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the especial idea being the multiplying actual writing or drawing 
in facsimile. There was of course plenty of opposition, especially 
from the engravers. It was called a mean art and failures were 
dubbed greasy daubs. Further an almost prohibitory import 
duty of twenty shillings per cwt. was put on the stone, and this 
with the heavy duty on paper made success almost impossible. 
Costly experiments, subject to often failure in the early stage of 
the art, could not be made on the bare possibility of a perfect 
impression. The duty on the stone was said to be for the purpose 
of stimulating search in England for a similar or equally suitable 
quality, and a reward was offered for such a discovery. None 
such being found, the duty was removed after three years. From 
the strong opposition, the many difficulties, and many failures 
the consequence really of want of skill, the art failed and Mr. 
André gave up the struggle and left England. His position was 
taken up by Mr, Volweiller his assistant. André had projected 
a work as containing specimens of his process and had collected 
for the purpose drawings done by the best and most influential 
artists of the time, and parts one and two had been issued in 1803 
before he left the country. Mr. Volweiller keeping to the plan 
issued the following circular, itself very neatly lithographed, and 
perhaps the first of its kind. As it must be unique it is given in 
full as showing, better than any epitome could do, the ideas of 
the time and the plan pursued to obtain patronage. 
G. J. Volweiller, No. 9, Buckingham place, Fitzroy square, 
most respectfully informs the nobility and gentry that he has 
undertaken the management of the art of printing from stone 
called Polyautography, lately under the direction of Mr. P. André 
and continnes (sic) the publication of specimens of Polyautography 
commenced by him. 
This work consisting of impressions taken pe original 
drawings made on stone claims the attention of the lovers of the 
