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 https://archive.org/details/artofdrawingonst00hull_0 
 
PUBLISHED BY C HULlMANDEL.il. GT MABLBOROVGH STREET. 
 8C BY R. ACRE KMANN, lOl . STRAND. 
 
 C JfuZLnui^iaaLs SutoyrapAy 
 
INTRODUCTION, 
 
 Although the art of drawing upon stone may 
 appear at first sight very simple and easy, from its 
 similarity to the process of sketching on paper, yet a 
 number of precautions are necessary to produce a draw- 
 ing that will print well. It happens, very often, that a 
 subject looks extremely satisfactory on the stone, and 
 very different in the impressions ; spots appear where 
 none were seen at first, and parts come thick and heavy 
 which were intended to be bright and clear. 
 
 These disasters, which are generally attributed by 
 the disappointed artist to the printer, ought, in most in- 
 stances, to be laid at his own door, (it being previously 
 b 
 
INTRODUCTION. 
 
 ii 
 
 premised, that he has entrusted his drawing to a good 
 printer) ; and the greatest part of these failures are 
 occasioned, either by the want of experience of the 
 draftsman, or arise from his not attending sufficiently 
 to those minute precautions which are necessary to 
 ensure success. 
 
 It is in order to inspire more confidence, and to 
 give the means of avoiding those disappointments, 
 which so continually occur to persons who attempt 
 drawing on stone, that I take the liberty of laying 
 before the Public a few hints, which my experience has 
 suggested, and shall feel amply repaid, if the advico 
 given in the following pages, can be of any help to 
 those who wish to attempt the beautiful Art of Litho- 
 graphy. 
 
 Like most inventions which interfere in any degree 
 with an existing process, Lithography has many 
 enemies, and has been cried down (most unaccountably 
 indeed by several painters of eminence) as a degrading 
 art, and the means of bringing the works of artists 
 into contempt. 
 
INTRODUCTION. 
 
 iii 
 
 Largely as I am engaged in Lithographic printing, 
 I may perhaps be excused in saying a few words in 
 defence of an Art, in the success of which I am so deeply 
 concerned. 
 
 It appears to me, that the same reasons must un- 
 doubtedly have been brought against the discovery of 
 Printing, and in favour of copyists, which are now pro- 
 duced to cry down Lithography, and certainly with 
 more reason against letter-press printing, than against 
 the newly discovered Art; for the invention of printing 
 decidedly and exclusively clashed with the interests of 
 the copyists, whereas many plates now executed in Li- 
 thography would not have been published at all, owing 
 to the enormous expence of engraving ; although, from 
 the acrimony existing in the minds of engravers and of 
 printers against drawings upon stone, they think them- 
 selves deprived by Lithography of the execution of these 
 works, not considering, that in many instances, they 
 would have been withheld from motives of economy. 
 
 It has also been strongly urged, that by making 
 
IV 
 
 INTRODUCTION. 
 
 works of Art common, they are depreciated in value: 
 but may not I ask, whether Homer, Plato, or Virgil, are 
 the less esteemed, because any person can now afford to 
 purchase their works ? Are the admirable productions 
 of the great unknown despised, because vessels sail from 
 Leith, entirely laden with copies of the new creations of 
 his magic pen? If millions have acknowledged the 
 blessings which the invention of printing has conferred 
 upon mankind, by diffusing knowledge over the face of 
 Europe, surely the same reasoning holds good with re- 
 gard to a sister art, which has the power of multiplying 
 the original productions of an eminent artist, of offering 
 clever originals for copying, to persons who formerly 
 could only afford to purchase very inferior models, and 
 thereby of infusing taste amongst those classes of society 
 whose means did not allow them to possess the superior 
 and more expensive productions of Art.* 
 
 * I am of course alluding to the better productions of the Lithographic 
 Art; not to those inferior drawings which, I am well aware, are distributed 
 pretty freely to the Public. Those who attack Lithography as the means 
 
INTRODUCTION. 
 
 True, say the enemies of Lithography, but from 
 the ease with which works are produced, we shall be 
 inundated with rubbish. Now, may not precisely the 
 same thing be said of printing ? has not the facility of 
 multiplying been the cause of thousands of bad books 
 being laid before the public ? but is every person 
 forced to purchase a work because it is published? and 
 are amateurs obliged to buy every bad lithographic 
 print which is brought forth from the press ? 
 
 A lithographic impression is not even a fac-simile 
 of the work of an artist of eminence, but the original 
 drawing itself. This is a feature peculiar to Litho- 
 graphy, and shows the immense benefit conferred on 
 mankind by this admirable invention, by procuring to 
 persons whose means are but limited, the power of pos- 
 sessing that which could formerly only be held by indi- 
 viduals of immense property. 
 
 of inundating the shops with bad specimens of art, forget that copper-plate 
 has the power of spreading forth also, a tolerable quantity of trash, many of 
 which are of the lowest class, as several shops in London well evince. 
 
VI 
 
 INTRODUCTION. 
 
 Far from slandering this newly discovered art, we 
 ought, on the contrary, to regret that Lithography had 
 not been discovered four centuries back, and enabled 
 us thereby to possess multiplied copies of original 
 drawings of Raphael, Coreggio, and all the great 
 masters, who have been such bright ornaments to their 
 countries. And again, if an artist of eminence feels an 
 objection to multiplying the productions of his pencil 
 to a great extent, what hinders him from taking a limited 
 number of copies, and destroying his drawing after- 
 wards? That which cannot be done in engraving, from 
 the immense expense of getting up a highly finished 
 plate, and the necessity of covering these expences by 
 an extensive sale, may yet be done with considerable 
 profit in Lithography, where an artist possesses in him- 
 self the means of appearing before the Public. 
 
 I must still be allowed to say a few words, in answer 
 to a most ungenerous attack made on Lithography by a 
 reviewer of Captain Franklin’s Journey, in a quarterly 
 publication. A hope is expressed by him that the 
 
INTRODUCTION. 
 
 vii 
 
 public will no longer be presented with “ the greasy 
 daubs of Lithography and a note declares that “ the 
 above attack is not dictated by any peculiar animosity, 
 but merely with a view to confine the art in its proper 
 limits, and hinder it from presuming to interfere with 
 the higher branches of art. 
 
 Thus, Ward’s admirable productions, as well as 
 those of Nicholson, Westall, Harding, Lane, &c. are 
 in future to be called greasy daubs, and the writer of this 
 attack presumes to trace out limits to an art entirely 
 founded on Chemistry ; but he may as well mark out 
 boundaries to the interminable discoveries of that admi- 
 rable science itself. The fact is, that it is impossible to 
 say to what degree of perfection Lithography can be 
 carried: its process being entirely chemical, is open to 
 innumerable improvements. 
 
 Let the early productions, given four years back, 
 be compared with what is now done, and I am certain 
 that every impartial judge will say, that the Art has 
 made gigantic strides in that short space ; and that far 
 
INTRODUCTION. 
 
 viii 
 
 from having its bounds marked out, the progress that 
 has already been made, is such as to astonish, and 
 clearly show that a still greater degree of perfection 
 will, and must be attained. Michael Angelo affected 
 to despise oil-painting, and also to point out its limits , 
 by saying it was only fit to be handled by women. Had 
 his opinion been followed, and that art abandoned, 
 what admirable productions of the human mind should 
 we not have been deprived of ! 
 
 I may perhaps be allowed to quote a passage from 
 Dr. Johnson, who saw new discoveries in a more liberal 
 light than the reviewer above-mentioned. “ It is 
 pleasing (says he) to contemplate a manufacture rising 
 gradually from its first mean state, by the successive 
 labours of innumerable minds, to consider the first 
 hollow trunk of an oak, in which a shepherd would,, 
 scarce venture to cross a swollen brook, enlarged at last 
 into a ship of war, attacking fortresses, terrifying 
 nations, setting storms and billows at defiance, and 
 visiting the remotest part of the Globe. And it might 
 
INTRODUCTION. 
 
 IX 
 
 contribute to dispose us to a hinder regard to the 
 labours of one another, if we were to consider from 
 what unpromising beginnings the most useful produc- 
 tions of Art have probably arisen.” 
 
 Such illiberal attacks upon Lithography, however, 
 far from discouraging me, will but inspire me with fresh 
 zeal, and make me strain every nerve, as far as lays in 
 my power, in the attempt to bring the art to perfection, 
 and to belie all the predictions of those, whose interest 
 it is to cry down so useful an invention ; and I think I 
 maybe allowed to say, that the fortunate discovery I 
 have made, of a new mode of preparing drawings made 
 on stone, has been greatly conducive to raise the Art 
 in the mind of the public in this country, as well as 
 to inspire confidence to the artist, by giving certainty 
 to an hitherto very uncertain Art. Not that I pretend to 
 assert that the success of every drawing can now be 
 relied upon, for there are certain rules and precautions 
 to follow, without which there can be no good impres- 
 sions ; but I may venture to say, that if the drawing 
 
X 
 
 INTRODUCTION. 
 
 is done with care, and according- to the rules given in 
 the following pages, no failure whatever can be anti- 
 cipated. 
 
 In France, in Bavaria, and in Russia, the respective 
 Governments have introduced and fostered Litho- 
 graphy;* and it is much to be regretted, that in this 
 
 * It is, indeed, rather curious to compare the behaviour of the two 
 Governments in this single instance. When Lithography first appeared 
 in Germany, the French Government sent two agents into that country, to 
 examine the merits of the new discovery, and to endeavour to introduce 
 it into France. 
 
 The Art being found a useful one, a considerable sum (for that 
 country) was allotted for the express purpose of encouraging it, and we 
 now see, by the beautiful specimens produced by our rivals, that their 
 efforts have been crowned, as they deserve, with success, becoming (over 
 and above the honour of bringing that art to perfection) a most im- 
 portant branch of trade to them. 
 
 On the other hand, the instant that the infant art was introduced 
 into England, an almost prohibitory duty was laid on the very material, 
 without which there can be no Lithography, viz. on the importation of 
 lithographic stones. After having left this enormous duty on for the 
 space of three years, it was cancelled, and the protecting duty, which 
 existed on foreign prints, almost entirely taken off; thus throwing into 
 the hands of the French an immense trade, which gave bread to thousands 
 throughout the British Empire. This most liberal act of our Government 
 
INTRODUCTION. 
 
 Xi 
 
 country, where this pleasing duty is generally left 
 to noblemen and private individuals of fortune, no 
 patron of the Arts has hitherto stepped forth to promote 
 this beautiful discovery, which offers such compa- 
 ratively moderate means of giving to the public, on a 
 plan similar to the Munich Gallery, now publishing in 
 Germany, some of those admirable collections of 
 pictures, possessed by so many noblemen in England. 
 
 Lithography has made greater progress in France 
 than in any other country, and particularly within the 
 last two years has (in the opinion even of its enemies) 
 far overstept the limits which were there, as well as in 
 England, traced out by those who wished, from selfish 
 motives, to put a stop to the progress of this useful Art, 
 
 affects copper-plate engravers, printers, publishers, and stationers, fully 
 as much as it does Lithography, and while the French are abundantly 
 reaping the rich harvest which has so unaccountably been thrown into 
 their hands, they wonder at the stupidity of an act which they would be 
 far from imitating, with regard to any branch of the produce of our own 
 industry, however trifling. 
 
INTRODUCTION. 
 
 xii 
 
 and to cry it down. These kind persons were con- 
 tinually announcing its approaching fall ; that the taste 
 and fashion for this new discovery were daily dimi- 
 nishing, and would soon be extinct. Luckily, however, 
 for Lithography, instead of being despised and abused 
 by artists of talent, as it is continually and most 
 strangely done here ; men of real merit have taken it in 
 hand, have perceived at once the immense advantages 
 which it offers to persons of ability, as well as its 
 powers, when properly bandied, and have, in conse- 
 quence, produced such specimens, as must astonish alt 
 those who see them, and force, even from its most bitter 
 enemies, a confession of the great perfection which it 
 has attained. 
 
 It is to be hoped, that Lithography will also some 
 day meet in England with that support which it de- 
 serves, and that, on seeing the great progress this Art 
 has made, those very persons who now call it a mean 
 Art , will use a portion of the great and real talent 
 
INTRODUCTION. 
 
 xiii 
 
 which they possess, towards producing specimens that 
 may at least equal what is now done on the Continent. * 
 It is true, that works of Art (and a residence of 
 many years on the Continent, enables me to speak with 
 competence on the subject) meet with a degree of en- 
 couragement in France, quite unknown in England. 
 Prints of every description find purchasers there amongst 
 those classes of society which in England view them 
 with as much unconcern as they would hieroglyphics. 
 
 The understanding, taste, and knowledge of the 
 Fine Arts, has within the last thirty years wonderfully 
 spread amongst the middling orders in France, and has 
 also made great progress in England since a few years; 
 and I assert, that Lithography will greatly tend to de- 
 velope this taste for objects of Art : for the ease with 
 
 * The great superiority conceded to the French is granted, as far 
 as concerns figures and heads ; for in landscape, I think every un- 
 prejudiced observer will say, that we can produce finer lithographic spe- 
 cimens than they. 
 
XIV 
 
 INTRODUCTION. 
 
 which excellent drawing-books and models can now be 
 given to the Public at a cheap rate, * will induce many, 
 nay, thousands of parents (as the sale of works of this 
 nature well shews) to give to their children a knowledge 
 of drawing ; and it is evident that this circumstance 
 must within a few years form a class of amateurs and 
 collectors amongst our rich manufacturers, farmers, and 
 tradesmen, who, but a few years back, never bestowed 
 a thought on the subject, j* This will be one among 
 the many benefits conferred by Lithography, and 
 
 * It may be said that engravings can effect this change as well as 
 Lithography, which is not correct, for an imitation of an engraving can 
 never be made, and the beginner, in despair, abandons all idea of 
 attempting it ; but Lithographic prints offer singular advantages to 
 pupils, being, in the exact sense of the word, pencil drawings, and con- 
 sequently, admirably and peculiarly well calculated for those who wish 
 to learn to draw. 
 
 f A bookseller in a large manufacturing city of Yorkshire, assured 
 me last summer, that rich and populous as the place was, when he received 
 works of art from London, he could venture to show them but to tw*> 
 families, the others perceiving nothing in the finest prints, but black liaes 
 on white paper. 
 
INTRODUCTION. 
 
 XV 
 
 which will be felt by engravers as well as by Litho- 
 graphic draftsmen in some years hence. 
 
 In France, the number of artists, compared to those 
 residing in England, is as four to one, while, on the 
 other hand, there are few persons who enjoy fortunes of 
 ^6,000. per annum, yet all these artists find ample em- 
 ployment ; and the comparison of the numbers of patrons 
 of the Fine Arts in both countries, is woefully against 
 England, notwithstanding the numerous and gigantic 
 fortunes which exist in our own country. 
 
 Whatever may be said against Lithography, how- 
 ever, by its detractors, it is acknowledged by competent 
 .persons, to be invaluable for landscapes, and repre- 
 sentations of objects of natural history and geology, and 
 will be the cause of numerous and highly interesting 
 works being brought out, which would have remained 
 buried in the portfolios of their possessors. 
 
 After claiming the reader’s indulgence for having 
 said a few words in defence of an Art, which has been 
 unfairly attacked by many, and hitherto defended by 
 
xvi 
 
 INTRODUCTION. 
 
 none, I must make a further claim for the apparently 
 childish minuteness with which I have entered into the 
 detail of the various manipulations to be attended to. 
 To many who are already acquainted with them, they 
 may appear so simple, as to render a minute description 
 useless ; but I have found by experience, that it is 
 better to say too much than too little on the subject, 
 and, at least as far as I am able, to leave nothing un- 
 explained. 
 
 I am far also from pretending to offer the annexed 
 plates as models of style and handling to be imitated. 
 I found it indispensable to give illustrations to what I 
 explain in the text, in order to be understood, but an 
 examination of the various and beautiful specimens pro- 
 duced by many clever artists, will shew clearly the 
 proper application of the rules given in the following 
 pages. 
 
 51, Great Marlborough Street , 
 
 March, 1824. 
 
INDEX 
 
 PACE. 
 
 1. Preliminary observations 1 
 
 2. Laws on which Lithography is founded , 2 
 
 3. Any portion of grease applied to the stone will print. 3 
 
 4. Rules necessary to ensure success, continually forgotten 3 
 
 5. Importance of attending to the above observations 4 
 
 OF POLISHED AND GRAINED STONES. 
 
