THE UNIVERSITY 
 OF ILLINOIS 
 LIBRARY 
 
 7 
 
 St 61 
 
INSTRUCTIONS 
 
 IN THE 
 
 ART OF LITHOGRAPHY. 
 
 By C. STRAKER. 
 
 LONDON : 
 
 PUBLISHED BY BENJAMIN WINSTONE, 100, SHOE LANE, E.C. 
 
 1867. 
 
Ill IMItOYWHVIIT 
 A I /111' 
 
 
 Digitized by the Internet Archive 
 in 2016 
 
 https://archive.org/details/instructionsinarOOstra 
 
INTRODUCTION. 
 
 in 
 
 O 
 
 Po 
 
 nS 
 
 To supply a long-felt deficiency, we have been induced to 
 publish the results of many years’ practical experience in 
 Lithography, with a confident hope that our hints may 
 prove useful not only to Amateurs for reproducing and 
 multiplying sketches either in outline or color — to the 
 Merchant and Manufacturer, both at home and abroad, as 
 an accessory to their businesses, enabling them to produce 
 private communications, telegrams, prices current, &c., in 
 y ' their counting-houses — but to the Printing Trade who 
 wish to add this important branch to their existing 
 plants. 
 
 It has, hitherto, been the general plan of all writers on 
 the subject to envelope in mystery the principal proceedings 
 of the practical lithographer — entering into the scientific 
 v theory instead of giving that plain information, which alone 
 can be of real assistance to the amateur; in supplying, 
 therefore, that information which has been continuously 
 sought at our hands to promote the introduction of the 
 art, not in the provinces alone, but also in the colonies, we 
 are convinced that the general rule of giving too numerous 
 methods of proceeding serves only to bewilder rather than 
 instruct. We have, therefore, devoted the following pages 
 
 
 CO 
 
 A 
 
INTRODUCTION. 
 
 to the purpose of explaining the most ready means of 
 pursuing this most interesting and useful art, being assured 
 that, by strict adherence to the principles set forth, the 
 most satisfactory results can be obtained. The progress 
 of the art having rendered the manufacture of the materials 
 employed a separate and special business, the lithographer 
 of the present day is, therefore, not only released from the 
 difficulties which have hitherto surrounded him in their 
 production, but he is enabled also to purchase his require- 
 ments at a considerably less cost than he could produce 
 them. 
 
 It may appear to those who are imperfectly acquainted 
 with the art, that because the operations are of such 
 apparent simplicity, less care in their execution is 
 needed ; but this is a mistaken idea. Lithography 
 depends less upon mechanical than chemical principles ; 
 the process, therefore, demands extreme nicety and care ; 
 and, it must be observed, that the success of the operator 
 mainly depends upon his attention to little things. 
 Embarrassments and difficulties, which may frequently 
 occur to the beginner, can generally be tracesd to neglect of 
 small details, which he may not have deemed worthy his 
 attention; let those, therefore, who would succeed, bear 
 these remarks in mind, and they need scarcely fear failure. 
 
 C. S. 
 
 80, Bishopsgate Street Within, 
 London. 
 
LITHOGRAPHY 
 
 ♦ — 
 
 THE EARLY HISTORY OF LITHOGRAPHY. 
 
 For the invention of lithography we are indebted to Aloys 
 Senefelder, a native of Prague, although a resident of 
 Munich at the time of its discovery, in 1798. 
 
 The youth of this gifted man was a constant scene of 
 privation and distress. With a taste for dramatic per- 
 formance, and yet not sufficient talent to render him the 
 fame he sought, disappointment drove him to try another 
 branch of the theatrical art, viz. — composition. Of his 
 productions in this line we know nothing, but that he 
 obtained, through them, access to a printer’s office ; and, 
 by aid of quick observation, an ingenious disposition, and 
 steady perseverance, gained sufficient knowledge to pursue 
 the art with some success. 
 
 Want of means was the great obstacle which opposed 
 Senefelder’s progress, and yet to this deficiency lithography 
 owes its birth. His first thoughts were how to obtain 
 ready and cheap printing materials for his use, and for 
 this the stones of Kellheim appeared to him very good 
 
 B 
 
2 
 
 LITHOGRAPHY. 
 
 substitutes for metal plates, which he used for reverse 
 writing, &c. His plan was to cover the stone with a 
 varnish, of which wax, soap, and turpentine were the 
 principal ingredients, and to scrape his design or writing 
 on this composition with a metal point, which plan we 
 learn, did not answer well ; and it was not until the July 
 of 1796, that accident brought to light the real value of 
 these substitutes. 
 
 Having to write out a laundress’ bill, and finding no 
 paper for the purpose, Senefelder used in haste, the corner 
 of one of his polished stones, on which he wrote with his 
 varnish the required bill, and before rubbing it off he was 
 determined to see what would become of his writing when 
 subjected to the action of acids, and the aid of the dabber 
 charged with printing ink. The results proved to him 
 that he had discovered lithography, and from that time he 
 abandoned his mechanical mode of printing for one on 
 purely chemical principles. 
 
 With untiring perseverance he followed out his first 
 attempt, and made many trials during the space of two 
 years, when he became acquainted with M. Gleissner, a 
 composer of music, who gave him that assistance which 
 raised the new art from a state of trial to one of application. 
 The inventor and his associate printed music, with presses 
 roughly constructed, but from which were issued, as the 
 first lithographic productions, twelve airs, with accom- 
 paniments, for the piano, and two duets for the flute. 
 
LITHOGRAPHY. 
 
 3 
 
 In 1801 Senefelder was brought to London by M. 
 Philippe Andre, but after a stay of seven months, he 
 returned home disappointed of success; and during the 
 following twelve years, he laboured with increasing 
 diligence towards the perfection of the art. 
 
 In 1815 Count Lastevrie opened a lithographic estab- 
 lishment at Paris, and G. Englemann also established one 
 at Mulhausen. At the former place, during the follow- 
 ing year, three more were added, viz., those of Constans, 
 V ellain, and Englemann, and lithography began now to 
 make rapid progress. Amongst the names of those who 
 assisted to perfect it, we may mention M. Knecht, Aretin, 
 Waulich, Mitterer, &c. 
 
 Better favoured than many other men of genius, Sene- 
 felder lived to enjoy the benefits and honour of his invention. 
 The King of Bavaria, a patron of the arts, granted him 
 a pension, which rendered his latter years free from all 
 pecuniary anxiety ; added to which, the sovereigns of 
 Austria, Saxony, Bussia, and England, honoured Senefelder 
 by presenting him with rings and medals, to show their 
 appreciation of his genius. 
 
 Senefelder died February 26th, 1834, after a short 
 illness, hastened, it is supposed, by grief at having lost 
 his sight, which he was deprived of six weeks before 
 his decease. A monument was erected to his memory, 
 by order of his royal patron, built with the stone of 
 Kelllieim. 
 
4 
 
 LITHOGRAPHY. 
 
 Some time after interment the remains of Senefelder 
 were exhumed and placed in the Pantheon of modern 
 Athens. A large statue of the inventor of lithography has 
 been erected, and a street of the capital of Bavaria has 
 received his name. 
 
 At the exhumation of his body, strange to relate, there 
 was found in his brain two stones, each of the size of a 
 nut, and covered with a smooth white skin. These stones, 
 which in Germany are called “ Fenensteine,” have been 
 deposited with the Polytechnic Society of that country. 
 It is a complaint rarely, but still occasionally heard of, and 
 may explain the frequent headache with which Senefelder 
 was afflicted. 
 
 Since the death of Senefelder lithography has progressed 
 with tenfold rapidity. France, Austria, and Germany, 
 have supplied many bright examples of talent and industry, 
 in men who have striven, and are striving, to render it still 
 more widely known and appreciated. Nor can we say 
 that England has been deficient, as many of her productions 
 testify. As a practical and working country she has also 
 done her part, for what the higher imaginations of con- 
 tinental artists have contemplated she has carried out; 
 and if it has not been employed by us for purposes of 
 embellishment so much as in France and Germany, we 
 have turned it to much account, and it has grown, from a 
 little branch, to be almost as great an art as letter-press 
 printing, both as regards the multiplicity of application, 
 
LITHOGRAPHY. 
 
 5 
 
 and facility with which its advantages can be made use of; 
 opening, as it has, so many branches, and so wide a 
 field for further extension. To the artist it is invaluable : 
 it enables him to produce fac simile of his drawings ; and 
 the merchant finds it useful to facilitate the carrying out 
 of many of his transactions. 
 
LITHOGRAPHY. 
 
 6 
 
 THEORY OF LITHOGRAPHY. 
 
 To enter into the minute details of the theory of Litho- 
 graphy would be too voluminous ; and, therefore, we 
 merely append a few simple principles which the pro- 
 cess of Lithography depends upon : — 
 
 1st. The facility with which water is imbibed by the 
 calcareous stone and all porous bodies. 
 
 2nd. The penetration or the strong adherence of greasy 
 bodies to the calcareous stone. 
 
 3rd. The affinity greasy bodies have to each other, and 
 their repulsion by water. 
 
 The result of these principles is the basis of Lithography, 
 for— 
 
 1st. If a greasy line is traced upon the prepared stone it 
 adheres so strongly that it cannot be erased without 
 removing the surface of the stone whatever means may be 
 employed, whether mechanical or chemical. 
 
 2nd. All those parts of the stone not covered with a 
 greasy body receives and maintains the water until evapo- 
 ration takes place, when the stone is left in the same 
 condition as before the water was applied. It therefore 
 results, if a roller charged with a greasy ink is passed over 
 the stone, the grease attaches itself only to the greasy lines 
 previously traced, and is repulsed by the moisture which 
 remains on the surface. It then remains that the medium 
 
LITHOGRAPHY. 
 
 7 
 
 to be employed — in the shape of inks or chalks — should 
 be composed of a greasy compound, to penetrate into the 
 stone, and to adhere in such a way as to resist the action 
 of the repeated damping the stone is subject to in course 
 of printing. Soap, wax, and resinous compounds ac- 
 complish this end. 
 
 Gum and acid are two indispensable agents also 
 employed, and their action is as follows: — 
 
 Gum is absorbed in the pores of the stone, and by some 
 is considered to fill them up, and thus prevent their occu- 
 pation by grease. Be that as it may; if a stone be washed 
 over with a solution of gum, however thin, grease will not 
 adhere to those parts which have received it 
 
 Its application, therefore, is to prevent the greasy lines 
 from spreading or thickening, and also to prevent the sur- 
 face of the stone not drawn upon being susceptible of re- 
 ceiving fresh grease. 
 
 The action of acid is to destroy the surface of the stone, 
 and all that is contained thereon; it is therefore employed 
 to remove dirt, &c., and to give a sharpness to the artists 
 drawing or to the writing on it. 
 
8 
 
 LITHOGRAPHY. 
 
 LITHOGRAPHIC STONES, AND HOW TO 
 SELECT THEM. 
 
 The lithographic stone is calcareous, very fine and compact, 
 and found in layers of different thickness in various parts 
 of the globe, more particularly in Germany, France, and 
 Italy; but the finest qualities are brought from the quarries 
 of Solenhofen and Pappenheim, in Bavaria. 
 
 Those found in France are of an inferior quality, and 
 are only fit for very common work, such as circulars. 
 The subject worked from these stones has a tendency to 
 clog up and become thick, and they are, moreover, very 
 liable to break while printing ; therefore, preference 
 should be given to the German Stones. 
 
 The following is the analysis of the stone of Bavaria: — 
 Aluminous salt and oxide of iron . . 2 
 
 Carbonate of lime 98 
 
 There are three qualities used for printing. 
 
 For Chalk Drawings. — A stone of the finest quality 
 should be selected, which is of a bluish cast of colour, free 
 from veins or chalk marks, and perfectly even colour. 
 
 For Engraving. — The hardest should have the pre- 
 ference, which is usually a rather lighter colour than those 
 described for chalk drawings. 
 
 For Ink Work, such as writings, plans, and ordinary 
 transfers, the yellow or white stone, being softer, answers 
 
LITHOGRAPH Yi 
 
 9 
 
 every purpose, care being taken in the selection that they 
 do not possess chalk marks, as, in the course of working 
 and the action of acid employed, they wear in holes. 
 
 To see the quality of a stone, the best method is to pass 
 a damp sponge over the surface. The quick absorption of 
 water is an undisputed proof of a stone being soft. A 
 hard one, on the contrary preserves the moisture for 
 several minutes. Veins, fissures, or crystallization exist 
 in some stones, and should to be rejected if intended for 
 fine work, more especially engraving, for where a large 
 number of copies are to be printed the printer’s ink 
 frequently penetrates the defects and prints them with 
 the subject. 
 
 The white spots and streaks, technically called chalk 
 marks, are formed of little holes filled with chalk, which 
 should be carefully avoided for fine work, as they in- 
 variably increase in size and number as the stone is 
 reduced by grinding and polishing; but if not very bad, 
 and the stone is to be used for ordinary commercial work, 
 they need not be regarded with great fear, while they 
 remain intact, which they frequently do. Some stones 
 are composed of thin layers which may be detected by 
 examining the edges ; they invariably come asunder 
 while in process of working. 
 
 Care should be taken in the selection of a stone to see 
 that it be perfectly even both on the face and back. 
 The surface should be tried with a straight-edge, and 
 the substance with a pair of callipers. 
 
10 
 
 LITHOGRAPHY. 
 
 PREPARATION OF THE STONES. 
 
 The lithographic stones when imported are but roughly 
 polished, and require a thorough grinding, in order to 
 effectually remove scratches, or any portion of grease they 
 may have come in contact with, and so render them tit for 
 use. This operation is accomplished by rubbing two 
 stones together, face to face, with silver sand and water. 
 The sand should he sifted through a coarse wire or hair 
 sieve, and the water scrupulously clean. An instrument is 
 used for this purpose which is termed a levigator, and 
 is composed of a heavy flat piece of iron with a 
 handle near the edge, and perforations, in which sand 
 is placed; water being added, and a rotary movement 
 given, the sand passes through the perforations on to 
 the stone. We have had these instruments in use for 
 several years, and find them very effective both for perfectly 
 and speedily erasing the subject, and reducing the stone 
 evenly. 
 
 It is necessary that this process be performed for every 
 variety and nature of subject that the stone is destined to 
 receive. 
 
 In the absence of the levigator, two stones of nearly the 
 same size, colour, and durability intended to be ground 
 are washed well with clean water, one is to be placed face 
 upward, perfectly level on the trough, a small quantity of 
 
LITHOGRAPHY. 
 
 11 
 
 sand sifted upon it, and water added. The second stone is 
 then placed on the top of the first, face to face, and is 
 moved backwards and forwards with an occasional rotary 
 motion. After about twenty minutes the stones are to be 
 transposed, and the grinding continued for about twenty 
 minutes longer, adding fresh sand in its progress, which 
 must be finely ground before commencing the next process. 
 On removing the upper stone let both be well washed 
 with clean water to remove every particle of sand, try the 
 two stones with a metal straight edge, and, if not perfectly 
 level, grind again. 
 
