52 



Processes and Schools of Engvaving. 



Lithographic stones in general yield a fairly large number of 

 impressions without deterioration, but here again much depends on the 

 quality of the stone and the delicacy of the work. 



A perfect impression, apart from showing the engraved, work printed 

 clearly and in good preservation, must also be complete, its completeness 

 being generally evidenced in an impression from metal by the plate-mark, 

 i.e. the indentation caused in the printing by the edges of the plate. As 

 long as this line is clearly shown it is not at all essential to have a wide 

 margin, which is much less frequently found among the prints of old 

 masters than in modern etchings and engravings. On prints from wood 

 and stone the mark of the edge of the block or stone is seldom so clear, 

 so that one has to depend more on actual knowledge of the size of the 

 subject. An impression cut within the edge of the plate, block, or stone 

 is said to be clijJjjed. 



A counter])roof is an impression taken not from the original plate, but 

 from a damp impression, in conjunction with which it is passed through 

 the press. It is naturally much weaker in its effect than an ordinary 

 impression, and presents the subject in the reverse direction. This latter 

 fact accounts for its existence, as the artist takes a counterproof in order 

 to have an impression in the same direction as his original plate, generally 

 as an aid to his corrections or in carrying his work further. 



A maculature is another form of weak impression. A copper-plate 

 (as well as a block or stone) needs to be inked between each impression. 

 Sometimes a second impression is taken from the plate before re-inking, 

 as a means of extracting the remainder of the ink from the lines. This 

 is called a maculature. 



State is the term applied to the stages of development of an engraving. 

 The artist constantly takes impressions, or proofs, to prove his subject 

 before its completion, and even after its completion he may introduce 

 changes at various intervals. Impressions which show any differences in 

 the work on the original block, plate, or stone are said to be in different 

 state. 



Some cataloguers reserve the term state for the differences after the 

 completion of the subject, using proof {engraver's proof or progress 

 proof) for the stages of the plate before completion, from which only a 

 few impressions would be taken ; but as in the majority of cases it is 

 impossible to be certain at what precise point a print may be said to be 

 complete, the only plan which can bo carried out logically is to use the 

 word state (I, II, III, etc.) for all changes from the inception of the 

 work, keeping progress proof or other term, wherever applicable, as a 

 descriptive addition. If a print is in its tenth state (or what not), it is 

 not therebj^ a bad impression as long as only a few impressions from its 

 earlier states have been printed. And it is equally possible for an early 

 state to be a bad impression if a large number of prints have been taken 

 before any change has been made on the plate. 



Differences of lettering on the plate (in fact, any mark on the plate 

 except the fortuitous scratches which naturally appear with the wearing 

 of the copper), as well as work on the subject itself, are of course taken 

 as marks of state. Such artificial distinctions as those of remarque 

 proofs (which have had a certain vogue in the XlXth century) are 

 rather to be regretted. The engraver adds a little sketch or token (the 

 remarque) in the margin merely as a sign of state. 