 6. Ink drawings to be made on polished stones 5 
 
 7. Chalk drawings to be made on grained stones ; how to ascertain a 
 
 proper grain 5 
 
 8. The polish for ink drawings easily ascertained 6 
 
 9. A grained stone must be free from scratches 6 
 
 10. Ink may be added with advantage to chalk drawings, when ap- 
 
 plied with judgment 6 
 
 11. Mode of seeing whether a grain is right 7 
 
 12. Portraits admit of a coarser grain 7 
 
 13. Of the two evils, (too fine or too coarse a grain) a coarse grain is 
 
 the least » 8 
 
 OF THE MODE OF SUPPORTING THE HAND 
 WHEN DRAWING ON STONE. 
 
 14. Danger of using a sheet of paper under the hand 8 
 
 15. A sheet of paper produces a multitude of black spots 9 
 
 b 
 
INDEX. 
 
 PAGE. 
 
 16. Examples given of the above mentioned method 9 
 
 17. Description of a bridge 10 
 
 18. Necessity of keeping the stone covered, when not drawing 11 
 
 OF CLEANING THE STONE, WHEN MAKING A 
 CHALK DRAWING. 
 
 19. A brush to be used for that purpose 12 
 
 20. Danger of blowing off loose bits of chalk 13 
 
 PRECAUTIONS TO BE TAKEN BEFORE A 
 DRAWING IS BEGUN. 
 
 21. It is useful to wash the stone previously to beginning the drawing 14 
 
 Note on this subject 15 
 
 OF TRACING THE DRAWING. 
 
 22. A broad outline done with a lead pencil will shew in the printing 15 
 
 23. Mode of tracing 16 
 
 24. Tracing for a polished stone to be made with red chalk 16 
 
 25. Mode of tracing where accuracy is required ; 16 
 
 26. Another mode of tracing 17 
 
 27. A looking glass to be used for reversing the subject 18 
 
 28. Necessity of leaving a margin round the subject 18 
 
 OF THE TOOLS NECESSARY FOR DRAWING 
 UPON STONE. 
 
 29. Portcrayon, a good tool for dark tints 19 
 
 30. A piece of swan quill fixed on a stick 20 
 
 31. A piece of cork useful for the lightest tints 20 
 
 32. Etching needle used for picking , 20 
 
 33. A mezzotinto scraper for scraping out lights 21 
 
INDEX. 
 
 iii 
 
 PAGE. 
 
 34. A mezzotinto grounder used for producing half tints 21 
 
 35. The steel pen 21 
 
 36. A sable used for very fine ink lines. 22 
 
 37. Ink for the brush, different from that used for the pen 22 
 
 38. How to make a steel pen mark 23 
 
 39. A soft pen must be used for adding ink to a chalk drawing .... 23 
 
 40. A mathematical pen to be used for straight lines 23 
 
 OF CHALK DRAWINGS. 
 
 41. Mode of cutting the chalk according to the tint wanted 24 
 
 42. Mode of holding the chalk according to the tint wanted 25 
 
 43. How to produce sharp and dark touches 25 
 
 44. Ditto 25 
 
 45. Method of keeping the chalk sharp at the point 26 
 
 46. How to cut chalk 26 
 
 47. Drawings to be made with chalk obtained from the person who is 
 
 to print them 27 
 
 OF THE MODE OF APPLYING THE CHALK TO 
 THE STONE. 
 
 48. A drawing may be gradually worked up to the effect desired. .... . 28 
 
 49. Microscopical view of a tint drawn with a coarse point, and one 
 
 drawn with a fine point 28 
 
 50. Application of the above 29 
 
 51. A dark tint cannot be always produced, reason why. 29 
 
 52. A piece of paper must be held before the mouth 30 
 
 53. Method of producing delicate tints 30 
 
 54. Of drawing delicate tints even 31 
 
iv INDEX. 
 
 PAGE. 
 
 55. Examples given 33 
 
 56. Method of toning up 34 
 
 57. Of making the tints even by stippling 34 
 
 58. Of the mode of shading for heads 35 
 
 59. Of scraping out lights for clouds 36 
 
 60. Half tints cannot be produced by scraping 36 
 
 61. Mode of scraping half tints 37 
 
 62. Ditto, using the mezzotinto grounder 37 
 
 63. Of scraping out lights in the dark tints 37 
 
 64. Ditto in figure drawings 38 
 
 65. Chalk must never be applied to a part that has been scraped .. 38 
 
 66. Mode of producing rich tints 39 
 
 67. Mode of producing bright tints 40 
 
 68. The above observations exemplified 41 
 
 69. The grain may be quite clogged up for positive black 42 
 
 70. Difference of tints produced by various artists 42 
 
 71. Drawings, often worked too faint 43 
 
 72. Of the degrees of intensity to which various parts of a drawing 
 
 ought to be worked 44 
 
 73. The above rule not to be exactly followed with regard to faced 
 
 stones 44 
 
 74. A common cause of disappointment explained 46 
 
 75. Reason why impressions are often smutty 46 
 
 76. Necessity of picking out all black spots 47 
 
 77. The above observations extended 47 
 
 78. A scale of tints given 47 
 
 79. The above observations exemplified ? 50 
 
 80. Of the spots which form when working a tint 51 
 
 81. Spots often produced, but easily remedied, and the rules to produce 
 
 a successful chalk drawing summed up 51 
 
 82. Water must never be applied to a chalk drawing 53 
 
INDEX. 
 
 OF THE DABBING STYLE. 
 
 OF THE IMPLEMENTS. 
 
 PAGE. 
 
 83. The tools requisite for this style 58 
 
 OF DRAWING IN THE DABBING STYLE. 
 
 84. A margin of stopping must be placed round the drawing 61 
 
 85. Positive lights to be stopped out first 61 
 
 86. The dabbing must not be begun until the stopping is dry 62 
 
 87. How to lay the dabbing stuff on the dabbers 62 
 
 88. How to spread the dabbing stuff equally on the dabbers 63 
 
 89. All little knobs to be picked out from the face of the dabbers .... 63 
 
 90. The dabber must not be too plentifully charged 64 
 
 91. The dabber must always be held straight in the hand 66 
 
 92. The dabber may be struck freely after a few blows have been 
 
 given 66 
 
 93. How a series of tints are produced * 66 
 
 94. Dabbed tints must not be worked too dark 66 
 
 95. Applications of the dabbed style 67 
 
 96. The short handled dabber to be used for dark tints 67 
 
 97. Necessity of getting rid of the stopping liquid as soon as possible 68 
 
 98. Mode of so doing 68 
 
 99. Art. 97 exemplified 69 
 
 100. Of dabbing without using the stopping liquid . . . 70 
 
 101. The stopping may be dispensed with entirely 71 
 
 102. An ink outline may previously be made for certain subjects .... 71 
 
INDEX. 
 
 vi 
 
 OF THE UNION OF CHALK AND DABBING. 
 
 PAGET. 
 
 103. Chalk added to dabbing, unless done with care, does not look 
 
 well 72 
 
 104. Mode of avoiding this defect 72 
 
 105. The above useless, with regard to dark tints 72 
 
 OF THE PEN AND INK STYLE. 
 
 106. The best instruments to use is the steel pen 73 
 
 107. The stone must be polished 73 
 
 108. Of tracing 73 
 
 109. Degree of thickness of the ink 73 
 
 110. Inconvenience of using the ink too thick or too thin 73 
 
 111. Every part of an ink drawing must look black 74 
 
 112. The ink must not be used thinner for the lighter parts ........ 74 
 
 113. Of the ink running together 75 
 
 114. Ink used as indian ink will fail 75 
 
 OF THE MIXTURE OF INK AND CHALK. 
 
 1 15. Ink lines spread on a chalk stone 76 
 
 116. Ink lines may be made fine by using a small sable 77 
 
 OF TRANSFERS. 
 
 117. Mode of writing transfers 78 
 
 OF WRAPPERS FOR BOOKS. 
 
 118. Mode of drawing wrappers 
 
 79 
 
INDEX. 
 
 vii 
 
 OF TRANSFERRING COPPER PLATE IMPRES- 
 SIONS ON STONE. 
 
 PAGE. 
 
 119. Examples given 79 
 
 OF PRINTING WITH TWO PLATES. 
 
 120. Mode of scrapingthe lights 81 
 
 121 . Other mode of producing the lights 82 
 
 OF CORRECTIONS. 
 
 122. Of taking out part of a drawing 83 
 
 123. Of taking out a small portion of a drawing S3 
 
 124. Another method of ditto 84 
 
 J25. Scraping not to be used as a mode of correcting 85 
 
 126. Of removing blurs in the outline 85^ 
 
 127. Of corrections in ink drawings 8G 
 
 OF SOME CAUSES OF FAILURE. 
 
 128. Of spots produced by the hair 86 
 
 129. Ditto by saliva 87 
 
 130. Drawing over a part scraped 87 
 
 131. A pencil outline 87 
 
 132. Using paper instead of a bridge 88 
 
 133. Rubbing out with bread, or with iudia rubber 88 
 
 134. Soap water, grease, &c 88 
 
 OF PICKING A DRAWING AFTER IT IS PROVED. 
 
 135. Method of so doing 89 
 
 OF PACKING STONES. 
 

THE ART 
 
 OP 
 
 DRAWING ON STONE. 
 
 i. Before i enter into the minutiae of the precau- 
 tions to be taken in drawing upon stone, I think it necessary 
 to say a few words on the mode in which a series of impres- 
 sions is obtained. The lithographic stone the most in 
 use, and which answers the purposes of the art the best of 
 any, is a calcarious stone, obtained from the banks of the 
 Danube, in Bavaria. It unites the qualities of purity, white- 
 ness, and hardness, in a greater degree than any which have 
 been discovered in other countries ; * in common, with stones 
 
 * I have the authority of Professor Buckland (and that is no mean one) to 
 say, that there is not in Great Britain, any known stone of a quality similar to 
 the Bavarian, nor is there any reason for hoping to find any. There isa magnesian 
 
2 
 
 THE ART OF 
 
 of a similar nature, it imbibes both water and grease with 
 avidity, and it is solely on this last property that lithography 
 is founded : for when a series of line's, of a greasy nature, are 
 traced upon a piece of this stone, and the whole afterwards 
 wetted, it is clear that so long as the stone is damp, if a roller 
 covered with a greasy ink be applied to its face, this greasy 
 ink will have more affinity for the fat lines, previously traced 
 on the stone, than for those parts of the surface which are 
 wet, and not greasy. 
 
 2 . The possibility of obtaining a series of impressions 
 depends thus, merely, on the application of grease to the 
 surface of a substance always ready to receive and retain it 
 with avidity. If a part of the stone has received grease, as two, 
 it will retain in that spot the power of receiving, from a 
 greasy roller, grease, as two, and preserve that property (in 
 
 lime stone, an the coast of Durham, splitting in strata, and similar in outward 
 appearances ; but it does not answer the purposes of Lithography. We have, 
 also, the white lias, of Bath, which is too soft and porous, and the brown lias, 
 of Warwickshire; this latter is so dark, when wetted, that it is almost impossible 
 to see the drawing: neither of these split in smooth and even strata, like the 
 German stones, but require so much labour to bring them to a level and smooth 
 surface, as to become more expensive than the Bavarian ones, besides being 
 lar inferior— indeed, totally unfit for chalk drawings. 
 
DRAWING ON STONE. 
 
 3 
 
 good printing at least) for a great length of time ; those parts 
 which have received in the first instance grease, as ten, will 
 receive, and transmit it as ten, &c. 
 
 3. Thus a portion of grease, or greasy dirt, however 
 small, applied to any part of the surface of the stone, will 
 continue to transmit impressions, the intensity of which, will 
 be proportionate to the quantity of grease previously applied* 
 Let this axiom be well remembered, and laid in store by all 
 those who wish to be successful in drawing upon stone; for 
 if they always bear this law in mind, while they are making a 
 drawing, they cannot fail to produce a plate which will 
 print well. 
 
 4. The process of printing from stone, is now so generally 
 known, and understood, that it may appear useless to repeat 
 What I have said above; but I think that I cannot lay 
 sufficient stress On that fundamental principle of Lithography, 
 for, well as these rules are known, they are still continually 
 forgotten by artists, who think that, provided the drawing 
 they have executed looks well to the eye, they have done all 
 which is necessary, and that the printer must, and can, do 
 the rest ; forgetting that the face of the stone has, perhaps, 
 
4 
 
 THE ART OF 
 
 been soiled during the execution of the drawing, either by 
 chalk cuttings, by rubbing with paper kept under the hand, 
 by perspiring fingers, and many other causes of failure, which 
 we shall mention hereafter* several of which occasion .spots, 
 that disappear the moment they have soiled the stone, to re- 
 appear again, infallibly, in the printing. The artist is, of 
 course, surprised at seeing all those spots come forth, and 
 accuses the printer of that, which proceeds entirely from his 
 own want of care. 
 
 5. It is clear that, were it not for the black contained 
 in the chalk, an almost invisible drawing might be made on 
 stone, which would come forth only in the course of printing; 
 and this is the case with those spots which do not form part 
 of the drawing, and have taken place from negligence; as they 
 do not shew, the artist considers them of small importance, 
 and, entirely taken up with the drawing he is executing, he 
 hopes, and thinks, that nothing will print, but what he intends 
 should print. I must therefore again repeat, and enforce, this 
 plain truth, that a lithographic stone absorbs, with avidity, 
 any grease applied to its surface, and consequently that any 
 dirt, or grease, so applied, will come forth in the printing, as 
 
DRAWING ON STONE. 
 
 5 
 
 well as that grease which is intended to constitute ' the 
 drawing. 
 
 OF POLISHED AND GRAINED STONES. 
 
 The two principal styles used in Lithography , are the Ink and the 
 Chalk style s 
 
 6. Ink drawings are generally made on polished stones, 
 as the grain necessary for a chalk drawing, makes it unplea- 
 sant to draw with the hair pencil, or the pen. Some persons, 
 from ignorance, have often made chalk drawings on a polished 
 stone; these invariably fail, as a stone with a proper grain is 
 the first requisite for the success of a chalk drawing. 
 
 7. It is of the greatest importance that the grain of a 
 stone for a chalk drawing be not too fine, and a little practice 
 will very soon shew the artist which is the proper grain; for 
 if too coarse, the drawing, particularly the delicate tints, will 
 look sandy and open, and the execution will be attended with 
 great trouble, particularly in making out the minute parts,. 
 On the other hand, if the grain be too fine, the chalk slips, 
 and draws greasy, the stone does not appear to bite, and there 
 
6 
 
 THE ART OF 
 
 is a difficulty iu producing dark tints. Moreover, in the 
 printing, the darker parts soon clog up, and from the stone 
 approaching the polished state, the delicate tints do not 
 hold, and soon break up. The ease with which chalk 
 works on a well grained stone, will soon teach an artist 
 to know when the grain is as it ought to be, and its 
 pleasantness is such, as to make drawing with pencil on 
 paper appear afterwards meagre and poor; for there is a 
 richness and fulness in drawing on a good stone, which, from 
 the nature of the material, has more the feel of painting with 
 a brush, than of drawing with chalk. I mention this 
 circumstance, as this peculiar feel is the best criterion to 
 judge of the right grain of a stone. 
 
 8. There is no difficulty in ascertaining the proper pre- 
 paration of a polished stone, as it is sufficient that the face be 
 well smoothed, and free from scratches. 
 
 9. This last defect is also to be avoided in a grained 
 stone, as scratches are often produced by a coarse grain of 
 sand, which invariably print as a white hair line. 
 
 10. Although, as I have said above, it is impossible to 
 draw with ‘chalk on a polished stone, ink may be, if employed 
 
DRAWING ON STONE. 
 
 7 
 
 with judgment, applied with great advantage in chalk 
 drawings. I will treat this subject more in detail hereafter. 
 
 11. The best way to see the grain of a stone, is, to 
 incline it to the horizon, nearly at an angle of 45 degrees; by 
 varying the position slightly, above and below this angle, a 
 certain point will be found, at which the light will catch all 
 the little asperities, and shew the grain very distinctly. An 
 artist who will take the trouble to do this with every stone 
 he works upon, will learn to know by eye, whether the grain 
 is too fine, or too coarse. I have given, in plate 1, fig. 9, a 
 magnified representation of this effect, in order to be more 
 clearly understood. 
 
