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A MANUAL OP INSTKUOXIOfJ 
 
 AET OE WOOD ENGRAVING. 
 
 DESCRIPTION OF THE NECESSARY TOOLS AND APPARATUS, AND 
 CONCISE DIRECTIOIJS FOR THEIR USE; EXPLANATION 
 OF THE TERMS USED, AND THE METHODS EM- 
 PLOYED FOR PRODUCING THE VARIOUS 
 CLASSES OF WOOD ENGRAVINGS. 
 
 By S. E, fuller. 
 
 WITH ILtUSTR ATIONS BY THE AUTHOR. 
 
 BOSTON: 
 
 PUBLISHED BY, JOSEPH WATSON. 
 
 1867. 
 
Cornell University 
 Library 
 
 The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924031253549 
 
A MANUAL OF INSTRUCTION 
 
 AET OP WOOD ENGEAVING. 
 
 DESCRIPTION OF THE NECESSARY TOOLS AND APPARATUS, AND 
 CONCISE DIRECTIONS FOR THEIR USE; EXPLANATION 
 OF THE TERMS USED, AND THE METHODS EM- 
 PLOYED FOR PRODUCING THE VARIOUS 
 CLASSES OF WQOD ENGRAVINGS. 
 
 By S. E. fuller. 
 
 WITH ILLUSTRATIONS BY THE AUTHOR. 
 
 BOSTON: 
 
 PUBLISHED. BY JOSEPH WATSON. 
 
 1867. 
 
Ap^'^y 
 
 Entered, according to Act of Congress, in the year 1867, by 
 
 JOSEPH WATSOK, 
 
 In the Clerk's Office of the District Court of the United States for the Southern 
 
 District of New York. 
 
 BOSTON: 
 
 Electrotyped by C. J. Peters & Son, 
 
 5 AND 13 Washington Street. 
 
PREFACE. 
 
 Although illustrations upon wood are numerous nowadays, there 
 are few persons who understand any thing of the method of their pro- 
 duction. 
 
 They have become a blessing so common, that, like the types they 
 usually accompany, they arrest attention only till the thoughts they con- 
 vey are received ; few persons examining the manner of their execution, 
 or being aware that all the numerous lines that make up a picture have 
 each been wrought carefully and separately, line after line, patiently, 
 by the dexterous hand ; and only in a few instances are pictures made 
 by any kind of machine. 
 
 Only few books have been written upon the art of Wood Engraving, 
 and these are chiefly relating to the history of the art. Upon exam- 
 ination, not one was found that gave directions for the practice of the 
 art, so that a novice might learn to engrave without an instructor. 
 
 To supply this want,, this little manual has been prepared. It has 
 aimed to give the necessary instruction in as concise and simple form 
 as possible ; and the author believes that any person of intelligence, by 
 following the directions, will be able to produce excellent wood cuts ; 
 that is, by giving the necessary practice. And, although the pages of 
 this little book are few in number, the instructions are comprehensive. 
 
 With the hope that the little book may incite attention and love for 
 the art of Wood "Ungraving, that it may meet many to whom its teach- 
 ings will be valuable, it is sent forth on its way. 
 
 It is often said that engraving is a fine employment for woman, that 
 it is just adapted to her, and the hope expressed that woman will enter 
 largely upon this field of labor upon which she has begun to explore 
 the suburbs. 
 
 Because it is a sedentary occupation, because it is light manual labor, 
 and because woman needs new avenues of employment, are the grounds 
 for the belief of the adaptability of Wood Engraving to woman's 
 
IV PREFACE. 
 
 capacity, and her fitness for its pursuit. Not these the true reasons 
 why. It is adapted to woman ; but she cannot learn the art in a three, 
 six, or twelve month's tutilage, which would be sufficient for grad- 
 uation in millinery, mantua-making, tailoring, or other trades for 
 women. She must understand that it requires patient and persevering 
 study and thought, such as her usual avocations seldom require. And 
 she will meet with all the discouragements and difficulties that are inci- 
 dent to, and experienced in, every department of art ; but if she faints 
 not, if she studies, if she perseveres, great is the reward to her soul. 
 All her powers become quickened and enlarged. The world has become 
 richer within a few years by a few women having commenced the pur- 
 suit of Wood Engraving. [Of course, all other departments of art 
 are alike ennobling, if pursued with a true love for art, both for itself 
 and its elevating influence upon the world. J 
 
 Another point requires consideration. With the present physical pow- 
 er of woman, she ought not to apply herself as many hours as she could 
 give to other pursuits, nor as many hours as men. Men in good health 
 can usually engrave eight or nine hours every day, without being severely 
 taxed. A woman ought not to engrave more than five or six hours, 
 and during the hours of interval she .should recreate as much as possi- 
 ble. While she is resting from actual labor, she may still make prog- 
 ress by examination of all fine works of art, and observation of 
 Nature's countless effects. 
 
 In a pecuniary point of view, the profession is not become over- 
 crowded ; the prices as yet for the same quality of work being the same, 
 whether executed by a man or woman; and a skilful engraver can' 
 usually earn much more money than in most of the feminine employ- 
 ments. 
 
 Let, then, womefl of ability and industry consider the propriety of 
 entering upon the pursuit of the art of Wood Engraving, " and let her 
 own works praise her in the gates." 
 
WOOD ENGRAVING. 
 
 otOio 
 
 CHAPTEE I. 
 
 IiT its most comprehensive sense, the term " wood en- 
 graving " implies all ornamental cutting or engraving on 
 wood, but is usually limited to such as is used for print- 
 ing, and does not include raised figures, or carving in re- 
 lief. Any type cut in wood, from which may be made 
 printed impressions, is called a wood engraving, or wood- 
 cut. The term wood-cut is applied to prints made from 
 wood ; while those made from steel and copper are called 
 plates ; and those from stone, lithographs. Without any 
 further knowledge of the manner in which these different 
 kinds of engravings, ai-e produced, the observer may re- 
 cognize wood-cuts by their being printed on the same 
 page with type ; whereas plates and lithographs cannot be 
 so printed, but occupy separate sheets. 
 
 The art of engraving on wood is of very great antiqui- 
 ty. It was practised by the early Egyptians, and by Eu- 
 ropeans from a date prior to the Christian era, but in a 
 crude and simple manner. In the, fifteenth century, it was 
 applied, not to the representation of figures only, but also 
 to the production of the explanatory text on the same 
 1* 5 
 
6 WOOD ENGRAVING. 
 
 block, and later still to entire pages of text ; thus foreshad- 
 owing the printing with types, in which these early at- 
 tempts soon after culminated. 
 
 In the latter part of the fifteenth century arose Albert 
 Durer, who contributed more than any previous individ- 
 ual to the progress of the art. It has been generally be- 
 lieved that he himself engraved upon wood ; though by 
 some it is questioned whether he did more than furnish 
 designs. 
 
