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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]

INTRODUCTORY CHAPTER.

THE TECHNICAL ELEMENTS OF ETCHING.

As explained in the Preface, this chapter has been added to enable the beginner to master the most necessary technical elements of etching, without complicating his first attempts by artistic considerations. Let him learn how to use his ground, his points, and his acid, before he endeavors to employ these requisites in the production of a work of art.

All the materials and tools necessary for making the experiment described below can be bought at the following places:[A]—

New York: Henry Leidel, Artist's Materials, 341 Fourth Avenue.
Philadelphia: Janentzky & Co., Artist's Materials, 1125 Chestnut Street.
Boston: J. H. Daniels, Printer, 223 Washington Street.

But any one living within reach of a druggist, a paint-shop, and a hardware-store can do just as well with the exercise of a little patience and a very little ingenuity. For the benefit of such persons all the necessary directions will be given for making what it may be impossible to buy.