114 REPOBT OF NATIONAL MUSEUM, L922. 



shown by comparing English prints with a specimen from the 

 Electro-Tint Engraving Co., of Philadelphia, "A Basket of Fruit." 

 taken from the objects and giving a remarkably accurate repre- 

 sentation of color and texture. It is very realistic, but not especially 

 artistic, but shows very accurate work on the part of the engraver 

 :ind printer. The Matthews-Northrup Works, of Buffalo, added 24 

 specimens of halftone work in color. These, with the work of 

 several other companies, give a good idea of the quality of the 

 work being done in this country at the present time. The historical 

 exhibit extends from 1854 to date, Paul Pretsch's early relief prints 

 probably being the first halftones. The series, however, is not as 

 complete as it should be, and early specimens will be welcome. The 

 technical series is in a more complete form, although little has been 

 added this year. 



A large and comprehensive exhibit of lithography has been in- 

 stalled showing the history of the process. This method is so dif- 

 ferent from the intaglio or relief methods that a brief history of 

 its development may not lie amiss in this report. It was discovered 

 by Alois Senefelder about 179G-1798 and makes it possible to print 

 from a perfectly flat surface. Stone was at first used and still re- 

 mains the best surface to print from, although various metals are 

 now much used. The picture desired is drawn on the smooth sur- 

 face of the stone with a greasy crayon and is firmly attached with 

 a solution of gum arabic and dilute nitric acid. It is then ready 

 for the printer, who first wets the stone with water and then rolls 

 it up with printer's ink. The ink is repelled by the moisture in the 

 stone, sticking only to the greasy parts, therefore printing duplicates 

 of the drawing in ink. but, of course, reversed. Another method is 

 to make the drawing on paper, transferring it by pressure to the 

 stone. In this way an exact facsimile of the drawing is obtained in 

 printer's ink. The commercial shops have built up much mystery 

 around this wonderfully simple and artistic process, and while, of 

 course, care has to be exercised, as in all kinds of work, there are 

 no mysteries about it. The inventor published a book in 1818 de- 

 scribing the process and about everything that has been rediscovered 

 since, even to chromo work. Of course, such things as the adoption 

 of power presses, offset printing, and photography were not known 

 to him. The earliest print that the division owns dates from 1804; 

 several early, rare, and historically valuable prints are by Senefelder 

 himself. A plaster bust of Senefelder was given by The Fuchs & 

 Lang Mfg. Co., of New York, and has been placed over one of the 

 cases. Statues of other men who have advanced the graphic arts 

 could be used to advantage in decorating the tops of the cases, as 

 well as to show likenesses of the famous workers. Following the 

 early prints, come examples by the famous workers in lithography 