 Within a century after, wood engraving attained a high 
 degree of excellence, yet, strange as it may appear, within 
 the seventeenth century declined to a very low ebb. In 
 the latter part of the eighteenth century, Thomas Bewick 
 carried it far nearer perfection than it had ever been. 
 The art was introduced into America by Dr. Alexander 
 Anderson. Indeed, he may be called the inventor of the 
 art in this country; for, although he was familiar with 
 illustrations, the manner of producing them was suggested 
 by his own ingenuity and perseverance. From his earliest 
 years, he evinced a love of art ; and at the age of twelve 
 he commenced engraving. His first attempts were made 
 upon copper cents, rolled into plates. He learned the 
 method of using the gravers by looking in at the win- 
 dows, and watching the silversmiths at their work. He 
 improved every opportunity, and at the age of seventeen 
 was employed by William Durell, a bookseller, to copy 
 the illustrations of a popular little work called " The 
 Looking-glass." These illustrations were made by Be- 
 wick. Anderson commenced making these illustrations 
 upon type metal ; but, when about half completed, he 
 
WOOD ENGRAVING. 7 
 
 learned that the originals were engraved on wood. lie 
 immediately procured some wood, and found that it was 
 much more pleasant to engrave than type metal. 
 
 He studied medicine, and graduated, at the age of twen- 
 ty-one, from the medical department of Columbia College. 
 He practised medicine for a short time, but it- did not 
 prove a congenial profession ; and his love of art was so 
 irrepressible, that he decided to devote himself to the pur- 
 suit of engraving. 
 
 Till the year 1820, he used copper and wood as occa- 
 sion required ; but, since then, he has engraved exclusively 
 on wood. He has engraved many thousands of subjects 
 during his long and busy life. From the latter part of 
 the last century, down to the present time, his illustra- 
 tions have embellished works which are familiar to all. 
 Throughout his long career, he has maintained the same 
 earnestness and enthusiasm for the art as when he com- 
 menced. He believes that an engraver should have a love 
 of engraving, and not use the art merely as a means for 
 obtaining money. 
 
 Dr. Anderson was born in New York, near Beekman's 
 Slip, April 21, 1775, and is consequently now (1866) in his 
 ninetieth year. He is very regular and tempera,te in his 
 habits, genial and interesting in conversation, and unaf- 
 fectedly modest and retiring. He will not allow that he 
 has any peculiar talent or excellence, only that h.e has 
 been industrious. He still plies the graver. The portrait 
 of himself, which we here present, he engraved last year. 
 It was by urgent solicitation that he consented to do this 
 for the private use of a fi-iend, who has kindly permitted 
 
WOOD ENGRAVING. 
 
 its use in this work. The author hopes that its presence 
 here may prove an incentive to all to pursue the art in 
 the spirit and with the earnestness displayed by the father 
 of American wood engraving. 
 
 USText to Dr. Anderson, American art is indebted to 
 I. A. Adams and J. H. Hall, who contributed to carry it 
 to a high degree of perfection. Contemporary with Dr. 
 Anderson and each other, for a number of years these 
 three -were accorded equal fame as the best engravers in 
 America. Mr. Adams and Mr. Hall were also self-taught 
 men. They studied the works of Dr. Anderson, and of 
 Bewick, his exemplar. They both possessed much deli- 
 cacy and finish in their rendering of their subjects. Mr. 
 Adams is living still; but he laid aside his graver some 
 
woojD engraving. 9 
 
 years ago. Mr. Hall made many improvements in tools 
 and appai-atus used in engraving. The process of trans- 
 fen-ing now in use was invented by liim. From the im- 
 jjulse given by these three pioneers, the art has advanced 
 rapidly in this country, keeping iDace' with the art in 
 Europe. 
 
 As an auxiliary to science, no sister art has achieved 
 so much. Who that has been delighted with Bewick's 
 animals and birds, and suph later works as those of 
 Thomas Rliymer Jones, P. H. Gosse, and Mr. Sowerby, 
 does not bless the unknown originator of an art which 
 brings to bur humblest firesides these exquisite illustra- 
 tions of every imaginary and actual subject? 
 
CHAPTER II. 
 
 Foe all fine engravings, Turkey boxwood is used. As 
 its quality varies much, some skill is necessary to a good 
 selection. That which is best is of a delicate yellow color, 
 clear, and free from spots. This wood cuts smoothly and 
 evenly. There will be no crumbling out of little particles, 
 nor tearing of the wood ; but every line cut will be per- 
 fect. 
 
 The wood must be sawed across the grain, so that the 
 cut can be made on the end of the fibre. In most cities, 
 there are dealers whose business it is to prepare and fur- 
 nish wood to engravers ; and they usually sell it in blocks 
 as thick as the height of printers' type, that the engraving 
 may be printed at the same time with the reading-matter. 
 One side is planed quite smooth for the engraving. 
 
 As the box-tree seldom attains great size, it frequently 
 happens that the diameter is not great enough to furnish 
 a block of sufiicient dimensions for the cut required. In 
 such cases, several blocks are joined together by the deal- 
 ers, so that the joint is not detected. Such joinings, how- 
 ever, are apt to spread apart during the process of print- 
 ing, if many impressions are taken from the cut; so that, 
 for this and other reasons, it is usual to duplicate the en- 
 graving by the stereotype or the electrotype process, and 
 print from such duplicate. 
 
 10 
 
WOOD ENGRAVING. 11 
 
 For coarse engravings, other kinds of wood are em- 
 ployed. Maple, apple, pear, mahogany, and sometimes 
 even pine, are brought into requisition for posters, hand- 
 bills, coarse labels, &c. All -wood for engi-aving must be 
 well seasoned. Under the most favorable circumstances, 
 it will often warp slightly : this may in some cases be 
 remedied by exposing the swollen or convex side to the 
 air, and protecting the shrunken or concave. 
 
 The subject to be engraved is placed on wood just as 
 the engi-aver is to cut it. There are now three methods 
 employed : — 
 
 First, Making transfers from prints. 
 
 Second, Drawing on wood with pencil and India ink ; 
 and, — 
 
 Third, Photography has been lately employed, — some- 
 times by furnishing a print, which may be traced from in- 
 stead of a sketch ; and sometimes the block is prepared 
 with chemicals, so that the picture is printed on it witla a 
 negative, or directly photographed on the wood in the 
 camera. A photograph on wood is cut in the same man- 
 ner as a drawing on wood. To put a picture on wood by 
 this process requires the assistance of a photographer. 
 