 For Polishing. — After having removed every particle 
 of grit with a sponge and water, take a good sized piece 
 of soft pumice-stone, and, with plenty of water, pass it 
 backwards and forwards until the grain occasioned by 
 the sand is. entirely removed. Wash well again, and 
 take the water ayr-stone (snake-stone) and apply, with 
 abundance of water, the same way, until the stone is very 
 smooth. The time consumed in grinding or erasing an 
 old subject, varies according to the nature of the work, 
 whether fine or heavy ; also the time it has been upon the 
 stone, a heavy subject having been on a long time, 
 necessarily requires more grinding than a fine one only 
 recently transferred. 
 
 The polishing, with pumice and snake-stone, should 
 take about twenty minutes each. 
 
 For Graining the stone a less amount of polishing is 
 
12 
 
 LITHOGRAPHY, 
 
 required, but if scratches exist they must be entirely 
 removed. Wash the portion of the trough that the stone 
 rests upon, and use great precaution to free it from every 
 particle of sand or grit previously employed, (a clean sponge 
 is very useful for this purpose ;) place the stone on the 
 trough as if for polishing, and with a sieve (the fineness to be 
 determined by the nature of the grain required) sift the sand 
 upon its surface and moisten it with water ; place a second 
 stone, the same size, face to face, and with it describe the 
 smallest possible circles, keeping them as regular as 
 practicable, revolving the stone one way. A much 
 smaller stone is sometimes useful, in the event of the 
 grain not being even, but caution must be observed in 
 its use, as it may probably destroy the evenness of the 
 grain. Many grainers employ only the small stone ; but, 
 in our opinion, the process is not so speedy or effectual, 
 as when two of the same size are used; by the former 
 process two stones are grained at the same time. It is 
 important that the two stones should be of the same 
 character, as it is impossible to obtain a good grain if 
 the one is soft and the other hard. 
 
 When the required grain is obtained, carefully remove 
 the top stone and wash well with clean water ; turn both 
 on edge to dry. 
 
 The quality of the grain is very important, and the 
 success of the artist depends greatly upon it. 
 
 It should be examined with a glass; but, to an experi- 
 
LITHOGRAPHY. 
 
 13 
 
 enced eye, it is easily determined by examination at an 
 angle. 
 
 During the process of grinding and graining, the stones 
 should never be left one upon the other, as, when dry, they 
 are difficult to separate, and will be likely to break in 
 endeavouring to part them ; if by any chance they are left 
 and become dry, a knife inserted between them and adding 
 water, is the safest means of separating them. 
 
 The operation of Grinding. — Polishing and graining 
 the stone is of most importance in the process, and unless 
 properly performed, success is impossible, as the agent 
 (gum) employed, to render the stone impervious to the 
 action of grease, must, of necessity, be thoroughly removed 
 before a fresh subject can be transferred. 
 
 The sharp edges and corners of the stones should be 
 rounded off with a rasp and pumice-stone every time they 
 are ground, whether for polishing or graining, as they are 
 apt to dry, and take the ink during the process of printing. 
 
14 
 
 LITHOGRAPHY. 
 
 BACKING OK DOUBLING. 
 
 The unevenness and thinness* of some stones render it 
 imprudent to work them, and run the risk of their break- 
 ing, to obviate which it is necessary to hack them, that is, 
 to place either a stone or slate slab on the back of the one 
 intended to be worked. This is a very easy matter, and is 
 acomplished thus: — Take a stone or slate that is intended 
 for the back ; place it on the trough, rough side uppermost, 
 and moisten both with a damp sponge ; mix the required 
 quantity of plaster of Paris in a tub or basin, or upon the 
 stone to the consistency of thin paste ; place the stone to 
 receive the hack carefully upon it, and move it gradually 
 backwards and forwards to bed it wtell in the plaster; 
 wash the edges, to remove the superfluity, and, when 
 dry, it is fit for use. A small iron chisel inserted between 
 them will easily separate them. 
 
 Where thin or unequal stones, having two faces and 
 subjects to be preserved upon them are to be backed, paste 
 a thick but fine piece of paper upon the face that has the 
 subject upon it, not then required, and proceed as above. 
 
 Where a stone is thicker at one end than the other, 
 thick paper folded so as to gradually taper off at the end, 
 should be placed under it, the thickest part to be placed 
 
 * It is not safe to work a stone thinner than 2$ inches. 
 
LITHOGRAPHY. 
 
 15 
 
 under the thinnest end of the stone. Care must be taken 
 that the termination is not too abrupt, or a broken stone 
 will be the consequence. 
 
 If a stone is broken in course of working, in many cases 
 where the pieces are not too much shattered, they can be 
 backed on another and the job finished; if this is not 
 practicable, tie round with a strong cord and take a 
 retransfer , and transfer to another stone. 
 
16 
 
 LITHOGRAPHY. 
 
 THE PRESS. 
 
 Since the introduction of Lithography there have been 
 many descriptions of presses manufactured. We consider 
 it unnecessary to draw attention to more than two. 
 
 The French or Star press, is preferred by some for 
 working drawings and colours, where nicety of register 
 and regularity of impression are required; but being a 
 slower and a more expensive machine, it does not, in 
 our opinion, possess equivalent advantages. 
 
 The English, or Side Lever, is the press invariably 
 worked in this country, and any results can be obtained 
 by it. 
 
 The Frame should be of iron, firmly made to stand the 
 necessary impression of every kind of work. 
 
 The Carriage, or bed, should be perfectly even, and 
 made of dry wood. Iron bands at the bottom, which 
 must be immediately replaced if (as sometimes occur) 
 they come off whilst working. 
 
 The Cylinder should be turned perfectly even, and 
 oil or grease must not be allowed on its surface. 
 
 The Eccentrics which raise the bed to the scraper are 
 often defective through being made too short, thereby not 
 allowing sufficient play between the stone and the scraper, 
 which is detected by the difficulty of the return of the 
 bed after being pulled through under pressure. 
 
LITHOGRAPHY. 
 
 17 
 
 The larger sized hand presses are advantageously 
 worked by steam. The bed is made to pass under the 
 scraper, and returned to its original position by simply 
 depressing and elevating the lever, so that the cost of an 
 extra hand, or “ puller,” is saved, and a large stone can 
 be worked with as much ease to the printer as a small 
 one. 
 
 The press should be fixed to the floor by screws, and 
 the bearings kept well oiled. 
 
 c 
 
18 
 
 LITHOGRAPHY. 
 
 THE SCRAPER 
 
 Should be made of well-seasoned boxwood, and must not 
 be worked with too sharp an edge ; we would recommend 
 the use of a slip of leather, which should be placed over 
 the edge and tacked at each end. It is desirable to have a 
 good stock of scrapers in working condition, the size of 
 which should be governed by that of the subject ; on no 
 account use a scraper longer than the stone, as the ends 
 protruding are likely to injure the tympan leather ; if the 
 scraper is used without leather, and is uneven, place a sheet 
 of coarse sand-paper on the stone to be printed from, and 
 rub it down to it, and pass a small portion of grease along 
 it before using. In the event of the surface of the stone 
 being uneven, leather on the scraper is very convenient, as 
 a piece of paper can be inserted between the scraper and 
 the leather where the unevenness occurs. 
 
LITHOGRAPHY. 
 
 19 
 
 THE TYMPAN. 
 
 The tympan consists of a frame attached to the bed, and 
 the leather stretched on it. The frame should be strongly 
 made to bear the necessary pressure of the tympan being 
 tightened. The tympans used are of leather, thin sheet 
 brass, or zinc ; the first is more generally adopted, and 
 where the press is employed for miscellaneous work, only 
 recommended ; for commercial work, where expedition is 
 to be desired, those of metal work much easier, and, with 
 careful usage, last a longer time ; the preference should be 
 given to brass; as the zinc is apt to split and spoil the scraper. 
 
 When colour stones, or drawings are to be printed, a 
 leather tympan is to be preferred. 
 
 Before fixing a leather tympan, see that the grain runs 
 from that part of the frame to which the hinges are at- 
 tached, or the friction of the scraper will destroy the 
 leather after a short time. 
 
 Grease is employed in dressing the leather, which, when 
 the leather is new, soaks through it and soils the backing 
 sheets, so that these must be frequently replaced, or they 
 will adhere to the stone. Black lead, mixed with a little 
 tallow, applied occasionally, is the best mode of greasing 
 the tympan, which must be done to enable it to pass easily 
 under the scraper, 
 c 2 
 
20 
 
 LITHOGRAPHY. 
 
 A new tympan leather wants humouring, and should be 
 pulled through the press with a light pressure over a stone 
 the full size of the bed, and be gradually tightened by 
 turning the screws at the end of the frame, until all 
 wrinkles are removed from the leather, and it ceases to 
 stretch. 
 
 Some stones, although thick enough for working safely, 
 require packing underneath ; an even board to tit in the 
 bed of the press, and three thick mill boards, and a 
 sheet of Kamptulicon are therefore necessary. 
 
LITHOGRAPHY. 
 
 21 
 
 THE PRINTING ROLLER 
 
 Is a cylinder of wood varying from 10 to 20 inches in 
 length, and from 10 to 16 inches diameter, (the usual size 
 is 1 2 inches circumference, 1 1 inches long,) with two axles 
 at the ends to form the handles, which should be made of 
 harder wood than the cylinder. 
 
 This cylinder is covered with one or two rolls of 
 coarse flannel tightly sewn, forming a casing — care being- 
 observed that the seams and ends do not overlap each other. 
 This is again covered with a piece of leather evenly sewn. 
 If for black work, the rough or grained side should be 
 outside but if intended for color, the smooth side of the 
 calf leather should be outside, to enable its being washed 
 with turpentine. For tints, a rough grained roller works 
 better than a smooth one. A separate roller should be 
 used for each class of color, such as one for red, yellow, 
 and warm tints, &c., another is required for blue, green, Szc. 
 
 The calf-skin employed for this purpose, must be of the 
 finest description — the grain fine and equal, the perfect 
 selection of which, even by the experienced printer, is by 
 no means a certainty, as its quality cannot be determined 
 until it is in working order. A good skin is often spoilt in 
 preparing it for the work it is destined for. The means of 
 getting a new roller into working order is as follows : — Soak 
 it in thin varnish for twenty-four hours, occasionally rolling 
 it * on the slab ; after which it must be carefully scraped 
 
22 
 
 LITHOGRAPHY. 
 
 from end to end, and a fresh quantity of varnish added, 
 and the same process must be repeated several times ; it 
 should then be used for common work. The skin will 
 now be found to have stretched and become loose, it must 
 be taken off and another roll of flannel placed on and the 
 skin pulled tight by the cord at its ends, care being 
 observed that inequality does not exist in any part. 
 
 A hard roller, not having been much used, is best adapted 
 for chalk work. After long usage, the quantity of ink 
 absorbed in the skin renders it unfit for printing fine tints, 
 but it may be reserved for printing weak and fine ink work 
 by adding one or two more rolls of flannel. A new roller 
 requires a greater quantity of ink than an old one. 
 
 The roller coming so continually in contact with the 
 wet stone, of necessity imbibes a portion of the moisture, 
 this is highly detrimental to the attainment of good work, 
 to obviate which it is necessary that each press should be 
 furnished with two or more rollers in good working con- 
 dition, to be used on alternate days, so as to allow time 
 for the moisture to evaporate. The one not in use should 
 be carefully scraped and placed perpendicularly in a rack, 
 which should also be done at the end of a day’s work. 
 If likely to remain out of use for any length of time, the 
 roller should be rolled up in Russian tallow or oil , to keep 
 it in condition . These instructions, although important for 
 every class of work, should be more particularly observed 
 if intended for color work. 
 
LITHOGRAPHY. 
 
 23 
 
 In the event of a roller becoming deteriorated by the 
 seam bursting, the wood warping, or the flannel rucked, on 
 no account continue its use, or a good skin may be sacrificed. 
 
 The Inking Slab, a thin lithographic stone, about ID 
 by 15 inches, of inferior quality, is fixed in a convenient 
 place on the bulking. An iron table, made expressly for 
 the purpose, is more compact, and answers every purpose 
 for black ink, but is not recommended for color. 
 
 It is as well to have a drawer or cupboard with a rack 
 for the rollers when not in use, and a shelf to contain a 
 small quantity of each of the things required. 
 
24 
 
 LITHOGRAPHY. 
 
 NECESSARY MATERIALS 
 
 Dissolved gum arabic, diluted nitric acid, water, middle 
 and thin varnish, printing ink, turpentine, green oil, 
 damping cloth, three sponges (one each for water, gum, 
 and acid,) two palette knives, tracing point, eraser, wooden 
 point, roller and handles, oil can, and a parallel rule, 
 square, boxwood scrapers, rasp and sand-paper, sieve, and 
 tine sand, snake-stone, pumice-stone, damping canvass, 
 transfer paper and ink, ruling pens, lithographic writing 
 pens. 
 
LITHOGRAPHY. 
 
 25 
 
 TRANSFER LITHOGRAPHY. 
 
 TO PRODUCE WRITINGS AND INK DRAWINGS ON 
 TRANSFER PAPER. 
 
 The proper Ink for producing the Lithographic Manu- 
 script, being better preserved in cakes, is to be rubbed 
 off in a warm saucer, and a few drops of boiling soft or 
 distilled water added (as Indian Ink) working it with the 
 fingers until it becomes the consistency of thin cream ; 
 then placed in a small stopper bottle, to exclude it as 
 much as possible from the air ; in this state it will keep 
 fit for use, several days. Should it, however, thicken, or 
 refuse to flow freely, a fresh supply must be made, rather 
 than attempt to dilute it. In warm weather, when the 
 ink is exposed to the atmosphere, it will require frequent 
 renewal. Fluid transfer ink can be obtained which 
 answers every purpose. 
 
 The Pen best adapted for clear productions, is the 
 Lithographic Pen , the delicate character of which requires 
 some experience to work with ; it produces a fine, clear, 
 and solid line, which no other description of pen can 
 approach ; while its elastic nature needs more than usual 
 care in its management. The finest ordinary steel pens 
 and crow quills are the next best for use; the former 
 however, are wanting in elasticity, and the latter requires 
 so frequently repairing, that they fail to produce an equal 
 
26 
 
 LITHOGRAPHY. 
 
 character of writing, which is so essential to ensure a 
 successful production. 
 
 It must always be borne in mind that, however fine the 
 line, a body of ink is necessary to ensure a clearness in the 
 transfer, which the peculiarly elastic character of the litho- 
 graphic pen, above all others, will most readily supply, 
 particularly if produced by a single line, while the latter 
 description of pens frequently disturb the surface of the 
 composition ; and when that is the case, however slightly 
 apparent the injury may be, the writing or drawing is in 
 danger of being spoilt in the process of transferring. 
 
 For Ornamental Work , where breadth of line is required, 
 the cut sable brush will be found most serviceable, as it will 
 the more readily apply any breadth without disturbing the 
 composition of the transfer paper. 
 
