted. And most humble Servant, J. H. GREEN. PREFACE TO THE SECOND EDITION. The favourable reception of the first edition of this work, has encouraged the Author to publish the present enlarged, and he trusts, improved edition. During the sale of the first edition he has solicited criticism. The Aquatinter has been alarmed for the reputation of his art, which appeared to depend upon its secresy, difficulty, and monopoly; he says, according to the former value of many of the receipts, the price should have been from two to five guineas, have been so enveloped in pro- fundity, as to render its practice more astonishing, intricate, and scarce. In excuse, the Author must answer, that he has only rendered the mechanical part easy and general. It still remains with the Artist, to distinguish himself by the more meritorious part, and so far from lessening its consequence, it has, and he trusts will more than ever be noticed and encou- raged. The scholar has justly pointed out some grammatical errors, which, in haste, were not attended to before. Hehas now corrected the language, newly arranged the whole, and added some valuable receipts. He is therefore flattered by many, that this edition will be the most complete and useful work of the kind, that it will be patronised by most scientific men, and the amateurs of the Arts, and extend its sale and utility even to foreign countries. PREFACE TO THE FORMER EDITION. IF TsT the following pages I have endeavoured to render the method of Aquatinting so clear and concise, that any person who wishes to learn it, either as an amusement or profession^ may not meet with the least difficulty. I have made known all Secrets , real or pretended, that before could not be obtained without much expence and trouble. I think myself at liberty to publish what I have dis- covered by dint of industry, and perseverance; and as I am aware it will be decried by some Aquatinters, as tending to clear away the mystery of their profession, I shall advance nothing but what will stand the test of scrutiny. VIII PREFACE, The present manner of working Aquatinta, is the quickest and most easy mode of engraving known at present; for it may be done with the facility of a chiaro-scuro drawing, it may also be made to have a most beautiful and soft effect, or vice versa , a rough bold spirit which would be difficult for a draw- ing to imitate; it may be clone to appear like a reed, or crow pen drawing: in short, it has such a pleasing variety, as renders the working of it an agreeable amusement to those who have u taste for the fine arts. THE COMPLETE AQUATIJVTER. T SHALL begin by mentioning all the materials and tools used in etching and aquatinting, which will be necessary for the practitioner. No. 1. To make hard etching Grounds Take, of virgin wax and asphaltum, each two ounces; of black and burgundy pitch, each half an ounce ; melt the wax and pitch in a new earthen glazed pot, and add to them, by degrees, the asphaltum finely powdered ; boil the whole until such time as by taking a drop upon a plate, it will break, when it is cold, on bending it double three or four times betwixt the fingers ; the ground being then boiled enough must be taken off the fire ; and letting it cool a little, must be poured into warm water, if the weather be cold, or cold water, should the weather be warm, that it may the more easily work with the hands; for it should be pulled a long time, to mix the ingredients better, and then rolled into balls and tied up for use in silk; as taffety, persian, 6cc a * Usually called Hollar’s Ground. *THE COMPLETE AQUATINTER, £ Observe, tlie fire must not be too violent, for fear of burning the ground., a slight simmering will be sufficient ; it should be stirred whilst the asphaltum is putting in, and all the time of boiling. No. 2. Another hard etching Ground . Two ounces of white wax, two ounces of asphaltum, an ounce of common pitch, and an ounce and a half of burgundy pitch ; to be made in the same manner as No. 1. No. 3. To make a transparent etching Ground . Put one ounce of common resin, and two ounces of virgin wax, into a glazed pipkin, set it over a gentle fire until it simmers, and put it by to cool until wanted. No. 4. Another . Equal quantities of turpentine varnish and bees wax ; prepare them in the same way as the former ; if too hard, owing to the weather, add a little more bees wax, or if too soft, more turpentine varnish. No. 5. A soft ground for Summer. Take one-third bees wax, and tw o-thirds hard etching ground ; to be melted in a glazed pot, and pulled as that in No. 1 W'as. No. 6. A soft ground for Winter. To one-fourth hog’s lard, add three-fourths hard etching ground. No. 7. To make thebor dering Wax. Take of burgundy pitch one pound, and of bees w r ax half a pound, \ I the complete aquatintek; 0 put them in a large glared pot, and melt them over a slow fire ; when melted, add a gill of sweet oil ; in very warm, weather, a less quantity will suffice : when it has been melted a little, time, take it off to cool, then pour it into water, and pull it w'ell ; when that is done make it into rolls for use. 1 shall now proceed to the method of making the materials for Aqua« tinting, and begin with the Spirit Grounds , as a great number of them may be made,* SPIRIT GROUNDS. No. 1. Resin Ground . Take one quart of the best double rectified spirits of wine, unadulterfc ated, to which, put ten ounces of common resin, and put it by to settle and dissolve ; when the resin is entirely dissolved, pour about half of it into another bottle, and put a pint of spirits of wine to it, for a different strength of ground. J No. 2. Burgundy pitch Ground. To one quart of spirits of wine, add ten ounces of burgundy pitch ; when it is all dissolved, put to half of it, one pint of spirits of wine, # The tools used in etching, I shall mention with those for aquatinting. $ I have placed this ground first, because it is more in use than any other. The Spirits for all the other grounds, as well as this, must be of the best quality, and the resins, or gums pul- verized, and finely sifted. 