 12. Portraits, however, admit of, and even require a 
 coarser grain than landscape, particularly if drawn in the stippled 
 manner; success is more certain, and the impressions will pos- 
 sess a degree of brightness, which can never be attained with a 
 finer grain. By employing a sharp pointed pencil for the more 
 delicate tints, and occasionally opening, and picking with a 
 needle those small specks, which occur in working on a coarse 
 stone; a clever artist can produce drawings, which bear being 
 placed next to the best specimens of copper-plate engraving. 
 
8 
 
 THE ART OF 
 
 13. It must, however, be well borne in mind, as a most 
 important rule, that in every case, whether figures or land- 
 scape, a coarse grained stone is by far a less evil than too 
 fine a one, as a failure is often the consequence of too fine a 
 grain, whereas, a little more trouble in the execution of the 
 drawing, is the only risk which the artist runs in working on 
 a coarse grain. 
 
 OF THE MODE OF SUPPORTING THE HAND 
 WHEN DRAWING ON STONE. 
 
 14. Most persons, when they draw upon stone, content 
 themselves with keeping a sheet of paper under their hands — 
 this is the very worst plan which can be adopted; for the 
 paper takes up numberless microscopic particles of chalk 
 from the dark touches of the drawing, and deposits them 
 again on other parts of the stone, some of which are often 
 intended to be bright lights: this, in the impressions, in- 
 variably produces a tint, particularly towards the bottom 
 of the drawing, and always shews more when printed, than 
 it did in the first instance, when still in the hands of the 
 artist. 
 
DRAWING ON STONE. 
 
 9 
 
 15. A number of loose portions of chalk are also un- 
 avoidably laying on the face of the stone — these are taken 
 up by the paper, to which they often, from the heat of the 
 hand which is laying over it, adhere very strongly; every 
 time the paper is shifted, each little piece of chalk prints or 
 marks a spot on the drawing ; thus every loose bit of chalk 
 so adhering to the paper, will print twenty and more spots, 
 which afterwards can only be taken out by the printer, to 
 the great injury of the drawing. (132.) 
 
 16. The lower part of the drawing, plate 11. at A. A., 
 will shew the consequence of not attending to this precaution. 
 The drawing was executed with a piece of paper under the 
 hand instead of a bridge; a tint will be perceived all over 
 that part of the drawing (14), as well as several black spots, 
 marked a. a., produced by the loose portions of chalk which 
 have adhered to the paper (15). . The tint (14) which naturally 
 must be spread all over the lower portion of the stone, may 
 easily be removed by the printer, as far as concerns the 
 margin of the subject, but cannot be destroyed in those 
 parts of the stone which contain the drawing. I have pur- 
 posely left the tint wherever it was produced, to enforce 
 
10 
 
 THE ART OF 
 
 still more the importance of attending to this advice; for let 
 it be well recollected, that the more elaborate the drawing, 
 and consequently the greater the length of time it has taken, 
 the deeper the tint produced by the paper will be, and the 
 more the evil will be increased. 
 
 17. It is indispensable to use a bridge for drawing on 
 stone. I have found, by experience, that the best sort is the 
 one represented in plate 1. fig. 10. B.B. is a bridge of 
 mahogany, beech, or some other hard wood, high in the middle, 
 so as to be about half an inch thick in the thickest part, an 
 eighth of an inch towards each edge, and 22 or 23 inches long. 
 One end has a thin slip of wood, A. A. glued across it, having a 
 shoulder, a. about an eighth of an inch in thickness, projecting 
 from A. A. the whole breadth of the bridge, and underneath it. 
 The intention of a. is to keep the bridge always at a distance 
 from the face of the stone, while the part A. A., catching the 
 edge of the stone, hinders a. from slipping over the drawing. 
 With regard to the other end of the bridge, in order to enable 
 it to fit every sized stone, the part corresponding with A.A. 
 and marked in the figs. 10. and 11. K. and K. K. is made 
 moveable in a grove,/./. K. if fixed to the bridge, B.B. by a. 
 
DRAWING ON STONE. 
 
 11 
 
 screw, d. having a broad head, so as to project beyond the 
 groove,/./, and when screwed tight, to render K. immoveable. 
 K. has also a shoulder, i.i. fig. 11., corresponding with the 
 shoulder, a. of A. A. fig. 10., so that when A. A. is placed 
 against one end of the stone, and K. against the other, if 
 screwed tight to the bridge, this latter is an eighth of an 
 inch from the face of the stone, without touching it in any 
 part, and the loose bits of chalk lying on the drawing, may 
 at any time be brushed off without injuring it. When K. is 
 fixed, it is better to allow it a little play, to enable the 
 bridge to move up and down the stone without difficulty. 
 By adopting this plan, drawings which cost a month’s labour 
 may be executed without any fear. 
 
 18. It is necessary, however, to keep the stone well 
 covered, particularly when not worked upon ; and this is 
 chiefly necessary in London during the winter, when the air 
 is so loaded with smoke, that, unless carefully covered, stones 
 are often liable to take a grey tint all over, when proved. 
 I use myself a more complicated desk, which offers more 
 comforts, and the means of keeping the drawing covered, 
 when not at work ; but such a desk is expensive, when com- 
 
12 
 
 THE ART OF 
 
 pared with the above-mentioned bridge, which, particularly 
 to those who follow drawing on stone merely as an amuse- 
 ment, answers every purpose sufficiently well. 
 
 OF CLEANING THE STONE WHEN MAKING 
 A CHALK DRAWING, 
 
 19 As the stone is often covered with loose bits of 
 chalk, it is both convenient and necessary to get rid of them, 
 as well as of the dust which occasionally settles on the 
 drawing, and produces a disagreeable grating, instead of the 
 rich feel which chalk has when the stone is clean : a large 
 and clean brush of badger’s hair, is the best tool to employ 
 for this purpose ; great care must be taken, however, not to 
 brush too hard, as the ends of the hairs might thereby get 
 charged with chalk, and brush a tint over parts intended to 
 be light and clear. It is safer to wash the brush occasionally 
 in warm soap and water, and afterwards to rince it well in 
 boiling water, otherwise the brush, containing a portion of 
 soap, will introduce more spots in the drawing, than it is 
 intended to remove. 
 
DRAWING ON STONE. 
 
 13 
 
 20. When loose bits of chalk lay on the stone, they must 
 always be brushed, and never blown off. This last mode of 
 removing them, which is repeatedly resorted to, is the oc- 
 casion of very disagreeable consequences, and of a species of 
 failure, which is almost always imputed to the printer by the 
 artist, who generally declares, that he is quite certain, that no 
 spots of spittle have fallen on the stone. When a person 
 blows on a stone, it almost always happens, that small 
 portions of saliva fly out of the mouth, and wherever these 
 portions of saliva fall on the stone, white spots are the certain 
 consequence — see plate 11, letter b. It rarely happens, that 
 the artist sees them fall ; his eye being intent on the piece of 
 chalk he wants to remove, he does not perceive the minute 
 portions of saliva which fall on a distant part of the stone, and 
 which being absorbed, dry the instant they reach the drawing ; 
 the artist is satisfied that nothing has happened, and is astonished 
 to find in the impressions a number of white specks, some of 
 which are of a considerable size, appearing in various parts of 
 the drawing — he declares he has not made them, and that it must 
 be the printer, in preparing the stone. Now, saliva acts on 
 the stone as gum water would do, serving as a coating 
 
14 
 
 THE ART OF 
 
 between the stone and the chalk, and hindering the grease of 
 the latter from being absorbed by the former: such being 
 the case, it is clear that when once the drawing is completed, it 
 might be covered all over with portions of saliva without injuring 
 the drawing in the least, or producing a single spot. Cough- 
 ing, also, and sneezing near a drawing, not completed, must 
 be avoided, for many spots of saliva may thereby be thrown 
 on the stone ; turning the head aside, is the only trouble \^Lch 
 such a precaution can give to the draftsman. 
 
 PRECAUTIONS TO BE TAKEN BEFORE A 
 CHALK DRAWING IS BEGUN. 
 
 21. As in graining the stone, a portion of dust will 
 always remain on its surface, notwithstanding the washing 
 previously performed by the workman, this dust existing 
 between the chalk of the stone itself, will hinder many por- 
 tions of the pencil from adhering properly, and thereby 
 occasion some of the tints to be rotten. It is prudent, con- 
 sequently, on the part of the draftsman, either to wash the 
 stone well in pure water, or to rub the face with a piece of 
 
DRAWING ON STONE. 
 
 15 
 
 clean flannel, and afterwards to brush off the dust : great care 
 must be taken not to begin the drawing until the stone be 
 perfectly dry.'* These directions refer solely to grained stones, 
 polished stones requiring a mere wiping with a clean cloth 
 or brush. 
 
 OF TRACING THE DRAWING. 
 
 22. As it is very difficult to alter any part of a drawing, 
 and it is almost always necessary to execute it reversed on 
 the stone, in order that it might print the right way, it is 
 requisite to have a correct outline. If any parts be made 
 out on the stone with a lead pencil, it must be drawn with 
 a very hard one, and the line must be extremely fine and 
 delicate; otherwise, if a thick line be drawn, the portions 
 of lead existing between the face of the stone and the chalk, 
 will hinder the latter from adhering, and a white line will 
 appear where the lead pencil had been applied. See the 
 effect in plate 1 1 . letter c.c.c. 
 
 * When stones are obtained from my establishment, the washing above- 
 mentioned must on no account be used, as these stones have a facing or wasli 
 given to them, which, by such an operation, would either be destroyed, or 
 made to run ; mere cleaning with the brush is all that is necessary. 
 
16 
 
 THE ART OF 
 
 23. The best method to follow is this : having made a 
 correct outline of the subject on paper, take some French 
 tracing paper, (never use in any case oiled or varnished paper), 
 and place a piece over the outline; as this paper is trans- 
 parent, the whole drawing will be seen through. You may 
 now trace an outline either with soft lead pencil, (if a chalk 
 drawing is intended), or with red chalk (if an ink drawing). 
 This outline, when completed, must be placed on the stone 
 true and square, another piece of thick paper placed over the 
 whole, and this latter piece well rubbed (without shifting) 
 at the back, with a piece of ivory or the handle of a knife, 
 when the entire outline will be found to be transferred, re- 
 versed on the stone. 
 
 24. I have said above, that the outline on the French 
 tracing paper must be made with red chalk, if an ink drawing 
 is the object; because black lead, however soft, comes off 
 with great difficulty on a polished stone, whereas red chalk 
 comes off very easily. 
 
 25. The method given above is very convenient when 
 the subjects are small ; but when they are above eight or nine 
 inches in length, and accuracy is required, it is unsafe to 
 
DRAWING ON STONE. 
 
 17 
 
 follow it, because the paper extends by rubbing, and a 
 double, or at least a thick and blurred outline, is the con- 
 sequence. When the drawing is large, the tracing paper 
 must be placed over the original outline, and the lines drawn 
 with a pen and indian or common ink, and the upper face 
 (of this tracing) or side on which the ink lays, be rubbed over 
 with a piece of cotton and black lead, or red chalk (24) ; the 
 overplus of the dust must then be well shaken off, and the 
 face of the paper, thus rubbed, laid on the stone, so that the 
 ink outline (which is clearly seen through) be the reverse of 
 the original ; these lines must be carefully gone over with a 
 blunt etching needle, when a pure outline will be found 
 traced on the stone. As soon as the lines have all been 
 gone over, the paper may be pulled up, and the face of 
 the stone being well brushed, is ready to be commenced 
 upon with the drawing. 
 
 26. Another method, that answers extremely well, 
 and saves the two tracings which must be made by following 
 direction (25), particularly for intricate architectural subjects, 
 is (after the tracing is made according to direction 23,) to 
 damp the paper with a sponge, and then fix or strain it on 
 c 
 
18 
 
 THE ART OF 
 
 the stone, (putting, of course, the traced side downwards) 
 with indian or common glue, taking great care to put none 
 on the part of the stone which is to receive the drawing, 
 but merely on the margin (28): this paper when dry will be 
 strained extremely tight, and will bear rubbing (a sheet of 
 paper being previously laid loose over it) without shifting 
 or extending in the least, and a very pure outline obtained. 
 
 27. In order to copy the drawing, so that it might be 
 reversed, the best method is to place the original drawing at 
 the foot of, and before a looking glass, and copying from the , 
 glass, instead of consulting the drawing. 
 
 28. In placing the drawing upon the stone, it is very 
 important to recollect that a space or margin of, at least half 
 an inch, and more if possible, must be left between the 
 extremities of the drawing and the edge of the stone, and a still 
 larger space left at the bottom than at the top of the drawing, 
 in order to have room for the writing, if any is intended 
 to be placed under the subject ; for, unless this be attended 
 to, the drawing cannot be printed, and the whole labour of 
 the artist is lost. It happens, however, that some stones 
 have small black veins, like hair lines, which run across them. 
 
DRAWING ON STONE. 
 
 19 
 
 as well as other little imperfections. The artist ought, there- 
 fore, always to take these defects (if existing) in consider- 
 ation when he puts his tracing on the stone; for, often the 
 drawing may be so placed, that these black veins (which are 
 apt to print) are lost in the dark tints of the fore ground ; or if 
 there are detached and separate subjects on the stone, he may 
 place these so that the veins should come between them, as 
 in this case they are of little consequence : or else, if the stone 
 is large enough to allow it, there is no absolute necessity to 
 place the drawing in the middle, but it may be made on one 
 side, so as to avoid the veins, &c. 
 
 OF THE TOOLS NECESSARY FOR DRAWING 
 UPON STONE. 
 
 The common portcrayon is a very good instrument for 
 holding the chalk, but, there are various other little inventions 
 which greatly facilitate the operation of drawing upon stone, 
 and I will enumerate the best in this chapter. 
 
 29. The portcrayon, fig. 5, plate 1, is a very good tool 
 for producing the darker tints, and the firm touches; it is also 
 
20 
 
 THE ART OF 
 
 convenient for using up the pieces of chalk when too short to 
 be held in the quills (30); but it is a heavy instrument, 
 and it requires a very firm and steady hand to be able to 
 produce delicate and even tints with it. 
 
 30. A piece of swan quill, about an inch long, fig. 3, is 
 fixed at the end of a piece of cedar, or any light wood, the 
 whole, when finished, must not be longer than four inches ; 
 the chalk being previously a little bevelled off, is run in at 
 the quill end. This tool is by far lighter, and more pleasant 
 to work with than the portcrayon; but, for some hands, is 
 still too heavy for the lightest tints. 
 
 31. A long piece of cork, slit at one end, must have a 
 circular groove scooped out with a pen knife at the end where 
 the slit is, this groove is intended to receive the chalk, which 
 is easily fixed by tying it with a piece of thread, see fig. 4. 
 the extreme pliability of the cork, renders it impossible to 
 produce any dark tints with it. This is a most excellent tool 
 for producing the lightest and most delicate tints for skies, 
 clouds, & c. with comparatively small trouble. 
 
 32. For picking and correcting, the best tool is the 
 common etching needle, fig. 1. This tool must always be 
 
DRAWING ON STONE. 
 
 21 
 
 kept extremely sharp at the point, for, if blunt, it will pick 
 round white spots in the drawing, which have a very dis- 
 agreeable effect, and can, if ever, be remedied with difficulty. 
 
 33. For scraping out lights, a mezzotinto scraper, fig. 2, 
 is decidedly the best tool; this instrument requires, also, 
 being kept extremely sharp. 
 
 34. I have also used often, and with great advantage, 
 a mezzotinto grounder, for softening off lights, as the white 
 lines produced by the teeth of this tool, soften the sudden 
 sharpness produced by the mezzotinto scraper (33 and 62). 
 
 35. For ink drawings, the best instrument is the steel 
 pen, fig. 7, plate 7, made out of watch springs; they are 
 generally to be had at the various lithographic establishments. 
 This little instrument, though a delicate one, may with care 
 be made to last a long time : the simplest way to fix it, is by 
 means of a piece of quill a. a. which keeps the pen tight on 
 the stick it is first placed on; by this means, when worn 
 out, it can be taken off and another fixed on in half a minute. 
 As the least fall or blow can spoil the pen, a piece of the 
 end of a quill, represented by the dotted line c. c., must be 
 placed over it (when not used) like a cap, which will preserve 
 
THE ART OF 
 
 22 
 
 it from all injury; it must, also, be carefully wiped before it 
 is laid by. 
 
