Miscellaneous Processes. 



49 



J. MISCELLANEOUS PROCESSES WHICH CANNOT 

 BE CLASSED UNDER ANY OP THE ABOVE 

 HEADINGS. 



We will only indicate here the nature of two processes, leaving other 

 methods, only very occasionally used, to the descriptions attached to the 

 prints exhibited. 



An impression can be taken from a plate which has been painted 

 (either positively or with the lights scraped from a dark ground) in oil- 

 colours. As only one impression can be pulled, such prints are called 

 monotypes. An apology for the existence of a plate from which only 

 . one impression can be taken is found in the peculiar quality of the 

 texture attained by the transfer of the oil-colour to paper in the press, or 

 by hand pressure. The process has been chiefly developed by modern 

 artists, but G. B. Castiglione (1616-70) and William Blake (1757- 

 1827) are among the few who have practised it in earlier centuries. 



Glass-Prints. 



Several etchers of the XlXth century, more particularly Corot (1796- 

 1875), Daubigny (1817-78), Theodore Rousseau (1812-67), and 

 J. F. Millet (1814-75), have used a special method of producing prints 

 which closely resemble etchings m effect ; but examination will show that 

 the line has no relief, and no plate-mark is visible. Their method was to 

 use sensitised photographic paper and expose this to the sun beneath 

 glass plates prepared by the artist to act as a photographic negative. 

 The surface of the glass would be covered with an opaque ground, and 

 the artist would remove the ground with a point, leaving the glass 

 transparent where the lines are to print black. 



[The name of this process must not be confused with glass coloured 

 prints, which show a method of mounting prints, generally mezzotints, 

 on glass, rubbing away the paper, and colouring at the back. It was a 

 frequent practice in England in the XVIIIth century.] 



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