12 4 THE COMPLETE AQUATINTETt. more or less, according to the consistency required : as the more of the resinous gum there is in it, the coarser it will lay on the copper plate, and vice versa . No . 3. Mastic Ground . Dissolve four ounces of gum mastic, in one pint of spirits of wine ; this, if made a month before used, will be an excellent ground. No. 4. Copal Ground. Take one quart of spirits of wine, and eight ounces of gum copal, which must be dissolved in a sand heat; the ground being made a little time before used, will resist the aquafortis better than any one whatever: the next is nearly equal to it in strength. No. 5. Animi Ground . Eight ounces of gum animi, to one quart of spirits of wine ; this will dissolve without a sand heat, if the spirits are good. No. 6. Frankincense Ground. Take one quart of spirits of wine, and add to it twelve ounces of gum frankincense, which, when dissolved, dilute with spirits of wine for use. No. 7. Myrrh and Frankincense Ground . Dissolve six ounces of frankincense, and six ounces of myrrh, in one quart of spirits of wine; this should be made some time before you use it. ME COMPLETE AQUATINTEE* a No. 8* Sandarac Ground . One quart of spirits of wine, and eight ounces of gum sandarac, make mi excellent ground* No. 9* Benzoin Ground. To one quart of spirits of wine, add eight ounces of gum benzoin* which will make a very good ground* No. 10. Turpentine Varnish Ground. To one fourth turpentine varnish, add three fourths spirits of wine ; this will make a very curious shaped ground* MIXED SPIRIT GROUNDS* No. 11. Equal quantities of No. 1 and No e % will make a good shaped ground. No. 12. Equal quantities of No. 1 and No. 6, will mix very well. No. 13. Equal quantities of No. 2 and No. 6, will make a very good ground. No. 14. Half an ounce of turpentine varnish, added to that of No. 3, will make a curious ground. No. 15* Equal quantities of No. 1 and No. 14, will granulate very curiously. 6 THE COMPLETE AQUATINTE*.* No. 16. Equal quantities of No. 2 and No. 6, will make a good ground. No. 17. Equal quantities of No. 6 and No. 14, will make a good ground. No. 18. No. 5 and No. 14, mixed in equal proportions ; make a very good ground. No. 19* Equal parts of No. 4 and No. 6, make a good ground. No. 20. No. 1 and No. 8, make a good ground. No. 21. Equal quantities of No. 6 and No. 8 mixed; will make a good ground. No. 22. No. 7 and No. 8, mixed in equal quantities, will granulate well. No. 23. No. 5 and No. 8 mixed; make a strong and curious ground. No. 24. Dissolve four ounces of Venice turpentine, six ounces of gum copal, in one quart of spirits of wine, in a sand heat. I have mentioned a sufficient number of grounds for the earner, in which there are great variety of shapes, for they granulate very differ- ently; some by polishing the plate with charcoal, or with the oil rubber shaped •f HE COMPLEfE A£U ATINTE&./ i ■ and crocus martis, in one direction, will run in strait lines from end to end without a break ; others will form themselves into the shape of an honey-comb, some into short broken lines,- some into small holes, ap- pearing like a stipple engraving, and many of them into very irregular shapes, as spots and lines together, forming pentagons, hexagons, octagons, &c. The discovery of the grounds I have not mentioned, will afford a fund of amusement to the learner, to which he has a sufficient clue in those above, which are the best used by the most eminent aquatinters selected from many others. BUST GROUNDS. Previous to the operation upon the plate, the following powder must be prepared. Take equal parts of asphaltum, and fine transparent resin, and powder them separately in a mortar; through a muslin sieve, sift upon a sheet of paper, a thin stratum of the asphaltum, above which, sift a similar layer of the resin, and upon this, another layer of asphal- turn, continuing these alternate layers until both the powders are ex- hausted. Then pass the mixture both together through the same sieve so as to mix them sufficiently for use. Some instead of the above mixture, use powdered gum sandarach only, or good clear resin as in the following recipes. ¥HE COMPLETE AQUATINTER. & No. 1. Madame Prestel’s Ground , so much admired for its fineness, and near imitation of a washed drawing , is effected in the follow- ing manner : Get a deal box, with a lid rather larger than the plate it is to con- tain,, and about six inches deep; at one end, make a circular hole, to receive the small end of a hair-dresser’s powder machine, which you must partly fill with resin, finely pulverized and sifted : the plate being laid with the face upwards in the box, cover it close to keep out the air ; apply the machine to the hole, and work it in the same manner that a hair-dresser uses it, until the plate is entirely covered. Take it then carefully out of the box, and fix the ground in the same manner as the spirit grounds ; # it will then be ready to work upon. No. 2. Another Dust Ground . The etching being finished, wipe the ground off with a piece of rag, leaving however, as much grease upon the plate, as just to dim the copper. Next, sift the powder upon the surface of the plate; alter which, strike the other side of it pretty smartly against the edge of the table, to discharge it of its loose powder: This done, fix the ground, and work upon it as above. If