Krieger: History of Mycological Illustration 313 



as a burr. This burr retained the ink for printing after the 

 surface of the plate had been wiped clean. It is of interest that, 

 as early as the year 15 14, we find the great engraver, Albrecht 

 Diirer, seeking a means of lightening the labors of engravers on 

 metal. He had noticed that the armorers of his time produced 

 the depressed, ornamental lines on cuirasses by employing acid 

 mordants. It occurred to this wonderful man that the lines of 

 a drawing might, similarly, be bitten into the metal, and a print 

 made from ink left in the depressions. Diirer thus became the 

 inventor of the art of pictorial: etching, the process which, cen- 

 turies later, made possible the half-tone and the tri-color print. 

 His celebrated etching on iron, entitled " The Cannon," is here 

 produced (PI. 25). 



Unless colored by hand — as was the practice from Paulet 

 ( I 793$) to the time of the invention of lithography by the 

 Bavarian actor, Alois Senef elder, between 1820 and 1830 — en- 

 gravings were issued without colors. But, contemporaneously 

 with Paulet, Bulliard (1780) contrived a process by which the 

 colors were printed on the engravings. Just how this was done, 

 I cannot say. Very likely it was a revival of the early Italian 

 wood-block color-printing. 3 Color-printing, as we commonly 

 know it, before the advent of the tri-color process, was not intro- 

 duced until Senefelder invented lithography. 



The third period, the lithographic period, began at first with 

 black-and-white printing, the color being added by hand as had 

 previously been done with engravings. Fitch's figures, in Berke- 

 ley's "Outlines" (i860) and in Sarah Price's " Illustrations " 

 (1864), are fine examples of hand-colored lithography; while the 

 Scotchman, Greville, has left us a splendid set of hand-colored 

 copper-engravings in his "Scottish Cryptogamic Flora" (1823). 



It was not long before lithographers printed in colors. This 

 accomplished, the way was clear for a satisfactory, as well as a 

 more rapid, printing of fungus-pictures in their natural colors, 

 the degree of excellence depending upon the artist who made the 

 original paintings, and upon the lithographer who transferred the 



3 Weinmann had used a similar process in his " Phytanthoza icono- 

 graphia " (1737b), the first work in which color was printed on engraved 

 plates by "a new method." See Burch, Colour Printing (1910&), p. 66. 