 To prepare a block for a transfer or a drawing, dampen 
 it, and rub it lightly with a piece of pumice-stone, being 
 sure that the plane side is level and smooth. Use water 
 enough to keep the surface free. "When all the little 
 scratches are rubbed out, rinse off the block, and it is ready 
 for use. Care must be taken not to allow the block to 
 absorb much water, which would cause it to warp and 
 split. If the block is to have a drawing made upon it, the 
 
12 WOOD ENGRAVING. 
 
 surface is whitened while it is yet damp. The best .man- 
 ner of doing this is to take a white enamelled card, and rub 
 the surface of the block, the dampness of which will cause 
 the enamel to come off the card, and adhere to the block. 
 It is then distributed evenly over the surface by light and 
 dexterous touches with the fingers. The block should be 
 placed on its edge to dry ; and it js well to make it an 
 invariable rule to place the block in this position, as varia- 
 fions «f the atmosphere suffice to shrink, swell, and warp 
 it, and *bis position exposes the greater part of its surface 
 equally. 
 
 The jDrocess of making transfers is as follows : The block 
 is prepared as described above with the pumice-stone and 
 water. Many engravers whiten a block for a transfer the 
 same as for a drawing. The author prefers making trans- 
 fers without; for the white is agt to loosen from the block, 
 and obscure the lines of the engraving.. Transferring 
 fluid is made by adding to the highest proof alcohol 
 caustic potash till a saturated solution is obtained.. Keep 
 this in a glass bottle with a glass stopple. Transfers may 
 be made from wood-cuts, jDlates, and lithograjths. Lay 
 the engraving to be transferred on a glass or earthen plate ; 
 pour a sufficient quantity of the fluid over the engraving, 
 so that it may be thoroughly wet. Allow it to remain till 
 the ink is softened, which will be not more than a minute 
 or two generally. If the print is very pale or old, more 
 time will be required. When the ink is sufficiently 
 softened, carefully rinse off the fluid by dipping the 
 picture into, water. Place the prepared block, still 
 damp (not wet), on the print, and pass them through a 
 
WOOD ENGRAVING. 13 
 
 press. It requires much more pressure for making a trans- 
 fer than for printing. 
 
 Drawing on wood is generally pursued separately from 
 engraving on wood. It is an advantage for the engraver 
 to be able to put a drawing on wood; for there are many 
 times when the absence or engagements of the draughts- 
 man may make it necessary. Drawing should be pursued 
 as part of the regular instruction in engraving ; for, al- 
 though the tools and manipulation differ, the engraver 
 will understand how to cut a drawing much better from 
 having a knowledge of drawing. Indeed, drawing should 
 be considered an indispensable part of the education of 
 every jserson. To put a drawing on wood, a sketch is first 
 made on paper. Cover the sketch with tracing paper, 
 which is vei-y thin and transparent, and fasten it so that 
 it shall not slip. With a soft lead-pencil, kept with a sharp 
 point that the line may be clean, trace carefully all the 
 outlines. 
 
 Place the tracing face downward on the whitened block, 
 and fasten it securely. Mucilage may be used for this 
 purpose, or yellow beeswax. With a metal or ivory point, 
 not so sharp that it will cut the paper, or a very hard 
 pencil, retrace the outlines. 
 
 When they are all visible on the block, with a very hard 
 and fine quality of lead pencil go over all the outlines. 
 
 Draughtsmen generally keep at hand a piece of tracing 
 paper prepared with red chalk. The chalk is scraped on 
 the paper, and rubbed over it. One side only is thus pre- 
 pared. This prepared paper is placed with the red side 
 toward the block, between it and the tracing. 
 
14 WOOD ENGRAVING. 
 
 The lines are retraced as described above, and will be 
 found, on the block, red instead of black. This is an ad- 
 vantage ; for the traced lines are not always true lines, and 
 it is necessary for the draughtsman to place the correct 
 line by the side of the traced one. When they are both 
 in jjencil, it is frequently difficult for the engraver to deter- 
 mine the true from the false line. If the tracing is in red, 
 no such doubt occurs. When the tracing is completed, 
 with or without the red paper, go over all the outlines with 
 -a fine, hard pencil. 
 
 With India ink, made pale, wash over the required por- 
 tions. Repeat the washes till the desired effects are pro- 
 duced. 
 
 Pencil such portions as are needed, and put in whatever 
 nines of suggestion to the engraver that are desirable. 
 
CHAPTER III, 
 
 The apparatus necessary for engraving on wood con- 
 sists of a set of engraving tools, a sand-bag cushion and 
 stand, a magnifying glass, and stand for holding the glass, 
 an oilstone and small leather hone, and an ink slab and 
 dabber. 
 
 .i>iiiii.j|lilll',iill|[||,l.ilJ„l!IJ.'iyi 
 
 I*- % 
 
 m 
 
 ii",\ 
 
 
 ^^* 
 
 
 " '"""^ss^fiiipf |§^ ' 
 
 A piece of pumice-stone with one plane side, soma bees- '' 
 wax, a bottle of sweet oil, a soft tooth-brush, an ivory- 
 is 
 
16 
 
 WOOD ENGRAVING. 
 
 paper-knife, a box of ink prepared for making proofs, and 
 India proof-paper, are (secondarily essential. 
 
 Of the engraving tools, there are four sorts. First, tint- 
 tools, used chiefly in cutting tints : hence their name. Of 
 these from seven to twelve are required, graduated from a 
 very fine tool — so fine that the cut it makes will scarcely 
 be visible when printed — to one which will cut out a line 
 about one-twentieth of an inch wide. The cut exhibits 
 
 12 3 4 
 
 UHAA A A A A 
 
 the graduation from one to eleven. " A " shows the side 
 of a tool. The tint-tools should be straight upon the bot- 
 tom, and the edges formed by the bottom and sides should 
 be slightly rounded : the tool will cut more smoothly than 
 if sharply angular at the edges. The sides should slant to 
 the top or back, which may be round or square. If the 
 tool is no thicker at the top or back than at the bottom, 
 it will stick, and hang in the wood ; and the lines cut will 
 be liable to break , down in printing. A section of them 
 will appear like this. When thicker at the back, 
 the lines cut will have more base, consequently 
 more strength. A section appears thus : — ■ 
 
WOOD ENGRAVING. 
 
 17 
 
 The second class of tools are the gouges, or digging-out 
 tools. Of these, two or three only are necessary ; and it 
 
 X^is 
 
 would be well that the smallest gouge should be next 
 larger than the largest tint-tool, and that the largest gouge 
 should be large enough to dig out the largest spaces re- 
 quired. Gouges of the sizes 12 and 13 are usually suffi- 
 cient; but if the engraver has much work, requiring large 
 spaces to be be taken out, it will be well to add another 
 gouge, considerably larger than No. 13. The gouges are 
 better for being rounded upon the bottom. 
 