a bold open ground is wanted in any part, this requires an after-operation. The ground must be laid as in the other case, by sifting on the powder; only this powder must be much coarser, and the plate more heated, in order that the particles of the powder may spread and form small circles: The sky and distant * See Page 20. THE COMPLETE AQUATINTER, 9 objects may also be performed by a second operation, but for this pur« pose, the powder must be sifted upon the plate with a finer sieve. The plate may be finished to any degree of effect, either by etching, or stippling with dots. No. 3. Another Dust Ground. Tie up in fine lawn, some resin finely sifted ; place the plate on the floor in a place free from air, and standing rather elevated over it, sift the resin upon it, until the plate is finely covered ; then fix the ground* and work upon it, in the same manner as the above. No. 4 . Another. Mix some whitening and water, and a drop or two of aquafortis, and rub some gently over a plate, wipe it nearly off, and while damp, sift over it some pulverized resin, take up the plate nearly perpendicularly, and give it a tap at the back to shake off the coarsest part; and the fine part that remains on the plate, fix according to former directions. No. 5. Sulphur Ground . This is a recent discovery, and known but to few, who wish to keep it a profound secret; it is very curious, as by means of this preparation, the copper is corroded without the aid of aquafortis. Mix sweet oil and fine Vermillion together, of a proper consistency for working ; with this, paint on the copper the subject you wish to engravei then sift flour of sulphur over the plate, as even as possible, and tap the * Critical exactness is required, in fixing all the dust grounds. C w the complete aquatinter. back well, in order that the sulphur may adhere to those parts only where the first preparation has been previously laid ; next, hold it over an even fire until you perceive the sulphur change colour, it is then bit in sufficiently for the first strength of tint, and may be washed off with spirits of turpentine: you may then proceed to putin the shadows. Sec, in the same manner as above, and so on until the plate is finished. VARNISHES FOR STOPPING OUT. No. i. To the best turpentine varnish, put as much lamp black as will give it a small degree of body; the lamp black must be of the best kind, and not the least grit in it, otherwise, the aquafortis will get through the varnish, and spoil your work. No. 2. Another for the same use. To half a pint of spirits of turpentine, in a bottle, add asphaltum, finely powdered, until it is the same strength as the turpentine varnish. No. 3. Another. To half a pint of turpentine varnish, put rather more than a gill of spirits of turpentine, and as much impalpable lamp black as will- colour it,* * This varnish is for a different use, which I shall, explain .hereafter* THE COMPLETE AQUATINTER. li THE PAINT, OR COMPOSITION FOR BURSTING UP THE VARNISH. No. 1 . To half a pound of treacle, in a glass bottle, add half an ounce of isinglass, and eight ounces of gum arabic, in no more water than will just dissolve them. This should be set by for a week, shaking it up twice a day; when you use it, a little must be poured into a cup, and as much lamp black, burnt cork, or terrade sienna, ground as finely as possible, added to it, as will give it both body and colour ; it is this composition that enables us to work with one tenth the labour that aquatinting was formerly done with. Should it be too stiff to work, add a little water. No. £. Another for the same use. Mix with half a pound of treacle, four ounces of white sugar candy, and one ounce of gum arabic dissolved in a little water; make it at least a week before you use it. No. 3. Another. To half a pound of the best West Indian moist sugar, an ounce and an half of isinglass, and one ounce of gum dragon, pour as much malt liquor of any kind as will make them liquid, set them on the fire until all are well melted and blended together, and when cool, pour them into a glass bottle ; this may be used directly it is made. No. 4. Another . Of treacle, take half a pound; and gum arabic, four ounces; when c £ 12 THE COMPLETE AOUATINTER. you use this it should be mixed with whitening, to give it body; the others do very well with the same substances to them as in No. 1. The Method of mixing the Aquafortis. To depend on your aquafortis, you should buy the best spirits of nitre, at a real chymists, and make your own aquafortis from it, by mixing water with it. I cannot pretend to lay down precise rules for mixing it, as it depends entirely upon the weather, but on an average throughout the year, it may be made with four fifths of water, to one fifth of spirits of nitre. You may perceive what effect the seasons have upon it, by noticing the nitre bottle: for be it stopped ever so closely, in an hot summer, it will almost force the stopper out of tbe bottle; and in winter, scarcely any vapour will arise from the bottle, which sufficient^ shews how impracticable it is to make a certain rule for mixing aquafortis; for inhard frosty weather, it has not half the strength it has in hot summer weather, and yet some people pretend to fix the time for biting, by saying some tints must be bit five minutes ; and others ten. To shew the im- possibility of determining with such precision, we will suppose a ground of a certain coarseness to be bit five minutes, another ground half that size in granulation, if bit five minutes, would be as dark as if the first had been bitten minutes: this clearly evinces the necessity of knowing the strength of your aquafortis, by trying its effects upon the same kind of ground that you are