PAPYROGRAPHY. 
substance could be readily transferred to zinc, arid would supply 
an indefinite number of impressions. These impressions were not 
only perfect fac similes of the original drawing, but were so ex- 
ceedingly similar in appearance to lithographs, that it required a 
practised eye to detect the difference. 
“ This new process, the original design being made on paper, I 
have distinguished by the name of Papyrography. Though it 
probably admits of being brought to as great perfection as litho- 
graphy, yet there is no reason to expect that it will surpass that 
art. Its advantages are therefore practical rather than artistic; 
but they are not the less deserving of attention on that ground. 
These advantages may be thus enumerated : — 
“ The great size and weight of lithographic stones, or even of 
zinc plates, are very unfavourable to their general use. A person 
who wishes to practise lithography or zincography, must either 
reside in the vicinity of a lithographic printer, or incur great ex- 
pense in the packing and transmission of heavy stones or plates. 
“ But if he ado P ts the Papyrographic process, he has merely to 
draw on paper with lithographic chalk instead of a lead pencil, 
and to send his design by post or otherwise to an anastatic printer' 
who will speedily strike off the requisite number of impressions.’ 
“ If a Person is so situate as to be unable to procure lithographic 
stones, or to send them to a printer, his only resource, if he & wishes 
to multiply copies of his designs, is to send them to -some litho- 
graphic artist or engraver, who, however great may be his skill, 
01 however perfect may be the copy which he produces, can never 
enter into the ideas, or fully realize the spirit of the original de- 
signer. No one who has had an opportunity of comparing prints 
with their prototypic drawings, when they are the work of different 
artists, can have failed to be struck by the superior boldness and 
originality of the latter. Now by the Papyrographic process, all 
intermediate assistance is dispensed with, the actual touches of the 
original artist are transferred to the metallic plate, and are repro- 
duced by the press with unerring fidelity, to an unlimited number 
of impressions. 
“ Even when an artist possesses a knowledge of the lithographic 
art, and the requisite facilities for practising it, he still lies under 
the inconvenience of being obliged to reverse his drawings, in order 
that they may assume their true aspect when printed. Those who 
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