 For general ruling or tabular subjects the lithographic 
 ruling pen is used; this will be found invaluable for all 
 descriptions of work, interspersed with perpendicular, 
 parallel, or curved lines, taking the precaution at idl times 
 to supply it with a quantity of ink sufficient to produce 
 the line at once , as a second passing over the same line 
 will be liable to disturb the surface of the paper, and thus 
 prevent that clearness in its ultimate effect, which one 
 operation only will produce. 
 
LITHOGRAPHY. 
 
 27 
 
 THE TRANSFER PAPER. 
 
 This requires more than usual cleanliness and care, 
 seeing that the smallest soil from dust, fingering, or other 
 exposure, though not at the time perceived, will endanger 
 the safety of the work produced. The transfer paper 
 should be ruled, either with a blunt metal point, on the 
 reverse side , or a black lead pencil on the surface ; the 
 former expedient is, perhaps, the best, as it is a security 
 against soiling the surface, and will be a sufficient guide 
 for all ordinary purposes of the writer. If the subject 
 requires direct tracing, by placing a sheet of red paper 
 between it and the surface of the transfer paper (both of 
 which must be fixed to prevent shifting), a point in the 
 ordinary way will give the tracing ready for inking. 
 
 A clean slip of paper, kept under the hand, to prevent 
 it from coming in contact with the transfer paper, is 
 essentially requisite, and especial care must be taken that 
 the writing or drawing is preserved from being rubbed, 
 observing that the character of ink used is of a nature to 
 remain wholly upon the surface of the paper. 
 
 Corrections are, where possible, to be guarded against, 
 seeing that, with the utmost care, they entail a defect of a 
 greater or lesser magnitude in the production ; but when 
 they are inevitable, it is best to rub out the part with a 
 
28 
 
 LITHOGRAPHY. 
 
 piece of clean linen moistened with turpentine ; then use 
 India rubber, until every vestige of the former writing be 
 removed. This operation will require great care to pre- 
 vent any of the surrounding parts from being smeared, 
 which, if done in the slightest degree, will, when the 
 subject is in the hands of the printer, and charged with 
 ink, give much trouble, and probably endanger the entire 
 transfer, before it is capable of producing satisfactory 
 impressions. 
 
 For facsimiles the transparent transfer paper is used ; 
 this being strained and fastened over the subject to be 
 produced, the writing or drawing is traced, either with 
 the pen or brush, according to its nature, and requires the 
 same precaution as before stated. 
 
 Transfer paper may be preserved for any period if kept 
 dry and protected from injury. 
 
 The preceding observations apply equally to every cha- 
 racter of ink drawings , maps, plans, elevations, fyc., executed 
 by the process of transfer, for which the use of transfer 
 paper is found more convenient than drawing the reverse 
 way on the stone direct; remembering that all work 
 in being shaded onlg with lines , presents the appear- 
 ance of an etching, and is not capable of receiving 
 any description of shadows beyond those produced by the 
 fineness or breadth of the line, as in an ordinary pen and 
 ink drawing. These observations are deemed the more 
 necessary, as it has frequently occurred, in our experience, 
 
LITHOGRAPHY. 
 
 29 
 
 that modulated tones have been washed in to produce the 
 effect of an Indian ink drawing, which, though pleasing to 
 the artist, of necessity, when transferred, receives the 
 printing ink alike solidly , and is incapable of imparting 
 the effect anticipated. 
 
LITHOGRAPHY 
 
 30 
 
 TRANSFERRING THE SUBJECT TO THE STONE. 
 
 Select a well polished stone, perfectly dry, slightly 
 warmed and well dusted, rather larger than the paper the 
 subject is to be printed upon, and with mill hoard adjust to 
 the press, taking special care that the fingers do not touch 
 the surface of the stone, which can be obviated by placing 
 a clean sheet of paper upon it. See that the scraper is 
 perfectly level with the stone, lower the tympan, having 
 previously tied against it a card or a sheet of thick paper 
 to intercept the grease contained in the leather, push the 
 carriage with the stone forward until brought under the 
 scraper, pull down the lever, lower the scraper by means 
 of the screw until it reaches the stone, raise the lever, 
 and give another turn of the screw. 
 
 The requisite degree of pressure cannot be described, 
 but a very limited experience will enable any one to esti- 
 mate the 44 pinch ” necessary to transfer the writing from 
 the paper to the stone, and to obtain impressions after- 
 wards. If, after trying the pressure at both extremities 
 of the stone, more resistance be felt at one end than at 
 the other, which may be either owing to the stone or 
 carriage being of unequal thickness, lay a few folds of 
 paper under the thinner end, taking care to taper off the 
 folds gradually as they approach the middle of the stone 
 
LITHOGRAPHY. 
 
 31 
 
 (if the stone should be removed, of course, care must be 
 taken not to reverse its eiids). After this adjustment, 
 pass the stone two or three times through the press, from 
 end to end, to cause the edge of the scraper to approxi- 
 mate, as nearly as possible, to the surface of the stone. 
 
 Next proceed to damp the transfer paper on which the 
 copy is written. Lay down a sheet of blotting, over 
 which place the transfer paper, with the writing down- 
 wards; with a sponge, moistened with water, wet the 
 back of the paper equally, holding it down by the margin, 
 or with the least possible pressure of the fingers on the 
 writing, taking especial care that no moisture be allowed to 
 reach the under or prepared surface; continue the damping 
 till it lies flat, and until the under side slightly adheres 
 to the finger when pressed against it. The damping may 
 be continued for several minutes, depending upon the 
 disposition of the paper to receive moisture ; lift the trans- 
 fer by the two diagonal corners, and place it, with the 
 writing downwards, on the stone in the required position ; 
 the sheets of paper used previously to adjust the pres- 
 sure, may be laid over the transfer; bring down the 
 tympan gently, let the carriage be pushed forward till 
 the end of the stone is advanced about an inch beyond 
 the scraper’s edge, apply pressure, and pass the stone 
 under. This may be repeated four or five times, with 
 a slightly increased pressure, of about half a turn of the 
 screw, on the whole number, not on each repetition. 
 
32 
 
 LITHOGRAPHY. 
 
 liaise the tympan, remove the paper that covers the 
 transfer, and, if it adheres to the stone and is perfectly and 
 evenly pressed, wet the transfer again, reverse the stone, 
 replace the paper, and pass it under the scraper as before. 
 
 If the transfer paper has been sufficiently damped, the 
 edge of the scraper level, and all other details attended 
 to, the whole of the writing will have been transmitted 
 from the paper to the stone. The transfer paper adheres 
 with considerable firmness to the stone, it must therefore 
 be soaked in order to remove it ; allow the stone to dry, 
 and let it be gummed entirely over its surface with a 
 sponge used only for that purpose. 
 
LITHOGRAPHY. 
 
 33 
 
 TO PRINT TRANSFER WORK. 
 
 The stone being now fixed in the carriage of the press, 
 the gum is to be washed off with a sponge and water, 
 and damped equally with a piece of damping canvass; 
 this is better than sponge, as it more equally diffuses the 
 moisture necessary, the management of which requires 
 much nicety, experience, and skill. 
 
 The inking table and roller, being first scraped clean, 
 the latter is supplied with ink, spread over it with the 
 palette knife (say in quantity about the size of a nut) 
 and well worked backwards and forwards on the inking 
 table, for equal distribution. The roller must be passed 
 several times, firmly and equally, over the table; and it 
 is necessary to raise it frequently in rolling, in order to 
 vary the points of contact. To properly charge the work 
 to be printed with the ink, it must be applied uniformly, 
 and it is advisable to hold the handles of the roller firmly, 
 to bear hard on the stone, and to roll it in a somewhat 
 oblique direction. The rolling should be finished by 
 passing the roller a few times over the stone, with 
 less pressure, by which operation the superfluous ink, 
 if there be any, is removed. It will be found, on first 
 charging the subject, that the slightest marks which 
 have been caused by the handling of the transfer or 
 stone, will have taken the printing ink, and which 
 must, in that stage, be immediately removed ; if on 
 
 D 
 
34 
 
 LITHOGRAPHY. 
 
 the margin, and unconnected with the work, by a small 
 piece of pumice-stone and water; but if in connection 
 with the work, then remove such with a sharp knife 
 or eraser, taking off the same smoothly ; this being 
 done, and the subject found to be perfect, take a sponge 
 saturated with diluted acid, the strength of which must 
 be governed by the nature of the work, and thoroughly, 
 but lightly, wash the entire surface of the stone, taking 
 especial care that the printing ink be not rubbed, other- 
 wise the acid will destroy such portions, and prevent those 
 parts receiving their due share of ink to enable the impres- 
 sion to be perfect; the acid may now be washed off, and 
 the surface covered with dissolved gum, which, upon being 
 removed with the water sponge, and the stone damped 
 with canvass, is ready for printing. It is not advisable 
 to repeat the passing of the roller too often, as the stone 
 then gets dry, and is liable to be soiled; if this should 
 happen, however, it must be carefully wiped with the 
 damping canvass, and rolled briskly till perfectly clean ; 
 if neglected till the stone is dry, it will be very difficult 
 to clean it again. A little observation and care, to keep 
 the stone damp while rolling, will avoid this danger; 
 with beginners this, however, produces other inconve- 
 niences, as the fine lines are liable to be wiped off, and 
 the roller gets wet, the detriment of which has already 
 been mentioned. Too much printing ink on the roller 
 and slab, or using it too thin, is an error which the 
 
LITHOGRAPHY. 
 
 35 
 
 inexperienced printer often falls into, and is also done by 
 the slovenly workman to enable the subject to be more 
 easily charged. This habit should be rigidly checked 
 by the employer, as it is impossible to obtain a good and 
 clear impression when such a course is pursued. It is 
 also the cause of the work setting off — so prejudicial 
 to its appearance. 
 
 Too much attention cannot be paid to this as well as 
 working the stone as slightly damped as possible. 
 
 Let it be noticed that the printer has it in his power, by 
 his mode of rolling, and the quality of his ink, to give 
 any degree of intensity to the impression. The ink is given 
 very freely, if the roller be worked slowly backwards and 
 forwards with considerable vertical pressure. Less ink 
 will be' imparted if the rolling be brisk and light, or, 
 following the same rule, ink may be taken up or with- 
 drawn, so as to produce a pale copy. The consistency of 
 the printing ink determines and modifies the rolling-in ; 
 slow rolling, with thin ink, thickens the lines, and causes 
 44 blocking,” by which is meant a joining together of 
 letters, &c., in a mass; free rolling, with a stiff dry ink, 
 gives very pale impressions. It may then be inferred, from 
 these statements, that either sharp rolling with thin ink, 
 or slow and heavy rolling with stronger ink, is all that 
 is necessary to obtain good copies. Purer and better 
 impressions, however, are obtained by using only a small 
 quantity of ink of medium consistency. 
 d 2 
 
LITHOGRAPHY. 
 
 36 
 
 It is necessary to have in store printing inks of two or 
 more strengths, to be used according to circumstances, as 
 the consistency of these inks is sure to vary with the 
 temperature. In warm weather, the oily varnish of the 
 ink generally becomes liquified to a considerable degree 
 by the heat; the stone also, by increased temperature, 
 causes the water on its surface to speedily evaporate, and 
 the writing itself is liable to become blocked. Circum- 
 stances of this nature should be early attended to, because 
 the blocking, if suffered to go on, will be very difficult to 
 remove ; should, however, a tendency of the writing to 
 become blocked present itself, it may be certain that it is 
 caused by the defective manner of using the roller; to 
 remove the effects of the blocking, take a piece of clean 
 flannel dipped in gum water, and gently rub the whole 
 writing to clean off the superfluous ink ; remove the ink 
 from the roller and inking table with the palette knife, 
 substitute ink a degree thicker, and roll it briskly until 
 the writing assumes its original clearness. 
 
 In hot climates much difficulty is experienced by these 
 causes, to remedy which very stiff and dry ink. should 
 be used, and two persons employed at the press, one to 
 wet the stone, and another to roll in the ink imme- 
 diately the stone has been properly wetted. A very small 
 quantity of a solution of gum may be poured into the 
 water employed to wet the stone, in order to retard 
 evaporation (if much be added, the roller is apt to slip). 
 
LITHOGRAPHY. 
 
 37 
 
 Lowness of the temperature occasions inconvenience, 
 which can be more or less controlled. Frost will thicken 
 the oil, causing, therefore, the subject to be charged with 
 difficulty, and the impressions grey and unequal; but 
 these may be quickly obviated by the printing-room being 
 heated to a moderate temperature. 
 
38 
 
 LITHOGRAPHY. 
 
 INK DRAWINGS ON STONE. 
 
 Drawing and writing direct on the stone have many 
 advantages over the transfer process, some of which we 
 mention : — A finer and sharper line is more readily 
 obtained, and the subject will bear a larger number of 
 impressions printed from it ; stretching, which is inevi- 
 table in transferring from paper, is entirely obviated. Its 
 applicability will be better understood and appreciated by 
 practice, which, in this part of the process, is indispensable 
 to the attainment of good results. 
 
 The polished stone is more sensitive to the action of 
 dirt, grease, and smears than the transfer paper, and in the 
 place of a sheet of paper for the hand to rest on, it is 
 desirable to have a fiat board, bevelled at the edges, and 
 placed over the stone, resting on either a piece of folded 
 paper pasted on the margin, or two blocks of wood placed 
 at its sides, to slightly raise it from the surface, as, by the 
 use of paper, pieces of dirt are likely to get between it and 
 the stone, which, by the pressure of the hand, are of neces- 
 sity smeared on the stone, and print to the detriment of 
 the subject. 
 
 The stones best adapted for this work have been already 
 treated of under their proper head; too much attention 
 cannot be paid to the removal of dirt and grease stain, 
 
LITHOGRAPHY. 
 
 39 
 
 and to the polishing ; and, before commencing, the artist 
 should convince himself that this has been perfectly com- 
 pleted. 
 
 The breath — if allowed to come in contact, more par- 
 ticularly in winter — produces a dampness upon the stone, 
 which should be allowed to dry before proceeding to work 
 on the moistened part, or the ink will not adhere ; ex- 
 perience alone can prevent this. 
 
 The saliva, it must be borne in mind, has the same 
 effect as gum, and, if allowed to come in contact, the part 
 must be polished with either pumice or snake-stone and 
 clean water, before it will receive the ink. 
 