going to work upon, viz. when the ground is laid, lay another of the same size, or as nearly as you can on the back of an old copper-plate, pour the aquafortis on, and let it remain two minutes; after which, clear away the ground, and you will perceive how deeply it has bitten ; by this you may judge how deeply it will bite in four minutes, for that will produce a tint double the strength of the first, and so in THE COMPLETE AQUAT1NTER. 13 proportion for a further progress. In fine grounds, you will find it best to use weak aquafortis, which prevents the danger of over biting; we generally make it of such a strength, that the lightest tints are bitten in two minutes, the next three minutes, &c. by which means, though the work is slower, you will proceed with greater confidence, and make more beautiful work : In coarse grounds you may use quicker aquafortis, so that the finest tints will only require two minutes biting. I have been rather prolix on this article, because the knowledge of biting is a thing so very essential towards aquatinting, and can be obtained in no other manner, than by paying the strictest attention to it; for it is impossible to lay down any other rules than the above. I. shall now proceed to the description of the tools required in etching and aquatinting. No. 1. The Pincers , Or plyers, to hold the plate by whilst hot: take no stronger hold on the plate than is sufficient to keep it fast, as that part will lose the ground; which being laid on, take hold with the pincers of one cor- ner of a small plate, and the m iddle of one edp-e of a larger. No. 2. The Dabber , For laying the etching ground even, which should be made of cotton wrapped up tight in lustring, or other silk. 14 THE COMPLETE AOL'ATINTER, No. 3. The etching Needles. You should get these of three or four different sizes, and sharpen them by rubbing the points on a turkey stone, keeping them constantly turning in your fingers, that the points may be round and of an even shape ; rub them well on a razor strop to take of the roughness, and they will be complete.* No. 4. The Engraver; Of which have three or four different sizes ; as the fineness of the line depends upon the whetting of it; you should be very careful in that respect; when you sharpen the graver, hold it firm in your hand, in a slanting position, with the belly of it upwards, and the forefinger pressed hard upon it; then rub it backwards and forwards on the stone, taking care to carry it evenly along, and not to make more than one face on the point; this being done, hold your hand a little higher to square the point, which will be done in a very little time, as it should not be squared too much: the lozenge shaped gravers are the best. No. 5. The Scraper. The best kind are those with three sides fluted, which are easier to sharpen and use; it is a tool which is only used when the work abso- lutely requires taking out ; it should therefore be very seldom applied, as it makes, with every care, such a rough spot, as is very difficult to restore again to a smooth surface. * The etching needles may be had at most of the Hardware shops in London, as may all the tools used in Engraving, though there are men particularly famous for Engravers tools, as Hoole, 69, Oiford'Street, &c» THE COMPLETE AQUATINTER, 15 No. 6. The Burnisher. This tool you will often have occasion for, to burnish down shades that may have been bit too dark, and to soften all sharp lights into their neighbouring tints, but I shall notice more of its use under the article,, (( The whole process, &;c.” No. 7. The Bridge or Rest. This is a broad ruler with two pieces of wood fastened on at each end, sufficiently high to stand over the plate when the wall of wax is on ; you should have two of them, one as above described, and another something lower to use before the wall is put on; it is to rest your hand upon when you work, so that nothing may touch the plate to injure the ground. No. 8. A Tin Pan , To lay the plates in when you clean, or ground them ; it should be about four inches deep, and as long and broad as you require, or for small plates you may substitute an earthen dish. No. 9- Camels-hair Pencils . These must be of short hair and of whatever size you find most con- venient to work with. No. 10. The Oil Rubber. This should be made of fine woollen cloth or a piece of old fine hat, rolled up as^ closely as possible : they ought to/be of five or six different sizes, small and large ; in a very large one you will find it necessary to make a bole through its middle parallel to its- face for a stick to be putin as an handle ; Its use I shall explain elsewhere. 16 THE COMPLETE AQUATINTER. No. 11. The Blind or Shade , So called ; but it enables you to see the work better on the surface of the bright copper; it is made in the following manner; take a heavy piece of wood, about fifteen inches long, three inches broad, and one inch thick; then take about one } T ard of stiff wire, and place the ends of it in each end of the wood so as to form an arch, which is to be co- vered with tissue paper; you may bend the wires, to throw the light on in any direction your work may require. Having mentioned every article you are likely to want, I shall now proceed to the manner of working. THE WHOLE PROCESS OF ETCHING AND ENGRAVING IN AQUATINTA, WITH THE DIFFICULTIES WHICH MAY OCCUR, AND HOW TO OBVIATE THEM. Begin by getting a plate from the Copper-Smiths, # finely polished, at % least half an inch larger than the intended work, in order that the bordering wax may stand conveniently on the plate ; with the plyers hold the back of the plate over an even fire, until it is so hot that you cannot bear your finger to remain on it : after, lay it on