 The third class of tools are the gravers, or lozenge-tools. 
 They differ from the tint-tools, in being much thicker at the 
 
 ABC 
 
 A A A 
 
 back than on the bottom, and Sorter on the sides than 
 tint-tools, being nearly square or lozenge in shape. This 
 form enables the engriaver to vary the width of the lines 
 cut, from a very fine line to one quite coarse. Of the 
 gravers, from two to four will be enough. 
 
 The fourth class are the chisels, used chiefly to cut 
 around the edges of pictures, and lower the wood in such 
 
 2» 
 
18 WOOD ENGBAVING. 
 
 portions as may be necessary. One or two are sufficient. 
 From twelve to twenty tools will form a set sufficient 
 
 I — r 
 
 II 
 
 for all ordinary purposes of engraving. Some engravers 
 pride themselves upon doing the greatest variety of work 
 with the smallest number of tools; and others delight 
 themselves with the number and variety of their tools. 
 
 For convenience, it is usual to mark the handles of all 
 the tools. The series of tint-tools are numbered 1, 2, 3, 
 4, 5, 6, &c. : the gouges are also numbered ; the smallest 
 gouge being the next number higher than the largest tint- 
 tool. The gravers, or lozenge-tools, are marked A, B, C, 
 ,&o. The chisels may be marked I. II. The handles of 
 the tools are usually of wood or cork : the shape indicated 
 ,by the cut is the most convenient for use. The tool 
 
 -should be inserted into the handle, so that it is nearly 
 ; Straight, the point being inclined slightly downward. 
 : iThe face of a tool should beliept rather long than short : 
 '.n;Qt':tbo''long, however, for then the point will break off in 
 
 the wood. But, if too obtuse, the tool will rather plough 
 lits way through the wood than cut it ; and the shaving 
 
 will aliso turn oyer at the point of the tool, and prevent 
 
WOOD ENGRAVING. 19 
 
 the engraver fi-om seeing the lines being cut. "A " repre- 
 
 sents a tool too obtuse; "B" shows the proper angle of 
 
 the face. When of this angle, the tool will cut cleanly and 
 smoothly, and the shaving will not obstruct the sight of 
 the engraver. A small grindstone will aid in grinding to 
 a proper angle the face of the tool when too obtuse. 
 For keeping them shai-p while engraving, a good oil-stone 
 is sufficient. It should be fine enough to make the tool 
 smooth while it sharpens; and should "take hold" 
 enough, so that too much time need not be consumed in 
 sharpening tools. Sweet oil is the best for use. Put a 
 few drops upon the stone. Place the face of the tool flat 
 upon the stone, and hold it steadily while rubbing it. It 
 will then have one smooth face, which is right. If it be 
 not held steadily, there will be many little facets, which 
 are very objectionable. A final polish will be given by 
 the use of a leather hone or strap. A golden rule for the 
 engraver to observe is, always to keep the tools well 
 faced, and keenly sharp. If the tools are found too brittle, 
 the defect may be remedied by heating a poker, or other 
 piece of iron, red hot, and laying tlie tool flat-wise- upon 
 it. As soon as it changes to a straw color, it must be re- 
 moved, and either dipped in sweet oil, or permitted to cool 
 gradually. If it is heated beyond the straw color, passing 
 
20 WOOD ENGRAVING. 
 
 into the purple tinge, it will have been heated too much, 
 and will bend, instead of breaking. 
 
 It is necessary to have a cushion, or round bag of leather 
 filled with sand, on which to place the block during the 
 process of engraving. It should be filled so full that the 
 block will not sink into it. The cushion may be placed 
 upon a block of wood, or directly upon a table ; but en- 
 gravers generally use a stand made for the purpose, — a 
 turned truncated cone of wood, with the top dished out 
 slightly. This stands firmly, and holds the cushion well. 
 This should be placed upon a firm table or desk, of such 
 height, that, whether the engraver sits or stands, the body 
 will be perfectly erect. 
 
 The magnifying glass should be of- moderate power* 
 There is much work that can be done without a glass; but 
 to do too fine work without, taxes the eyes too severely, 
 and is detrimental to the quality of the engraving. A 
 glass an inch and a quarter, or an inch and a half in diam- 
 eter, is the most suitable size. The frame may be of wood, 
 shell, or metal. 
 
 An upright stand, with a horizontal arm for holding the 
 glass, is essential. The arm should be movable on the up- 
 right, so that the glass may be adjusted at whatever dis- 
 tance from the engraving the focus of the glass may re- 
 quire. Some engravers use the right eye, others the 
 left; some us"e both eyes; and others use right and left 
 alternately. Every one will soon find which is most con- 
 venient. 
 
 For an ink-slab, a piece of lithographic stone, or a thick 
 plate of glass, is the best for use. 
 
WOOD ENGRAVING. 21 
 
 To make the dabber, take about a double handful of 
 loose wool (cotton is not elastic enough), and tie it up in 
 a circular piece of strong, fine silk, or chamois skin; make 
 it into a flat ball, and tie it so tightly that the silk or skin 
 will not wrinkle on the face of the ball while beating the 
 ink. Wind the surplus silk or skin, so that it will make a 
 handle for the dabber. 
 
 If silk is used, it is better to tie up the wool in a stout 
 piece of cotton, and then cover it with the silk. Be sure 
 that there are no wrinkles, but do not make the face of 
 the ball too hard : it should be slightly elastic. 
 
 A soft tooth-brush is used to brush away the small 
 chips cut out by the gravers. It must be soft, so as not to 
 injure the lines of the engraving. 
 
 A north light is the best by which to engrave ; but, by 
 whatever lightthe engraver works, there must not be too 
 much nor too little light. The window at which the en- 
 graver sits should be so shaded that the light will fall on 
 the block, and not on the eyes of the engraver, — the 
 upper part of the window so that not too much light wUl 
 enter ; and the lower part so as to protect the eyes from 
 the light below, but not so high as to throw a shade upon 
 the block. By carefully attending to the light, the en- 
 graver will be able to work with present pleasure, and 
 also preserve the eyesight for future use. Dr. Anderson 
 specially enjoins all young engravers to be careful of their 
 eyes. Sometimes it is well to wear a shade over the 
 eyes. 
 
CHAPTER IV. 
 
 Fob a successful jjursuit of wood engraving, is required 
 patience, perseverance, and a love of the art. The begin- 
 ner may or may not use the magnifying glass during the 
 first lessons; but, as some little time is required to gain 
 the use of the tools, it is just as well to make the first trials 
 without the glass, and concentr.ate all attention upon the 
 handling of the tool and block. Place a block on the 
 cushion, and, with the left hand, bold it firmly to prevent 
 its slipping, but bo that it may be readily moved and 
 turned as required while engraving. Hold the handle of 
 
 the tool with the second, third, and fouith fingers, and the 
 palm of the right hand grasping firmly, but not rigidly, 
 
 22 
 
WOOD ENGRAVING. 
 