 The steel pen must never (on a grained stone particularly^) 
 lie used backwards and forwards, or against the nib of the 
 pen; this would spoil the pen, and, what is worse, cause it to 
 spirt, and cover the drawing with small spots of ink. On 
 polished stones, however, if the pen is rather stiff the touches 
 may be given in any direction. 
 
 36. For very delicate, or for thick touches, a sable is 
 often used with great advantage. For thick touches, the 
 brush must be left in its natural state, see fig. 5, plate 7. But 
 for fine touches it must be cut round with a* peh knife, , see 
 fig. 6, so as to leave only a few hairs remaining. 
 
 37. The ink used for the brush is different from that- 
 hsed by the pen ; the ink which is proper for the latter, not 
 flowing freely enough from the brush: when using this; latter 
 tool, to freshen the ink, which soon ceases to run, a small 
 piece of sheet lead, two inches square, is convenient; a drop of 
 ink laid on it will afford a fresh, supply to the -brush, and, 
 from its smallness, the piece of lead may be kept close to the 
 
 . ■/. 9 ■ H 
 
 part which is drawn. ' . 
 
DRAWING ON STONE. 
 
 23 
 
 38. The steel pen often refuses to give ink and tq 
 mark ; to remedy this, on the margin of the stone, .or v on the 
 little piecg of lead above mentioned, the nib of the pen must 
 be slightly bent inwards, by pressing on the back (as one 
 does with a. common pen when it refuses to mark).; this forms 
 a small spot of ink, out of which a line must be drawn with 
 the pen turned the right way; unless a bad one, the pen 
 will now mark. The finger nail is also a good substitute for 
 a piece of lead for trying the pen on. 
 
 39. For putting ink lines in a chalk drawing, a stiff pen 
 must never be used, for a stiff pen scrapes up portions of 
 chalk which soon clog it up; this will sometimes be the case 
 even with a soft one: when this happens, the pen must 'be 
 wiped with a soft piece of glove leather, and fresh ink put in. 
 
 40. For straight lines, the common mathematical pen is 
 the . best instrument* 
 
24 
 
 THE ART OF 
 
 OF CHALK DRAWINGS. 
 
 The outline being now made, and the bridge fixed to the 
 size of the stone, the drawing may be commenced with the 
 lithographic chalk. 
 
 Where the subject requires skies of large extent, and 
 where it is desirable to use the dabbing style, this operation 
 must be done before any chalk be applied to the stone ; but 
 as this style requires many directions, they will be found in 
 the chapter which treats of dabbing. 
 
 OF THE MODE OF HOLDING THE CHALK. 
 
 As lithographic chalk is more brittle than lead pencil, it 
 requires some precautions in the mode of holding and cutting 
 it, according to the intensity of the tint intended to be 
 produced. 
 
 41. When delicate tints are wanted, the pencil must be 
 cut long and slender, as in fig 4, plate 1 ; when middle tints, 
 as in fig. 3, and when dark, ones are to be produced, still 
 more obtuse, as in fig. 5. 
 
DRAWING ON STONE. 
 
 25 
 
 42. If, in drawing dark tints, the chalk is held sloping, 
 as in fig. S, it is sure to break; indeed, I know few pencils 
 that would not : the darker the tint or the line, the more 
 upright the chalk must be held, see fig. 6. When clouds and 
 other light tints are to be produced, it matters little how 
 sloping it is held, as in fig. 7. 
 
 43. When a series of lines are drawn on stone, in the 
 same direction, for example, from left to right, if another 
 series of lines are drawn over these in the inverse direction, 
 that is, from right to left, the tint produced over each of these 
 will be much darker, than if the lines had been gone over 
 several times in the same direction. This effect points out to 
 us an easy method of producing sharp and dark touches, 
 where parts of a drawing require life and spirit ; for if such 
 touches be made dark, and those touches gone over again in 
 the inverse direction, leaning hard at the same time, a very 
 dark tint will be produced, which could have been obtained 
 with difficulty otherwise. 
 
 44. If a delicate and dark line is wanted, it requires a 
 sharp point, which will be sure to break if leaned upon hard ; 
 but, by not drawing it too dark at firsthand bringing it to 
 
26 
 
 THE ART OF 
 
 its desired intensity, by working backwards and forwards, 
 (43) a very sharp and dark line can be produced with ease. 
 
 45. As, particularly where fine and dark touches are 
 wanted, the point wears out very soon, the best course to 
 follow, is, every now and then, to rub the chalk on a piece of 
 paper, from the point upwards, turning the stick in your 
 fingers at the same time ; by which means, with a little prac- 
 tice, the point is freshened in one rubbing. When, by 
 repeating this six or eight times, the end is so blunt, that the 
 producing the point by rubbing takes too much time, it must 
 be freshened with a pen knife. 
 
 46. When lithographic chalk is cut, it must not be held 
 with the point towards you, like a lead pencil, unless it be to 
 begin shaping a new piece to a rough point ; but when a sharp 
 point is wanted, the end must be rested on the fore-finger of 
 the left hand, and the point formed by cutting from fhe point 
 upwards. 
 
 Persons not accustomed to draw on stone, are always 
 desirous of having very hard chalk ; a soft chalk is, however, 
 by far the best to use; rich mellow tones are produced with 
 much more ease with the latter, and are more certain to turn 
 
DRAWING ON STONE. 
 
 27 
 
 out well in tlie printing : both chalks may, however, be used 
 with advantage in the same drawing, the hard for the minute 
 parts, and the soft for the fore grounds and dark touches; in 
 heads and portraits the face may be done with hard chalk, 
 and the back grounds and draperies with soft. 
 
 47. As every lithographic printer has a different recipe 
 for making his chalk, and the mode of etching varies with 
 each, it is important that, to ensure success, the drawings be 
 made with chalk prepared by those who are to print them. 
 This is the more important, as the proportion of black which 
 is put in the chalk, must naturally vary with each maker ; and 
 it is evident, that the chalk containing a smaller proportion 
 of black, will print darker than that which has more in its 
 composition. Thus, a drawing made with chalks, obtained 
 from different makers, although satisfactory to the eye, will 
 be totally out of keeping when printed.* 
 
 * It is important to bear in mind, that lithographic chalk absorbs moisture, 
 and if allowed in our climate to remain exposed to the air, soon gets so soft, as 
 to be unfit for use ; but, if kept in a bottle, with a cork or glass stopper, in a 
 warm and dry place, it will remain good for years. 
 
28 
 
 THE ART OF 
 
 OF THE MODE OF APPLYING CHALK TO 
 THE STONE. 
 
 48. In the infancy of Lithography, it was imagined, and 
 asserted, that none but drawings, executed in a bold and free 
 manner, could be successful ; but with increased practice and 
 experience, it has been found, that there is no necessity to 
 produce the tint at once, and that a drawing will succeed 
 equally well, and even better, if the tints are produced by 
 going repeatedly over them, and stipling them up. 
 
 49. When a smooth and even tint, drawn on a stone 
 with a rough point, * be compared in a microscope with one 
 done with a fine point, the appearance of the first will be as 
 in fig. 2 , plate 2 , and of the second, as in fig. 3. The extreme 
 difference which exists in each, shews (as must indeed be 
 the case) that the blunt chalk only touches the top of the 
 asperities which constitute the grain, whereas, the finer point 
 reaches those eminences A. A. A. fig. 2 ; and the half tint 
 given to them by the chalk, shew that the rough point has 
 
 * From Engelmann’s Manuel du Lithographe. 
 
DRAWING ON STONE. 
 
 29 
 
 merely grazed their surface, instead of communicating the 
 desired tint to them: hence, the tint produced by the fine 
 point will be much richer and mellower to the eye, than that 
 formed by a coarser pencil. I have given an example of this 
 in figs. 11 and 12, plated; tint 11 is drawn with a coarse 
 pencil, and tint 12 with a fine one. 
 
 50. This different appearance of tints, according to the 
 nature of the points they are drawn with, is of great con- 
 sequence, and more so still for portraits and figures, than for 
 landscapes. For, as the former require a coarser grain than 
 the latter, this very circumstance may be taken great advan- 
 tage of, by giving what engravers call texture, to the various 
 parts. Thus if the face and fleshy parts be worked with a fine 
 pencil, and the draperies and other portions, according as it is 
 wanted, are drawn with a coarser pencil, an openness and rough- 
 ness will be given to the latter, and a silky and mellow ap- 
 pearance to the former, which will be very pleasing to the eye. 
 
 51. It happens, sometimes, that the draftsman finds it 
 impossible to produce a dark tint, the chalk slips, as if it were 
 greasy, and the tint, instead of being black, looks brown and 
 shining. This may proceed from two causes, either the stone 
 
30 
 
 THE ART OF 
 
 is damp, or, by keeping the face too near to the drawing, the 
 draftsman’s breath has wetted it : in both cases the artist must 
 stop, and, if the stone is damp, he must place it at a moderate 
 distance from a fire to dry ; if this effect proceeds from the 
 breath, two or three minutes will be quite sufficient. Great 
 care, however, must be taken never to heat or warm the stone 
 much beyond the common temperature of the atmosphere, as 
 it would infallibly ruin the drawing, and make it print all of 
 one colour, without any keeping whatever. 
 
 52. In order to hinder the breath from thus moistening 
 the stone, it is often requisite to hold a piece of paper before 
 the nose and mouth. I say the nose, because, from the position 
 of the nostrils, they generally throw more moisture on the 
 stone, than the mouth does. 
 
 53. In order to produce delicate tints, the easiest way is 
 ttf employ the stick and quill, (30) or the cork portcrayon, 
 (31) and to hold it as indicated in fig. 1, plate 2, and not as 
 one would hold a pen or a lead pencil. By this means, the 
 •evenness of the tint depends merely on the weight of the tool, 
 and not on the firmness of the hand, as it does in the common 
 way of holding the pencil; it is for this reason, that I have 
 
DRAWING ON STONE. 
 
 81 
 
 recommended those tools not to be larger than four inches. 
 This mode of holding the chalk, alludes, of course, only to tha 
 delicate tints; for all others, the chalk must be held as a 
 pencil, or pen usually are. 
 
 54. In drawing skies, clouds, and other delicate tints, 
 the touch, as much as possible, must be darker in the middle, 
 than at both ends, as in fig 4, plate 2 ; this must be carefully 
 attended to, for it is natural for the hand to make the touch 
 darker at one extremity, than at the other, as in fig. 5. The 
 importance of this observation will soon be seen, when it is 
 considered that light tints (executed with chalk) are composed 
 of a series of small masses of touches, and, as when one series 
 of touches is finished, another series is continued next to the 
 first, and so on, until a mass of tint is produced ; unless these 
 series of touches be properly blended together, each set 
 will form a distinct mass, separated from its neighbour by 
 a seam. 
 
 I will now exemplify what I have just said. It is evident, 
 that if I produce two series of tints, close to one another, 
 and composed of lines formed as in fig. 4, I shall have an 
 effect, the advantage of which is clearly seen in the magnified 
 
32 
 
 THE ART OF 
 
 representation, fig. 7 , in which the soft ends crossing one 
 another form a seam, or joint, which cannot be perceived. 
 The good effect of following this mode, is very striking in 
 fig. 8. This tint is composed of two sets or series of lines, the 
 seam of which is at the line B. B., and yet the most delicate 
 eye cannot perceive the least unevenness at the point of 
 junction. Not so with fig. 6, the tint of which is formed of 
 lines similar to fig. 5, dark at one end, of which a magnified 
 representation is given, fig. 14; it is impossible that a sky, 
 or a distance, executed in such a way, can ever look well, 
 and yet, I have not exaggerated the effect, and have often 
 had drawings to print, the tints of which were drawn in 
 this manner, and, curious to say, have received bitter com- 
 plaints that the tints were spoiled in the printing, and the. 
 impressions rendered totally useless, from the carelessness of 
 the workman. 
 
 It is, however, impossible, or nearly so, in delicate tints, 
 to produce them perfectly smooth at once ; at least to make 
 them so, they would require being done too slowly, and with 
 too much care. Much time will be gained, by making the first 
 tint fainter than is intended, and with horizontal lines; when 
 
DRAWING ON STONE. 
 
 33 
 
 a sufficient space is thus covered, the whole must be gone 
 pver with another series, forming an angle with the first, see 
 figs. 9, and 10. 
 
 55. In figs. 9 and 11,1 have left a space between each 
 line, that the working and mode of producing the tint, might 
 be more easily seen, and in figs. 10 and 12 the lines are 
 brought close to one another, as they ought to be when a 
 smooth and even tint is required. It is of consequence in 
 producing these tints, that the lines should neither be apart 
 from one another, as in figs. 9 and 11, nor yet overlap one 
 another, but, that every line should come close to its neigh- 
 bour, barely touching it ; for in the first case, a white space is 
 the consequence, and in the second, a dark line, from two 
 touches laying over each another. I have given in fig. 1 8 a tint 
 so produced, which will, I hope, induce those who see it to 
 make every effort to steady the hand, and form tints that will 
 print well. To a person who merely reads this article, it will 
 appear that there are so many defects to avoid, and so many 
 things to attend to, that it must be almost impossible to pro- 
 duce a smooth tint, but a very little practice will render the 
 
 D 
 
34 
 
 THE ART OF 
 
 thing easy, and by following the rules here given the hand 
 will soon become obedient. 
 
 The second shading, given in figs. 9 and 10, correct any 
 inequality which existed in the first tint, but in clouds and 
 varied tints, it is necessary to make a third and more crossings, 
 according to the shade required, as in figs. 11 and 12. 
 
 56. When the tint is thus formed, a great deal of trouble 
 is saved by toning up the whole by rather a rapid and zig- 
 zag motion of the hand, represented (much darker than it 
 ought really to be) in fig. 13, crossing repeatedly in various 
 directions, and leaning at the same very lightly (53), caressing, 
 as it were, the drawing here and there with the chalk, where- 
 ever any faintness of the tint appears. 
 
 57. After this operation is done, any small inequality 
 or speck, which may appear to the eye, must be remedied by 
 stippling with a sharp pointed pencil here and there. These 
 small variations in the smoothness of the tint, (although they 
 shew in the printing) are often so slight as not to be percep- 
 tible when sitting close to the drawing, they are best per- 
 ceived by standing up and keeping the eye at some distance, 
 
DRAWING ON STONE. 
 
 35 
 
 these variations must be corrected by slightly touching those 
 parts which seem too faint, holding the chalk as recommended 
 at (53) ; for in this operation very often the least touch will 
 smooth a place which appeared uneven, and a tint slightly 
 darker would form a spot: fig. 19, represents a tint thus 
 finished. 
 
 58. I have said (def. 55) that the lines which form the 
 shading ought not to be separated from one another ; this is 
 true as far as concerns landscape; but for portraits and 
 figures, a space left between the shading has often a very 
 good effect, giving a decision and boldness to the draperies 
 and the back ground, which add greatly to the beauty of the 
 drawing. In this case, the working recommended (def. 56) 
 must be omitted, but after the tint is as well smoothed as 
 possible by various crossings, the stippling recommended (57) 
 must be resorted to, to finish up, picking in this instance, as 
 well as in skies and distances, any little black spot, however 
 small, with the etching needle (32). In figs. 1 and 2, plate 5, 
 are given series of tints thus produced, fig. 1 for dark tints, 
 ajid fig. 2 for the lighter ones ; in fig. 1 , a is the first laying on, 
 which of course ought always to be laid as smooth as possible, 
 
36 
 
 THE ART OF 
 
 b is a, with the second crossing, c has three crossings, and d 
 is c stippled up and picked. 
 
 In fig. 2, e has two crossings, and f is the same tint as e, 
 stippled and picked. 
 
 59. The lights of the clouds are generally left uncovered, 
 hut they often require a degree of sharpness on the edge, which 
 it would be very troublesome to preserve. These, as well as 
 light flying clouds, are better produced by scraping with the 
 mezzotinto scraper (33 and 34). 
 