a table, and rub the polished face all over with the etching wax ; when that is done, warm the plate again, just enough to liquidize the wax, and dab it evenly all over the plate with the dabber, until it appears all of the same colour* * In Shoe-Lane, Holborn, there are two or three. THE COMPLETE AQUATINTER, 17 as it is darkest where the wax is thickest; then take a large candle, a piece of flambeau, or three or four small wax tapers tied together, lighted ; cut the wicks short, and hold them under the plate which must have the varnished side downwards, and keep moving the candles backwards and forwards until the etching ground is entirely fluxed and blacked ; never let the candles stand still, as it would burn the ground, and then the aquafortis would get through and spoil the plate. When the plate is cold, it is ready to have the work put upon it, which is to be done in the following manner ; take some thin paper and paste it to the back of the drawing so as to turn over and cover the front of it, then hold it against the window to the light, and with a black lead pencil, trace all the outlines pretty strongly that you wish to etch, then take the tracing from the drawing and cut it to the size of the in- tended work, next wet the back with a sponge, turn the face to the etching ground, and run the plate through a copper-plate rolling press, which may be as tight as they generally use it for printing, and you will have all the outlines reversed on the ground, appearing the colour of silver, you will easily see them; this is much the quickest way of tracing, but when it is a painting, or mounted drawing, or any other that you cannot see through, you must use oiled paper, which is made by oiling tissue paper with drying linseed oil ; having fastened the paper upon the painting, or drawing, with a fine crow pen dipped in strong indian ink, trace all the outlines over, then take the tracing and turn it over and fix it on the plate at two corners only ; you are then to take another piece of paper and rub it well on one side with Vermillion, red chalk, or pipe clay, and brush all the loose dust off with a feather, put the chalked paper between the tracing and the plate with the coloured side downwards, and with a blunt point, trace all the lines 18 Me complete aqxjatintee. over again^ occasionally taking up one corner of the paper to see if the lines are marked strong enough ; when they are, take the tracing off and the plate will be ready to etch. The etching itself is very simple, being only cutting the lines through the varnish the strength you want them, using the etching needle as you would a pencil on paper, you should not cut into the copper much with the point, for there the aqua- fortis will bite deeper, but endeavour to cut all the lines as nearly the same depth as you can; if the plate is for aquatinting, the fewer lines you make, and those lines as broken as possible and bitten but a short time, the better will the aquatinta ground lay; on the contrary, if there are many strong dark lines, the aquatinta ground will lay very unequal, and make a line beside every etched one, and thus render the etching much darker than it was;* from this you may conceive that aquatinta would look much better without an etched outline: one who has a good knowledge of the subject he is to engrave may as easily do it without, as with; I would recommend this method. Should }Ou make a false line, you need only varnish it over with a camel’s-hair pencil dipped in the varnish for stopping out No. 1, 2, or 3, and the place will be ready to work upon again in about ten minutes; when the etching is finished, you may wall it round in the following manner. Set an earthen pot half full of water on the fire, and put what quantity of the walling wax you will have occasion for into the earthen pot, let it stand upon the fire until it is new milk warm ; then mould the wax into a long flat, shape, about three quarters of an inch wide, warm one edge of it at the fire, and press it on the border of the plate; after which. * To obviate this, have your etching filled in with Printer’s Ink and put it by a sufficient time to harden. THE COMPLETE AQTJATINTEE, 19 wet your finger and run it round the bottom of the wax on the inside and fix it to the plate, or run a warm iron along the outer edge to hind it closer to the plate; then put the aquafortis upon the plate, which may stay on for the first biting about three minutes, which is for the farthest distance in a landscape; when the first biting is done, stop out all the lightest parts with the varnish No. 1 or 2, and let it dry about half an hour ; the second biting for the middle distance, should be about seven or eight minutes more, then stop that out, and when it is dry, bite the fore ground twelve minutes longer; you will find it more certain to try how deep a line the aquafortis will bite in five minutes, and then proceed in the above proportion of time. The etching being thus finished, lay the plate upon the fire until the bordering wax begins to soften, then take off the wax, and let the plate remain there until the etching ground melts, or wash it off with spirits of turpentine; next pour a little sweet oil on and rub it clean with a linen rag, pour a little more oil upon it and give it an heavy oil rubbing to take out all the dirt and stains ; and where the aquafortis has failed, make it good with the engraver; those who are not used to the engraver, may here use the transparent etching ground No. 3 , in the same manner as the hard etching ground, but not smoked, and work upon it in the same man- ner retouching those parts that are to be stronger. N. B. A light soft tint for an etching may be procured, by taking the