GLYPHOGRAPHT. 83 



plate, proceed in all respects with your etching-needle as if making 

 a drawing with a black-lead pencil, only working more firmly, taking 

 care always slightly to cut the copper. 



" Be careful not to try to form the dark touches and the Hack 

 parts of the subject with a number of lines crossing and recrossing 

 each other, but scrape them away entirely with the point of your 

 pen-knife, or any other convenient instrument. 



" In commencing the etching of a view, it is usual to begin with 

 the offscape, etching the same as neatly and as close as the nature 

 of the printing will admit, working more firmly and boldly in every 

 progressive tone, until you reach the foreground. In portraits it 

 is usual to commence with the eye ; and in draperies at the top, 

 working downwards. 



" Owing to the great difference between surface and copperplate 

 printing, depth of tone should be sought as much from the breadth 

 or thickness of the lines, as from laying them close together ; and on 

 the contrary, lightness of tint must be obtained by the distance of 

 the lines from each other, as well as from their delicacy. 



" If you make a false line, or wish to efface any portion of the 

 work, a little Brunswick black, (which can be procured at most oil 

 and colour shops), spread thinly, may be used to stop it out ; or rub 

 a little of the superfluous ground from the side of the plate with a 

 camel hair pencil and turpentine : when this is dry the work can be 

 re-etched and finished at pleasure." 



This last process has afforded some excellent work in the shape 

 of maps, among which we may cite the Penny Atlas, published by 

 Messrs. Chapman and Hall. Among subjects of a more picturesque 

 nature executed by glyphography, we may instance Mr. George 

 Cruikshank's etchings of The Bottle. These are sufficient to show 

 that the art of electrotyping engravings, though yet in its infancy, 

 promises to be hereafter of importance in the fine arts. 



Copying of Copperplate Engravings. Copperplate engravings, 

 of all sizes, and of every degree of excellence, have been copied 

 by electrotype. The process is exactly the same as that of making 

 a copy of a penny piece, as described at page 47 ; namely, an elec- 

 trotype mould is first made in copper, on which, of course, the 

 engraving appears in relief; upon which mould any number of 

 electrotype copies of the copperplate engraving may be deposited 

 successively. The duplicates thus made are accurate copies of the 

 original engraving ; but they are rapidly worn away by the friction 

 they undergo in the ordinary process of copperplate printing. 

 The process has therefore not displaced the use of engravings on 

 steel. 



Coating of Glass and Porcelain This is done by putting a fine 

 coating of copal varnish over the glass, then black-leading it, and 