 23 
 
 using the forefinger to guide the tool. In cutting all small 
 pictures, the end of the thumb is placed against the side 
 of the block, as is shown in the preceding illustration. In 
 all large cuts, the thumb rests upon the surface of the 
 block, as is shown by this cut. 
 
 At no time should the tool be pinched between the 
 thumb and forefinger : the thumb is the rest against which 
 the tool moves; and the forefinger always guides, and 
 never holds, the tool. 
 
 For the first lessons in engraving, a series of cuts of tints 
 are the best. For the first trial, choose a small piece of 
 box-wood : an inch or so square will answer. Select a 
 tool of medium size for the first trial. 
 
 Holding the tool, and adjusting the block as described, 
 
 ' commence near thQ upper edge, and just on the right side ; 
 
 guide the tool with the forefinger, and cut slowly, and not 
 
 too deeply,, a line, as straight as possible, across the block. 
 
 It is usual to draw lightly, with a pencil, parallel lines, to 
 
24 . WOOD EN&RA VING. 
 
 serve as guide-lines for cutting; and, for tte first line, it 
 would be well to cut in tjhe first pencil line or immediate^ 
 ly bfilow it. Keep the same pressure of the tool into the 
 wood throughaut the entire length of the line. Having 
 
 determined the width of the lines of the tint, when com- 
 mencing the second line, place the tool at the required 
 distance below the line cut, and, cutting into the wood 
 the same depth as before, guide the tool slowly across the 
 block, endeavoring to leave the line as wide throughout 
 its entire length as at the beginning. The lines that are 
 left are the lines that receive ink in printing, and the lines 
 cut out appear white. The quality of plain tint depends 
 upon the evenness of the lines, which make it both black 
 and white ; and the color, or tone, depends upon the width 
 of these lines. If possible to cut the second line without: 
 either swerving upwards, making the line thinner, or: 
 downwards, making it thicker, than at its commencement, . 
 and preserving the same pressure of the tool, a greftj; sue- 
 cess is attained. But it is hardly probable that the be- 
 ginner will be thus fortunate ; still, by proceeding slowly 
 apd carefully, a fair line will have been cut. Commence 
 
WOOD ENGRAVING. 25 
 
 every line carefully ; observing closely with the eye the 
 Avidth of the lines left, and with ^h<3 fingers the depth of 
 the lines cut. Do not think about the time required to 
 cut a line : let each line for the time being be the most 
 important thing in the world, and proceed as carefully as 
 though hundreds of dollars were depending upon its beau- 
 ty and precision. If, unluckily, the lines get to running up 
 or down, do not continue in the wrong direction. Stop, 
 and take the tool out, and put it farther along in the wood, 
 and, observing its distance from the nearest pencil guide- 
 line, commence again. It is. better to have stops in the 
 tint than crooked lines. It will take quite considerable 
 time to get the use of the tools so that it will be. possible 
 to cut an even tint; but patience and perseverance will 
 be rewarded with success. 
 
 Having cut the jBrst block, place a small quantity of ink 
 upon the slab, and, with the> dibber, beat it till it is very 
 fine. Then lightly beat the block, allowing the dabber to 
 remain a few seconds on the block at each beat. Do not 
 rub the dabber over the surface, for that will smear the 
 ink into the lines. By" carefully inking a cut, the exact 
 quality of the engraving is- exhibited; In this first lesson, 
 the character of th& hnes is shown very plainly. Some 
 lines, probably, will be found thicker in' one portion than 
 in another ; some will seem to have lumps upon them ; 
 and some will have been cut too thin. It will not be pos- 
 sible, to make this piece of tint perfect, but with care it 
 may be much improved. The lines that are too thin must 
 be let alone ; they cannot be mended. From the thick and 
 lumpy lines, with a tool several degrees finer than the one 
 
26 WOOD ENGRAVING. 
 
 with which the tint was cut, take off a slight shaving, now 
 on the upper and now on the lower side, being careful not 
 to take off too much, and so make the line too thin. 
 When stops occur, turn the block downwards, and, with 
 the same tool with which the tint was cut, re-enter the 
 line, and cut the space of wood left almost through to the 
 end of the line as it stopped. Then, with a fine tool, cut 
 the remainder of the little stop of wood through on each 
 side of the end of the lines, being careful not to make the 
 ends of the lines too fine. "When well done, the color of 
 the tint will scarcely be disturbed by the meeting of the 
 
 two series of lines ; and it is always better to stop, and be- 
 gin again, than to cut crooked lines. 
 
 And there will oflen be occasions when it will be ne- 
 cessary to unite tints, cut with different-sized tools, in this 
 same manner. After trimming the lines of the tint as 
 much as is necessary, ink the block again in the manner 
 described, cut a piece of India proof paper, and lay it care- 
 fully upon the block. With an ivoiy paper-knife, rub 
 gently over the paper, pressing only sufficiently to make 
 the ink adhere to the paper. Rub in the direction the 
 lines are cut. Do this in all cases if possible. Light and 
 delicate lines must be rubbed more gently than heavy 
 
WOOD ENGRA7ING. 27 
 
 lines; and, in printing, the press should be so adjusted 
 that there will be less pressure upon them than upon the 
 heavy lines. It is advised by the author to preserve 
 proofs of -work from the beginning, as they mark the prog- 
 ress of the individual, and they are always useful for ref- 
 erence. 
 
 For a second lesson, take a block somewhat larger than 
 the first, and cut some similar tint. Proceed carefully, 
 
 and be in earnest to make straight lines, and do not give 
 ijp the practice till straight lines and an even tint are 
 produced. The use of different-sized tools will give vari- 
 ety in the tint-studies. Also, with the same tool, cut lines 
 
 with surface, and those that arc sharp. This and the fol- 
 lowing examples have been both cut with the same tool. 
 
28 
 
 WOOD ENGBA7ING. 
 
 The difference in color is produced by the difference in the 
 width of the lines. 
 
 The next example is cut with a finer tool, and has more 
 
 surface, or face as it is technically called, than in the 
 pKBA^ieus examples. 
 
 After success is attained in producing plain tints, pro- 
 ceed with graduated tints, which are made by varying the 
 
WOOD ENGRAVmO. 29 
 
 width of the lines, and their distance from each other. 
 After facility is obtained in straight-line tints, proceed to 
 the study of waved lines. Cut some lines which are 
 slightly waved, as in this example. This land of line will 
 
 be found very useful in sky-tints. Afterwards cut some 
 with more undulation of line, as in this example. Cut 
 
 some lines quite curved, as in the following instance. It 
 should be observed, however, that it is not desirable to 
 cut masses of tint with this line ; for, " when the alternate 
 
 3* 
 
30 WOOD BNGRAVma. 
 
 undulations are much curved, the tint, when printed 
 will appear as if intersected from top to bottom, like 
 
 wicker-work, with perpendicular stakes." " This effect 
 will be observable, both in lines cut by hand or by ma- 
 chine." 
 