 For an ink drawing, a correct tracing reversed, on .the 
 stone, is requisite before the subject is commenced with 
 the lithographic ink, and if any parts be made out with a 
 black-lead pencil, it must be drawn with a hard one, and 
 the lines extremely fine and delicate, otherwise, if a thick 
 line be drawn the portions of lead existing between the 
 face of the stone and the ink, will hinder the latter from 
 adhering, and the work will appear faulty where the pencil 
 has been applied. The best method is to make a correct 
 outline of the subject on tracing paper, with ordinary 
 Indian ink, and fasten the same to the edges of the stone 
 with wafers or gum, and place a sheet of red tracing paper, 
 with the coloured side to the face of the stone underneath, 
 and with a blunt tracing point go over the outline of the 
 subject, taking care that the tracing be not in any way 
 
40 
 
 LITHOGRAPHY. 
 
 shifted, or the fingers allowed to press too heavily on the 
 surface, this gives a correct outline ready for inking. It 
 is advisable, in elaborate subjects, to allow the tracing 
 paper to be kept fastened on the upper edge of the stone, 
 until the drawing is completed, in case it should be found 
 that any omissions may have been made in the tracing 
 with the point ; by this precaution you will be enabled 
 to draw it again over the surface, and re-trace those 
 parts omitted, in precisely their proper position, which 
 might otherwise be a matter of considerable difficulty. 
 When the red tracing is completed the stone must be 
 well dusted and all superfluous matter removed, as any 
 particle of dust will seriously affect the clearness of the 
 artist’s drawing. 
 
 For expedition, the tracings are made with red chalk 
 pencils, on the tracing paper, and on being fastened with 
 gum evenly to the top of the stone, the back is well rubbed 
 with a smooth ivory folder, being especially careful it is 
 not shifted, when an outline may be procured, thus avoiding 
 the time of the second tracing with the point; however, 
 much danger is incurred of thickening and blurring the 
 lines, by the expansion of the paper, and thus rendering 
 it a questionable matter of economy: at best, it is not 
 advisable to attempt subjects beyond five or six inches in 
 length. 
 
 The tracing being now completed, it remains only for 
 the artist to examine the quality of the ink, which must 
 
LITHOGRAPHY. 
 
 41 
 
 be dissolved in the same way as for writing transfers, 
 but a little thicker. Generally speaking, as the ink is 
 now manufactured, the colour will guide the artist as 
 to its possessing sufficient body ; if too thick, it will 
 refuse to how freely, and if too thin, the fine lines will 
 not retain sufficient body to allow of their printing; a 
 little examination on this head, observing whether the 
 ink shows a tendency to spread on the stone, will enable 
 the artist to judge if it be of a sufficient consistency. It 
 is advisable to dissolve only a small quantity at a time. 
 By standing, the colouring matter will settle to the 
 bottom, and thus the ink may assume, after some hours, a 
 paler colour ; this will not interfere with the safety of the 
 artist’s production, inasmuch as the colouring matter is 
 introduced only for the purpose of aiding the sight. 
 
 Having observed the above precautions, proceed to ink 
 the tracing, for which purpose the cut sable brush will be 
 found invaluable, in connection with the lithographic pen, 
 for many portions of an ink drawing, seeing that any 
 breadth or fineness of line is readily accomplished, though 
 the delicacy of the point, as with the pen, requires some 
 additional care in using them, always bearing in mind that 
 alterations are best avoided. In connexion with the pen 
 and sable brush referred to, a ruling pen is necessary for 
 linear work, which must be carefully cleaned before using, 
 and charged with only a limited supply of ink, trying 
 it on the edge of the stone, or on a piece of clean paper ; 
 
42 
 
 LITHOGRAPHY. 
 
 before using ; the same precaution, is more particularly 
 necessary in cases when the bow-pen is used for circles, 
 curves, &c., especially taking care to obtain a firm centre 
 point in the stone with an etching needle; otherwise, from 
 its smooth character, it is likely to slip, and thus seriously 
 endanger the subject. 
 
 Every part of an ink drawing ought to look solid and 
 well fed with ink ; if it has not that appearance, it will 
 not print well. 
 
 The different effects or depths of color in ink drawings are 
 to be produced by thicker or thinner lines , crossed in various 
 directions, as in copper-plate etching, the ink being always 
 used equally thick. It is a mistaken idea to suppose that 
 by using the ink thinner for the distance, and thicker for the 
 parts nearer to the eye, they will obtain a better effect. It 
 appears so, certainly, to the eye, so long as the drawing is 
 not charged with printing ink ; but when printed, either 
 those lines which were poorly fed will break up and not 
 print at all, or else they will print as black as those which 
 were drawn with thick ink, and completely destroy the 
 intended effect of the drawing. It is, therefore, to be re- 
 membered that in making a pen and ink drawing the ink 
 must not be altered, but all the lines kept as black as 
 possible, and a varied effect produced merely by the fine- 
 ness or thickness of the lines. 
 
 When two or more lines run together in the execution 
 of the drawing, as often occurs, the defect may be easily 
 
LITHOGRAPHY. 
 
 43 
 
 rectified by using a sharp point to pick out such lines 
 as are not required, bearing in mind that such parts 
 of the surface so disturbed are rendered unfit to receive 
 additional work. 
 
44 
 
 LITHOGRAPHY. 
 
 TO PRINT INK DRAWINGS. 
 
 On receiving the drawing from the artist, it is first 
 necessary to gum over the stone entirely. The stone being 
 fixed in the press, with a scraper fitted thereto, the gum is 
 washed off with clean water and the stone damped with 
 the canvass ; carefully charge it with the printing roller, 
 taking precaution that the ink is somewhat thicker than 
 that used for a transfer subject. Carefully roll the subject, 
 taking care the stone does not become dry ; it may be 
 necessary to damp the stone several times, and as often 
 charge the same, until every part has received its due pro- 
 portion of printing ink ; the latter rolling allow to be more 
 brisk , so that any parts which may show a tendency to 
 become overcharged may be cleared by the increased action 
 of the roller. 
 
 It frequently occurs that upon the subject being rolled 
 up innumerable spots present themselves, which in most 
 cases arise from the hands being placed through the hair, 
 and so displace dust, which falls on the stone. If acid of 
 a medium strength does not remove them, an eraser should 
 be used. 
 
 Having now carefully examined the subject, proceed to 
 clean the edges of the stone, if they are soiled, with a small 
 piece of pumice-stone and water; and any spots which 
 may elsewhere appear, remove smoothly, but effectively, 
 
LITHOGRAPHY. 
 
 45 
 
 with an eraser : this being done, take the sponge used for 
 the diluted acid and pass over the entire surface. The 
 strength of the acid must be governed by the character of 
 the work ; if of a delicate nature, its strength may be best 
 tested by tasting, which, if somewhat stronger than vinegar, 
 will be sufficient ; if a heavy drawing, then increase the 
 strength of the acid until a slight effervescence is pro- 
 duced when applied to the stone, which can be readily 
 ascertained by a drop being placed on the margin. Hav- 
 ing now the stone perfectly clean from soils, wash it with 
 the water sponge, and afterwards gum over the entire 
 surface, not omitting the edges of the stone ; the gum 
 being again washed off, the printing can be proceeded 
 with, observing the same rules as given in the printing of 
 transfer work, bearing especially in mind that the stone 
 must not be allowed to get dry; it should be damped 
 immediately on removing the printed paper, and protected 
 by a thin coating of gum whenever left ; even for a short time. 
 
 If at this stage the work appears weak and rotten, it 
 arises either from the writing ink being too thin and 
 wanting in body of grease, or from the stone being imper- 
 fectly polished, or from having had dirty water used in 
 its preparation, and it must be subjected to the following 
 treatment : — 
 
 Slightly warm the stone and wet with water, and rub 
 over the subject a piece of woollen cloth or flannel 
 saturated in green or palm oil, which removes the ink 
 
40 
 
 LITHOGRAPHY. 
 
 from the subject. On the application of the roller, it 
 readily reajipears, and if not then perfect, the same treat- 
 ment may be repeated as often as found desirable. 
 
 If this remedy fail, the last hope is to neutralise the 
 gum by passing over the stone a iceak solution of acetic or 
 tartaric acid, well wash, allow to dry, and pass over the 
 weak part with strong ink with the pen or brush. 
 
 The preceding instructions refer alike to every descrip- 
 tion of work produced by writing or drawing. 
 
LITHOGRAPHY. 
 
 47 
 
 GENERAL REMARKS. 
 
 As soon as the surface of the stone has been washed over 
 by the slightest portion of gum in solution, it is no longer 
 in a state to receive any fresh work ; therefore, erasures 
 and corrections, where practicable, should be avoided 
 — as they at all times endanger the safety of the 
 work. If the alteration be of a trifling nature, the 
 part is to be washed free from gum, and the surface 
 removed with an eraser, or a small slip of snake-stone, and, 
 when perfectly dry, the correction made backwarks direct 
 on the stone ; should, however, the alteration or an addition 
 be such as to require partial re-writing, first examine to see 
 carefully if every part intended to receive the new work 
 is perfectly free from the old, which must be thoroughly 
 removed, gum that portion of the subject which is correct, 
 and allow to dry, then rule with a pencil on the stone a 
 line to correspond with one on the back of the transfer 
 paper, which carefully damp. Lay down the transfer on 
 the part so prepared ; over which, place a sheet of clean 
 paper, and proceed as for transferring a new subject. 
 Great care must be taken that the transfer paper be not 
 shifted in bringing down the tympan, or in passing it 
 under the press. 
 
 The remaining part of the work will now appear doubled 
 from having set-off during the above process ; that, how- 
 
48 
 
 LITHOGRAPHY. 
 
 ever, is of no consequence, and is readily removed by 
 wetting the stone and passing the roller over until it is 
 quite clear. 
 
 If the paper be of a soft description, and free from 
 acid, a skilful printer may take five or even ten thousand 
 impressions from a stone. 
 
 A machine-made paper is best suited for lithography. 
 
 If two pages be wanted on the same leaf, the first must 
 be printed in the usual way; but in order to do the 
 second, lay a fold of thin paper over the first page, to 
 intercept the printing ink not yet dried. These set-off 
 sheets may be used from time to time, when thoroughly 
 dried. 
 
 The lay or register should be made with a piece of type 
 metal, as it remains visible, and is not removed by the 
 repeated washings, and does not take the printing ink, but 
 it should be gummed over before printing. 
 
LITHOGRAPHY. 
 
 49 
 
 PRINTING CHALK DRAWINGS. 
 
 The drawing must be carefully examined, and the artist 
 convinced that it is complete ; after the stone has been 
 prepared for printing, any additions that may be made 
 frequently destroy the quality of the impression. 
 
 The stone must now be subjected to the process of 
 etching, which operation invariably decides the fate of the 
 print — if either over or not sufficiently etched, the printing 
 is rendered much more difficult and uncertain. Before 
 etching a drawing, the printer should make himself 
 acquainted with the following particulars : — 
 
 1. Whether the stone is hard or soft. 
 
 2. The quality of the chalk and ink employed. 
 
 3. The style of the artist. 
 
 4. Whether recently drawn. 
 
 5. The temperature of the printing-room. 
 
 A hard stone more effectually resists the action of the 
 acid ; a soft one, on the contrary, is more easily affected, 
 and, therefore, a weaker solution should be used for the 
 latter than the former. 
 
 The ingredients of the chalks vary considerably, and 
 their nature should be known by the artist, as some possess 
 more grease than others; for instance, copal chalk is harder 
 than No. 1 and 2, and does not possess so much grease, 
 and it therefore offers less resistance to the action of the 
 
 E 
 
50 
 
 LITHOGRAPHY 
 
 acid. This point demands great attention. There is, also, 
 a great variation in the style of the artist ; some having 
 a firm touch, whilst with others it is more feeble : the latter 
 is a fault that amateurs very frequently commit. The 
 former style prints better if strongly prepared ; the latter 
 must be treated more carefully, and with a weaker 
 solution of acid. 
 
 If a drawing has been allowed to remain on the stone a 
 long period, it must not be subjected to the action of 
 so strong a preparation of acid as one recently drawn. 
 
 When the temperature is high, it causes the chalk to 
 have a greater affinity to the stone, which should, therefore, 
 he subjected to a stronger etching. In cold weather, this 
 effect is of course reversed, and a weaker solution of acid 
 should he used. 
 
 The process of etching is conducted in various ways. 
 Some Lithographers prefer using the gum and acid sepa- 
 rately, whilst others use them mixed. The first method 
 is performed by laying the stone on the trough, and 
 throwing over it two or three times a weak solution of 
 acid, which must he well washed off, and the stone is 
 then to be covered with gum. The latter process is the 
 one more usually adopted, and is, in our opinion, unde- 
 niably superior, as the gum, checking the action of the 
 acid, causes this important operation to be more safely 
 performed. The following is the way to prepare the gum 
 and acid for etching: — Pure and fresh gum arabic is to 
 
LITHOGRAPHY. 
 
 51 
 
 be dissolved in water until of a medium consistency, and 
 into this, nitric acid, diluted with about ten times the quan- 
 tity of water, is to be stirred. The strength may be tested 
 by dropping a small portion on the margin of the stone and 
 watching its action. If after a few seconds, a slight 
 effervescence occurs, it may be considered strong enough 
 for a subject requiring only a slight etching. The prepared 
 gum and acid is to be placed in a shallow vessel, and, with 
 a flat camels’ hair brush (kept exclusively for this purpose) 
 it is to be applied to the surface of the stone, drawing the 
 brush only once or twice over the subject, for, by rubbing 
 too much the chalk is liable to be removed. If the grease 
 rejects the preparation , those parts should be again covered. 
 The preparation may now be strengthened, and applied 
 to the darker parts only of the subjects, should any exist. 
 
 The stone must be allowed to remain in a horizontal 
 position until the coating is dry. The etching being 
 complete, the gum is to be entirely removed from the 
 stone by water. 
 
 Many Lithographers wash the subject out with turpen- 
 tine, but we prefer rolling it up first , so as to see the state 
 of the drawing, and if, after pulling off a few waste 
 impressions, the drawing is found to work satisfactorily, 
 that is to say, the half tints appear even and soft, and the 
 darker shades black and bright, the washing out is better 
 dispensed with. But such rarely occurs. 
 
 Washing the drawing out is performed thus: — First 
 e 2 
 
52 
 
 LITHOGRAPHY. 
 
 damp the stone, and pour upon it a small quantity of pure 
 turpentine, and, with a piece of flannel, rub lightly until 
 the colour of the drawing is removed ; wipe it with an old 
 cloth, then damp it with water, and carefully pass the 
 printing roller, which should be charged with thinnish 
 chalk ink, over it. 
 
 The subject thus treated usually requires a little 
 humouring, which must be done gradually ; a good proof 
 being seldom obtained until after a few impressions have 
 been pulled. 
 
 When these particulars have been properly attended to, 
 the stone is ready for the printer. The paper best adapted 
 for printing chalk drawing upon is a soft, or plate-paper, 
 slightly damped. 
 
 If on the application of the roller the works appears 
 woolly, and the fine tints deficient, the stone has either been 
 etched with too strong an acid, or not sufficiently ground. 
 There are many means of bringing the weak parts up, some 
 of which, unless carefully used, will spoil the whole pro- 
 duction. The safest and most effectual remedy is to warm 
 the stone, pour upon it equal quantities of turpentine 
 and green oil, and rub gently with a piece of flannel ; 
 remove the excess with an old cloth, and again apply the 
 printing roller charged with the chalk ink slightly reduced 
 with thin varnish. 
 