 60. It must, however, be well remembered, in so doing, 
 that half tints cannot be produced by this means; as the parts 
 so scraped, although to the eye producing the tint required, 
 generally print as dark as they were before they were so pro- 
 duced; it is necessary, to ensure success, that the tool be 
 very sharp, and that the hand feel (without, however, forming 
 a hole or hollow) that the tool really attacks the face of the 
 stone, and that the surface is actually scraped off, for, as I 
 have just said, unless this be attended to, the part which is 
 only half scraped, although looking lighter than the tint sur- 
 rounding it, will print equally dark, and the artist will be sur- 
 prised to find his sky without lights. Thus only positive lights 
 
DRAWING ON STONE. 
 
 37 
 
 ean be produced, see fig. 15, plate 2, by the mezzotinto 
 scraper, or any other sharp tool. 
 
 61. Half tints must either be produced tfy scraping 
 or scratching, with the point of the etching needle, small 
 hatches, or lines very close to one another, as in fig. 16, plate 
 2, in which the half tint of the small cloud is so produced; 
 a half tint may also be produced by working the etching 
 needle, as recommended in (124). 
 
 62. By far the easiest mode, however, of producing 
 these half tints, is with a mezzotinto grounder (34), the teeth 
 of this tool acting like a small file, diminish the excessive labour 
 of forming the half tint with one point only. The cloud, fig. 
 17, plate 2, is formed with this tool. The sole disadvantage 
 of employing this aid is the regularity of the scratches: to 
 avoid this, the scratches must be irregularly made, to break 
 as much as possible the appearance of net work, which is the 
 consequence of an unskilful application. 
 
 63. There is little difficulty attending the scraping out of 
 clouds, and parts in the vicinity of delicate tints, but this help 
 must be used with great judgment in the darker parts; for, as 
 we have seen above, none but positive lights can be produced. 
 
38 
 
 THE ART OF 
 
 and if the parts so scraped, be rather large, they have, when 
 printed on white paper, a snowy appearance, which is very 
 disagreeable to the eye. 
 
 When, however, parts which are surrounded by a dark 
 tint, and intended to be light, are made so by small lines or 
 scratches (and not by scraping a broad light) an excellent 
 effect may be produced which can only be detected by close 
 inspection. 
 
 In fig. 3, plate 6, this mode of scraping is applied to 
 produce the spirtings of the foam, and the partial lights on 
 the foliage of the tree to the left ; this help is used here so 
 as to produce a good effect, and yet is not discovered unless 
 by close inspection. 
 
 64 1 . These observations are of equal importance in figure 
 drawing, where scraping, properly applied, is of great use in 
 the hair, bright lights on the nose and eyes, as well as for 
 linen and drapery; in all these cases lights may, without any 
 bad consequences, be scraped out much broader than in 
 landscapes, and with great advantage. 
 
 65. It is of great consequence to recollect that when a 
 part is thus scraped, it is impossible to draw again over that 
 
DRAWING ON STONE. 
 
 39 
 
 part, as the grain has thereby been destroyed. The chalk does 
 not hold on such parts, or if it does, produces dark and 
 uneven blotches, which spoil the look of the drawing, an 
 example of this bad effect is given at F, plate 1 1 . 
 
 66. The stone being hardly ever as white in its colour as 
 the paper which is used in printing, it generally happens with 
 persons who are not in the habit of drawing on stone, that 
 the impressions disappoint them, as these often have a meagre 
 and poor effect which the drawing had not on the stone. 
 This proceeds from the colour of the stone, serving as a sort 
 of middle tint, which harmonizes the whole, and satisfies 
 the eye. 
 
 It is necessary, consequently, in order to give richness 
 to a drawing, in every instance to lay a ground work or smooth 
 shading, more or less intense, according to the darkness of the 
 tint; over this the shading, which constitutes the drawing, and 
 various touches, which make out the parts, must be laid. Fig. 
 1, plate 3, represents a tint without this precaution having 
 been taken, fig. 2 represents an equally dark tint, with a 
 ground work previously laid under it, and fig. 3 gives this 
 ground work as it was first laid under fig. 2. 1 have made a 
 
40 
 
 THE ART OF 
 
 separate figure of the ground work, to shew its comparative 
 intensity, and the mode of handling it. 
 
 67. One of the most important points to be observed in 
 dark shades, whenever they are wanted to print clear, is never 
 to fill or clog up the grain. 
 
 The grain of a chalk stone is composed of hollows,, and of 
 eminences of which magnified sections are given in figs. 4 and 
 6, plate 3. 
 
 It is the grease contained in the eminences b, b, b, fig. 4, 
 which, by receiving the printing ink, transmit to the paper 
 the impressions wanted, whereas the hollows a, a, a, having 
 absorbed no grease or chalk, while the drawing was making, 
 will receive no ink in the printing (def. 1 and 2.) 
 
 If the artist leans hard with his chalk, the grain of the 
 stone acting as a rasp, the whole of the surface will be clogged 
 up, and covered with portions of the pencil, as in fig. 6, in 
 which the eminences b, b, b, & c. are covered and loaded with 
 chalk as well as the hollows a, a, a. Such a tint can never of 
 course print bright, as the whole surface must receive the 
 printing ink when impressions are taken : if, on the contrary, 
 the chalk be not applied with much pressure, it will only be 
 
DRAWING ON STONE. 
 
 41 
 
 deposited on the eminences b, b, b, fig. 4, and the hollows 
 a, a, a, will receive none, consequently, when, after the com- 
 pletion of the drawing, the stone has received a preparation of 
 such a nature as to repel grease, when applied to its surface, 
 in every part where chalk has not been previously applied ; it 
 is clear that these hollows receiving no printing ink, and there- 
 fore transmitting none to the paper, small white specks 
 shewing the paper, will appear in the impressions, surrounded 
 by printing ink in various proportions, transferred from the 
 eminences b, b, b. Now, as I have said above, it is this very 
 appearance of small white specks which constitutes the bright- 
 ness of a tint, and therefore if shadows are drawn, so as to 
 appear greasy and clog up the grain, as in fig. 6, they must 
 and will print as in fig. 7, and if drawn as recommended in 
 fig. 4, the tint will be clear and bright, as in fig. 5 ; and it 
 must be always borne in mind, that this clogging of the tint 
 invariably shews more in the impressions than it does in the 
 drawing (def. 74 and 78). 
 
 68. From all that has been said above, I conclude 
 that, to print bright, a dark tint must be produced by 
 repeatedly coming over the work, both by hatches and by 
 
42 
 
 THE ART OF 
 
 close shading (55, 57, 58), stippling occasionally to smooth 
 uneven parts, until the whole is worked up to the intended 
 degree of intensity, see tints, fig. 5, plate 3, tint 19, plate 2, 
 and tints d. and /. figs. 1 and 2, plate 5. 
 
 69. I do not mean to say that in no instance the grain of 
 the stone ought to be clogged up, whenever positive black is 
 wanted, the stone may, without the least inconvenience, be 
 completely charged with chalk, and great vigour and a most 
 beautiful effect be thereby produced. 
 
 70. The difference that exists in the tints produced by 
 various artists is inconceivable. This difference is equally 
 striking, although the tints may be done precisely with the 
 same chalk, and on similar grains, and even on the same 
 stone. The beauty of a tint, in order to print well, consists 
 in its having a rich, soft and velvety look, although firm and 
 solid at the same time. It is done by not working the chalk 
 too quick, but by producing the touch by a rather slow 
 motion, as if painting with a brush ; I cannot better describe 
 it, than by saying that it is something similar to the motion 
 of the hand of a person attempting with a soft pen to write 
 slowly and gracefully a capital tX or when in the full part. 
 
DRAWING ON STONE. 
 
 43 
 
 If the chalk be moved too fast, particularly in the full tones, 
 the heat produced by the friction softens the chalk, and from 
 that cause gives to the tints a roughness and coarseness which 
 is sure to be transmitted to the impressions in an increased 
 ratio. The most prominent eminences which form the grain 
 will get loaded with a much greater quantity of chalk, than 
 the surrounding lower ones, and form a multitude of black 
 sandy specks, which have a disagreeable effect on the eye, 
 and destroy all the silkiness and richness of the tint. I may 
 quote Mr. Ward’s beautiful drawings on stone as perfect 
 models to consult for the richness and fulness which he gives 
 to all his tints. 
 
 71. I have often been asked to what degree of intensity 
 a drawing ought to be carried, and, on the other hand, subjects 
 have repeatedly been brought to me worked extremely weak, 
 and when I have observed to the artist that the drawing was 
 too faint, and would not please when printed, the, answer was 
 “ that he could not get the chalk to work darker.” In every 
 instance I could prove the contrary on the margin of the 
 plate; for on a well grained stone, every possible tint can be 
 produced, from jet black to the most delicate shade. The 
 
44 
 
 THE ART OF 
 
 best rule to follow is to make the drawing as nearly as 
 possible what it is intended to be, for (with me at least) the 
 chalk ought to contain such a proportion of black and grease 
 as to render the impression, as much as can be done, similar 
 to the original drawing. 
 
 72. However, as the quantity of black contained in 
 the chalk is limited, and not so in the printing ink, all the 
 dark parts will print darker than in the subject on stone. 
 
 I should consequently recommend, generally speaking, 
 to make all the light tones a little darker than they are 
 wished to appear, the middle tints as dark as they are wanted, 
 and when power and depth are required, boldly to charge the 
 stone with as much chalk as it will take, observing the rules 
 given (def. 68 and 69). 
 
 73. The rule given (72) with regard to the delicate tints, 
 must not be followed to the same degree with regard to stones 
 obtained from my establishment, in consequence of their 
 receiving an artificial facing previously to their being sent out. 
 
 It is a common complaint with lithographic drawings that 
 the light tints do not always hold, and that when they do, it 
 is only partially, and are rotten. This complaint is still 
 
DRAWING ON STONE. 
 
 45 
 
 greater with regard to dabbing which does not always answer 
 the expectation of the artist ; indeed this very useful mode of 
 drawing skies has been almost completely abandoned from its 
 frequent failure; by means, however, of this facing, the 
 slightest tint of dabbing, or the most delicate touch of chalk, 
 is sure to tell and to print to the satisfaction of the draftsman. 
 
 I have been led to this great improvement by the 
 consideration that with some stones the light tints hold, and 
 with others they fail, and that since success can be expected 
 in some cases, it might be possible to imbibe the surface of 
 the stone with some substance, giving to all an equal affinity 
 for the chalk. The light tints then, with stones obtained from 
 my establishment, must be drawn nearly as they are intended 
 to be ; with those obtained from other printers, as recommended 
 (def. 72); and in all cases for middle and dark tints the 
 directions given in the rest of the article are to be exactly 
 followed. 
 
 I have had drawings sent to me, in which, in order to 
 obtain depth and vigour, the whole stone was covered and 
 loaded with chalk, so as to be almost black ; this was done 
 under a notion that depth could not be obtained in lithography 
 
46 
 
 THE ART OF 
 
 unless a drawing were so executed; the consequence was, 
 complete disappointment. The same keeping, the same 
 richness and depth of effect in the dark parts, and the same 
 delicacy in the lighter ones, must be, throughout the whole 
 subject, attended to as they are in drawings on paper. 
 
 74. If two equally dark lines, b, b, made with lithographic 
 chalk, cross each other, as in fig. 10, plate 3, it is clear that 
 the point of intersection, a, will contain double the quantity 
 of grease, and consequently will take double the quantity of 
 ink in printing; thus from what I have said (def. 72), the point 
 
 a, will be darker in the impressions with regard to the lines 
 
 b, b, than it was in the drawing. 
 
 This phenomenon is the cause and explanation of the most 
 common disappointment which persons meet with in attempt- 
 ing lithography, viz, coarseness, and unevenness in the tints ; 
 of the impressions. This disappointment is not only painful 
 to the artist, but also the source of infinite trouble to the 
 printer, who has to take and pick out all the spots occasioned 
 by the want of attention to this point on the part of the artist. 
 
 75. It is from this circumstance that many parts of 
 shading which appear sufficiently smooth to the eye when 
 
DRAWING ON STONE. 
 
 47 
 
 carelessly executed and superficially examined, turn out rough 
 and spotty when printed; that windows, arches, &c. and small 
 parts where touches cross (74), and meet in the shading, print 
 blotchy and foul, see figs. 3, 5, and 9, plate 4. In sketchy 
 subjects, what I have said above is not of much importance, 
 but in carefully finished drawings, and in minute parts, it is 
 of the highest consequence. 
 
 76. Therefore when a part is considered as finished, it 
 must be examined with care, and if small darkish specks of 
 chalk, or crossings of touches appear, they must be carefully 
 picked out (def. 123), and the painted parts stippled in, until 
 the whole appear clean, smooth, and having a proper grain of 
 the stone intervening. 
 
 77. As the above observations are of great importance, 
 I may perhaps be excused for extending on the subject, and 
 presenting it under another aspect, in order to impress it still 
 more strongly on the minds of the reader. 
 
 78. Let us divide the different tints produced by printing 
 ink, from the most delicate to the darkest and most intense, 
 into fifteen parts or shades; if on a grained stone we attempt 
 to produce with chalk the darkest tint we can obtain, this tint 
 
48 
 
 THE ART OF 
 
 compared with the fifteen shades of the printing ink, will cor- 
 respond with tint 10 of the latter, and the scale for the various 
 tints of chalk, begin from 10 upwards of the printing ink 
 scale; and this is easily understood since the proportion of 
 black contained in the chalk is limited. Now by experience 
 we find that the most delicate tint produced by the chalk (from 
 the necessary operation of etching with an acid and other 
 causes) does not print quite so dark as it is drawn, and as on 
 the other hand, in the darkest tint that can be produced by 
 chalk, the stone, in that place must be completely saturated 
 with grease, it follows clearly that in that spot, it will and 
 must take as much printing ink as it can possibly receive, and 
 consequently that, although the darkest tint produced by the 
 chalk on the stone equals tint 10 of the” printing ink before 
 printing, it will equal tint 15 of the latter when printed. 
 
 Thus we can construct the following scale fig. 11, plate 3, 
 from I. to X. chalk, equals from 1 to 15 printing ink, putting 
 roman figures to represent the chalk tints, and the common 
 numerical figures to represent the ink tints. 
 
 Tint 1, as we have seen above, being fainter in the im- 
 pressions than it is drawn, will be placed a little higher up 
 
DRAWING ON STONE. 
 
 49 
 
 than I.; 2 prints nearly equal to its opposite number II. ; 3 
 more so still than 2; 4 the same; 5 the same; 6 and 7 will be 
 the limits of VI. ; 8 and 9 of VII. ; 10 and 11 of VIII. ; 12, 13, 
 and 14 of IX., and finally 15 as X. Thus beginning at the 
 faint end of the scale, and going downwards, the tints print 
 fainter than drawn, and gradually get more similar to the 
 chalk tints as they approach the middle tints ; and beginning 
 at the dark end print much darker than drawn, and gradually 
 get more similar to one another, as they also approach the 
 middle tints. Let us now refer again to fig. 10, comparing it 
 at the same time with fig. 11, as I have already observed on 
 the subject (74), if the two lines b, b, contain chalk as V., 
 since at their intersection, a, they contain chalk, as X., that 
 point a, will not print as 10, but as 15; that is to say, with 
 the greatest intensity of the printing ink, and, consequently, 
 if that point were not intended as part of the drawing, but 
 were a mere accidental crossing of touches or spot, it must 
 evidently be much more apparent in the printing, than it was 
 in the drawing. 
 
 I would not, however, have it thought that the above 
 numbers are given as an exact scale of the effect of the chalk 
 
50 
 
 THE ART OF 
 
 in the printing, for were it so, it would be totally impossible 
 to obtain a good impression. That the dark tints print darker 
 than drawn is undoubted, but I have exaggerated the effect, 
 when represented in numbers, in order to render the case more 
 striking and impressive, and shew how important it is, parti' 
 cularly in highly finished drawings, to make the tints smooth 
 and even, and to remove, by picking, all dark spots and 
 inequality, if the artist wishes to be pleased with his impres- 
 sions ; since it is clear, from what has been said, that an ine- 
 quality in the tint, which but slightly strikes the eye in the 
 drawing, will become a most offensive defect in the printing. 
 
