1867.] PROCEEDINGS OF UNITED STATES NATIONAL MUSEUM. 713 



must be moistened whenever it is to be charged with ink. The process 

 is chemical in its nature, and heuce it used to be called " chemical 

 X^rinting." It was invented by Alois Seuefelder (1771-1834), Munich, 

 in 1798-'99. 



One of the advantages of lithograph}- is its versatility, and this has 

 led to the invention of numerous varieties of the process, several of 

 which are illustrated here. Lithography has been used both by crea- 

 tive artists, in the production of original designs, and by interpretative 

 artists, in the translation of paintings, etc., and works of both kinds 

 will be found in this exhibition. 



Frame 29. — Pen-and-itik and hriisli worJc; etching; engraving; auto- 

 graphy. — Xos. 133-136, pen-and-ink and brush work, original, by Peter 

 Thiirwauger, Adolf Menzel, P. J. N. Geiger, and :N'. T. Charlet. :N"o. 137, 

 etching by Gendall (1818), from the English edition of Senefelder's 

 Manual. No. 138, engraving by Kiessliug (L. Prang & Co., Boston). 

 Xos. 139 and 140, by Samuel Prout (1818), from the English Senefelder, and 

 by Tom Hey wood, specimens of autography, the former drawn with the 

 pen and lithographic ink on prepared drawing paper, the latter with 

 lithographic crayon on prepared paper having a mechanical grain, and 

 then transferred to stone in the press. 



Frame 30. — Drawing in icashes {lavis), stHmping, scrajying, etc. — The 

 specimens in this frame show a variety of attempts to produce effects 

 other than those of crayon drawings on stone. Ko. 141, lavis, black and 

 tint, D'Orschwillers. No. 142, lavis, stumping, scraping, etc., unknown. 

 No, 143, lavis, unknown. No. 144, scraping, T. Bayer. No. 145, brush, 

 stumping, scraping, etc., Adolf Menzel. No. 146, stumping, Klic. No. 

 145 is especially worthy of attention as an original lithograph by a cel- 

 ebrated artist. 



Frame 31. — Crayon draiving.— Crayon drawing is the most important 

 and perhaps most natural forui of lithography in black, and the one 

 usually employed for portrait work and the reproduction of i)aintiugs 

 etc. The specimens in this and the following frame give some idea of its 

 development. No. 147, N. Strisner, German (about 1814). No. 148, 

 Samuel Prout, English (1818). No. 149, C. Bourgeois, French (1817). 

 No. 150, L. Mansion, French (1830). No. 151, Jos. Danhauser, Austrian 

 (1845). Nos. 152 andloS, Jos. Kriebuber, Austrian (about 1850). All of 

 these, excei)t No. 147, are original lithographs. 



Frame 32. — Crayon draicing. — No. 154, Gavarni, original lithograph, 

 French (about 1842). No. 155, H. Baron, original lithograph, French. 