polish carefully off the plate with a piece of even grained pumice stone. To prepare a plate to receive an aquatinta ground, it should be oil- rubbed a long time until the face of it is entirely free from blemishes^ THE COMPLETE AQUATINTEB. to as stains, scratches, or bur on the etching, then wipe all the grease off with a linen rag, and put it in the tin pan, where every particle of grease tnust be cleaned away by a buckle brush, with water and whitening. In this part of the process, be particularly careful not to scratch the plate, by grit or other means, as you would then have to burnish out the scratches, oil rub it again, and repeat the cleaning : having brushed it well, wipe off all the wet with a clean cloth; and when the plate is dry, rub it well with another clean dry rag to take off all the dust, after which it is ready for grounding as follows : Lay the plate, in a slanting posi- tion, in the tin pan or an earthen dish, with the foreground side of the plate upwards; then take the ground bottle, and pour a sufficient quan- tity on to cover the whole plate : when the ground has run to the bottom, turn it round, so that the ground may run back again, and settle finest on that part where the sky is to be; when the ground begins to granulate, lay the plate nearly horizontally on the table, so that the ground may run off a little, which you must help by constantly w r iping all the superfluous ground off the bottom of the plate with a small rag. The finer you wish your grounds, the more the plate should slant while they are granulating ; and if you want a very fine ground, hold the plate upright in the pan to run it off, and when you lay the plate to granulate, the top should rest very high to make the sky finest, or if you wish it to be equal from top to bottom, lay the plate without the least elevation either way. When all the ground is completely shaped, and the spirits evaporated, so that there is no moisture on the plate, fix the ground, and strengthen it by holding it over an even fire, or a piece of lighted paper ; and as THE COMPLETE AQUATINTEP. *1 soon as the colour begins to change, take it off, and when cool, it will be ready to work upon. OF DIFFICULTIES BY WEATHER, &c. I shall now mention the difficulties which the weather may cause in laying the aquatinta ground. In a hard frost the ground will run over the plate, and fix itself like a fine varnish without the least break in it, to remedy this, place a small stove in the middle of the room until it becomes of a temperate warmth, and then the grounds will lay very well; in extreme hot weather, it has the same appearance as in frosty weather ; then lay them early in the morning, and at all times keep the ground bottles in a cool place. Should not the ground be as you wish it the first time of laying, lay it over again, after taking the former ground off by spirits of wine; and even if that should not please, you may lay another the same way. OF BITING, STOPPING OUT, &c. The ground being to your satisfaction, proceed in the following, manner, viz. pour as much aquafortis into a small quantity of water as will just sharpen the taste of it, with which wash the ground, to prevent its working greasy; hold it a little time before the fire, and blow it with a pair of bellows until it is dry ; then w r ith the varnish No. 1, and a small camel’s-hair pencil, stop out all those parts which are to be perfectly white, as the edges of clouds, &c. then, with the same varnish- cover all the margin of the plate, and where there is to be THE COMPLETE AOUATINTER. n( 2t no work: when the varnish is hard, put the bordering wax on in the same manner you did for the etching, it will then be ready for the first biting ; and that I may be able to state a regular time for biting, I will suppose the aquafortis bites the lightest tints in a minute and a half: the plate being bit once and dried with the bellows, proceed with the work in a different manner. Take of the composition for bursting up the grounds No. 1, 2, or 3, a small quantity into a cup, and mix it to a proper consistency for working with lamp black or whitening, according to which of the numbers you make use of; with this cover all those paits of the plate that are to be bit the next time, taking care to leave uncovered what you wish to be stopped out, working as if you were laying in the lightest shade but one of a drawing; when it is dry, varnish the plate all over with the varnish No. 3, using a flat brush to lay it on as even as possible ; then let it dry until the last varnish you put on will just stick to the finger, then cover the plate with as much water as the bor- der of wax will hold, and let it remain on about ten or fifteen minutes, and sometimes more than half an hour; next brush very softly with a goose-quill feather, the plate, until all the paint or composition is come off; when all the work is come up perfect, pour off the water, and put on the aquafortis, which is to bite one minute more, afterwards pour it off, wash the plate, with clean water and dry it, for if you neg- lect either to wash the plate or dry it, the ground will become rotten, and the work have a strong stain in it. Proceed always in the same manner, by covering all the tints that are to be bitten afterwards with the paint or composition : when it is THE COMPLETE AQUATlNTER* 28 dry, Varnisli the whole plate, and when that is sufficiently dry> pour the water on, brush up the paint, and put on the aquafortis, which, for the third tint, should stay on two minutes; for the fourth, three minutes; the fifth, four minutes; the sixth, ten minutes: we seldom bite more than six times on the first ground, but if you think it will stand another, you may bite