 79. In figs. 3 , 5, 7, and 9, are given examples of the 
 bad effect of allowing the spots occasioned by the crossing of 
 touches to accumulate and remain, and in figs. 4, 6, and 10, 
 I have shewn that it is possible, with care, and by following 
 the directions already given, to avoid this very great defect. 
 
 80. With regard to fig. 7, I must observe, that from 
 the waxy* nature of lithographic chalk, it is apt in drawing 
 
 * The waxy nature of the chalk makes it necessary to shade the parts 
 first, and lay the detail over afterwards. For if the reverse is done, the shading 
 drags away a great part of the chalk, which constitutes the outline and shape, 
 and destroys all sharpness. 
 
DRAWING ON STONE. 
 
 51 
 
 tints to accumulate in little knobs, which, when once formed, 
 go on increasing in intensity every time the chalk is passed over 
 that part ; in the lower part of fig. 7, at the line a, a, I b V,e 
 allowed this defect to remain and accumulate, the upper part 
 above the line a, a, having this defect remedied. This is 
 easily done with a little dexterity, by avoiding to pass with 
 the chalk over these parts, and by working round them, the 
 rest of the tint is often toned to the same degree of intensity 
 as the spots themselves, and if they still remain apparent, a 
 touch here and there with the etching needle will soon and 
 easily remove them. 
 
 81. It is next to impossible in drawing small objects to 
 avoid producing such specks; they existed in a slight degree 
 in figs. 4, 6, 10, and 7, when I drew them ; but a little picking 
 immediately caused them to disappear, and rendered the 
 tints quite smooth and even. In figs. 3, 5, 9, and 7, I have 
 not exaggerated these defects in the least, and continually 
 receive drawings in which such parts are drawn in a similar 
 manner, and are expected by the respective artists to turn out 
 well in the printing. I conclude, therefore, by this general 
 rule, which cannot be too much a/ttended to — that to be 
 
52 
 
 THE ART OF 
 
 successful in the printing, the tints cannot be drawn too 
 smooth and too carefully ; and that when spots do appear in 
 the drawing they must be carefully and immediately picked 
 out ; and, in short, that the artist while he is drawing on stone 
 should always bear in mind that he is not drawing on paper, 
 but on a substance which is intended to transmit a series of 
 impressions, the bad tints as well as the good ones; and, 
 therefore, after having read attentively what I have said above, 
 he should always say to himself, “ Is what I have just done, 
 drawn so as to print well?” Examine the work, and repair 
 immediately those parts which appear defective. In fig. I, 
 plate 6, I have given an example of a subject of natural 
 history, drawn without aiming at its printing well; and, on the 
 other hand, in fig. 2, I have drawn the same subject with 
 care, and according to the rules already laid down. In fig. 1, 
 the tints are drawn with a coarse point (67), the spots and 
 unevenness of the tint allowed to go on accumulating (SO); 
 the outline is not definite, or the shading carried up to it; the 
 ink has been used too freely, and improperly applied (115):: 
 on the other hand, in fig. 2, the tints have been originally laid 
 smooth and with care; no black knobs have been allowed to 
 
DRAWING ON STONE. 
 
 53 
 
 accumulate; the black specks, whenever they were, too con- 
 spicious, have been carefully picked out; the outline, without 
 being harsh or wiry, is made out and definite; and, finally, ink 
 has been used in certain parts to give sharpness, without 
 nevertheless being seen, or rendering the drawing heavy. 
 
 82. It is of the greatest importance to recollect, that in 
 no case water must be applied to any part of a chalk drawing. 
 The chalk being a soapy compound, is immediately dissolved, 
 and fills all the hollows of the grain, and the consequence of 
 such a misfortune is a black spot where the solution has been 
 produced. If such a disaster happens to a large extent, there 
 is no remedy, the drawing is spoiled ; but if only a spqt of 
 water has fallen, it must be carefully absorbed by blotting 
 paper, without leaning at all on the drawing, the part when 
 dry examined with a magnifying glass, and the grain restorecf 
 by picking carefully with an etching needle. 
 
 In order to render the rules for making a chalk drawing 
 upon stone more clear and concise, I will sum up all what 
 has been said in the preceding pages. The light tints must 
 be smooth and even, all little black or darker specks picked 
 out, and the fainter ones stippled up* so as to render every 
 
54 
 
 THE ART OF 
 
 part uniform; the whole drawing must be made a little sharper 
 than it is intended to print’; no small spaces must be left 
 uncovered with chalk, but the tints worked up with care to 
 that part which is intended to be the outline. In landscape, 
 the mountains and buildings must be well defined and made 
 out, and no blur of chalk allowed to project beyond the 
 intended shape ; but when that happens, these blurs must be 
 carefully picked out, in order that all these parts may be clear 
 and distinct ; in the angles let no chalk accumulate, but pick 
 out all black spots. In heads, let all the tints be brought up 
 to the outline, and every part well told and decided; let not 
 the stone appear between the shading, which will make such 
 parts appear rotten ; the light tints must be laid on clean, and 
 with great care; all projecting blurs and spots of chalk, 
 which hinder the shape from being clear and distinct, to be 
 picked out. Both in landscape and in figures, let all the 
 dark tints be rich and powerful, but even at the same time: 
 the grain of the stone in those parts not intended to be positive 
 black, must be seen in the shape of little white specks; no 
 black specks produced by crossing of touches must be allowed 
 to remain, and the entire drawing must look delicate in the 
 
DRAWING ON STONE. 
 
 55 
 
 light tints, firm in the middle ones, and rich and powerful in 
 the darker parts, with great clearness, at the same time, 
 throughout the whole. 
 
 I have endeavoured in plates 12 and 15, as much as laid 
 in my power, to give applications of the above rules. A 
 difference will be perceived in the degree of fineness of the 
 tints of the face, and in those of the cap and mantle; the 
 former being done with a finer point than the latter, giving 
 texture to the tints (50). 
 
 The back ground in plate 12, is formed with hatches, and 
 not with close work (59). After various crossings, the tint 
 was smoothed and stippled, and all dark spots picked out 
 with care (56, 57). The small dark touches, such as the minute 
 shading of the eyes and nostril; the hair and the mustachios 
 were drawn with a sharp point worked backwards and for- 
 wards (44). 
 
 The lights in the fringe are scraped, (64); half tints will 
 also be perceived in that part, and on close inspection it will 
 be seen, that they are produced by small hair lines scraped 
 close to one another (63), and not by broad scraping, which 
 produces the positive lights. The tints in the cap and cloak 
 
56 
 
 THE ART OF 
 
 are dark, although clear at the same time (67, 68), and are 
 produced by laying first a ground work (66), and then coming 
 over repeatedly, without leaning too hard, until the full power 
 of the chalk be obtained (71). The stone having been faced 
 (73), the light tints were hardly drawn darker than I intended 
 they should print; but had I drawn on a stone not faced, I 
 should have made them all a shade darker (72). 
 
 In short, in the touches of the armour and the cap, I 
 carefully picked out all the blurs which occasionally formed 
 on the edges, and which would have destroyed all sharpness, 
 and given indecision to the parts (126). 
 
 In plate 15, the sky is drawn according to def. 54; the 
 lights of the clouds scraped out as recommended def. 59; the 
 middle tints drawn clean and smooth ; the lights of the wates 
 on the wheel produced according to the rules laid down 
 def. 63 ; the windows and small parts are drawn sharp and 
 firm, but no knobs of chalk allowed to accumulate, def. SO, 81 ; 
 the dark parts of the fore ground, and of the old tree to the 
 right, were prepared with a rich and dark ground, def. 66, 
 but produced according to def. 67 ; the full power of the chalk 
 was given to this part, and when completed, ink was added in 
 
DRAWING ON STONE. 
 
 57 
 
 various portions of the trunk of the tree, of the weeds and 
 rocks in the fore ground, as well as of the rocks which are 
 still farther off, the water wheel, and the rustic bridge to the 
 left of it, in order to give sharpness to the whole, yet still so 
 applied as not to produce thick or heavy lines (115). 
 
 In plate IS, the same rules have been observed, with the 
 difference that, from the darkness of the intended effect, the 
 pen and ink has been used with much more freedom, to give 
 sharpness to the parts in the shadow. 
 
58 
 
 THE ART OF 
 
 OF THE DABBING STYLE. 
 
 One of the most important improvements made in Litho- 
 graphy is the dabbing style, invented by Mr. Engelmann of 
 Paris. By means of this process, skies and delicate tints may 
 be produced in half an hour, which it would take a week to 
 equal with chalk. 
 
 OF THE IMPLEMENTS. 
 
 83. The tools and implements requisite for this style, 
 are — 
 
 A small slab of stone, marble, or glass. 
 
 A muller to spread the dabbing stuff with. 
 
 A pallet knife to take up and clean off the dabbing stuff when 
 old or dirty. 
 
 Some stopping liquid. 
 
 Hair pencils of two or three sizes. 
 
 Dabbing stuff. 
 
DRAWING ON STONE. 
 
 59 
 
 A brush to spread the stuff on the dabbers, fig. 4, plate 7. 
 Two dabbers, figs. 2 and 3 
 
 A considerable improvement has been made in the dabbers 
 by Mr. G. Harding, which greatly facilitates the production of 
 smooth tints. 
 
 Dabbers are usually made with a short handle, fig. 3; 
 but by fixing a long handle at right angle with the clabber, 
 as the handle of a hammer is fastened, the production of 
 smooth tints in dabbing is rendered much easier, see figs. 1 
 and 2, plate 7. 
 
 The simplest mode of fastening these handles is this — 
 through the center of the dabber a small wooden screw is 
 fixed, which is seen projecting, fig. 1, at the top of the nut 
 c. c.; the handle b. has a flat knob, a. a. at its extremity, 
 through which the screw passes, and the nut c. c. by screwing 
 down on a . a. fixes the whole firmly, and enables the dabber 
 to be changed with ease and expedition. This figure is drawn 
 of the full size of a dabber. Fig. 2, gives an entire but 
 diminished representation of the dabber, and the relative pro- 
 portion of the handle with regard to the dabber. 
 
60 
 
 THE ART OF 
 
 Those dabbers must be stuffed with great care with clean 
 and soft cotton, laid perfectly smooth at the upper surface, and 
 covered with white kid leather, tied on tight. Fig. 1, repre- 
 sents a dabber of the best size and convexity for common 
 use; the handle may be about fourteen inches long. To try 
 whether a dabber is well and evenly padded, it must be care- 
 fully and smoothly charged with dabbing stuff, and a smart 
 blow struck with it on a clean piece of stone, or a sheet of 
 paper, when any inequality or defect will shew immediately.,. 
 
 As the dabbing stuff accumulates on the dabbers by use, 
 and is apt, when in too great quantities, to form knobs, it is 
 necessary every now and then to wash the face of the dabbers 
 clean with some turpentine ; this must be done however some 
 time before the dabbers are again used, to allow the turpentine 
 to evaporate, as it might otherwise injure the tints. 
 
DRAWING ON STONE. 
 
 61 
 
 OF DRAWING IN THE DABBING STYLE. 
 
 84. The first step to be taken is to lay a margin of stopping 
 'liquid,* about half an inch wide, all round the drawing : this is 
 •done in order to hinder the dabbing from touching the stone 
 beyond what constitutes the drawing. Half an inch is quite 
 sufficient; what may soil the stone beyond this coating of 
 -stopping liquid, is of little consequence, as it is easily re- 
 moved afterwards with pumice stone, and the face of the stone, 
 which is left uncovered on the sides, is convenient for trying 
 4he dabber on. 
 
 85. The margin once formed, the next step is to lay on 
 a coating of stopping liquid wherever positive lights are in- 
 tended. I must observe, however, that this stopping liquid 
 must not be laid on too thick, for two reasons ; the first is. 
 
 *The stopping liquid is composed of gum water, not quite so thick as 
 cream, with the addition of a little gall and a very small portion of candied sugar 
 in powder. The object of the gall is to hinder the gum water from flying back 
 from the tints already formed, which it would otherwise do; just enough must 
 be added to obviate that effect, and no more. Very little sugar must be added; 
 if the stopping contains too much, it remains sticky, and the dabber is apt to 
 pull it up, which would infallibly spoil the drawing. 
 
62 
 
 THE ART OF 
 
 that when thick, it takes too long a time in drying; the second, 
 that if the coating is thick, the edge of it hinders the dabber 
 from reaching the part intended, and the outlines of the tints 
 are undecided, instead of being sharp. The stopping, on the 
 other hand, must not be too thin or washy ; for in that case 
 the dabber would be liable to dab through the coating, and 
 form black spots. 
 
 86. Another important point to attend to is, that the 
 dabbing’ must never be proceeded with unless the stopping be 
 perfectly dry. This renders the operation rather tedious, but 
 is easily remedied by dabbing two stones at one sitting : by 
 this means the stopping of one subject is drying, while the 
 dabbing of the other is proceeding with. 
 
 87. I have said, 85, that before any dabbing is applied, 
 a coating of stopping must be laid on all those parts intended 
 to form the positive lights; this coating being thoroughly dry, 
 the dabbing may be applied. A portion of the dabbing stuff, 
 about half as big as a hazel nut, must be put on the small slab, 
 and well spread and ground with the muller. In winter the 
 operation is facilitated by warming the slab by the fire. The 
 brush, fig. 4, plate 7, must be well scrubbed over the slab, by 
 
DRAWING ON STONE. 
 
 63 
 
 which it will get charged with dabbing stuff;* and the brush, 
 thus charged, must be rubbed over the face of both dabbers, 
 figs. 2 and 3, until they appear well charged with the stuff. 
 
 88. The two dabbers must now be worked together, as 
 printer’s balls are done, in order to spread the greasy mixture 
 equally over the faces of the dabbers. 
 
 89. When the face of the dabber, fig. 2, is well and 
 evenly charged, it must be examined, and if any little knob of 
 dirt or dabbing stuff is seen, it must be carefully picked out 
 with the point of a knife; as every one of these knobs will 
 produce as many black spots as blows are struck with the 
 dabber : see fig. 1 , plate 8, where these spots are purposely 
 formed, and marked with the letters a. a. a. The whole time 
 the artist is dabbing, he must examine the tint as it is forming, 
 to see if none of these spots are produced, for particles of dust 
 on the stone will stick to the dabber, and occasion them ; it is 
 consequently a useful precaution to brush the face of the 
 stone every now and then, as the dabbing is proceeding with 
 (19.) Immediately after having worked the two dabbers 
 
 * I owe the communication of this excellent mode of loading the dabber to 
 Mr> Baynes, Sen. 
 
64 
 
 THE ART OF 
 
 together, the dabber, fig. 2, plate 7, would give too powerful 
 a tint for the first tints of a sky : if there is room on the mar- 
 gin, a blow or two must be struck there first; if not, very 
 gentle blows must be struck on some part of the drawing 
 intended to be dark, and when it is perceived that the tint 
 given by the dabber is faint and delicate, the sky may be 
 commenced. 
 
 90. The effect produced by a dabber too much and 
 unevenly charged, is ruinous to a sky; it forms a number of 
 sandy black specks and streaks, which it is almost impossible 
 to remove; in fig. I, plate 8, at the lowest corner, are some of 
 these spots, marked with the letters d. d. The dabbing of the 
 sky, once commenced, must be carried on with great caution ; 
 the artist must not attempt to proceed too rapidly, for no 
 smooth and even tint can ever be obtained in that manner; 
 but the dabber must be continually kept playing about in 
 various directions over the surface of the drawing, and never 
 continued in one particular part, or worked according to a 
 strait line ; for if this is done, that part will be darker than the 
 rest with a seam, which it will be almost impossible to destroy. 
 1 have produced this effect in the upper part of fig. 1 , plate 8, 
 
DRAWING ON STONE. 
 