 Examine fine examples of wood engraving, and observe 
 closely the tints, and endeavor to imitate them; and con- 
 tinue the studies of tint-cutting till the pupil can cut tints 
 skilfully. Remember that future success depends upon 
 the manner in which these first lessons are cut. When 
 able to cut tints well, take a small picture which is made 
 principally of tints. In a drawing on wood, the lines to 
 express the given effects are cut according to the judg- 
 ment of the engraver. In a transfer, all the lines are 
 transferred to the wood just as they are to be cut. Hence 
 transfers, at this stage of the pupil's progress, are most 
 ■serviceable for practice. 
 
 Before commencing to engrave either a drawing or a 
 transfer, the block must be covered with paper (envelope 
 paper is best), to protect the picture from being rubbed 
 
WOOD ENGRAVING. 
 
 31 
 
 and blurred by the hands while being engraved, A piece 
 of yellow bees-wax will be found most useful in fastening 
 the paper to the block. Make a small opening in the 
 paper, where the engraving is to be commenced. Let it 
 be large enough so that the edges do not shades the lines 
 being cut. Remove it as fast as may be necessary during 
 the process of engraving. 
 
 An example like this turret is simple, and useful for prac- 
 tice. First remove the wood around the edges of the tint 
 
 with a gouge. With a chisel, cut a thin shaving from the 
 surface of the ends of the lines, so that the ends of the 
 lines will be lower than in the other portions. With the 
 finest tint-tool, cut an outline between the sky-tint and 
 the turret. The term outline in wood engraving has two 
 meanings. It refers firstly to the form or boundary lines 
 of all objects in a picture; and, secondly, it indicates the 
 
32 WOOD ENGRATING. 
 
 delicate white line cut around objects, which separates 
 them from surrounding ohjects and tints. In this example, 
 this white outline is used on each side of the turret, separat- 
 ing it from the sky-tint ; on thi3 light side, where the tints 
 on the bricks are stopped by the boundary lines; between 
 the sky and balustrade, and on the upper and under sides 
 of the arcs. This outline is generally so fine that it is not 
 distinctly perceptible in the impressions from the cut, 
 but is necessary to give the requisite relief to the objects, 
 which without it would appear to stick to each other. 
 
 The sky-tint is first cut after the outlining, because it is 
 generally better to cut all backgrounds before objects in 
 the foreground. 
 
 The tints on the shaded side are cut in short lines, stop- 
 ped by the lines crossing, which indicate the seams in the 
 brick-work. On the light side, some of the bricks are 
 lightly tinted, and others are white. On the tinted bricks, 
 the outline is cut carefully close to the black line, and the 
 tint then cut. To cut the white blocks : with a fine tool 
 cut an outline on each side of the black lines ; with a 
 coarser tint-tool, make the outline still wider, and remove, 
 the wood within with a small gouge. Be careful that the 
 tool does not rest on the lines, bruising them down, as 
 in printing they will seem to be broken lines. The lines 
 in the window are nearly all cut with the finest tint- 
 tool. The arcs in the balustrade are outlined, as before 
 described, and the tints cut with tools of diiFerent sizes. 
 When completed, ink the block, and compare the cut with 
 the impression from which the transfer was made. Dex ■ 
 terously trim any lines which have been left too thick, 
 
WOOD ENGRAriNG. 
 
 33 
 
 but be careful not to trim too much. The wood engrayer 
 can always get the subject lighter, but cannot reproduce 
 the black which has been cut away; so care must • be ob- 
 served not to get the subject too light before a proof is 
 taken. 
 
 Pictures in outline are those in which the forms of the 
 objects are given without shading. This example of a 
 falcon is in outline. It will be well to take lessons in 
 
 cuts of this character, in connection with those that com- 
 / bine tints with form. Great care is necessary, in cutting 
 outline pictures, not to bruise the lines with the tool. 
 
 This example, a stonehenge, will bring into use the pre- 
 vious lessons, and introduce some variety. Commence 
 
34 
 
 WOOI> ENGRAVING. 
 
 with cutting around, and lowering the edges of the tint 
 on the outside ; cut out the space of white in the centre, 
 
 and lower the edges, and outline the stones. It is always 
 best to cut the tints against which an object is placed 
 first. If in this instance the stones were cut first, it would 
 be almost impossible to cut the tint entirely to the black 
 line without breaking through. 
 
WOOD ENGRAVING.. 35 
 
 The sky in this cut is made of several tints, which are 
 all waved, some slightly, and others much waved. The 
 undulations suggest motion: hence in clouds the lines 
 are usually waved. "Clear blue sky is represented by 
 straight-line tint, either uniform or graduated." 
 
 The engraver should remember that with lines must be 
 produced given effects. The lines used must be those 
 which will best suggest the forms and textures of the ob- 
 jects represented, and the relation they bear to each other. 
 "The choice of these tints depends upon taste and 
 judgment; so no specific rules can be laid down to guide 
 in their selection. Lines are not to be introduced merely 
 as such, to display the mechanical skill of the engraver : 
 they ought to be the signs of an artistic meaning, and be 
 judged of accordingly as they serve to express it with 
 feeling and correctness. " 
 
 In this example, the different tints in the sky suggest 
 different degrees of density of the clouds ; and they are 
 separated from each other by white touches, which also 
 indicate the light edge of the clouds. 
 
 The stones are represented by broken tints : the series 
 of lines are short, have stops in them, and are crossed by 
 otTiei- lines. The lines are none of them perfectly straight, 
 and some are quite waved. This combination of lines 
 suggests the roughness of stone. The ground is cut jiart- 
 ly in tint, and partly with indications of grass. And here 
 it may be observed, that objects in the foreground exhibit 
 most fully the characteristics of quality, those in the mid- 
 dle distance less, and those in the background the least. 
 So in this example, at the foreground, the markings of 
 
36 WOOD ENGRAVING. 
 
 grass are strongly" indicated ; but, as the ground recedes 
 fi-om the front, the mai-kings are lost in the tint. This 
 suggests the reality of nature ; for the student, standing on 
 a lawn or meadow, will observe distinctly the blades of 
 grass immediately at the feet, while those at a distance 
 will appear merged into an indistinct mass of even tint. 
 So with the stones in this example : in those that are near- 
 est the foreground, the markings are bold and decisive; 
 those in the background are in plainer tints. The grass 
 in this example is cut with a lozenge-tool. The pupil will 
 observe that the line taken out varies in width. The grav- 
 er, from its shape, is adapted to cutting such lines. By dif- 
 ferent degrees of pressure into the wood, the engraver is 
 enabled to produce differences in the width of the hnes, 
 and also to cut them with a freedom and delicacy that is 
 impossible with a tint-tool. This cut of " Finis " is almost 
 
 entirely cut with a graver. The work being simple, it is 
 a suitable example for a beginner. Cut a broad outline 
 around the masses of leaves, and remove the wood outside, 
 as has previously been described. The leaves are cut with 
 a small gi-aver. The pupil will observe the variation in the 
 width of the lines cut out, also how the leaves and grass 
 are formed. The narrow rim of tint on the stone may be 
 cut with either a tint-tool orgraver. The letters must be 
 
WOOD ENGRAVING. 
 
