See also:

• ETCHING (Dutch, etsen, to eat)

ETCHING (Dutch, etsen, to eat)  , a See also:

• FORM (Lat. forma)

form of See also:

• ENGRAVING

engraving (q.v.) in which, in contradistinction to See also:

• LINE

line engraving (q.v.), where the furrow is produced by the ploughing of the burin, the See also:

• COPPER (symbol Cu, atomic weight 63.1, H=1, or 63.6, O = 16)

copper is eaten away or corroded by See also:

• ACID (from the Lat. root ac-, sharp; acere, to be sour)

acid . To prepare a See also:

• PLATE

plate for See also:

• ETCHING (Dutch, etsen, to eat)

etching it is first covered with etching-ground, a See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition which resists acid . The qualities of a ground are to be so adhesive that it will not quit the copper when a small quantity is See also:

• LEFT

left isolated between lines, yet not so adhesive that the etching point cannot easily and entirely remove it; at the same See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time a See also:

• GOOD, JOHN MASON (1764-1827)

good ground will be hard enough to See also:

• BEAR
• BEAR, BLACK
• BEAR, BROWN
• BEAR, GRIZZLY
• BEAR, ISABELLINE
• BEAR, WHITE

bear the See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand upon it, or a See also:

• SHEET

sheet of See also:

• PAPER
• PAPER (Fr. papier, from Lat. papyrus)

paper, yet not so hard as to be brittle . The ground used by See also:

• ABRAHAM, or ABRAM (Hebrew for " father is high ")

Abraham Bosse, the See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French painter and engraver (1602–1676) was composed as follows:--Melt 2 oz. of See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white See also:

• WAX

wax; then add to it 1 oz. of See also:

• GUM (Fr. gomme, Lat. gommi, Gr. Kµµ1, possibly a Coptic word; distinguish " gum," the fleshy covering of the base of a tooth, in O. Eng. gbma, palate, cf. Ger. Gaumen, roof of the mouth; the ultimate origin is probably the root gha, to open wide, seen in

gum-See also:

• MASTIC, or MASTICH (Gr. µao-rixrt, probably connected with µaoavOai, to chew, since mastic is used in the East as a chewing gum)

mastic in See also:

• POWDER (through O. Fr. puldre, modern poudre, from Lat. pulvis, pulveris, dust)

powder, a little at a time, stirring till the wax and the mastic are well mingled; then add, in the same manner, I oz. of See also:

• BITUMEN

bitumen in powder . There are three different ways of applying an etching-ground to a plate . . The old-fashioned way was to wrap a See also:

• BALL (in Mid. Eng. bal; the word is probably cognate with " bale," Teutonic in origin, cf. also Lat. falls, and Gr. 7raXXa)
• BALL, JOHN (1585-1640)
• BALL, JOHN (1818-1889)
• BALL, JOHN (d. 1381)
• BALL, SIR ALEXANDER JOHN, BART
• BALL, THOMAS (1819- )

ball of the ground in See also:

• SILK

silk, See also:

• HEAT (0. E. haktu, which like " hot," Old Eng. hat, is from the Teutonic type haita, hit, to be hot; cf. Ger. hitze, heiss; Dutch, hitte, heet, &c.)

heat the plate, and then rub the ball upon the See also:

• SURFACE

surface, enough of the ground to See also:

• COVER (from the Fr. convert, from couvrir, to cover, Lat. cooperire)

cover the plate melting through the silk . To equalize the ground a dabber was used, which was made of See also:

• COTTON
• COTTON (Fr. coton; from Arab. qutun)
• COTTON, CHARLES (163o–1687)
• COTTON, GEORGE EDWARD LYNCH (1813–1866)
• COTTON, JOHN (1585–1652)
• COTTON, SIR ROBERT BRUCE

cotton-See also:

• WOOL, WORSTED AND WOOLLEN MANUFACTURES

wool under horsehair, the whole inclosed in silk . This method is still used by many artists, from tradition and See also:

• HABIT (through the French from Lat. habitus, from habere, to have, hold, or, in a reflective sense, to be in a certain condition; in many of the English senses the French use habitude, not habit)

habit, but it is far inferior in perfection and convenience to that which we will now describe . When the etching-ground is melted, add to it See also:

• HALF

half its See also:

• VOLUME

volume of essential oil of See also:

• LAVENDER

lavender, mix well, and allow the mixture to cool . You have now a See also:

• PASTE (O. Fr. paste, modern pate, Late Lat. pasta, whence also in Span., Port. and Ital., from Gr. 1r&vrrl or 1raara, barley porridge, or salted pottage, ir&ao'ety, to sprinkle with salt)

paste which can be spread upon a See also:

• COLD (in O. Eng. cald and ceald, a word coming ultimately from a root cognate with the Lat. gelu, gelidus, and common in the Teutonic languages, which usually have two distinct forms for the substantive and the adjective, cf. Ger. Kolte, kalt, Dutch koude

cold plate with a See also:

• ROLLER

roller; these rollers are covered with See also:

• LEATHER (a word which appears in all Teutonic languages; cf. Ger. Leder, Dutch leer or leder, Swed. leder, and in such Celtic forms as Welsh llader)
• LEATHER, ARTIFICIAL

leather and made (very carefully) for the purpose . You first spread a little paste on a sheet of See also:

• GLASS
• GLASS (O.E. glees, cf. Ger. Glas, perhaps derived from an old Teutonic root gla-, a variant of glo-, having the general sense of shining, cf. " glare," " glow ")
• GLASS, STAINED

glass (if too thick, add more oil of lavender and mix with a See also:

• PALETTE (the Fr. diminutive of pale, spade, blade of an oar, from Lat. Pala, spade, baker's shovel or peel; cf. pandere, to spread)

palette See also:

• KNIFE (0. E. cuff, a word appearing in different forms in many Teutonic languages, cf. Du. knijf, Ger. Kneif, a shoe-maker's knife, Swed. knif; the ultimate origin is unknown; Skeat finds the origin in the root of " nip," formerly " knip "; Fr. canif is a

knife), and See also:

• ROLL (O. Fr. rolle, roulle, mod. role, Lat. rotulus, dim. of rota, wheel)
• ROLL, ALFRED PHILIPPE (1846– )

roll it till the roller is quite equally charged all over, when the paste is easily transferred to the copper, which is afterwards gently heated to expel the oil of lavender . In both these methods of grounding a plate, the See also:

• WORK

work is not completed until the ground has been smoked, which is effected as follows .

The plate is held by a hand-See also:

• VICE

vice if a small one, or if large, is fixed at some height, with the covered See also:

• SIDE
• SIDE (mod. Eski Adalia)

side downwards . A smoking See also:

• TORCH (O. Fr. torche, from Med. Lat. tortia, derived from tortus, twisted, torquere, to twist)

torch, composed of many thin bees-wax dips See also:

• TWISTED

twisted together, is then lighted and passed repeatedly under the plate in every direction, till the ground has incorporated enough lampblack to blacken it . The third way of covering a plate for etching is to apply the ground in See also:

• SOLUTION (from Lat. solvere, to loosen, dissolve)

solution as See also:

• COLLODION (from the Gr. &M a' , glue)

collodion is applied by photographers . The ground may be dissolved in See also:

• CHLOROFORM (trichlor-methane), CHC13

chloroform, or in oil of lavender . The plate being grounded, its back and edges are protected from the acid by See also:

• JAPAN

Japan See also:

• VARNISH

varnish, which soon dries, and then the See also:

• DRAWING

drawing is traced upon it . The best way of tracing a drawing is to use sheet gelatine, which is employed as follows . The gelatine is laid upon the drawing, which its transparence allows you to see perfectly, and you trace the lines by scratching the smooth surface with a See also:

• SHARP, GRANVILLE (1735-1813)
• SHARP, JAMES (1618-1679)
• SHARP, JOHN (1645-1714)
• SHARP, RICHARD (1759-1835)
• SHARP, WILLIAM (1749-1824)
• SHARP, WILLIAM (1856-1905)

sharp point . You then fill these scratches with See also:

• FINE

fine See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

black-See also:

• LEAD
• LEAD (pronounced iced)

lead, in powder, rubbing it in with the See also:

• FINGER

finger, turn the tracing with its See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face to the plate, and rub the back of it with a burnisher . The black-lead from the scratches adheres to the etching ground and shows upon it as See also:

• PALE (through Fr. pal, from Lat. palms, a stake, for paglus, from the stem pag- of pangere, to fix; " pole " is from the same original source)

pale See also:

• GREY, CHARLES GREY, 2ND EARL (1764-1845)
• GREY, HENRY GREY, 3RD EARL (1802-1894)
• GREY, LADY JANE (1537-1554)
• GREY, SIR EDWARD
• GREY, SIR GEORGE (1812–1898)

grey, much more visible than anything else you can use for tracing . Then comes the work of the etching-See also:

• NEEDLE (O. Eng. ncedl; the word appears in various forms in Teutonic languages, Ger. Nadel, Dutch naal, the root being ne-, to sew, cf. Ger. nahen, and probably Lat. nere, to spin, Gr. vi)ats, spinning)

needle, which is merely a piece of See also:

• STEEL, FLORA ANNIE (1847– )

steel sharpened more or less . J . M .

W . See also:

• TURNER, CHARLES (1773–1857)
• TURNER, JOSEPH MALLORD WILLIAM (1775–1851)
• TURNER, NAT (1800-1831)
• TURNER, SHARON (1768-1847)
• TURNER, SIR JAMES (1615–1686)
• TURNER, WILLIAM (d. 1568)

Turner used a prong of an old steel See also:

• FORK (Lat. furca)

fork which did as well as anything, but neater etching-needles are sold by artists' See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour-makers . The needle removes the ground or cover and See also:

• LAYS

lays the copper See also:

• BARE

bare . Some artists sharpen their needles so as to See also:

• PRESENT

present a cutting edge which, when used sideways, scrapes away a broad line; and many etchers use needles of various degrees of sharpness to get thicker or thinner lines . It may be well to observe, in connexion with this See also:

• PART

part of the subject, that whilst thick lines agree perfectly well with the nature of woodcut, they are very See also:

• APT

apt to give an unpleasant heaviness to plate engraving of all kinds, whilst thin lines have generally a clear and agreeable See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance in plate engraving . Nevertheless, lines of moderate thickness are used effectively in etching when covered with finer shading, and very thick lines indeed were employed with good results by Turner when he intended to cover them with See also:

• MEZZOTINT

mezzotint (q.v.), and to See also:

• PRINT

print in See also:

• BROWN
• BROWN, CHARLES BROCKDEN (1771-181o)
• BROWN, FORD MADOX (1821-1893)
• BROWN, FRANCIS (1849- )
• BROWN, GEORGE (1818-188o)
• BROWN, HENRY KIRKE (1814-1886)
• BROWN, JACOB (1775–1828)
• BROWN, JOHN (1715–1766)
• BROWN, JOHN (1722-1787)
• BROWN, JOHN (1735–1788)
• BROWN, JOHN (1784–1858)
• BROWN, JOHN (1800-1859)
• BROWN, JOHN (1810—1882)
• BROWN, JOHN GEORGE (1831— )
• BROWN, ROBERT (1773-1858)
• BROWN, SAMUEL MORISON (1817—1856)
• BROWN, SIR GEORGE (1790-1865)
• BROWN, SIR JOHN (1816-1896)
• BROWN, SIR WILLIAM, BART
• BROWN, THOMAS (1663-1704)
• BROWN, THOMAS (1778-1820)
• BROWN, THOMAS EDWARD (1830-1897)
• BROWN, WILLIAM LAURENCE (1755–1830)

brown See also:

• INK (from Late Lat. encaustum, Gr. gysavorov, the purple ink used by Greek and Roman emperors, from iyKaiew, to burn in)

ink, because their thickness was essential to prevent them from being overwhelmed by the mezzotint, and the brown ink made them print less heavily than black . Etchers differ in See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion as to whether the needle ought to scratch the copper or simply to glide upon its surface . A gliding needle is much more See also:

• FREE

free, and therefore communicates a greater appearance of freedom to the etching, but it has the inconvenience that the etching-ground may not always be entirely removed, and then the lines may be defective from insufficient biting . A scratching needle, on the other hand, is free from this serious inconvenience, but it must not scratch irregularly so as to engrave lines of various See also:

• DEPTH

depth . The biting in former times was generally done with a mixture of nitric acid and See also:

• WATER

water, in equal proportions; but in the present See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day a Dutch See also:

• MORDANT

mordant is a good See also:

• DEAL

deal used, which is composed as follows: Hydrochloric acid, too grammes; chlorate of potash, 20 grammes; water, 88o grammes . To make it, heat the water, add the chlorate of potash, wait till it is entirely dissolved, and then add the acid . The nitrous mordant acts rapidly and causes ebullition; the Dutch mordant acts slowly and causes no ebullition .

