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This volume is produced from digital images created through the University of Michigan University Library's preservation reformatting program. The Library seeks to preserve the intellectual content of items in a manner that facilitates and promotes a variety of uses. The digital reformatting process results in an electronic version of the text that can both be accessed online and used to create new print copies. This book and thousands of others can be found in the digital collections of the University of Michigan Library. The University Library also understands and values the utility of print, and makes reprints available through its Scholarly Publishing Office.
Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: CHAPTER III LINE ENGRAVING Line engraving may be divided into two main classesoriginal and interpretative ; the one in which the product is the spontaneous conception of the engraver's own mind, and the other in which the results are translations, in black and white, of the compositions of painters and sculptors. To the first class belongs almost all the output of the early practitioners of line engraving ; but from the days of the famous Marcantonio Raimondi, the art gradually ceased to be one of original effort, and became more and more the means of rendering in print the work of painters. The way in which the line engraver proceeds is as follows :Upon the sheet of copper he first traces the outline of the subject he proposes to engrave, and then, taking a triangular - pointed tool (called a graver) with the handle placed in the palm of his hand, he pushes the instrument, guided by his thumb and forefinger, along and into the metal, and so ploughs furrows of greater or less width and depth, according as he wishes the lines of his subject to appear coarse or fine in the printed impression. By this method of working it will be understood that the lines must lack much of the freedom of those made with the etching needle, and that they must resolve themselves more into systems of strokes parallel to or THE DESCENT FROM THE CROSS (From the Line Engraving by Andrea Mantegna, late fifteenth century") crossing each other. The result has been that, ¡n course of time, traditions and rules of procedure have been accepted by interpretative engravers, and the different texturesflesh, foliage, foreground, etc.have been rendered, more or less, according to mechanical formulae. It was this working upon set rules that caused Sir Seymour Haden to define line engraving as a manufac...
Originally published in 1922 1920. This volume from the Cornell University Library's print collections was scanned on an APT BookScan and converted to JPG 2000 format by Kirtas Technologies. All titles scanned cover to cover and pages may include marks notations and other marginalia present in the original volume.