 65 
 
 in which I have continued striking the dabber in the corner, 
 b. b. b., and the tint obtained is thereby darker than the next. 
 When, after having struck ten or a dozen blows, the dabber 
 does not appear to give any more, its face must be freshened 
 on the other dabber (88), and the same precautions used as 
 recommended at 90 ; thus the tint must be gradually worked 
 up to the desired intensity, changing the dabber whenever it 
 ceases to give a tint, continually playing over the surface of 
 the stone without ever striking twice in the same place, and 
 graduating the tint according to the effect that is wanted, as 
 in fig. 2, plate 8 ; always bearing in mind, that an even 
 and delicate tint can never be obtained but by proceeding 
 slowly, and that if the person produces the tint instantly, 
 it will always have an uneven and blotchy surface ; for, 
 however carefully the dabber might be worked, were it to 
 go but once over every part of the stone, the tint would be a 
 series of pale grey circles, of various degrees of intensity, 
 according to the giving power of the dabber at the moment 
 the blow was struck ; consequently an even tint can only be 
 obtained by coming repeatedly over every part of the drawing, 
 
66 
 
 THE ART OF 
 
 by this means every small defect is remedied, by the next 
 delicate tint, and the whole of these various faint circles so 
 blended together as to form one even and uniform surface. 
 
 91. The dabber must always be held perfectly strait in 
 the hand; if this is not attended to, the drawing runs the risk 
 of being spoiled ; for if the edge is allowed to strike the stone 
 instead of the middle of the dabber, the effect given in fig. 1, 
 plate 8, c. c. c. is the consequence. 
 
 92. Although when first charged (88), the dabber must 
 be struck very gently, as it gradually ceases to give, the blow 
 may be increased ; in that state a smart blow, if perpendicular, 
 may be given without any danger. 
 
 93. Those parts which are intended to remain of the 
 degree of intensity just formed, must now be covered with 
 stopping liquid (85, 86), and another tint laid on with the 
 dabber; the next tints again stopped out, another tint of 
 dabbing applied, and so on until the whole drawing be wrought 
 up to the required intensity. Plate 10 and plate 9, fig. 1, are 
 executed in this manner. 
 
 94. I would, however, never recommend the dabbing to 
 
DRAWING ON STONE. 
 
 67 
 
 be laid on darker than the middle tints, and merely to consider 
 it as a very convenient method for executing skies, and other 
 light tints, as well as for laying in a broad, but faint effect of 
 the subject; it acts as a ground work to all the tints which 
 are to be laid on afterwards with chalk, and serves to give 
 richness to the drawing. Dabbing, when wrought too dark, 
 hinders, from its greasy nature, any subsequent application of 
 chalk, and is apt to print smutty. 
 
 95. Dabbing, properly applied, is very convenient for 
 producing the flat tints in shading of machinery, and for the 
 flat tints in sections of architectural and geological subjects; 
 see plate 10. 
 
 96. In case a dark tint were wanted in dabbing, the 
 short handled dabber must then be used for producing the 
 tint, instead of the long one, and, instead of striking a sharp 
 blow, the dabber must be pressed on the stone with a gentle 
 motion, allowing it to stick as it were when pulled up, which 
 will give a much darker tint. 
 
 I would not advise it however to be used to any extent 
 in portraits or heads, in which subjects it never harmonizes or 
 looks well. 
 
68 
 
 THE ART OF 
 
 97. As the principal ingredient of the stopping liquid is 
 gum, the sooner it is got rid of, the better : for if left too long 
 on the stone, the artist will find, to his dismay, that the 
 touches of chalk which have been laid on those parts, to which 
 the stopping has been previously applied, do not hold, pro- 
 ducing thereby large and faint patches. It is for this very 
 important reason, that I would recommend a draftsman never 
 to commence dabbing a drawing, unless he can do it at one 
 sitting; and on no account to allow the stopping liquid to 
 remain on several hours, or, what is still worse, until the next 
 day. 
 
 98. Therefore the instant the dabbing is completed, 
 some clean water must be poured on the. stone, until the 
 stopping begins to soak off ; and wherever it still appears to 
 stick, it must be gently removed with a large and soft hair 
 pencil. This must be done with care, for as the stopping has 
 often a great deal of dabbing stuff on its surface, the brush, if 
 leant hard, might rub some of the latter on the face of the 
 stone, as well as form white streaks in the flat tints, by 
 scratching the fresh dabbing which is to constitute the drawing. 
 The stopping being now all removed, and washed off, the stone 
 
DRAWING ON STONE. 
 
 69 
 
 must be put to soak in a trough, and some clean water, for 
 about ten minutes, and no longer; another quantity of clean 
 water thrown over on taking it out, and the stone allowed to 
 drain and dry. 
 
 If, when the stopping is first removed, (98), the dabbing 
 appears defective, or too faint in some parts, the stone (before 
 the soaking is resorted to) may be dried, stopping applied 
 afresh, and the faint part dabbed anew ; the operation of 
 washing and soaking must then be followed as recommended 
 ■above. 
 
 99. I have mentioned (97) the danger of allowing the 
 stopping to remain too long on a drawing, and I have given an 
 example of this in fig. 1 , plate 9, in which case I left the 
 stopping liquid on, until the next day; the consequence has 
 been a complete failure. The whole drawing was drawn dark 
 and rich, and is become in the printing faint and meagre. 
 The dark foliage in the upper part of the tree on the left, has 
 white streaks in it, owing to its being drawn over the part 
 where the stopping had been previously applied, to form the 
 white clouds ; the hill and distant trees were shaded with 
 chalk, and the forms made out, the whole of which has disap- 
 
70 
 
 THE ART OF 
 
 peared; the house on the right, had stones and other details 
 put in, nothing but the original dabbing has remained; in short, 
 the bridge and the fore ground were drawn dark and rich, and 
 from the quantity of chalk applied, a portion has remained, 
 but by far the greatest part is gone. 
 
 100. The danger of such a failure induces me to recom- 
 mend to the artist, whenever he can help it, not to use the 
 stopping liquid, but to content himself with dabbing in the sky; 
 and for the other parts, where a sharp light is required, to cut 
 out the original tracing (23), and apply it, thus cut out, to 
 those parts of the stone which the dabber is not intended to 
 touch ; a general tint of dabbing may also be applied to all the 
 rest of the stone ; and, when the drawing is completed, a few 
 bright lights scraped out here and there where wanted (60, 
 62, and 63). The cloud c. c., fig. 2, plate 8, is thus produced; 
 and for landscapes, this plan will be found by far the safest, 
 and sufficient for almost every purpose. 
 
 In thus cutting out the paper, it must be recollected that 
 the thickness of it hinders the dabber from reaching exactly 
 the outline intended, and that in consequence the hole in the 
 paper, through which the dabber is intended to act, must 
 
DRAWING ON STONE. 
 
 71 
 
 always be cut about an eighth of an inch larger than the sub- 
 ject intended. 
 
 101. Although I recommend the stopping not to be used 
 except in drawings of machinery, or some architectural sub- 
 jects (95), it may be, without danger, applied as a margin 
 before the dabbing is commenced (84) ; but even this may be 
 dispensed with, for it is of very little consequence whether the 
 dabbing projects beyond what constitutes the drawing, as a 
 little scraping easily removes it. This is the plan I always 
 follow for my own drawings. 
 
 If stopping has been used, the chalk must not be applied 
 before the stone be thoroughly dry, after the soaking, 98 ; but 
 if no stopping has been used, the chalk may be worked on 
 the subject immediately. 
 
 102. An ink outline may however be made before the 
 dabbing is applied, and even if the stone is to be soaked, 
 without any danger; this mode of proceeding will be found 
 very convenient for drawings of machinery, architecture, &c. 
 Plate 10 was executed according to this method. 
 
72 
 
 the: aft of 
 
 OF THE UNION OF CHALK AND DABBING. 
 
 The union of chalk to dabbing requires some precautions in 
 many instances. 
 
 103. The tint produced by the dabbing being extremely 
 delicate, if the chalk be coarsely laid on in the light tints, 
 although it may not shew so much in the drawing, (78, 81), it 
 will form such a contrast with the delicate tints of the dabbing, 
 in the impressions, that the artist often wishes, on seeing a 
 proof, that he had never applied any chalk in those parts. 
 
 104. It is however easy, with care, to avoid this defect, 
 which occurs chiefly in clouds and in distances, for by using 
 a very long sharp point, and drawing the tint close and 
 delicate (41, 49, and 50), the dabbing may be imitated by 
 the chalk, so as to harmonize completely with it. 
 
 In fig. 2, plate 9, the clouds b, b, are drawn with care, 
 and the clouds a, a, in a coarse and careless manner. 
 
 105. With regard to the darker tints, it is useless to 
 make any observations, as this contrast does not exist in the 
 same degree, and the darker tones of dabbing are almost 
 
DRAWING ON STONE. 
 
 73 
 
 invariably so covered with chalk, as not to be seen in its ori- 
 ginal state; but for skies, distances, water, light parts of 
 buildings, &c. def. 103 and 104 must be strictly attended to. 
 
 OF THE PEN & INK STYLE. 
 
 106. The best instrument to use in this style is the pen 
 (35); the directions given (38) for the mode of working with 
 the steel pen are to be followed. 
 
 107. For ink drawings the stone must always be polished. 
 
 108. The tracings done as directed (def. 24). 
 
 109 The ink must be worked with soft water, as one 
 would a stick of indian ink, and rubbed until the solution 
 acquires the consistency of cream. 
 
 110. This is a material point to attend to, as, if too thick, 
 it will not flow from the pen, and if too thin, fine lines cannot 
 be produced, the ink will run on the stone, and the lines being 
 poorly fed with, ink, will not stand the etching, and will look 
 
 G 
 
74 
 
 THE ART OF 
 
 broken in the painting. Ink mixed up with water must not 
 be kept, so mixed, longer than three days, as after that period 
 it gets clammy, and does not flow freely from the pen, 
 
 111. To be successful, every part of an ink drawing 
 must look black, and well fed with ink; if it has not that 
 appearance, it cannot print well. 
 
 112. Whatever effect is intended in an ink drawing, it 
 must be done by thicker or thinner lines, crossed in various 
 directions, as in a copper-plate etching, the ink being always 
 used equally thick. Some persons think, that by using the ink 
 thinner for the distance, and thicker in the parts nearer the 
 eye, they will obtain a better effect* It is so certainly for 
 the eye, so long as the drawing is left on the stone; but, 
 when printed, either those lines which were poorly fed (.110), 
 will break up, and not print at all, or else they will print as 
 black as those which were drawn with thick ink, so as to spoil 
 completely the effect of the drawing (see fig. 3, plate 5, in 
 which only a few traces of the mountains remain, and all the 
 lines of the distance having been drawn with weak ink, are 
 broken and partly gone). It is evident, therefore, that in 
 making a pen and ink drawing, the tints of the ink must never 
 
DRAWING ON STONE. 
 
 75 
 
 be altered, but all the lines kept as black as possible, and a 
 varied effect produced merely by the fineness or the thickness 
 of the lines. 
 
 113. It often happens, during the execution of an ink 
 drawing, that two lines run together; this is easily remedied, 
 by waiting till the lines are dry, when they may be separated 
 and opened with an etching needle ; indeed, when an ink 
 drawing is completed, it is necessary to examine it with care, 
 and open with a needle all those parts which are not suffi- 
 ciently clear and distinct. 
 
 This style is admirably calculated for maps, machinery, 
 plans, wrappers of books, writings,* &c.; but it is useless to 
 attempt the representation of landscapes beyond the imitation 
 of pen and ink sketches, as very fine lines, such as are ne- 
 cessary for skies and distances, cannot be produced. 
 
 114. Some persons have also attempted drawing with 
 ink on a stone, as they would with washes of indian ink; a 
 drawing so executed is sure to fail, for, first of all, from the 
 
 * See the title page of this work, as an example of writing executed in 
 this style. 
 
• .76 
 
 THE ART OF 
 
 absorption of the stone, it is impossible to lay on a flat tint, 
 every touch sinking in as it would on blotting paper; and 
 secondly, as it is not the black contained in the ink which 
 transmits the impressions, but the grease, two things must 
 happen — either in the light parts there will not be grease 
 enough to resist the etching, and those parts will not print at 
 all; or else, if they stand, they will print completely black ; 
 see fig. 4, plate 5, in which only a few traces of the sky are 
 perceivable, the tints of the mountains are either broken or too 
 black, and the whole appearance that of a drawing completely 
 spoiled. 
 
 The brush is not near so good a tool to employ for ink 
 drawings as the pen, from its requiring so repeated and con- 
 tinual a supply of ink. 
 
 OF THE MIXTURE OF INK AND CHALK. 
 
 115. Lithographic chalk is applied in a dry state to the 
 stone, and consequently in this style the touches remain as 
 they are laid on. This is not the case with ink, when laid 
 on a grained stone, for, as the ink is liquid, a small portion 
 
DRAWING ON STONE. 
 
 77 • 
 
 of this liquid, (which is a soapy solution), is absorbed by the 
 stone on each side of the line; and although to the eye this 
 line appears fine, (the black deposited by the pen being the 
 only visible part), it will, when printed, be much thicker 
 than when first drawn, as the portion of stone which has 
 absorbed the soapy solution will take the ink, as well as 
 the black line originally formed by the pen or the brush. 
 What I have said, may serve as a sufficient caution never to 
 attempt giving an ink outline, or ink touches, to any faint 
 part of a drawing ; for it will invariably spoil the subject, as 
 illustrated in fig. 1, plate 4. In middle tints, however, the 
 pen may be used with advantage to give sharpness, but still 
 the intended effect must be produced by a series of thin and 
 delicate lines, and not by thick touches ; in the dark parts of 
 a drawing, bold touches of ink may be used to great ad- 
 vantage, see fig. 2, plate 4 
 
 116. With proper care, very fine ink outlines may be 
 produced, on a grained stone, with a small sable (36); this 
 tool may be used with great advantage, even so as not to 
 interfere with the delicate tints of the chalk, or spoil their 
 appearance. This mode of producing fine lines, is very useful 
 
78 
 
 THE ART OF 
 
 for giving sharpness to architectural subjects, &c. In general, 
 finishing touches with the pen will be found of immense use in 
 giving sharpness to figures, cattle, and small objects, in the 
 fore ground. 
 
 OF TRANSFERS. 
 
 1 17. One of the most useful applications of Lithography, 
 is the possibility of writing with lithographic ink on a prepared 
 paper, and throwing or transferring the writing on a stone, 
 and printing from a transfer so made. The paper, however, 
 on which it is necessary to write, is not near so pleasant as 
 common paper, as the preparation is continually taken up by 
 the nib of the pen, and clogs it up : this obliges the writer to 
 wipe his pen at almost every word, and causes it to write 
 thick, after a few lines have been traced : therefore, as writing- 
 on this paper requires care and practice, it is preferable to 
 transcribe with common ink on paper, the circular or writing 
 wanted, and to get a fac simile made and printed at a litho- 
 graphic printing office. 
 
 If, however, it is desirable to make the transfer one’s self, 
 
DRAWING ON STONE. 
 
 79 
 
 it is requisite the directions given, 109, 1J0, 111, be strictly 
 attended to ; it being recollected, that the ink used for writing 
 transfers, is not the same as that used for drawing on stone; 
 this latter is of a much stiffer quality. 
 
 See plate 18 for a specimen of transfer, and of fac similes. 
 
 OF WRAPPERS FOR BOOKS. 
 
 118. Very beautiful wrappers for books, and ornaments 
 of various descriptions, may be drawn by tracing with gum 
 water those parts intended to be white, and covering the 
 whole stone afterwards with a greasy ink ; which of course 
 cannot touch the stone wherever the gum has been previously 
 applied. Previously to applying the gum, the detail and 
 interior parts of the ornament ought to be made out with 
 lithographic ink, and the gum then laid over in all those parts 
 which are to be white. This is all the artist has to do, the 
 rest being the business of the printer. It is of course ne- 
 cessary to form a margin with gum water all round the sub- 
 ject. The wrapper of this work is given as a specimen of this 
 
 manner. 
 
80 
 
 THE ART OF 
 
 OF TRANSFERRING COPPER PLATE 
 IMPRESSIONS TO THE STONE. 
 
 119. This discovery bids fair to become one of the most 
 useful applications of lithography, as it may be applied with 
 immense advantage for book plates, labels of every de- 
 scription, bill heads, banker’s checks, &c. &c. where long 
 numbers are wanted, for, with one copper-plate alone, 
 millions of impressions can be obtained. By throwing off 
 several impressions on one stone, a considerable saving can 
 be obtained in the printing, plate 16* and 17, are examples 
 also of this process. 
 
