(p. 20.) The use of bordering wax is not advisable. But as some etchers still employ it, I add a recipe for making it, which was kindly communicated to me by Mr. Peter Moran of Philadelphia:—
| 3 | lbs. | Burgundy pitch. |
| 1 | lb. | yellow beeswax. |
| 1 | gill | sweet oil. |
Melt together and then form into strips.
(p. 21.) Etching is the most individual of the reproductive arts (or rather of the multiplying arts, the German vervielfältigende Künste), even in its technical processes. Therefore nearly every etcher has his own ways of doing, and few agree on all points. Many etchers do not think it necessary to weaken the acid as described in the text. But be sure to let it cool after it has been mixed with water, before you immerse your plate!
(p. 22.) It would take altogether too long to wait for the perfect drying of the asphaltum varnish, nor is it necessary. Fan it, as described in Note [4], and as soon as it ceases to stick you can again immerse your plate.
(p. 25.) I have never been able to notice this turning dark of the lines, although I have had plates in the bath for several hours, and some of my artist acquaintances whom I have consulted on the point, have confirmed my experience. Possibly the phenomenon described by M. Lalanne may be caused by impurities in the acid.