 Another plan is to rub a little chalk on a wet piece of 
 flannel, and rub over the drawing, but the stone must be 
 previously damped. 
 
LITHOGRAPHY. 53 
 
 These remedies are equally efficacious when the work 
 appears worn after printing long numbers. 
 
 When the stone is not in actual course of printing it 
 must on no account be left without being first covered with 
 gum, or the tints are apt to clog up and thicken. 
 
 It is seldom that a drawing can be worked without rolling 
 in twice for each impression. The ink should be used stiff 
 and only a small quantity on the roller, which must be well 
 distributed on the slab each time before applying to the 
 stone. 
 
 Spots and stains often cause great inconvenience, and are 
 of two kinds. The blacks are caused by particles of 
 grease, and the white by gum or acid. The blacks 
 should be removed by a fine point ; but, if they occur on 
 a blank part of the stone, they are best removed with 
 acid. 
 
 White spots are more difficult to remedy ; the gum 
 preparation opposing the adherence of grease, the only 
 hope is to dry the stone, and pass over it a weak solution 
 of acetic acid, and touch it in with lithographic chalk. 
 
 Alterations are, where possible, to be avoided, the result 
 under any circumstances being very uncertain, and in many 
 cases a good drawing is spoilt by making a trivial correc- 
 tion. When it is absolutely necessary, remove the ink 
 from the drawing by pulling off the surplus on sheets of 
 clean paper. Neutralize the gum (to allow the new work 
 to adhere) by passing over the drawing a very weak solu- 
 
54 
 
 LITHOGRAPHY. 
 
 tion of lemon juice or acetic acid, which must be afterwards 
 well washed of with clean water ; or wash the part to be 
 effaced with turpentine, applied with a small brush, and 
 aftenvards with spirits of wine ; (great care is necessary to 
 prevent these solutions from attacking the surrounding 
 parts,) and when the stone is perfectly dry, the alteration 
 may be drawn in with ink or soft chalk. 
 
 Where the alteration necessitates the removal of a large 
 portion of the drawing, the above methods had better be 
 dispensed with, as they are uncertain and are attended with 
 more or less risk. The ink should he removed as before, 
 the faulty part erased with pumice-stone, and the stone 
 afterwards re-grained with a small piece of stone , and when 
 dry, it may be re-drawn upon. The portion of the drawing 
 that is not required to be altered must he gummed imme- 
 diately the stone is dry after the erasure, or the drawing 
 will thicken and run together, a misfortune, which in 
 many cases is irreparable. 
 
 After the drawing has been printed and is to be pre- 
 served for re-printing, it should he rolled up with a small 
 quantity of ink and mutton suet mixed, afterwards covered 
 with a thin solution of gum, and put away in a dry place. 
 Many printers use a thick solution of gum with the idea 
 that is possesses greater preservative properties. This is 
 a mistake ; as thick gum is apt to peel off, and, leaving 
 the subject unprotected, will, of necessity, permanently 
 injure it. 
 
LITHOGRAPHY. 
 
 OD 
 
 We would here remark, that when a drawing that has 
 not been prepared has to he removed, it should be handled 
 with great care and precaution: it should be packed and 
 carried so as to prevent all possibility of the surface being 
 rubbed. If a case is not used, the surface should be 
 protected with a board bearing on pieces of card or paper 
 stuck to its edge. 
 
 When India jwoofs are required the best Indian paper 
 should be selected, free from spots or acid, and covered on 
 the rough side with clean paste, then allowed to dry, after 
 which each sheet is to be carefully examined, and all 
 imperfect ones rejected. Cut to the required size, and 
 when printing lay it between the white paper on which it 
 is to be fixed, and when slightly moist place it on the 
 stone to a mark, the pasted side uppermost, on the top of 
 which place the sheet of white paper — also laid to another 
 mark — and then pull the impression, when the India 
 paper should firmly adhere. When long numbers are 
 required, the use of the India paper can be superseded by 
 printing in tint. 
 
56 
 
 LITHOGRAPHY. 
 
 ENGRAVING ON STONE. 
 
 Among the numerous means of reproduction in Litho- 
 graphy, engraving merits a full share of attention. It 
 is particularly adapted to maps, plans, mechanical and 
 architectural drawings and vignettes. 
 
 This process is performed in three ways. The first 
 consists in submitting the stone to a preparation which 
 acts on the surface. The second, to cover that sur- 
 face with a colour to enable the engraver to see his 
 work. The third is to introduce in the engraving a 
 substance analagous to lithographic ink, and capable of 
 resisting the repeated washings to which it is subjected 
 during the process of printing. 
 
 The stone must be chosen free from chalk marks, veins, 
 scratches, and holes. Those of a grey or blue cast are to 
 be preferred. The polish should be high, after which it is 
 necessary to examine through a glass, as the presence of 
 imperfections cannot always be detected with the naked 
 eye, and they stop the graver in its course. 
 
 The stone is to be placed horizontally on a table and 
 covered with a very thin solution of gum, with a little 
 colour mixed with it, to allow the artist to see his 
 progress. This coating preserves the surface of the 
 
57 
 
 LITHOGRAPHY. 
 
 stone from the contact of greasy substances, but it is 
 absolutely necessary that the gum should be used in a 
 small quantity , or the graver will not penetrate through its 
 surface to the stone. 
 
 Engraving on stone is performed differently to copper or 
 steel, the ordinary graver being replaced by fine points, or 
 a diamond. A needle point answers admirably, as the 
 effect is obtained by scratches. 
 
 The engraver should be provided with a flat camels’ hair 
 brush, to remove the dust which works out of the stone, as 
 it is better than blowing off and running the risk of 
 spotting with the saliva, the danger of which has been 
 before mentioned. 
 
 It is a great error to suppose that deep incisions are 
 required to produce clear and firm lines. On the contrary, 
 a light and regular depth should be retained throughout 
 the whole ‘work to produce a clear and perfect impression. 
 
 When the etching is completed, a greasy liquid (oil is 
 the best) is rubbed into the cavities which have been made 
 by the etching point, and allowed to remain about an hour. 
 After the superfluous oil or grease is removed, the gum 
 is to be washed off the stone, which is then in a fit state 
 to print from. It should be particularly observed that 
 water or any moisture must not be allowed to come in 
 contact with the stone during the process of engraving. 
 
 Should the artist wish to see the progress of his work, 
 proofs may be taken before the subject is completed ; in 
 
58 
 
 LITHOGRAPHY 
 
 which case, before commencing to print, the stone is 
 re-covered with the coloured gum, and treated as for a 
 fresh subject. 
 
 Some difficulty will be experienced in making alterations 
 on an engraved stone, which necessitates much care and 
 tact in the execution. For trifling corrections, acid applied 
 to the part with a brush to remove the old work, and 
 afterwards passed over with gum, will answer very well; 
 but when the corrections are of a more extensive character, 
 pumice-stone should be used for removal, and a solution of 
 acid afterwards passed over. The alteration is then to be 
 made, having previously applied the coloured gum solution, 
 and allowed it to dry. 
 
 f 
 
LITHOGRAPHY. 
 
 59 
 
 PRINTING — ENGRAVING ON STONE. 
 
 This process is performed in a similar manner as that laid 
 down for printing transfer and ink work ; but the stone is 
 made damper, a softer roller should be used, charged with 
 printing ink about half the consistency of that used for 
 ink work. 
 
 If the subject does not appear clear and sharp, but faint 
 and broken, a dabber, made of a coil of flannel, similar to 
 a copper-plate engraver’s rubber, should be applied, the 
 ink still more reduced with thin varnish and oil, and 
 the superfluity removed by passing the printing roller 
 over it. 
 
 The ink, if used too thin, is apt to adhere to the sur- 
 face of the stone, more especially in warm weather, and 
 will print to the detriment of the impression. This is easily 
 remedied by adding a small quantity of gum to the water 
 with which the stone is damped; if that fail, a second roller, 
 with stiffer ink, should be passed over the stone after it has 
 been charged, this usually removes the evil. 
 
 A soft and damp paper is best adapted to print from an 
 engraved stone, yet it is not absolutely necessary, as many 
 beautiful impressions are obtained on hard surfaces, such 
 as enamelled cards, but a greater pressure is requisite. 
 
 It is advisable to back the stones when used for hard 
 surface printing. 
 
60 
 
 LITHOGRAPHY. 
 
 RE-TRANSFERRING 
 
 Or taking duplicates of any subject from stone, copper- 
 plates, or type. It is one of the principal advantages 
 which Lithography possesses, and renders it as indispens- 
 able to the letter-press and copper-plate printer as to the 
 lithographer, for by this process the expense and delay 
 of stereotyping can be overcome, while innumerable 
 duplicates may be taken from a copper-plate, and printed 
 at one operation. 
 
 With an ink specially prepared, transfers can be kept 
 for very long periods. We have transferred and printed 
 from a subject that has been retained on the transfer paper 
 for two years, and believe it is practicable to keep them a 
 much longer time. 
 
 The method of proceeding is thus:- — 
 
 Well scrape the printing roller, to remove as much of 
 the printing ink as possible. (The use of a roller solely 
 for this purpose is to be recommended.) Place on it a 
 small quantity of the re-transfer ink, and distribute well. 
 
 The subject intended to be transferred is to be freed 
 from printing ink, which is accomplished by being pulled 
 through three or four times on as many sheets of clean 
 paper without charging with ink. The stone is then to be 
 damped and charged with the re-transfer ink, allowed to 
 
LITHOGRAPHY. 
 
 61 
 
 dry, and the impression pulled on the India re-transfer 
 paper. If the ink is good it is an error to suppose that a 
 large amount or a dark impression is required; the best 
 results are obtained from a transfer that appears of a pale 
 colour, as long as the work is solid and possesses sufficient 
 grease. 
 
 The transfers, if preserved from air and dust, may be 
 kept for several months without any detriment. 
 
 The writing transfer paper may be substituted for India 
 re-transfer paper, but in our opinion does not give so clear 
 a proof. 
 
(>2 
 
 LITHOGRAPHY. 
 
 TRANSFERRING FROM COPPER OR STEEL 
 PLATES. 
 
 If any old copper-plate ink remain in the plate it must be 
 thoroughly removed. This is best effected by heating and 
 covering it with spirits of tar, which is invariably suc- 
 cessful. 
 
 The plate is to be heated sufficiently to melt the 
 re-transfer ink, which is well rubbed in until it begins to 
 set. Carefully remove the surplus by wiping across the 
 work so as not to drag the ink out of it, and well polish 
 with only a limited quantity of whiting. Pull the impres- 
 sion on a piece of slightly damped India re-transfer paper 
 on the side that has the composition. 
 
 A copper-plate press is ordinarily employed for this 
 purpose, hut some workmen prefer the lithographic press. 
 The latter does not take so heavy an impression, and 
 renders the liability of smashing, while transferring to the 
 stone, less likely. 
 
 There are several sorts of paper used for this process, 
 which work well in the hands of those accustomed to their 
 use. Each kind requires different treatment. We prefer 
 the India paper ; it being softer, receives and transfers the 
 impression certainly as well, and, in our opinion, better 
 than all others. 
 
LITHOGRAPHY. 
 
 63 
 
 An inferior India paper is imported, which is highly 
 prejudicial to good results, and can be detected by tasting. 
 If there is a presence of acid, it should be rejected, or only 
 used for common work by neutralising by alkali. The 
 best method is to sponge it over before covering with 
 composition with a solution of carbonate of soda. Saturate 
 one sheet in every quire, allow it to soak a short time, 
 and then hang up to dry. 
 
64 
 
 LITHOGRAPHY, 
 
 TRANSFERS FROM CHALK DRAWINGS. 
 
 This is a more delicate operation than either of the fore- 
 going processes, and although daily performed with success 
 by exjDerienced workmen, it should, where possible, be 
 avoided, as under any circumstances the transfers are 
 inferior to the originals, and are only recommended where 
 long numbers are required to be printed. 
 
 The subject must be freed from printing ink in the same 
 manner, and proceed as for ink re-transfers, using the 
 re-transfer ink thicker, and only the best description of India 
 paper. 
 
LITHOGRAPHY. 
 
 65 
 
 TO TRANSFER RE-TRANSFERS. 
 
 Where transfers are pulled upon the writing transfer 
 paper, proceed in the same way as instructed for transfer- 
 ring writing. Where Scotch or India paper is employed 
 for ink transfers from stone, or copper-plate, a polished 
 stone, well aired and dusted, must be fitted into the press, 
 and the pressure adjusted. The transfer papers, upon 
 which the subject has been pulled for re- transferring, 
 must he laid between damp paper until the composition 
 has absorbed sufficient moisture to enable it to adhere 
 firmly to the stone, which soon takes place, as the India 
 paper being soft readily receives moisture. If it be too 
 damp, it affects the ink and curdles the work. If too 
 much moisture has been absorbed (which, after a little 
 experience, can be readily determined) it must be allowed 
 to evaporate. Lay it in position on the stone, and after the 
 pressure has been regulated pass the stone through the 
 press under a good pressure two or three times, cautiously 
 damp with the sponge, and again pass through a few 
 more times; after which, saturate with water from the 
 sponge and allow it to soak for a few minutes, gently 
 rubbing with the hand. If, on lifting one of the corners, 
 the transfer ink does not appear firmly on the stone, 
 F 
 
66 
 
 LITHOGRAPHY. 
 
 remove the surplus water, and place a piece of plate or 
 blotting paper on it, and again pass through the press ; wet 
 again, remove the transfer paper, and allow the stone to dry. 
 If any imperfections are visible, now is the best time to have 
 them repaired. Before doing so, remove the stone to the 
 trough, sluice it well with clean water, and avoid rubbing 
 the surface; then allow it to dry. Slightly warm it and have 
 the necessary repairs made good, either with the pen or 
 brush and extra strong writing ink. In the event of any 
 close work (which more frequently occurs in copper-plates) 
 such as machine ruling or vignettes, diluted acid may be 
 advantageously applied after the transfer is (technically 
 termed) made, and before the application of the roller, but it 
 must be used with great caution ; gum and acid mixed is 
 a safer method. 
 
 The stone must be well gummed, and, where time can 
 be spared, allowed to dry before printing from it, after 
 which, pass the printing roller, charged with ink, over it, 
 and etch with acid (the strength of which must be 
 governed by the nature of the work); gum again, and it 
 is then ready for printing. 
 
 If in the course of printing, the subject transferred 
 shows a tendency to thicken, rub it with a piece of flannel 
 saturated with gum water, and use the ink thicker, but in 
 a smaller quantity. 
 
 Transferring Drawings. — This is performed as above, 
 substituting for a polished, a fine grained stone. The fine 
 
LITHOGRAPHY. 
 
 67 
 
 tints very frequently disappear and are lost by this process, 
 which can be partially replaced thus : — After the transfer 
 is made, remove all the composition from the stone by 
 sluicing it with clean water, allow it to dry, slightly warm 
 it, and then draw in the parts required. The transfer 
 must be etched as for a newly drawn subject. 
 