 37 
 
 carefully outlined, and the wood between them taken 
 away with eithier a graver or tint-tool, whichever is most 
 convenient. . The blank spaces are removed with a gouge. 
 Examples like the following will enable the pupil to 
 bring into use the previous lessons. In the first cut, the 
 
 sky, the buildings, the water, and the shade on the shore, 
 are all cut with tint-tools of various sizes. The foliage is 
 cut with gravers. 
 
 In the second cut, the sky, and most of the tints on the 
 mountains and rocks, are cut with tint-tools. The foliage, 
 
38 
 
 WOOD ENGRAVING. 
 
 and some of the marking on the rocks, are done with grav- 
 ers. The pupil will observe also the meanings of the lines 
 which are employed to produce given effects. The skies 
 are cut with delicate lines, and contrasted with the build- 
 ings in the one example, and with the rocks in the other, 
 seem to be at a great distance. Distance is thus inti- 
 mated. On the buildings, in the portions that seem to be 
 nearest, the lines have more strength than in those farther 
 away. The lines on the nearest mountains and rocks have 
 more color and character than on those in the background. 
 An engraving holds the same relation to a drawing 
 that a translation does to a work in the original. The 
 artist makes a drawing on wood, giving us a picture in the 
 draughtsman language. The engraver takes it, and trans- 
 lates with lines the artist's meaning into an engraving. 
 According to the ability of the engraver, will this trans- 
 lation prove a truthful one, or a mere mechanical perform- 
 ance. 
 
 '4i^^- 
 
 In this example, the lines are almost entirely cut with 
 
WOOD ENGRAVING. 
 
 39 
 
 gravers. An outline is cut around the animal. The delicate 
 foliage is cut with a medium-sized graver. The shade on 
 the small tree, and also on the ground, can be cut either 
 with the 'graver or the tint-tool. At this stage of the pu- 
 pil's progress, it would be well to cut it with the tint-tool. 
 The lines on the animal are best cut with the graver. In 
 this example, the lines are so chosen and disposed that they 
 show the form of the animal, and also indicate its hairy 
 coverino;. 
 
 
 The differences between qualities and textures are more 
 fully exhibited in this cut. The wood is removed around 
 the outside, and the edges of the sky and the foliage 
 lowered, in the manner previously described. The foli- 
 
40 WOOD BNGRAYING. 
 
 age of the trees, and the reedy grass, are each indicated 
 by lines of diiferent character. The coarse, rough hair 
 of the wart-hog, in the background, is indicated by dif- 
 ferent lines from those of the sky or foliage or the water; 
 differing also from those which indicate the rough and 
 wrinkled skin of the rhinoceros, or from those which sug- 
 gest the thick, leathery hide of the hippopotamus. This 
 engraving is partly cut with tint-tools, but mainly with 
 gravers. 
 
 With respect to the direction of lines, it ought at all 
 times to be borne in mind by the engraver, that they 
 should be disposed so as to denote the pecuUar form of the 
 objects they are intended to represent. For instance, in 
 
 an arm or leg, they ought not to run horizontally or ver- 
 tically, — conveying the idea of either a flat surface, or of 
 a hard cylindrical form, — but with a gentle curvaturfe 
 suitable to the shape and degree of rotundity required. A 
 well-chosen line makes a great difference in progerly rep- 
 resenting an object, when compared with one less appro- 
 priate, though more delicate. In these five examples. A, 
 B, C, D, E, the outline is the same, and the width of the 
 lines as nearly alike as possible : the differences in the di- 
 rection of the lines produce the differences in effect ob- 
 served. " When such curved lines are introduced to repre- 
 
WOOD ENGRAVING. 
 
 41 
 
 sent the rotundity of a limb, with a break of white in the 
 middle, expressive of its greatest prominence, as is shown 
 in figure C, the lines should be cut as if intended to be 
 continuous, as is seen in figure D : by this m.eans, all risk 
 of their disagreeing, as in figure E, will be avoided. The 
 part which is white in C should, however, be lowered out 
 before the lines are cut. 
 
 CD E 
 
 " This disposition of lines will not only express the form 
 required, but also produce more color, as the lines approach 
 each other in approximating curves, as may be observed 
 in the examples above, and thus represent a variety of 
 light and shade, without the necessity of introducing 
 other lines crossing them. In cutting curved lines, con- 
 siderable difficulty is experienced by not commencing 
 properly. If, in executing a series of such lines as are 
 
 shown in this example, the engraver commences at A, and 
 works towards B, the tool will always be apt to cut through 
 the black line already formed ; whereas, by commencing at 
 
42 
 
 WOOD ENGRAVING. 
 
 B, and working towards A, the graver is always outside 
 of the curve, and consequently never touches the lines 
 previously cut. As the drawing is the reverse of the im- 
 pression, it is necessary to observe that the motion of the 
 graver is from right to left on the blocks ; that is, the 
 point B forms the beginning, and not the termination, of 
 the first line when properly commenced." To cut these 
 lines in this masiner, it is necessary to place the block up- 
 side down. It is always much easier and better to cut 
 curves with the arcs downward, since the tool can be 
 guided easily, leaving good clear lines. When reversed, 
 it is up-hill work, and the lines are ragged. 
 
 " This care ought always to be' observed when engraving 
 a series of curved lines, as, by holding the block properly, 
 the work is executed with greater freedom and ease ; while 
 the inconvenience arising from slips is avoided. 
 
 "The rotundity of a column or 
 similar object is represented by 
 means of parallel lines, which are 
 -comparatively open in the middle, 
 where light is required, but which 
 are engraved closer and thicker 
 towards the sides, to express shade. 
 The effect of such lines will be ren- 
 dered more evident by comparing 
 the column with the base, which is 
 represented by a series of equidis- 
 tant lines." 
 
 In almost all illustrations of ma- 
 chinery and mechanical apparatus, the tints are produced 
 
WOOD ENGRAVING. 43 
 
 by the use of straight lines ; hence ability to cut straight- 
 line tint will enable any one to excel in mechanical 
 engraving. 
 
