CONTENTS.

PAGE
Translator's Preface[v]
Introductory Chapter.—The Technical Elements of Etching[xiii]
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1. Definition of Etching[xiii]
2. Requisites[xiv]
3. Grounding the Plate[xviii]
4. Smoking the Plate[xviii]
5. Points or Needles[xix]
6. Drawing on the Plate[xix]
7. Preparing the Plate for the Bath[xx]
8. The Bath[xx]
9. Biting and Stopping Out[xx]
Description of the Plates[xxiii]
Letter by M. Charles Blanc[xxv]
Introduction (by the Author)[1]
A TREATISE ON ETCHING
CHAPTER I.
DEFINITION AND CHARACTER OF ETCHING.
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1. Definition[3]
2. Knowledge needed by the Etcher[3]
3. Manner of using the Needle.—Character of Lines[4]
4. Freedom of Execution[4]
5. How to produce Difference in Texture[5]
6. The Work of the Acid[5]
7. The Use of the Dry Point[5]
8. Spirit in which the Etcher must work[5]
9. Expression of Individuality in Etching[6]
10. Value of Etching to Artists[6]
11. Versatility of Etching[7]
12. Etching compared to other Styles of Engraving[7]
13. Etching as a Reproductive Art[7]
CHAPTER II.
TOOLS AND MATERIALS.—PREPARING THE PLATE.—DRAWING ON THE
PLATE WITH THE NEEDLE.
14. Method of using this Manual[9]
A. Tools and Materials.
15. List of Tools and Materials needed[9]
16. Quality and Condition of Tools and Materials[10]
B. Preparing the Plate.
17. Laying the Ground, or Varnishing[12]
18. Smoking[13]
C. Drawing on the Plate with the Needle.
19. The Transparent Screen[14]
20. Needles or Points[14]
21. Temperature of the Room[15]
22. The Tracing[16]
23. Reversing the Design[16]
24. Use of the Mirror[17]
25. Precautions to be observed while Drawing[17]
26. Directions for Drawing with the Needle[17]
CHAPTER III.
BITING.
27. Bordering the Plate[20]
28. The Tray[20]
29. Strength of the Acid[20]
30. Label your Bottles![21]
31. The First Biting[21]
32. The Use of the Feather[22]
33. Stopping Out[22]
34. Effect of Temperature on Biting[22]
35. Biting continued[23]
36. Treatment of the Various Distances[23]
37. The Crevé.—Its Advantages and Disadvantages[24]
38. Means of ascertaining the Depth of the Lines[24]
39. The Rules which govern the Biting are subordinated to various Causes[25]
40. Strong Acid and Weak Acid[25]
41. Strength of Acid in relation to certain Kinds of Work[26]
42. Last Stages of Biting[27]
CHAPTER IV.
FINISHING THE PLATE.
43. Omissions.—Insufficiency of the Work so far done[29]
44. Transparent Ground for Retouching[29]
45. Ordinary Ground used for Retouching.—Biting the Retouches[30]
46. Revarnishing with the Brush[31]
47. Partial Retouches.—Patching[31]
48. Dry Point[32]
49. Use of the Scraper for removing the Bur thrown up by the Dry Point[33]
50. Reducing Over-bitten Passages[33]
51. The Burnisher[33]
52. Charcoal[34]
53. The Scraper[35]
54. Hammering Out (Repoussage)[35]
55. Finishing the Surface of the Plate[35]
CHAPTER V.
ACCIDENTS.
56. Stopping-out Varnish dropped on a Plate while Biting[37]
57. Revarnishing with the Roller for Rebiting[37]
58. Revarnishing with the Roller in Cases of Partial Rebiting[38]
59. Revarnishing with the Dabber for Rebiting[39]
60. Revarnishing with the Brush for Rebiting[39]
61. Rebiting a Remedy only[39]
62. Holes in the Ground[39]
63. Planing out Faulty Passages[40]
64. Acid Spots on Clothing[41]
65. Reducing Over-bitten Passages and Crevés[41]
CHAPTER VI.
DIFFERENCE BETWEEN FLAT BITING, AND BITING WITH STOPPING OUT.
66. Two Kinds of Biting[43]
67. Flat Biting.—One Point[44]
68. Flat Biting.—Several Points[44]
69. Biting with Stopping Out.—One Point[44]
70. Biting with Stopping Out.—Several Points[44]
71. Necessity of Experimenting[45]
72. Various other Methods of Biting[45]
CHAPTER VII.
RECOMMENDATIONS AND AUXILIARY PROCESSES.—ZINK AND STEEL
PLATES.—VARIOUS THEORIES.
A. Recommendations and Auxiliary Processes.
73. The Roulette[49]
74. The Flat Point[49]
75. The Graver or Burin[49]
76. Sandpaper[50]
77. Sulphur Tints[50]
78. Mottled Tints[51]
79. Stopping-out before all Biting[51]
B. Zink Plates and Steel Plates.
80. Zink Plates[52]
81. Steel Plates[52]
C. Various other Processes.
82. Soft Ground Etching[52]
83. Dry Point Etching[53]
84. The Pen Process[54]
CHAPTER VIII.
PROVING AND PRINTING.
85. Wax Proofs[55]
86. The Printing-Press[55]
87. Natural Printing[56]
88. Artificial Printing[56]
89. Handwiping with Retroussage[57]
90. Tinting with a Stiff Rag[57]
91. Wiping with the Rag only[58]
92. Limits of Artificial Printing[58]
93. Printing Inks[59]
94. Paper[59]
95. Épreuves Volantes[60]
96. Proofs before Lettering[60]
97. Épreuves de Remarque[60]
98. Number of Impressions which a Plate is capable of yielding[60]
99. Steel-facing[61]
100. Copper-facing Zink Plates[62]
Notes By the Translator[63]
List of Works on the Practice and History of Etching[75]
A. Technical Treatises[75]
B. Historical and Theoretical[77]
C. Catalogues of the Works of the Artists[77]
(a.) Dictionaries[77]
(b.) Individual Artists[78]