68 
 
 LITHOGRAPHY. 
 
 DU AWING IN CHALK ON THE STONE. 
 
 This branch requires more care and attention than any 
 other. The apparent ease with which subjects are drawn 
 on the stone very often deceive the novice, and causes him 
 to treat lightly the importance of observing the necessary 
 precautions which, if not carefully attended to, will render 
 useless what may have occupied weeks in completing. 
 
 Before commencing, the artist should be convinced of 
 the quality of the stone and the grain, in accordance 
 with the nature of the subject intended to be produced, 
 the crayon or chalk sufficiently strong to resist the 
 action of the acid, and every precaution taken to be free 
 from dirt and dust, the slightest particle of which, falling 
 on the surface ; or the fingers or saliva coming in contact 
 with the stone, will cause imperfections in the drawing 
 which, at the time appear of little import, but are very 
 difficult, and in many cases impossible to remedy. 
 
 While pointing the crayon, pieces are apt to fall upon 
 the stone, which should be immediately removed with a 
 flat camels’ hair brush, or they will produce a multiplicity 
 of black spots. To obviate these little accidents, the 
 artist must take the precaution of covering the stone with 
 
LITHOGRAPHY. 
 
 69 
 
 a sheet of paper, each time his labour is suspended, 
 although it be but temporarily. 
 
 A flat grain is more easy to draw upon, but prints 
 heavily and scantily, and is deprived of good effect. 
 On the other hand, if a grain be too coarse, it is impossible 
 to produce detail, because the fine lines or tints are lost in 
 the interstices of the grain, and, in printing, absence of 
 fine tints, and a woolly appearance result. A medium 
 but sharp grain is preferable. Although it gives the 
 artist a little more trouble in working up his subject, the 
 results obtained in printing more than compensate for the 
 extra labour. 
 
 The nature and colour of the stone best adapted for this 
 work has been already treated upon under the head of 
 “Stones.” We would, however, again remark that too 
 much attention cannot be paid to their selection, in 
 remembering the grey stones more effectually resist the 
 action of acid, and are, therefore, to be preferred to the 
 cream coloured ones. The shade will aid the artist in the 
 general effect of the drawing. 
 
 A stone sufficiently large to admit of a few inches 
 margin is desirable, and renders the printing more easy. 
 
 Supposing the above precautions to have been observed, 
 the stone should be slightly warmed, to free it from all 
 moisture, and well dusted with a piece of clean fabric, and 
 afterwards with a flat camels’ hair brush. 
 
 The stone should be placed on a horizontal desk, 
 
to LITHOGRAPH^. 
 
 with the bridge arranged, and the outline of the subject 
 traced upon it, as described for ink drawings, which is 
 also reversed. 
 
 For the convenience of the artist unaccustomed to draw 
 backwards, the sketch or copy, if turned upside down, and 
 a looking-glass placed at its foot, will reflect the subject in 
 the same position as it is to be drawn upon the stone. 
 
 The outline’s, such as are required for mechanical or 
 architectural subjects are drawn lightly with a fine pointed 
 crayon ; for density of colour, such as is usual for the fore- 
 ground of landscapes or the garment of figures, a soft 
 one may be advantageously employed. Experience is the 
 best guide and instructor. 
 
 Crayons are made of three descriptions: — Copal, the 
 hardest, No. 2, medium, and 3, which last is the softest, 
 possesses more grease, produces brighter effects, and adheres 
 to the stone with more certainty, and is, therefore, less 
 liable to suffer from the action of the acid. 
 
 The copal, being hard, is more pleasant to use, but 
 in the hands of the inexperienced lithographer it is apt 
 to deceive, by producing effects which, in the process of 
 etching and printing, do not remain. The different grades 
 of durability may be used advantageously in one subject. 
 
 For working up even or delicate tints a fine pointed 
 crayon should be used ; when bold and bright effects are 
 required, one with a thicker point best answers the purpose. 
 
 It is impossible, or nearly so, to produce the effect 
 
LITHOGRAPHY. 
 
 71 
 
 required, at once. The first tint should be drawn fainter 
 than is required, and is produced by horizontal lines 
 which must be gone over with other series until the 
 required effect is attained. 
 
 Where decided and striking lights are required, an eraser 
 may be used, and should be kept sharp for that purpose. 
 
 It is of the greatest importance, that no water be 
 applied to a chalk drawing before it is prepared, as soap 
 employed in the manufacture of the chalk, if dissolved, fills 
 up the grain and produces the same effect as diluted ink ; 
 if such occurs, the only hope is to absorb the moisture by 
 covering it with blotting paper. 
 
72 
 
 LITHOGRAPHY. 
 
 CHROMO-LITHOGRAPHY . 
 
 In practising this branch of Lithography, a knowledge 
 of the theory and harmonious blending of colours is 
 indispensable, but this subject we refrain from entering 
 upon for several reasons. First: a separate volume 
 would be required devoted to that alone, to do it 
 justice. Secondly: every artist is supposed to know all, 
 and even more than we could teach him in so small a 
 space, and has also his own method of regulating the 
 effect of his subject; moreover, perfection, in this par- 
 ticular branch, can only be gained by experience. 
 Equally necessary to perfection is the careful manipula- 
 tion of the process, which comes within our province to 
 describe. 
 
 The principle of printing in colours is the same as for 
 printing in black, substituting coloured inks. Each colour 
 requires a separate stone, and of course entails an addi- 
 tional printing ; (except, however, as one water-colour 
 being placed over another, produces a different colour ; 
 for instance, yellow over blue, produces green; yellow 
 over red, orange ; blue over red, shades of purple, and so 
 on, if strictly observed and practised, will greatly reduce 
 the number of printings, and is, therefore, much more 
 
LITHOGRAPHY. 
 
 73 
 
 economical) ; and a finished effect is obtained by the whole 
 being amalgamated by superposition. 
 
 In order to effect this, and to succeed in making a good 
 coloured lithograph, the principal operations to be attended 
 to are: First, th e perfect register ; second, making the tints; 
 third, mixing the colours. 
 
 First: the register, or making one colour fit into the 
 other, is one of the most essential points to be observed, 
 and is attained in the following manner : — A line or dot for 
 each colour should be drawn upon the key-stone in such 
 a position as will print upon the extreme margin of the 
 
 0 
 
 paper. A rather heavy impression, or set off*, is pulled 
 from, and transferred on to each one intended to receive 
 the tints ; before proceeding further, the dots should be 
 sought after and a small hole drilled on the required one. 
 The subject thus transferred enables the artist to see the 
 requisite place to add his colour. If the subject to be 
 printed in colours is an original production — not a copy — 
 the impression pulled from the key -stone should be 
 coloured in water-colours until the desired effect is pro- 
 duced ; by doing this it will greatly assist. 
 
 Great inconvenience frequently arises from the stretch- 
 ing of the paper on which the set-off is pulled, more 
 particularly when there are several colours; to obviate 
 this it is desirable to select a thick paper well-cylindered, 
 or a sheet of the paper the subject is intended to 
 be printed upon, which should be of stout substance— the 
 
74 
 
 LITHOGRAPHY. 
 
 first method is advised — and when the press will admit of it, 
 the stone should be printed the short way, to reduce the 
 length of the pull and thus render the paper less liable 
 to stretch. 
 
 The ink transferred to the stone in the process of the 
 set-off, unless previously prepared, will print too strongly 
 on the subject ; to remedy this, a little sugar mixed with 
 the ink is sometimes used; dusting the impression with 
 lampblack before transferring to the stone is also practised. 
 These precautions are not necessary when solid or half- 
 tints, such as are added to views and chalk drawings, are 
 required, the action of the acid in the process of etching 
 effectually removing it. 
 
 Where proper ink is used for making up the colour 
 stones, it is strong enough to resist the action of tolerably 
 strong acid before being rolled up, which effectually 
 removes the set-off; but, of course, judgment must 
 regulate its use. 
 
 Second : Making the tints. 
 
 Where a flat tint only, such as is given by the use of 
 India paper, is required, a grained stone is most suitable 
 and is thus treated: — The necessary margin must be 
 determined upon, and covered with a solution of gum 
 and acid, caution being observed that the liquid does 
 not encroach upon any other part of the stone but 
 where intended, or it will show in the printing. When 
 thoroughly dry, the roller charged with re-transfer ink 
 
Lithography. 75 
 
 should be passed over it until perfectly even; it is then 
 ready. Copal varnish may be substituted for the re- 
 transfer ink, but must be allowed to dry thoroughly 
 before rolling the tint up. 
 
 Where lights and fine tints, to produce gradation of 
 tone, are required, the process is varied. A well grained 
 stone is selected, and a set-off pulled upon it; it is then 
 well warmed and the margin and all positive lights 
 gummed out with the solution of gum and acid, and 
 allowed to become perfectly dry, which is facilitated 
 by placing it before the fire until the stone reaches a 
 moderate temperature ; those parts that are to have a 
 full tint are then scratched round with a point so that 
 they may be visible ; the tinting ink is next to be briskly 
 rubbed into the stone with a piece of woollen cloth until 
 the interstices of the grain appear filled up and present 
 an even surface. The high lights that have been made 
 with the gum and acid are now visible and may be 
 modulated with a knife or scraper, and those parts in- 
 tended for a solid tint may be seen by the scratched line, 
 and should be covered with a solution of lithographic 
 writing ink dissolved in turpentine, which should be 
 used quickly, as the spirit soon evaporates. 
 
 Where quarter, or finer tints, are to form a portion of 
 the picture, a less proportionate quantity of the tinting 
 ink should be applied, but must be rubbed with the woollen 
 cloth until perfectly even; the scraper will be of great 
 use in this process. 
 
76 
 
 LITHOGEArHY. 
 
 Such tints as are required for tinting faces of portraits 
 arc more easily and effectually drawn in with the crayon. 
 
 The tinting being completed is now to be subjected to 
 the process of etching, which is conducted in the same 
 manner as the method described for chalk drawing, only 
 with a stronger solution, the strength of which must be 
 controlled by the nature of the subject and can only be 
 determined by experience, but it may be remarked that it 
 is better to over-etch a colour stone than not sufficiently. 
 
 We append a subject printed in five colours, shewing 
 some of the different effects that can be produced, which 
 we trust may materially aid the artist, feeling assured 
 that an illustration will be of more service than volumes of 
 descriptive matter. 
 
 Third: Mixing the colours. 
 
 The selection of colours is also an important point for 
 consideration. The best are the cheapest and produce 
 corresponding results. Bright colours can always be 
 modified and reduced, but dull ones can never be made 
 bright. 
 
 The colours lose much of their brilliancy and virtue by 
 being kept ready mixed, which renders it desirable to mix 
 them when required for use. Too much attention cannot 
 be paid to their being finely ground. Middle varnish is 
 best adapted for this, and should be reduced to the required 
 consistency with thin, both of which should be as colourless 
 as possible in order to prevent any injury to the colour. 
 
 Fourth : Dusting. 
 
LITHOGRAPHY. 
 
 77 
 
 When sufficient density and brightness cannot be 
 obtained by body colours, recourse must be had to dusting, 
 which is performed thus : — The impression is pulled with 
 an ink, which acts as a medium for the adherence of the 
 colour. The dusting colour, being passed over with a 
 piece of cotton wool, should adhere to those parts only 
 where the composition is, but, unless care be taken, it will 
 also adhere to the other portions of the paper (except it 
 is enamel paper) and it is very difficult to remove; this 
 occurs more frequently with dusting blue (ultramarine) 
 which, however, may be avoided by adding to the colour 
 a small quantity of salt, sprinkle with water, well mix, 
 and dust while slightly damp. In all cases where dusting 
 is resorted to, the paper should be well glazed, as the 
 colour is liable to adhere to the entire surface, if not well 
 rolled. 
 
 To Prixt Flock. — As large a body of ink as possible 
 should be used. The flock is applied by sifting on to the 
 impression, and is then pulled through the press on the 
 top of the succeeding one, and laid on edge until perfectly 
 dry. 
 
 For dusting blue or green, the ink should be mixed with 
 strong varnish and prepared white. 
 
 For gold or silver bronze, burnt umber with stiff varnish. 
 
 For metal bronze, extra strong varnish. 
 
 For flock, extra strong varnish and a small quantity of 
 gold size. 
 
78 
 
 LITHOGRAPHY. 
 
 MAKING UP COLOURED LABEL STONES 
 BY TRANSFERS. 
 
 Where there are a large number of one subject, such as 
 labels, to be printed, it is advisable to place several upon 
 the stone, and where the detail is minute the expense and 
 the time consumed in making up a sheet of colour stones 
 is considerable. These difficulties may be entirely over- 
 come by making the colour stones up by transfers, which 
 is performed as follows: — If the subject be a label of four 
 colours, and gold to be the key-stone, one label is drawn, 
 from which the set-offs are taken, and the colours made up 
 on the same stone, which should be proved, to test their 
 register. The required number of transfers are then 
 pulled from the gold (key-stone) and laid down for the 
 sheet ; three impressions must be pulled in black ink on 
 the paper to be employed in printing. The same number 
 of transfer as labels on the sheet are then pulled from each 
 of the other three colours on transfer paper, which is 
 specially manufactured for this purpose. The trans- 
 parency of the transfers enables their exact position to 
 be seen when placed over the impression pulled from 
 the sheet already made up, to which they should be stuck 
 with a very minute quantity of mouth-glue until the whole 
 are completed, when it should be immediately transferred 
 
LITHOGRAPHY, 
 
 79 
 
 to another stone. The succeeding colours are to be served 
 in the same way, each requiring the same treatment. 
 
 The sheets thus made up are transferred differently to 
 ordinary transfers. The method of proceeding is performed 
 as follows : — 
 
 A prepared stone is slightly warmed, and the sheet of 
 transfers is then laid upon it and pulled through the press 
 once, when it should be examined to see if the transfer 
 paper sticks closely to the stone, if so, and the work to be 
 transferred is very fine the process may be repeated, but 
 one pulling through with a good pressure is to be preferred, 
 as any shifting of the paper will cause the transfer to 
 * double and the work to be rendered useless. 
 
80 
 
 LITHOGRAPHY. 
 
 FEINTING COLOITE STONES. 
 
 The same instructions are to be observed as laid down 
 for black work, grained stones requiring the same treat- 
 ment as drawings, and polished ones as ink. Care should 
 be taken to prevent the possibility of the colour being in 
 the slightest degree dirty, which can only be obviated by 
 observing the greatest cleanliness in every portion of the 
 process. On receiving from the artist a properly etched 
 stone intended to be printed in colour, the gum must be 
 dissolved and removed, and the subject washed out with 
 turpentine, and rolled up in black ink, as any defects are 
 more readily seen and more effectually remedied. It 
 should then be allowed to remain under gum for a few 
 hours. In the meanwhile the colours can be ground and 
 mixed to the desired shade. 
 