 * This impression was thrown off on stone by permission of Mr. lbbetson, 
 from an engraving executed by machinery on copper plates. Original impres- 
 sions from the same copper plate may be seen in his publication, entitled “ A 
 Practical View of an Invention for better protecting Bank Notes against For- 
 gery”, a copy of which is in the library of the Society of Arts, and thus a com- 
 parison between this lithographic impression, and an original impression from 
 the copper plate itself, is available to all. I must beg leave to observe here, 
 that the specimens given, are from copper plates, from which many impressions 
 had already been taken, which are, consequently, partly worn out. 
 
DRAWING ON STONE. 
 
 81 
 
 OF PRINTING WITH TWO PLATES. 
 
 120. The German artists, principally, make great use of 
 various tints, which are added, to the original black and white 
 impression. This mode of printing has been rarely adopted 
 in this country ; but when employed with judgment, is ca- 
 pable of producing very beautiful effects. The first plate, is 
 a chalk drawing done in the common manner; when finished, 
 an impression of this drawing is thrown on a polished stone, 
 and a transparent coating of a waxy substance laid over the 
 impression thus transferred. In this state it is sent to the 
 artist, who must scrape away this waxy coating wherever he 
 wishes white lights to appear. To produce a good effect, in 
 this way, requires some judgment; the lights must never be 
 scraped out too broad, for the impressions will have a snowy 
 appearance, which will be very disagreeable ; the effect must 
 be rather produced by small scratches close to one another, 
 it being well borne in mind, that half tints of white cannot be 
 scraped out. Every line scraped will be positive light ; but 
 the effect of half tints must be produced by the fineness of 
 
 H 
 
82 
 
 THE ART OF 
 
 the lines, and not by the more or less scraping of the waxy 
 coating. 
 
 In scraping, the artist must feel that he has actually 
 removed the waxy coating, and that the tool has touched the 
 face of the stone, if not, the intended light will nof tell, and 
 the scraping become useless. For imitating the rough touches 
 of white chalk, it is a very good plan to jag (by striking with 
 a knife) the edge of the tool used in scraping. With such a 
 tool, a ruggedness will be given to the scraping, which could 
 not be easily imitated in any other manner; but unless they 
 are scraped with art, these lights will have a heavy and mecha- 
 nical look in the printing. 
 
 121. There is another method of executing the tint 
 plates, which some persons prefer, it is as follows: after the 
 printer has thrown off an impression of the drawing on a po- 
 lished stone, instead of laying on a waxy mixture, the stone 
 is sent to the artist, who lays on gum water (as in def. 118) 
 over all those parts which are intended to be white ; a margin 
 of gum must also be added, and the rest is done by the 
 printer. I have given, as an example, the tint plate alone, 
 plate 14, and the tint plate added to the first drawing, plate IS. 
 
DRAWING ON STONE. 
 
 83 
 
 OF CORRECTIONS. 
 
 Corrections, I am sorry to say, in the chalk style cannot 
 be made to any great extent, and in dabbing are impossible. 
 
 122. If in a chalk drawing it is desirable to take out 
 any part, a small piece of lithographic stone, as large as a 
 shilling, or a half crown (according to the size of the part to 
 be effaced) must be used as a muller, with some very fine dry 
 sifted sand, and the part rubbed dry, until the sand be reduced 
 to a fine white powder, (pumice stone must never be used 
 for this operation, as it polishes the stone). When the grain 
 is brought to a proper degree of fineness by so rubbing, the 
 dust must be well brushed off, and wiped, and the drawing 
 proceeded with over that part. Water must on no account be 
 used in this operation, as it would dissolve a portion of the 
 chalk of the remaining part of the drawing, and produce a 
 black seam in the printing, which nothing would remove. 
 
 123. If only a small portion of the drawing is wanted to 
 be removed, this must be done with a sharp etching needle, 
 digging, as it were, close dots in the surface of the stone, so 
 
84 
 
 THE ART OF 
 
 as to imitate the grain. It is very necessary, however, not to 
 go too deep into the surface of the stone, for holes would b& 
 formed, which in printing would fill mechanically with ink ; 
 on the other hand, if the picking be done too slightly, the 
 chalk not being sufficiently removed from the stone, will re- 
 appear in the printing; it is necessary to feel that the needle 
 actually bites the surface of the stone, without, nevertheless, 
 actually forming a hole. The needle must have a very fine 
 point for such an operation, otherwise it would form in picking 
 large white specks, which could never be repaired. 
 
 In fig. 8, plate 3, in the tint d, I have picked out a small 
 portion from b to b, the tint d having been originally drawn 
 square over the ground tint A. I have, also, beginning 
 from the cross section a, a, picked a portion of the line, c, c, 
 which was continued downwards beyond the line a, a. 
 
 124. There is also another mode of correcting, which is, 
 instead of picking dots, to guide the needle with a sort of 
 net work motion, similar to the lines given in fig. 9 ; these 
 lines are magnified in this figure, to shew them more clearly. 
 In moving the needle with a similar motion, on a much smaller 
 scale, over a tint, the grain of the stone is very well imitated. 
 
DRAWING ON STONE. 
 
 85 
 
 and a tint lightened or removed. During this operation, as 
 well as during picking, the stone must every now and then 
 be brushed, to remove the dust formed by the needle, and see 
 whether the operation has been properly, and sufficiently, 
 performed. 
 
 125. If an error has been made in a chalk drawing, the 
 above are the only helps 1 can give. Some persons, when 
 they have made a fault, scrape out the part, and draw over 
 the part so scraped; this must never be resorted to, for the 
 drawing will invariably fail in that part, as may be seen at F., 
 plate 11, where a part of the rock on the right hand has been 
 so scraped. 
 
 126. In drawing sharp lines, or at least lines intended to 
 be sharp, over a tint which is already laid on, it occurs fre- 
 quently, from the waxy nature of the chalk, that a sort of 
 beard or blur is formed on each side of the line, see line a, a, 
 fig. IS, plate 4, where this blur is left. Wherever this happens, 
 and sharpness is wanted, these small portions of chalk must 
 be carefully picked out, as has been done with line b, b, which 
 had when drawn a rough edge, similar to that of line a, a ; the 
 two zigzag lines have also been treated in the same way, the one 
 
86 
 
 THE ART OF 
 
 attached to b, b, having been picked, and the one attached to 
 a, a, not altered. This blur often occurs when drawing rigging 
 and masts of ships, on dark skies, or small buildings, spires, 
 &c. in the distance, when placed over another tint. In all 
 these cases these blurs, which destroy all the sharpness, must 
 be carefully removed by picking. 
 
 127. Corrections are much easier made in ink drawings; 
 the part may either be pumiced down with a little water, or 
 gently scraped with a sharp scraper : great care must be taken 
 in so doing not to produce a hollow, for that part would 
 either not print, or at least be very defective, although looking 
 sound on the stone, from the pressure not being felt in the 
 hollow part when printed. 
 
 OF SOME CAUSES OF FAILURE. 
 
 128. A very common disaster in drawing on stone, is 
 produced by persons having scurfy hair, for these small pelli- 
 cles imbibed with grease, fall from the head on the stone, 
 and form spots which do not shew in the least, until the 
 drawing is printed, when they form multitudes of black specks 
 
DRAWING ON STONE, 
 
 87 
 
 as seen imthe sky in plate 11, marked D. D. D., See. It is con- 
 sequently a safe precaution, whether the artist’s hair be greasy 
 or not, to wear a cap of some sort while drawing on stone. 
 
 129. Spittle, when it falls on the stone, acts as gum, and 
 hinders the chalk from adhering to the part where it has 
 fallen, forming thereby white spots. These generally occur in 
 attempting to blow off loose bits of chalk (def. 20), or by 
 coughing, or sneezing, over the stone. In plate 11, at letter 
 B., will be seen several spots of spittle, producing white spots; 
 also in the lower part of the drawing, on the right hand side 
 over the letter A, is a large spot of spittle which was wiped 
 up, but has still left a faint white trace. Perspiring fingers, if 
 they touch the face of the stone, will also form black stains, 
 which may completely ruin a drawing, as seen in letter E. E., 
 plate 11. 
 
 130. Scraping a grained stone, and drawing over that 
 part again, is another cause of failure, (def. 125); this case is 
 given at letter F. 
 
 131. Making a heavy outline with lead pencil will in- 
 variably produce a white line in the printing (def. 22); the 
 lead pencil acting as a medium between the stone and the 
 
88 
 
 THE ART OF 
 
 chalk; at C. C., plate 11, in the trunks of the trees, on the 
 rock in the fore ground, in the roof of the house on the left, 
 and in the outline of the mountains, are giving examples of this 
 defect. 
 
 132. Using paper under the hand, instead of a bridge, 
 (def. 14) is sure to form a tint at the bottom of the drawing, 
 see A. A., plate 8; as well as the letters a, a, a, placed at the 
 spots formed by loose bits of chalk, which have stuck to the 
 paper (def. 15). 
 
 133. Rubbing out with bread crumb, or with india rub- 
 ber, will ruin the part where it is applied, as at G., plate 11, 
 where part of the tree has been rubbed out in this manner. 
 
 134. It is scarcely necessary to add to this list of 
 disasters, that soap and water, or grease of any sort, falling on 
 the face of the stone, will infallibly ruin the drawing; and that 
 spots of this nature are very treacherous, as from their con- 
 taining no black, they disappear as soon as formed, to re- 
 appear again in the printing, in the shape of tremendous black 
 blotches. 
 
DRAWING ON STONE. 
 
 89 
 
 OF PICKING A DRAWING AFTER IT IS 
 PROVED. 
 
 135. As, from what has been said, 75, 79, and 80, it is 
 often desirable to smooth and even tints on the stone, after a 
 few impressions have been pulled off, from the rough and 
 uneven appearance which they have; the picking recommended 
 (122), must be resorted to, with this difference, that as soon 
 as a portion has been picked, a little acid, (nitric acid diluted 
 to the strength of vinegar) must be applied to the part so 
 picked, with a small brush. The acid must, as much as pos* 
 sible, be only applied to the spot which has been picked, 
 without allowing it to run over the other portions of the 
 drawing surrounding it; it must be allowed to remain 
 long enough to produce a slight action, and then immedi- 
 ately taken up with a small piece of damp (not wet) sponge. 
 This precaution of applying the acid to the spot only, is 
 not so necessary in the darker parts, where the action of 
 the acid must be allowed to last longer, but in the fainter 
 parts, this is an important point to attend to, for, otherwise, 
 the consequence would be a round white spot. Where it is 
 
90 
 
 THE ART OF 
 
 desirable to remove spots, such, for example, as the spots 
 produced by the scurf of hair (128) in a light sky, the acid 
 must be used still weaker than recommended above, and after 
 the part is picked, so as to be brought as faint as the sur- 
 rounding tint, the acid must be applied in that part only 
 which constituted the spot. The recommendation given (52), is 
 highly requisite when picking a drawing which has already 
 been prepared ; for the stone in this state very easily absorbs 
 moisture, and getting thoroughly wet, from the breath of the 
 artist, will cause the acid, when applied, to run in every 
 direction ; the stone in every instance must be quite dry before 
 the acid is laidon. 
 
 In picking a prepared drawing, it is also indispensable to 
 use a bridge, 17, and never a sheet of paper; for the ink which 
 is now on the stone, is of a much fatter nature than the chalk 
 which constituted the drawing, and therefore the least rub- 
 bing, will smear it all over the stone. 
 
DRAWING ON STONE. 
 
 91 
 
 OF PACKING STONES. 
 
 Persons residing in the country, or in distant towns, are 
 often embarassed as to the mode of conveying stones with 
 drawings on them. When one drawing alone is to be sent, 
 there is not much difficulty, although, even in this instance, I 
 have received some which were spoiled by improper packing; 
 but when two, or more, are to be sent together, they are often 
 fixed with bits of wood, and small wedges, which get loose, 
 and ruin the drawings. 
 
 Fig. 8, plate 7, gives a section of a box with two stones 
 packed, and fig. 9, a plan. The first stone, properly papered 
 up, must be laid in the bottom of the box, with the face, or 
 drawing, upwards; two slips of wood, a, a, exactly of the 
 same length as the width of the box, and about three-fourths 
 of an inch broad, must be fixed at each end of the stone. 
 These slips resting on the margin of the stone (28), and not 
 on the drawing, cannot spoil it. It is necessary that these 
 slips a , a, should be fixed, so as not to come loose during the 
 journey; the best mode is this, through the outside of the box 
 drive a screw, e, fig. 9, into each end of the slips, a, a; by 
 
92 THE art of drawing on stone. 
 
 this means the slips can never get loose. I recommend screws 
 instead of nails, because if the latter are used, the slips «, a, 
 can only be got out by breaking the box to pieces. It is 
 scarcely necessary to add that the slips a, a, must be fixed, so 
 as to keep the stone down tight; this must be done by boring 
 the holes for the screws e, e, properly, and never by using 
 ■wedges, or little pieces of wood, which almost always get 
 loose in the journey. 
 
 The slips a, a, being properly fixed, serve' as a rest for the 
 second stone, which must be fixed with similar slips a , a , and, 
 last of all, the cover nailed down. A box thus packed, may 
 be conveyed to any distance, without the least risk. 
 
 THE END. 
 
 J. Davy, Printer, 15, Queen Street , Seven Dials. 
 

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LITHOGRAPHIC WORKS, 
 
 PRINTED BY 
 
 C. IIULLMANDEL, FOR R. ACKERMANN. 
 
 £. s. d. 
 
 Ward’s Horses . . plain, each 080 
 
 No. 1 to 6. Britannia Delineata plain, each 0 15 0 
 
 No. 1 to 10. Views of the Simplon each 0 8 0 
 
 No. 1 to 10. Views of Mont Cenis. each 0 8 0 
 
 No. Views of the South of Germany .plain, each 0 8 0 
 
 No. 1 to 4. Prout’s Rhine ..each 0 10 6 
 
 No. 1 to 10. Architectural Ornaments each 0 7 6 
 
 No. 1 to 4. Ditto ditto, new Edition 0 7 6 
 
 Drawing-Book, 1822 each 0 0 8 
 
 Ditto, 1823 each 0 0 9 
 
 Ancient Danish Vessel 0 4 6 
 
 Ornamental Designs, coloured 0 4 6 
 
 Group of Flowers, coloured 0 14 0 
 
 Studies from Nature each 0 2 0 
 
 Prout’s Foreign Views each 0 2 0 
 
 6 Views of Fountains Abbey 0 18 0 
 
 6 Views, Castles in Yorkshire 0 5 0 
 
 6 Views in Wales 0 5 0 
 
 G Views in Scarborough, india paper 0 18 0 
 
 No. 1 to 5. Sketches of British Scenery each 0 10 6 
 
 No. 1 to 6. Sketches from Nature each 0 8 0 
 
 No. 1 to 4. Roman Costumes, plain each 0 6 0 
 
 No. 1 to 4. Ditto ditto, coloured ..each 0 12 0 
 
 No. 1 to 4. Costumes of Persia, coloured each 0 18 0 
 
 Print, Cottage Door 0 5 0 
 
 Lithographic Album 0 10 6 
 
^LITHOGRAPHIC WORKS. 
 
 £. s. d. 
 
 "No. 1 to 6. Selection of Flowers, coloured each 0 12 0 
 
 Illustrations of the Drama 0 10 0 
 
 Lithographic Flowers from Nature 1 10 0 
 
 Easy Lessons in Landscapes 0 10 
 
 Rudiments of Figures 0 1 0 
 
 Prout’s New Drawing Book 0 6 0 
 
 Prout’s Lithographic Views .. 0 10 
 
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 Senefelder’s History and Instructions in Lithography . . 16 0 
 
 Grattan’s Advanced Lessons, a Series of Six Lessons 
 
 of Rustic Figures 0 10 6 
 
 An Indiaman Ashore, drawn by Prout, and on Stone 
 
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 View of Leeds, drawn by Turner, and on Stone by J. 
 
 D. Harding, india paper 0 8 0 
 
 View of Wallow Crag, Cumberland, drawn by Havell 
 
 and Harding, india paper 0 6 0 
 
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 Hebe, drawn on Stone by Grattan 
 
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 A Portrait of Rossini 0 2 0 
 
 The Goatheard 0 5 0 
 
 Portrait of Mr. Macready, in the part of King 
 
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 Grattan’s Drawing Book of Figures 0 2 6 
 
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 drawings by Prout, india paper, each 4s. plain .... 0 3 0 
 
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