it ten minutes more. The above being per- formed, take it off and clean the plate as before, get it printed to see how it appears, and if you find any of the parts too dark, they are easily burnished down to a proper degree of strength, and those sharp lights which ought to be soft, should be burnished into their neigh- bouring tints to make a fine gradation: those tints which are too weak, may be strengthened in the next ground, which lay in the same manner you did the first, only do not let the ground run off so much, as it always granulates finer on a plate with work, than on blank copper. The work is to be carried on exactly In the same way as before, and if the plate is not to your mind, after the second ground, lay another, and work it secundum art an. The more grounds you lay on a plate, the finer the aquatinta grain will appear; but plates done with the fewest and coarsest grounds, wear longest; the fine ones do not bear half so many impressions: some plates have been done with one ground, and others have taken twenty; but by experience you will perceive in what manner to proceed ac- cording to your wish, better than can formally be directed by any given receipt, and should you fail in your experiments, a little practice will overcome them. 24 THE COMPLETE AQUATINTER. SOFT GROUNDS, Producing the effect of chalk drazoings now so much in use by La Porte , Vivares, fyc. The method of working them is as follows. The ground No. 5 or 6, is to be laid on the plate in the same manner as the hard ground, then draw your sketch very faintly, but correctly, on a fine woven paper; the sketch being completed, fix it to the plate at the corners or the back by turning over, in such a manner that it cannot move in the least; then take a hard black-lead pencil of the best kind, or black and red chalks, which, ever you prefer, and work up the sketch to the effect you wish the plate to have, carrying the pencil or chalks in a smart manner, to give the work spirit ; the work being finished, border the plate, and bite it with the same aquafortis as for aquatinting ; biting the soft ground double the time you would an aquatinta for the same strength of tint. Fine silk, linen, or gauze, placed between the paper and the plate, will give the work a curious effect, it may also be stopped out and bit in several different strengths, in order to produce effect. THE METHOD OF ETCHING UPON GLASS. Having melted some virgin wax, with a fiat varnishing brush lay a thin coat of it upon the glass, which should be of the best kind ; then etch the design upon it, in the same manner as upon copper, and raise a border of wax all round it. Then put fluor spar , (commonly called Derbyshire spar) with some sulphuric acid, diluted with water, upon the glass. The sulphuric acid will disengage the fluoric, which will be absorbed by the water and corrode the glass. THE COMPLETE AQU AT INTER. 25 When it has bitten the proper depth, wash it off ; and clear it of the wax, by warming the glass carefully before the fire. Method of engraving in Relief upon the s hell of a nezv laid Egg. Chuse an Egg that has a thick shell, and make it perfectly clean; put some tallow, or fat, into a silver spoon, and make it very hot ; it may then be used instead of ink, to draw with a pen, or camel’s hair pencil, any design that may be thought proper, as cyphers, coats of arms, &c. This being finished, put the egg very carefully into a tumbler filled with the best white vinegar, which in three or four hours will have eaten enough of the thickness of the shell; and as it cannot haVfe the same effect upon those parts defended by the above preparation, the drawing will preserve its thickness, and form the embossment required ; the grease may then be carefully removed with the point of a knife. Having given in the plainest manner possible, every particular for information, resulting from many experiments that have fully answered every intention, I now leave it to a fair and public trial, not doubting but due encouragement will be given to so useful a publication, which, I trust also, will be an incentive to future attempts. mis, INDEX PAGE* Receipts for hard Etching Grounds « 0 » 1 — Transparent Do. • « 2 Soft Do. . , , • 9 2 — Bordering Wax * t 2 — Spirit Grounds for Aquatinting • a 3 Mixed Do. Do. • m 5 Dust Grounds 9 7 • — Madame PrestelTs Ground . • - 8 * Sulphur Tint . . • « 9 Varnishes for Stopping out . * • * 10 Composition for bursting up the ground s ft 11 Method of Mixing the Aquafortis 0 o 12 List of the Tools, &c. required , <9 ♦ 13 The whole process of Etching 1(5 • Aquatinting • 9 19 Soft Tint for an Etching » . • & 19 Difficulties by Weather * • 9 & 21 Biting, Stopping out, See. . » « « 21 Method of working the Soft Grounds . 0 if 24 — ■ Etching upon Glass t • 24 — Engraying upon Egg Shells 9 3 25 APPENWIX TO THE COMPLETE AQUATINTER, TO DISSOLVE GUM COPAL, FOR THE PURPOSES OF AQUATINTING. First dissolve half an ounce of camphor in a pint of spirits of wine ; put it into a circulating glass, and add four ounces of gum copal in small pieces. Place it in a sand heat, so regulated as that the bubbles may be counted as they arise from the bottom of the glass. AN IMPROVED DUST GROUND. Let the proportion of two and a half of sal-ammoniac and two of powdered resin be well mixed, by being sifted through a fine sieve together. Cover the surface of your copper plate slightly with sweet oil ; then wipe it gently and regularly off with a fine rag, so as to leave the face of the copper somewhat clammy ; sift over the plate, the powder prepared as above ; tap the back of the plate till the loose dust comes off ; then sift the powder over it again, and tap the plate again. This may be fixed upon the plate