 " Clear, unruffled water, and all bright and smooth me- 
 tallic substances, are best represented by single lines ; for 
 if cross lines be introduced, except to indicate a strong 
 shadow, it gives to them the appearance of roughness, 
 which is not at all in accordance with the ideas which 
 such substances naturally excite. 
 
 "Objects which appear to reflect brilliant flashes of light 
 ought to be carefully dealt with, leaving plenty of black 
 as a ground-work; for in wood engravings such lights can 
 only be efiectively represented by contrast with deep color. 
 
 " Reflected lights are, in general, best represented by sin- 
 gle lines running in the direction of the object, with a few 
 touches of white judiciously taken out." Most indica- 
 tions of foliage can best be cut with a graver. In back- 
 grounds, masses of foliage are represented by tints, the 
 lines of which are somewhat curved, and cut in series. 
 Here the tint-tool may be used to advantage. In the 
 middle distance, more expression of character is given. 
 
 In the foreground, the indications of character are made 
 angular or rounded, denoting somewhat the form of the 
 leaves. The graver is best adapted to cutting these forms. 
 The markings of character are strongly defined in the 
 light, and delicately so in the shadow. The masses are so 
 disposed, that the whole general eflect will give the im- 
 pression of the kind of foliage delineated. 
 
 In the next example, we have a bit of woodland por- 
 trayed. By examination, the pupil will detect the means 
 
44 
 
 WOOD ENGBAYING. 
 
 employed to convey the idea of a real forest, suggest its 
 coolness, and the whispers of its myriads of ever-moving 
 
 Ileaves, — of Nature's countless tongues, revealing her in- 
 comprehensible harmonies. It is the aim of all true Art 
 
WOOD MNGRAYING. 
 
 45 
 
 to represent Nature so as to bring to the mind' of the 
 observer all those emotions which the redlity would call 
 into existence. 
 
 In this example of portraiture^ there is a combination 
 of tinting and cross-hatching. Cross-hatching signifies 
 the manner of producing effects by series of lines crossing 
 
46 WOOD ENGRAVING. 
 
 each other. In plates, this can be easily done, for the 
 lines are engraved across each other ; but in wood engrav- 
 ing, being a reverse process, it is necessai-y to remove the 
 little white spaces between the lines. This can generally 
 be cut best with a graver. Commence in an angle of the 
 interstice ; hold and turn the graver so that the little 
 space of wood may be cleanly cut out, leaving the lines 
 clear and continuous. Sometimes a dot or short line is 
 left within this little square or diamond. It is hardly ne- 
 cessary to state that the wood is cut away around them. 
 Of course, it requires great care to cut cross-hatching 
 finely ; but, when it is introduced, it is desirable to do it 
 well, and the engraver should begrudge no pains to ac- 
 quire facility in its execution. Indeed, throughout all 
 study, the engraver should have .a constant appreciation 
 of the maxim, "that what is worth doing at all, is worth 
 doing well." At one time, cross-hatching was much em- 
 ployed in representing flesh, which is now generally cut 
 in tints, with white lines crossing. Cross-hatching is es- 
 pecially adapted to drapery. It is also much employed in 
 cutting fruits, in combination with tints and a kind of 
 stippling. Flowers are usually engraved with delicate tints. 
 
 In mechanical cuts, much of the plain lining is fre- 
 quently done with a ruling machine, which will produce 
 masses of tints in an expeditious and satisfactory manner. 
 The machine is set so as to produce the required tints, 
 the portions of the picture ruled, and then the cuts com- 
 pleted by hand. 
 
 In large cuts, required to be 4one in a given time, it is 
 customary to prepare the boxwood tn sections, so that it 
 
WOOD ENGRAVING. 47 
 
 may be taken apart after the drawing is made npon it, 
 and each section given to an engraver. For instance, a 
 cut that has twenty-four days' labor upon it may all be 
 done in one day, if subdivided into twenty-four parts, 
 and each part given to an engraver. The different sec- 
 tions are then re-united, and usually an electrotype or 
 stereotype made, from which the printing is done. This 
 method is employed by most illustrated j^arpers that por- 
 tray the incidents and events belonging to the march of 
 time. 
 
 It may not be amiss to say a few words in relation to 
 the stereotype and electrotype processes, by which means 
 a single wood-engraving may be duplicated an indefinite 
 number of times, and each duplicate will allow many 
 thousands of impressions to be taken. For the stereotype, 
 a mould is made in plaster from the cut : melted type-metal 
 is poured into this mould, and, when cool, is removed from 
 the mould a fac-simile of the engraving. 
 
 For an electrotype, a mould is made with a preparation 
 of wax and plumbago : this mould is placed in a solution 
 of copper. The wires from an electro-magnetic battery are 
 adjusted in contact with the mould ; and the action of 
 the magnetic currents causes the copper to deposit upon 
 the mould, making a copper duj)licate of the engraving. 
 The thickness of the sheet of copper depends upon the 
 length of time that the mould remains in the solution 
 subject to the action of the battery. About twelve hours 
 is sufficient, usually. The' sheet is quite thin, and' is after- 
 wards backed with type-metal, and then mounted upon 
 wood (cherry or mahogany) ; the whole being the height 
 
48 WOOD ENGRAVING. 
 
 of type. An electrotype is considered better than a ster- 
 eotype for fine. engravings,, as a sharper and more delicate 
 mould can be made in wax than -in jplaster, thus render- 
 ving the duplicate more perfect. Copper is also more 
 ' durable than type-metal, and many more impressions may 
 be printed from an electrotype than from a stereotype. 
 
 The author has endeavored to make the directions for 
 wood engraving as concise, simple, and practical as possi- 
 ble ; with what success, the reader is best able to judge. 
 In conclusion, the author would reiterate the statement, 
 that practice and perseverance, combined with a love of 
 the art, will -enable any one to achieve success. 
 
 According to the aptness of different persons will be 
 the facility with which they will be enabled to execute 
 good engravings in a longer or shorter time. But genius 
 alone will not be sufficient for the attainment of excellence : 
 there must be also diligent application. 
 
 Perfection may never be attained in this life ; for to the 
 best engravers there are always higher mounts to ascend : 
 always within, their soiils present the cry, " Higher, still 
 higher." Verily, unto each engraver, it is "line upon line, 
 and i)recept upon precept." Every line made by the hand 
 is traced upon the spirit; and, when a picture has been 
 completed, one invisible to human eyes, an engraving 
 with living lines, has been wrought in a human soul, 
 which, infilled with the Divine Spirit, causes the work of 
 its hand to go forth to other human souls with unuttera- 
 ble power to impress them with its lessons of thought and 
 feeling. 
 
^^^^ Cornell University Library 
 
 A manual of instruction in the art of wo 
 
 3 1924 031 253 549 
 olin.anx