630 ENG 
blishment of the corps of invalid engineers, 
comprises a colonel, lieutenant-colonel, cap- 
tain, captain-lieutenant and captain, first lieu- 
tenant, and second lieutenant. 
The corps of royal engineers in Ireland 
consists ol a director, colonel, lieutenant-co- 
lonel, major, captain, captain-lieutenant and 
captain, and two lirst lieutenants. 
ENGRAILED, or Ingrailed, in herald- 
ry, a term derived from the French grele, 
hail; and signifying a thing the hail has fallen 
upon and broke oil' the edges, leaving them 
ragged, or with half-rounds or semicircles 
struck out of their edges. 
ENGRAVING, the art of cutting wood, 
metals, and precious stones, and representing 
thereon figures, letters, or whatever device or 
design the artist fancies. 
Engraving, properly a branch of sculpture, 
is divided into several other branches, ac- 
cording to the matter whereon it is employ- 
ed, and the manner of performing it. 
En graving, or graving as it is generally 
called, is the cutting lines upon a copper- 
plate, by means of a steel instrument, called 
a grayer, without the use of aqua fortis. 
This was the first mode of producing copper- 
plate prints that was practised ; and is still 
much used in historical subjects, portraits, 
and in finishing landscapes. 
The tools necessary for this art are, gra- 
vers, a scraper, a burnisher, an oil-stone, a 
sand-bag or cushion, an oil-rubber, and some 
good charcoal. 
The gravers are instruments of tempered 
steel, fitted into a short wooden handle. 
They are of two sorts, square and lozenge: 
the first is used in cutting very broad strokes, 
the other for fainter and more delicate lines. 
The scraper is a three-edged tool, for 
scraping off the burr raised by the graver. 
Burnishers are for rubbing down any lines 
that are too deep, or burnishing out any 
scratches or holes in the copper : they are of 
very hard steel, well rounded and polished. 
Idle oil-stone is for whetting the gravers, 
etching-points, &c. 
The sand-bag, or cushion, is for laying the 
plate upon, for the convenience of turning it 
round in any direction. 
The oil-rubber and charcoal, are for polish- 
ing the plate when necessary. 
As great care is required to whet the gra- 
ver nicely, particularly the belly of it, care 
must be taken to lay the two angles of the 
graver, which are to be held next the plate, 
flat upon the stone, and rub them steadily, 
till the belly rises gradually above the plate ; 
so that, when you lay the graver fiat upon 
it, you may just perceive the light under the 
point ; otherwise it will dig into the. copper, 
and then it will be impossible to keep a point, 
or execute the work with freedom. In order 
to this, keep your right arm close to your side, 
and place the fore-finger of your left hand 
upon that part of the graver which lies upper- 
most on the stone. When this is done, in 
order to whet the face, place the flat part of 
the handle in the hollow of your hand, with 
the belly of the graver upwards, upon a 
moderate slope; and rub the extremity, or 
face, upon the stone, till it has* an exceeding- 
ly sharp point, which you may' try upon your 
thumb-nail. 
When the graver is too hard, as is usually 
the case when first bought, and may be 
E N G 
known by the frequent breaking of the point, 
the method of tempering it is as follows : 
Heat a poker red-hot, and hold the graver 
upon it, within half an inch of the point, till 
the steel changes to a light straw-colour ; then 
put the point into oil, to cool : or, hold the 
graver close to the flame of a candle, till it 
be of the same colour, and cool it in the tal- 
low ; but be careful either way, not to hold it 
too long, for then it will be too soft ; and in 
this case the point, which will then turn blue, 
must be tempered again. Be not too hasty 
in tempering; for sometimes a little whetting 
will bring it to a good condition, when it is 
but a little too hard. 
To hold the graver, cut off that part of the 
handle which is upon the same line with the 
belly, or sharp edge of the graver ; making 
that side flat, that it may be no obstruction. 
Hold the handle in the hollow of your 
hand; and, extending your fore-finger to- 
wards the point, let it rest on the back of the 
graver, that you may guide it flat and parallel 
with the plate. Take care that your fingers 
do not interpose between the plate and the 
graver ; for they will hinder you from carry- 
ing the graver level with the plate, and from 
cutting your strokes so clean as they ought 
to be. 
To lay the design upon the plate, after 
you have polished it fine and smooth, heat it 
so that it will melt virgin-wax, with which 
rub it thinly and equally over, and let it cool. 