 A grained roller is best adapted for tints and the average 
 description of colour work ; but, as has been before men- 
 tioned, a separate one must be used only for one class of 
 colour, as it cannot be easily removed ; but for ink work, 
 such as for labels, a smooth one will answer every purpose. 
 
 In printing tints, the finer and half tints are apt to be 
 filled up with the colour, and become solid; this is con- 
 trolled entirely by the roller, the use of which can only be 
 attained by practice. When such or any other difficulty 
 
f 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

 
 

 
 
 
 
 
 

 
 
 
 
 


 
LITHOGRAPHY. 
 
 81 
 
 occurs, the stone must be rolled up with black ink before 
 attempting a remedy, and if it still appears clogged up 
 should be rolled briskly with a hard roller with a little 
 stiff ink upon it, or it can be rubbed with a piece of 
 flannel moistened with gum, as instructed for the treatment 
 of writings. Where erasures have to be effected they 
 should be done with a stump and acid, and the use of the 
 scraper or knife entirely discarded, the coloured ink being 
 much more susceptible of adhering to those parts of the 
 stone than black. 
 
 When a colour stone is intended for future use it should 
 on no account be allowed to remain with the coloured ink 
 upon it, but must be rolled up with stiff black ink, observ- 
 ing that the half tints are perfectly clear and distinct, and 
 covered with a thin solution of gum, applied with a 
 sponge. 
 
 u 
 
82 
 
 LITHOGRAPHY. 
 
 GRADUATED TINTS. 
 
 By this process tints are obtained of different colours and 
 shades by one printing only; which add greatly to the 
 appearance of views, where the sky is required blue and 
 the foreground a warm colour. 
 
 The stone should be washed out, and the slab and roller 
 perfectly cleaned, the intended colours well ground and 
 mixed to the necessary consistency, and applied to the 
 roller, (which should he the same size as the subject), thus 
 — blue at one extremity, pink in the centre, and a warm tint 
 at the other extremity ; the ink thus applied must be distri- 
 buted by keeping the roller perfectly straight, and passing 
 it backwards and forwards on the slab, with an occasional 
 slight angle, to graduate the colours ; the subject is charged 
 with the ink, by one movement of the roller. The number 
 of colours can be increased according to the nature of the 
 subject and the effect desired. A separate palette knife 
 should be used for each colour. 
 
LITHOGRAPH Y. 
 
 83 
 
 BRONZE PRINTING. 
 
 As before mentioned, dusting colours should always have 
 the precedence in printing, more particularly bronze; it 
 being finer, it is more susceptible of adhering to any ink 
 previousely printed. 
 
 Bronzes are made of several shades and colours, and vary 
 considerably in quality. The finer kinds are to be 
 recommended for ordinary work and are more desirable 
 as a much smaller quantity attaches itself to the composition 
 and produces a clearer and sharper result. Where the work 
 is heavy and common the coarser qualities may be sub- 
 stituted, the composition, being in a greater body, causes it 
 more readily to adhere. 
 
 Printing in bronze is conducted in the same manner as 
 already laid down for dusting colours, substituting a 
 composition specially prepared, which is applied in a small 
 quantity to the roller, and well distributed. 
 
 The subject should be rolled briskly, as the com- 
 position is apt to fill in the work, and the sheet dusted over 
 with the bronze immediately after it is pulled from the 
 stone, with a piece of cotton wool ; this is usually per- 
 formed by a boy. 
 
 Bronze being a very expensive material, renders caution 
 desirable in its use, for if left to the discretion of the lads 
 g 2 
 
84 
 
 LITHOGRAPHY. 
 
 — and we regret to say in many cases also to the men — a 
 much larger quantity is wasted than consumed, the best 
 means of avoiding which is to place the boy who is to dust 
 the sheet in such a position as to be entirely free from 
 draughts, which is frequently occasioned by the speedy 
 movement of the tympan frame. A shallow box lined 
 with enamel paper is very useful to dust the sheet in, and 
 will in a great measure prevent the bronze flying about. 
 
 When the work is finished, the sheets printed and 
 bronzed should be allowed to remain for about six hours, 
 and then be finally dusted on both sides with wool or a 
 piece of fine canvass or linen. 
 
 Rubbing the bronze firmly when applying it to the sheet 
 tqnds to increase its brightness. 
 
Lithography. 
 
 85 
 
 LEAF METAL PRINTING. 
 
 Where sufficient brightness cannot be obtained by the use 
 of bronze, recourse must be had to sheets of Dutch metal, 
 which produces much brighter effects, although its 
 application is attended with more inconvenience, and less 
 expedition, thus causing it to be more costly. 
 
 This process is conducted very similar to bronze. The 
 composition is used much stronger and stiffer, and is 
 applied sparingly to the roller. When the impression is 
 pulled it must be placed on a flat surface, and the leaf metal 
 laid entirely over it, which is fixed to the composition by 
 placing a sheet of glazed paper over it and pressing with 
 the hand. Two sheets thus covered and pressed are placed 
 face to face, laid on the top of the following impression, 
 and pulled through the press; by this means the one 
 imparts to the other any deficiency which may exist by 
 being imperfectly covered. They should then be lightly 
 rubbed with a few sheets of the empty books from which 
 the metal has been taken. The entire removal is next 
 effected with a piece of cloth or flannel, but not until 
 the composition is perfectly dry, which generally takes 
 in about two days. 
 
 The application of the metal is difficult to those un- 
 accustomed to it. Boys are employed expressly for this, 
 
m 
 
 LITHOGRAPHY. 
 
 and good hands will consume a much less quantity than 
 those inexperienced. 
 
 Cylindering or rolling greatly improves the appearance 
 of bronzed and metal work, but if other colours are to be 
 added, this operation must not be performed until all are 
 printed. 
 
tltHOGRATHY. 
 
 87 
 
 ZINCOGRAPHY 
 
 In principle is the same as Lithography, a zinc plate 
 taking the place of a stone. We cannot recommend its 
 use to the inexperienced Lithographer, although, in 
 the hands of the skilful operator, results are attained 
 equal in every respect to those from stone; therefore, 
 some advocate its use; but the stone is more generally 
 preferred. Zinc is best adapted for large subjects, such 
 as maps, plans, and ink drawings ; it is more portable, 
 not liable to break, and being less costly than stone, is 
 greatly in its favour. The following is the method of 
 proceeding : — 
 
 Take a plate rather larger than the subject, which 
 must be perfectly even and planished, polish it well with 
 pumice-stone and clean water until all scratches are 
 effaced, and grain with tine sand, as instructed for pre- 
 paring the stone for chalk drawings, adopting the use of a 
 small piece of zinc, the edges of which must be bent round 
 a block or large cork, so as not to let them come in contact 
 and scratch the surface of the plate. This preparation 
 is necessary for all descriptions of work whether chalk, 
 ink, or transfer. 
 
 The zinc plate (being easily injured), must not be 
 allowed to remain in a wet or damp state longer 
 
88 
 
 LITHOGRAPHY. 
 
 than is absolutely necessary, but be dried by artificial heat. 
 This , however , must he strictly observed in every part of the 
 process , whether completed or only temporarily laid aside. 
 
 The subject is transferred to the plate in the same manner 
 as that described under the various heads mentioned for 
 stone, adopting the same precautions, and treating in the 
 same way until the subject is on the plate ; when a solution 
 of gum must be passed over it, and afterwards a solution 
 of nutgalls, which must be allowed to remain on for about 
 seven minutes, and then washed off with water. The 
 work must next be washed out with turpentine, and rolled 
 up with the printing roller ; it is then ready for printing, 
 which is done in the same manner as from stone. The 
 operation of what is technically termed “ washing out,” 
 apparently destroys the subject ; but this is not the case — 
 if only removes the printing ink from it. 
 
 We have observed that by washing out a subject 
 recently transferred to the plate it is difficult to roll up, and 
 in many cases, it presents a feeble and weak appearance, 
 which has induced us to vary the process, and, in our 
 opinion, with considerable success. 
 
 Instead of placing the preparation of nutgalls over the 
 plate before rolling up, we have gummed it in, applied 
 the printing roller, and proceeded as for a stone, applying 
 the solution of nutgalls afterwards : by this means the 
 work need not be washed out at all, and thus is as strong 
 as when first imparted. 
 
LITHOGRAPHY. 
 
 89 
 
 The use of acid in this process is to be most carefully 
 avoided. The preparation of nutgalls being its substitute ; 
 should any soils present themselves, they can be removed 
 with pumice-stone. 
 
 To erase a subject from the zinc plate — preparatory to 
 another taking its place — is best effected by pumicing and 
 re-graining; but, where expedition is necessary, it may 
 be obviated by removing the ink with turpentine, and 
 passing over it a weak solution of potash, which must 
 afterwards be thoroughly removed by repeated washings 
 in clean water. When dry it is fit for use. 
 
 Copper-plates will produce the same results, and can 
 be treated in the same manner, but, being more expensive, 
 they are rarely used. 
 
PRICE LIST 
 
 OF 
 
 3Mo||i[aj}Iu{| Jnlts, and Jplateriak 
 
 MANUFACTUBED BY 
 
 BENJN WINSTONE, 
 
 lOO, SHOE LANE, LONDON, E.O. 
 

 
 
 ) 
 
 
 
 
BENJAMIN WINSTONE’S PRICE LIST OF LITHOGRAPHIC MATERIALS. 
 
 COLOURED INKS, ETC. 
 
 per lb,— s, . d, . I per lb. — s. d. 
 
 Blue, Green, Lemon, Orange, Brown os. to. 8. . 0 | Preparation for Ultramarine Blue, 
 
 Red 65 ., 8 ;., 10s., and 12. 0 I Mauve, and Magenta Printing 5 0 
 
 Tint 5s. to 8 0 Emerald Green ditto 5 0. 
 
 Preparation for Gold Printing 5 0 | Bronze Blue -8 0 
 
 BLACK INKS. perib.-s. d. 
 
 Stiff and Best Ink, for Chalk Work .10s. and 12 0 
 
 ,, for Zinc Work. 10 0 
 
 „ for Ink Work. 10 0 
 
 Middie —2nd Quality 8 0 
 
 Thin — 3rd do. 6 0 
 
 B — Suitable for Commercial Work 5 0 
 
 Do. do. do. do. and Music 4?., 3s., and 2 0 
 
 Do. for Lithographic Steam Machines 2s., '2s. 6 d:, 3s. and 4 0 
 
 RE-TRANSFER 
 
 per lb. — s. d. 
 
 Re-transfer from Type to Stone ...... 12 0 
 
 Re-transfer from Plate to Stone. ..... 12 0 
 
 Re-transfer from Stone to Stone .... 12 0 
 
 INK, ETC. 
 
 per lb. — s. d. 
 
 Writing Ink 6 d. per Stick, or 18 0 
 
 Chalks, French, 10s. per gross, or per doz. 1 0 
 
 Fluid Writing per bottle 0 6 
 
 LITHOGRAPHIC VARNISH-TRANSPARENT. 
 
 per gal. — s. d. 
 
 Very Thin Tint Varnish, Mark S.H. . . 10 0 
 
 Thin Tint 12 -0 - 
 
 Middle Tint 14 0 
 
 Thin Litho. Varnish 12 0 
 
 per gal. — s. d. 
 
 Middle , w , w v. 14 0 
 
 Strong 16 0 
 
 Extra Strong . 18 0 
 
 PARIS, OR LITHOGRAPHIC BLACK. 
 
 per lb. — s. d. 
 
 For Commercial Work, Calcined 1 6 
 
 Calcined, No. 1 3 0 
 
 „ No. 2 ....6 0 
 
 per lb. — s. d. 
 
 Calcined, No3 8 0 
 
 Finely-sifted Black, for making Chalks 6 0 
 Best Quality, Calcined 10 0 
 
 PAPERS. 
 
 per qr. — s. d. 
 
 Re-transfer Paper 16 0 
 
 Scotch ditto 8 0 
 
 Transfer or Writing ditto 8 0 
 
 Larger sizes in stock. 
 
 Indian Paper, by Bundle 
 
 „ ,, Quire 
 
 per qr.— s. d. 
 
 Tracing Paper, Double Crown 6 0 
 
 Transfer Tracing Paper 8 0 
 
 Re-tracing Paper, Red or Black 10 0 
 
 26 0 
 
 Levigator for Stone Grinders, Cast Iron 
 
 Mullers, Stone 
 
 „ • Zinc (according to weight) . . . . 
 
 Sponge, as imported 
 
 Gum 
 
 Graining Sand, sifted . . 
 
 Rubbing-off ditto ; 
 
 Acids 
 
 Sieves 
 
 SUNDRIES. 
 
 s. 
 
 from 17 
 
 from 2s. Id. to 3 
 
 from 2 s. 6 d. to 7 
 
 per lb. 5s., 8 s., 10 s., and 12 
 
 ..per lb. 1 
 
 .....per gal. 2 
 
 each 3s. Gd. 4 s.-§d. 5s> - 6 d. • 6 s. 6 d. 
 
 Holes, 40 60 80 100 & 120 
 
 d. 
 
 6 
 
 6 
 
 6 
 
 0 
 
 0 
 
 0 
 
 0 
 
BENJAMIN WINSTONE’S PRICE LIST OF LITHOGRAPHIC MATERIALS, 
 
 SUNDRIES — * continued . s'. d. 
 
 Ruling Pens each 1 0 
 
 Writing Pens per card (1 doz.) 2 0 
 
 Erasers . each 8 d. and 1 2 
 
 Brushes ! • each 0 6 
 
 Palette Knives each, 6-in. 10d., 7-in. Is., 8-in. Is. 3 d., 9-in. Is. 3d. 
 
 PRESSES. 
 
 Size. Price. 
 
 in. in. £ s. d. 
 
 12 x IS 7 0 0 
 
 14 „ 21 8 0 0 
 
 16 „ 24 9 10 0 
 
 18 „ 27 10 15 O^i b5 
 
 20 „ 30 12 10 0 I 
 
 22 „ 33 13 15 0 >! 
 
 24 „ 36 16 0 0 I w 
 
 26 „ 39 19 0 Oj 
 
 Size. 
 in. in. 
 
 £ 
 
 Price. 
 
 s. 
 
 d. 
 
 
 24 x 86 
 
 17 
 
 17 
 
 
 1 . 
 
 26 , 
 
 ,39 
 
 22 
 
 10 
 
 0 
 
 Ti 
 
 a 
 
 28 , 
 
 ,42 
 
 26 
 
 0 
 
 0 
 
 C3 
 
 30 „ 45 
 
 29 
 
 0 
 
 0 
 
 r ® r? 
 
 a> 
 
 32 , 
 
 ,49 
 
 32 
 
 0 
 
 0 
 
 ^•2 
 
 34 „ 51 
 
 34 
 
 0 
 
 0 
 
 
 38 „ 57 
 
 38 
 
 0 
 
 0 
 
 A 
 
 40 , 
 
 ,60 
 
 40 
 
 0 
 
 0 
 
 £ 
 
 42 „ 63 
 
 42 
 
 0 
 
 0J 
 
 
 Steam Lithographic Presses, which run the Bed through the Press and return it to its 
 original position by a mechanical arrangement (patented). Not liable to get out of order. Price 
 on application. 
 