by passing a lighted piece of brown paper underneath it, till the ground begins to change colour. But a more regular heat may be obtained in the following way: Get a frame made, with two rabbets for the plate to fit into ; let a tin trough he made to fit the under rabbet ; fill it with water, and set it over a chafing-dish, taking care to prevent the steam from getting *' E Appendix, eg through, or any water from dropping on the plate : Let the plate re-i main thus over the hot water, till the colour of the ground is changed; then take it off, and when cold, cover the plate with water, let it remain five minutes, then change the water, and wash the plate well ; this washing will dissolve the sal-ammoniac, and leave the resin only on the plate, as a porous ground, fixed, and fit for use. It must then be worked upon in the same manner as directed for the spirit grounds. To overcome the difficulty attendant on fixing the various dust grounds, mentioned in the preceding part of this work, the same proportion of sal-ammoniac may be added to the various resins, and used in the way mentioned in these last directions. A STRONG AQUATINTA GROUND. Dissolve eight ounces of asphaltum in one quart of spirits of wine. Use it in the same manner as the other spirit grounds. General Observations on Aquatinta Grounds , Where it is necessary to use two or three grounds on one part of the same plate, cate should be taken to lay grounds that are tolerably open; and, if possible, avoid laying on more than three grounds; as otherwise the pores will be filled up, and the copper become nearly as a plain surface. Brunswick Black will answer every purpose of stopping out varnish, and as it may always be had ready prepared, it is perhaps to bo preferred. ENGRAVING ON STONE. As the person who professes this art (or rather the printer to those artists, who design from his mechanical information) has obtained a patent for his invention, I would not wish to infringe on his right, by developing a secret from which he may derive emolument. But APPENDIX,, &s be retains to himself, as his profit, the right of printing all the Work performed this wav, I may, without injuring him, communicate the result of observation. Upon the surface of some close-grained Stone, make your design, with a common writing pen, dipped in a solution of lac in ley of pure soda, with a little soap, and coloured With lamp black ; or with a crayon, composed of the same materials. When the drawing has been on the stone for about four days, or when the ink is dry, the stone must be soaked in water, and its surface wetted. In this state let it be dabbed with printer’s ink, from the balls: The ink will adhere to the design, but not to the stone. An im- pression may then be taken in the same way as impressions are taken from letter-press; namely, by damp paper pressed hard upon it. Designs made this way have the same advantage as soft grounds on copper ; they preserve all the spirit of the artist’s touch, and they have the additional advantage of furnishing a greater number of Impressions. ENGRAVING ON STEEL. Draw your design on the steel, with a hair pencil and Brunswick black, then bed it in glazier’s putty, and pour on some aquafortis ; when it has bitten for about two minutes, it may be taken off, and the varnish cleaned off with spirits of turpentine. AN EASY MODE OF ETCHING ON GLASS. Cover the glass with a thin coat of bees-wax, and draw your design with a sharp-pointed etching needle. Cover it with oil of vitriol, and sprinkle over it some finely powdered Derbyshire petrefaction ; let it lie four or five hours, and then clean it off with spirits of turpentine. THE END, IrOfldon ; Printed by J. Barfield, 91, Wardoux-StreeE ■ ' I - L- ' ' V, EXPLANATION OF THE FOUR PLATES. I. The Frontispiece. The Figures are etched, the Landscape engraved in Aquatinta, upon a Resin Ground . No. 1, Page 3. II. Specimens of different Aquatinta Grounds » 1. Gum Mastic Ground, No. 3. Page 4. 2. Resin and Burgundy Pitch, No. 11. Page 5. 3. Dust Ground, as No. 3. Page 9- 4. Another Resin and Bur gundy -Pitch Ground, as No. 11. Page 5 , 5. Resin Ground, No. 1. Page 3. 6. Frankincense Ground, No. 6. Page 4. 7. Another Resin Ground , No. 1. Page 3. 8. Bur gundy -pitch Ground, No. 2, Page 3. 9. Resin and Frankincense, No. 12. Ptfge 5. 10. Turpentine Varnish Ground, No. 10. Page 5 . 11. Aiiother Resin Ground, No. 1. Page 3. 12. Sulphur Tint, Page 9. III. A Landscape and Figure, and other specimens of Soft Grounds with Silk, Muslin, fyc. according to the Receipt , Page 24. The Label on the outside , of two Boys flying, in the same manner as the above. J. H. GREEN, No. I, Welk-Street , Oxford-Street 9 HAVING RECEIVED GREAT ENCOURAGEMENT FROM THE Lovers and Patrons OF THE FINE ARTS, &c. TAKES THE LIBERTY TO INFORM THEM, THAT HE IS NOW ENABLED TO DEAL IN A MORE EXTENSIVE MANNER THAN BEFORE, IN ALL KINDS OF PRINTS, Ancient and Modern, FROM THE EARLIEST PERIOD TO THE PRESENT DAY. BOOKS, THE MOST USEFUL AND PLEASING IN THE ENGLISH LANGUAGE, PARTICULARLY RELATING TO $rts anti Rentes, $c. Bought, Sold, and Exchanged. Drawing Materials of all kinds, as Chalks , Crayons , Water Colours , Sketch and Drawing Books , Drawing Boards , Portfolios , fyc. PRINTS and DRAWINGS MOUNTED, FRAMED, &c. Etching Wax and every requisite for Engraving, Aquatinting &c. that may be depended upon as the best that can be procured. DRAWING TAUGHT, In all its various Branches at Mr. GREEN’s ACADEMY, every Tuesday, Thursday, and Satur« day afternoon. He attends Ladies and Gentlemen at their residences, and teaches Schools on moderate terms. Drawings and Designs made. Portraits taken and executed in all the various methods of Drawing. jPKfAU d GETTY CENTER LIRRA^Y