Then the design which you lay on, must be 
drawn on paper, with a black-lead pencil, 
and laid upon the plate, with its pencilled 
side upon the wax: then press it to, and with 
a burnisher go over every part of the design ; 
and when you take off the paper, you will 
find every line which you drew with the 
black-lead pencil upon the waxed plate, as if 
it had been drawn : then, with a sharp-pointed 
tool, trace all your design through the wax 
upon the plate, and you may then take off 
the wax, and proceed to work. 
Let the table, or board you work at, be 
firm and steady ; upon which place your 
sand-bag with the plate upon it ; and, holding 
the graver as above directed, proceed in the 
following manner. 
1* or straight strokes, hold your plate firm 
upon the sand-bag with your left hand, 
moving your right hand forwards; leaning 
lighter where the stroke should be fine, and 
harder where you would have it broader. 
For circular or crooked strokes, hold the 
graver stedfast ; moving your hand, or the 
plate, as you see convenient. 
Learn to carry your hand with quell dex- 
terity, that you may end your stroke as finely 
as you began it ; and if you have occasion to 
make one part deeper or blacker than another, 
do it by degrees ; and that you may do it 
with greater exactness, take care that your 
strokes be not too close, nor too wide. 
In the course of your work, scrape off the 
roughness which arises, with your scraper; 
but be careful, in doing this, not to scratch 
the plate ; and that you may see your work 
properly as you go on, rub it with the oil- 
rubber, and wipe the plates clean ; which will 
take oft the glare of the copper, and shew 
what you have clone to the best advantage. 
Any mistakes or scratches in the plate may 
be rubbed out with the burnisher, and the 
part levelled with the scraper, polishing it 
E N G 
again afterwards lightly with the burnisher, 
or charcoal. 
Having thus attained the use of the graver, 
according to the foregoing rules, you will be 
able to finish any piece previously etched, by 
graving up the several parts to the colour 
required: beginning, as in the etching, with- 
the fainter parts, and advancing gradually 
with the stronger, till the whole is com- 
pleted. See Etching. 
The dry point, or needle, (so called be- 
cause not used till the ground is taken off the 
plate) is principally employed in the ex- 
tremely light parts of water, sky, drapery, 
architecture, &c. 
To prevent any obstruction from too great 
a degree of light, the use of a sash, made of 
transparent or fan paper, pasted on a frame, 
and placed sloping at a convenient distance 
between your work and the light, will pre- 
serve the sight ; and when the sun shines, 
it cannot possibly be dispensed with. 
Of mezzotint o engraving or scraping . — 
This art, which is of late date, is recommend- 
ed by the amazng ease with which it is exe- 
cuted, especially by those who understand 
drawing. 
Mezzotinto prints are those which have no 
patching, or strokes of the graver, but whose 
lights and shades are blended together, and 
appear like a drawing in Indian ink. They 
are different from aqua tinta ; but as both j 
resemble Indian ink, the difference is not 
easily described. Mezzotinto is applied to 
portraits and historical subjects, and aqua tinta, 
is used only for landscape and architecture.] 
r i he tools necessary for mezzotinto scra-J 
ping are the grounding- tool, burnishers, and ■ 
scrapers. 
To lay the mezzotinto ground, lay your 
plate, with a piece of fiannel under it, upon 
your table : hold the grounding-tool in your] 
hand perpendicularly; lean upon it mode-*] 
rately hard, continually rocking your hand l 
in a right line from end to end, till you have* 
wholly covered the plate in one direction:] 
next cross the strokes from side to side, after- 
wards from corner to corner, working the ] 
tool each time all over the plate, in every] 
direction, almost like the points of a compass ; I 
taking all possible care not to let the tool cut 
(in one direction) twice in a place. This] 
done, the plate will be full, or, in other words, 
all over rough alike ; and would, if it was | 
printed, appear completely black. 
Having laid the ground, take the scrapings j 
of black chalk, and with a piece of rag rub ] 
it over the plate ; or you may smoke it with] 
candles, as before directed for etching. 
Now take your drawing, and having rubbed 
the back with red-chalk dust, mixed with 1 
flake-white, proceed to trace it on the plate. 1 
To form the lights and shadows, take a 
blunt needle, and mark out the outlines only: ] 
then with a scrapyr scrape off the lights in 
every part of the plate, as clean and smooth 
as possible, in proportion to the strength ofj 
the lights in your drawing, taking care not to 
hurt your outlines. 
The use of the burnisher is to soften pr rub 
down the extreme light parts, after the scraper 
is done with ; such as the tip of the nose, 
forehead, linen, &c. which might otherwise, 
when proved, appear rather misty than clear. 
Another method used by mezzotinto-scra- 
pers is, to etch the outlines of the original, 
as also the folds in drapery, making the 