 N.B . — The patented apparatus for running the Bed through the Press, etc., can he applied to the 
 Presses made by most manufacturers. 
 
 TYMPANS. 
 
 s. d. 
 
 per square foot 3 6 
 
 „ 4 0 
 
 „ 0 9 
 
 „ . 1 6 
 
 .to g-in. thick, per square inch 0 Of 
 
 ‘ per square foot 0 9 
 
 ROLLERS. 
 
 Tympan Leather, English 
 
 „ ,, French 
 
 ,, Zinc 
 
 „ Brass 
 
 Boxwood Scrapers 
 
 Elastic Bedding for Lithographic Stones 
 
 s. d. 
 
 11 x 12 in. English each 9 6 
 
 Ditto French ,, 12 0 
 
 12 X 12 in. „ 13 0 
 
 s. d. 
 
 Roller Skins, French each 8s. 3d. & 9 6 
 
 ,, ,, English each 7 6 
 
 Rollers in working order ........ ,, 
 
 Roller Handles per pair 1 0 
 
 GERMAN LITHOGRAPHIC STONES. 
 
 Id. per lb. 
 
 l|d. per lb. 
 
 lfd. per lb. 
 
 lgd. per lb. 
 
 lgd. per lb. 
 
 % 
 
 2d. per lb. 
 
 2£d. per lb. 
 
 3d. per lb. 
 
 4d. per lb. 
 
 10 x 8 
 
 11 // 9 
 
 12 » 9 
 12 // 10 
 
 13 v 10 
 
 14 X io i 
 
 14 » 11 
 
 15 // 10 
 15 // 11 
 
 15 * 12 
 
 16 » 10 
 16 * 12 
 
 17 X 11 
 
 17 // 13 
 
 18 * 12 
 
 18 » 14 
 
 19 * 13 
 
 19 v 15 
 
 20 « 13 
 
 20 / 14 
 
 21 * 13 
 
 21 x 15 
 21 » 16 
 
 22 - 14 
 
 22 u 15 
 22 // 16 
 22 // 18 
 
 23 // 17 
 
 23 '/ 18 
 
 24 // 16 
 
 24 •• 18 
 
 25 // 19 
 
 26 X 18 
 26 // 20 
 
 27 * 21 
 
 28 v 20 
 28 • 22 
 30 i 20 
 
 30 // 22 
 
 31 // 21 
 
 32 // 22 
 
 32 X 24 
 34 , 24 
 34 .v 25 
 36 v 24 
 36 " 26 
 
 36 X 30 
 38 21 
 
 38 * 26 
 38 // 28 
 40 // 28 
 40 // 30 
 
 42 X 32 
 44 // 32 
 46 / 30 
 46 // 32 
 
 48 X 32 
 
 49 . 31 
 
 50 // 30 
 52 » 32 
 54 » 36 
 
 Snake Stone v per lb. 8 d. 1 Snake Stone in thin Slips each, 1 \d. 2d. 3d. id. 
 
 Pumice Stone ,, 5 d. | Slates for Backing..per square foot, from Is. 3d. 
 
 N.B . — Not accountable for Breakage tinder any circumstances. 
 
 Snake Stone v per lb. 8 d. 1 Snake Stone in thin Slips each, 1 \d. 2d. 3d. id. 
 
 Pumice Stone ,, 5 d. | Slates for Backing..per square foot, from Is. 3d. 
 
BENJAMIN WINSTONE’S PRICE LIST OF LITHOGRAPHIC MATERIALS. 
 
 BRONZE POWDERS. 
 
 
 Per 
 
 lb. 
 
 Per 
 
 ib. 
 
 Per 
 
 lb - 
 
 Per 
 
 lb. 
 
 Per 
 
 lb. 
 
 Per ' 
 ib. 
 
 Per 
 
 lb. 
 
 Per 
 lb. 1 
 
 Per 
 
 lb. 
 
 Per 
 
 ib. 
 
 Per 
 
 lb. 
 
 Per 
 
 lb. 
 
 Per 
 lb. | 
 
 Per 
 
 lb. 
 
 Pale Gold 
 
 7/6 
 
 8/- 
 
 9/6 
 
 10/6 
 
 11/6 
 
 12/- 
 
 14/- 
 
 16/- 
 
 1 18/- 
 
 20/- 
 
 30/- 
 
 35/- 
 
 40/- 
 
 80/- 
 
 Yellow ) 
 
 Medium ) 
 
 
 8/- 
 
 9/6 
 
 10/6 
 
 
 12/— 
 
 
 16/- 
 
 
 20/- 
 
 30/- 
 
 
 
 
 Pale Red Gold ) 
 Copper 
 
 
 8/- 
 
 
 .. 
 
 12/- 
 
 15/6 
 
 16/- 
 
 
 20/- 
 
 
 >f5 
 
 CO CO 
 
 
 
 Deep Gold .... 
 
 7/6 
 
 8/- 
 
 9/6 
 
 10/6 
 
 11/6 
 
 12/- 
 
 14/- 
 
 16/- 
 
 18/- 
 
 20/- 
 
 
 
 
 
 Crimson 
 
 7/6 
 
 8/- 
 
 9/6 
 
 10/6 
 
 . . 
 
 12/- 
 
 14/- 
 
 16/— 
 
 18/- 
 
 20/- 
 
 30/- 
 
 
 
 
 Citron 
 
 Orange 
 
 7/6 
 
 7/6 
 
 8/- 
 
 9/6 
 
 10/6 
 
 10/6 
 
 
 12’- 
 
 14/- 
 
 14/- 
 
 16/- 
 
 16/- 
 
 18/- 
 
 18/— 
 
 20/— 
 
 29/— 
 
 22/- 
 
 
 
 
 Green 
 
 Purple and Flesh 
 
 7/6 
 
 7/6 
 
 
 
 10/6 
 
 10/6 
 
 
 12/- 
 
 14- 
 
 11/- 
 
 16/- 
 
 18/- 
 
 18/- 
 
 
 30/- 
 
 39/- 
 
 
 
 
 White or Silver | 
 Composition J 
 
 7/6 
 
 8 /- 
 
 j 9/6 
 
 19/6 
 
 
 k- 
 
 14/- 
 
 16/- 
 
 18/- 
 
 
 
 
 41/- 
 
 
 Brilliant Gold . . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 42/- 
 
 
 By the ounce 
 
 1 .. 
 
 
 ! 9d. 
 
 lOd. 
 
 
 IV 
 
 
 1/3 
 
 1 1/6 
 
 1/9 
 
 2 3 
 
 1 2/6 
 
 ; 3 /- 
 
 1 5/6 
 
 ----- 
 
 FUCHE’S GERMAN BRONZES. 
 
 Citron per lb. 13s., 15s. 6d., 19s., 21s., 23s., 33s., 38s. 
 
 English Green Gold per lb. 23s., 33s. 
 
 Orange „ 23s., 33s. 
 
 Pale Gold ,, 21s., 33s. 
 
 Silver Composition (white) • „ 21s., 39s. 
 
 DRY COLOURS (Printing). 
 
 ENGLISH, FRENCH, AND GERMAN. 
 
 BLUES. 
 
 Per lb. — s. d. 
 
 Chinese, deep 3 G 
 
 Bronze Blue 4s. 6d. and 5 0 
 
 Antwerp 5 0 
 
 Pure Blue 4 0 
 
 „ Extra Bright 4 6 
 
 Cobalt 10s. 6d., 21s. 6d. & 32 0 
 
 Ultramarine (in original packets), 1 lb. 5 6 
 
 Ultramarine French 
 
 ,, (very fine) . 
 
 Blue Lakes (Light) No. 1. 
 „ (Dark) No. 29, 
 
 Steel Blue 
 
 Indigo 
 
 Oriental 
 
 Per lb. — s. d. 
 
 4 G 
 
 10 0 
 
 10 0 
 
 9 6 
 
 5 0 
 
 10 G 
 
 6 6 
 
 No. 1, C.S. 
 „ 2, C.S. 
 
 CARMINES. 
 
 Per lb. — s. 
 
 per oz. 
 
 5s fid f Lum P I 
 5s,bcl - \ Powder / 
 
 80 
 
 No. 
 
 C.S. per oz. 
 C.S. „ 
 
 Per lb. — s. 
 
 4s. 6d. Lump 50 
 
 2s. 6d. Powder 35 
 
 GREENS. 
 
 
 per lb. — s. 
 
 d. 
 
 
 per lb. — s. 
 
 d. 
 
 Lakes, No. 1, dark 
 
 . . .3s. 6d. and 5 
 
 0 
 
 Lakes, No. 3, pale 
 
 . . .3s. 6d. and 5 
 
 0 
 
 „ 2, middle . . . 
 
 . . ,3s. 6d. and 5 
 
 0 
 
 Oxide of Chromium, for Bank Notes. . 9 
 
 0 
 
 
 VERMILION. 
 
 
 
 MARK. 
 
 per lb. — s. 
 
 d. 
 
 MARK. 
 
 per lb. — s. 
 
 d. 
 
 Dark or Carmine F.B. . . 
 
 5 
 
 0 
 
 Deep Carmine B.E. . . 
 
 
 0 
 
 Middle F.B. .. 
 
 5 
 
 0 
 
 Pale B.E. . . 
 
 6 
 
 0 
 
 Pale F.B. .. 
 
 5 
 
 0 
 
 Middle Shade A. 
 
 5 
 
 0 
 
 {Ten per cent, less charged for 14 lbs. and upwards.) 
 
 Dry White Lead 
 Flake White ... 
 
 s. 
 
 per cwt. 48 
 . . per lb. 0 
 
 WH 
 
 TE. 
 
 d. 
 
 0 French Drop (Blanc d’ Argent) 
 
 8 Kremnitz 
 
 per lb. 
 
 • J) 
 
 s. d. 
 2 0 
 1 0 
 
BENJAMIN WINSTONE'S TRICE LIST OF LITHOGRAPHIC MATERIALS. 
 
 LAKES. 
 
 FRENCH, GERMAN, AND ENGLISH. 
 
 Blue Lake 
 
 per lb. — s. 
 
 d. 
 
 6 
 
 000, S. Crimson . . . 
 
 per lb. — s. 
 36 
 
 d. 
 
 0 
 
 No. 7, S. '‘Carmine. . . . 
 
 57 
 
 0 
 
 000, S. Scarlet 
 
 38 
 
 0 
 
 „ 8 do 
 
 67 
 
 0 
 
 Purple 
 
 21 
 
 0 
 
 ,, 9 B. do 
 
 52 
 
 0 
 
 Brown Lake 
 
 12 
 
 0 
 
 ,,10 Carmine 
 
 45 
 
 0 
 
 Red Brown Lake . . . 
 
 
 0 
 
 „H 
 
 30 
 
 0 
 
 Cherry Lake 
 
 ... 19s. 0 d. and 21 
 
 6 
 
 „ 11, S.B. do. . . .. 
 
 32 
 
 0 
 
 Violet, No. 1 
 
 7s. 0 d. and 10 
 
 0 
 
 „ 13, S. do 
 
 24 
 
 6 
 
 n j> 2 
 
 14 
 
 6 
 
 ,, 16 do 
 
 7 
 
 6 
 
 3 
 
 24 
 
 6 
 
 „ 17 do 
 
 It 
 
 0 
 
 ” ” 4 
 
 37 
 
 6 
 
 ,,95 Scarlet .... 
 
 ... 26 
 
 0 
 
 „ „ 6 
 
 60 
 
 0 
 
 OQOO, S- do 
 
 21 
 
 0 
 
 >> „ 6 
 
 76 
 
 0 
 
 0000, S. Crimson.,.. 
 
 21 
 
 0 
 
 Madder Lakes 
 
 32 
 
 0 
 
 0000, C. . . 
 
 21 
 
 0 
 
 Rose do 
 
 
 0 
 
 French Lakes .... 
 
 
 0 
 
 Claret Lake 
 
 
 0 
 
 YELLOWS. 
 
 per lb. — s. d. 
 
 Chrome, Pale. .Is., Is. 3d., Is. 8 d., and 2 0 
 
 Middle 1 8 
 
 Orange .-. .-. . . 18 
 
 Scarlet 1 8 ■ 
 
 Zinc Yellow 4 0 
 
 per lb. — s. d. 
 
 Naples 5 0 
 
 Yellow Lake 5s. and 10 G 
 
 Indian Yellow 32 0 
 
 Cadmium- 27 6 
 
 Royal < . . . , . 16 6 
 
 SUNDRIES. 
 
 The following are finely levigated, free from grit, and easily ground. 
 
 
 
 
 per lb. — s. d. 
 
 
 per lb. — s. 
 
 d. 
 
 Indian Red, 2 Shades 
 
 .... Is. 4 d. and 2 0 
 
 Venetian Red 
 
 1 
 
 4 
 
 Ochre, Yellow 
 
 0 7 
 
 Vandyke Brown 
 
 0 
 
 8 
 
 OrVhre, Red 
 
 0 7 
 
 Orange Lead 
 
 1 
 
 0 
 
 Sienna, Burnt 
 
 1 4 
 
 York Brown 
 
 1 
 
 4 
 
 ,, Raw 
 
 1 4 
 
 Rose Pink 
 
 8 d. and 1 
 
 0 
 
 TTmhe)r, Rnrnt ...... 
 
 . . ; 1 4 
 
 Dutch Pink 
 
 1 
 
 A 
 
 „ Raw 
 
 1 4 
 
 Sepia Color 
 
 1 
 
 u 
 
 4 
 
 Bistre 
 
 
 
 
 
 
 DUSTING 
 
 COLOURS. 
 
 
 
 
 per lb. — s. d. 
 
 
 per lb. — s. 
 
 d . 
 
 Ultramarine 
 
 
 Mauve 
 
 
 6 
 
 Emerald Green 
 
 1 6 
 
 Magenta 
 
 
 6 
 
 
 Preparations for Printing above , see Printers' Ink . 
 
 
 
 
 French dust 
 
 NG COLOURS. 
 
 
 
 
 . per lb. — s. d. 
 
 
 per lb. — s. 
 
 d. 
 
 Carmine Metis 
 
 
 Rose Bengal 
 
 
 6 
 
 Amaranthe 
 
 
 Rose Indian 
 
 
 0 
 
 .Grenat 
 
 7 6 
 
 Green 
 
 5 
 
 6 
 
 Tunis 
 
 
 
 
 
 
 Other shades in stock. 
 
 
 
 £apct|-|llat?, and (Smlrosisiwi Jirhfs: 
 
 PRICES ON APPLICATION. 
 
 PHOTOZINCOGRAPHY. 
 
 PRESSES, PRINTING INKS, & MATERIALS: 
 
 PRICES ON APPLICATION.