The nitrous mordant widens the lines; the Dutch mordant bites in depth, and does not widen the lines to any perceptible degree . The time required for both depends upon temperature . A mordant bites slowly when cold, and more and more rapidly when heated . To obviate irregularity caused by difference of temperature, it is a good See also:

• PLAN
• PLAN (from Lat. planes, flat)

plan to heat the Dutch mordant artificially to 950 Fahr. by lamps under the See also:

• BATH
• BATH, THOMAS THYNNE
• BATH, WILLIAM

bath (for which a photographer's See also:

• PORCELAIN

porcelain See also:

• TRAY

tray is most convenient), and keep it steadily to that temperature; the results may then be counted upon; but whatever the temperature fixed upon, the results will be See also:

• REGULAR

regular if it is regular . To get different degrees of biting on the same plate the lines which are to be pale are " stopped out " by being painted over with Japan varnish or with etching ground dissolved in oil of lavender, the darkest lines being reserved to the last, as they have to bite longest . When the acid has done its work properly the lines are bitten in such various degrees of depth that they will print with the degree of blackness required; but if some parts of the subject require to be made paler, they can be lowered by rubbing them with See also:

• CHARCOAL

charcoal and See also:

• OLIVE (Olea europaea)

olive oil, and if they have to be made deeper they can be rebitten, or covered with added shading . Rebiting is done with the roller above mentioned, which is now charged very lightly with paste and rolled over the copper with no pressure but its own See also:

• WEIGHT

weight, so as to cover the smooth surface but not fill up any of the lines . The oil of lavender is then expelled as before by gently See also:

• HEATING

heating the plate, but it is not smoked . The lines which require rebiting may now be rebitten, and the others preserved against the See also:

• ACTION

action of the acid by stopping out . These are a few of the most essential technical points in etching, but there are many matters of detail for which the reader is referred to the See also:

• SPECIAL

special See also:

• WORKS

works on the subject . There are many varieties in the processes of etching, and it is only necessary here to indicate the essential facts . A brief See also:

• ANALYSIS (Gr. avci and Meta, to break up into parts)

analysis of different styles may be given .

(r) Pure Line . As there is line engraving, so there is line etching; but as the etching-needle isa freer See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument than the burin, the line has qualities which differ widely from those of the burin line . Each of the two has its own See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm and beauty; the See also:

• LIBERTY (Lat. libertas, from liber, free)

liberty of the one is charming, and the See also:

• RESTRAINT (from " to restrain," Lat. restringere, to hold back, prevent)

restraint of the other is admirable also in its right See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place . In line etching, as in line engraving, the See also:

• GREAT

great masters purposely exhibit the line and do not hide it under too much shading . (2) Line and Shade . This answers exactly in etching to See also:

• MANTEGNA, ANDREA (1431–1506)

Mantegna's work in engraving . The most important lines are See also:

• DRAWN

drawn first throughout, and the shade thrown over them like a See also:

• WASH, THE

wash with the See also:

• BRUSH (from Fr. brosse, which, like the English word, means both the undergrowth of a wood and the instrument; if the word in both these meanings is ultimately the same, then the origin is from a bundle of brushwood used as a brush or broom, but this is h
• BRUSH, GEORGE DE FOREST (1855– )

brush over a See also:

• PEN (Lat. penna, a feather, pen)

pen See also:

• SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

sketch in indelible ink . (3) Shade and Texture . This is used chiefly to imitate oil-See also:

• PAINTING

painting . Here the line (properly so called) is entirely abandoned, and the See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention of the etcher is given to texture and See also:

• CHIAROSCURO (from the Ital. chiaro, Iight or brightness, and oscuro, darkness or shade)

chiaroscuro . He uses lines, of course, to See also:

• EXPRESS (through the French from the past participle of the Lat. exprimere, to press out, by transference used of representing objects in painting or sculpture, or of thoughts, &c. in words)

express these, but does not exhibit them for their own beauty; on the contrary, he conceals them . Of these three styles of etching the first is technically the easiest, and being also the most rapid, is adopted for sketching on the copper from nature; the second is the next in difficulty; and the third the most difficult, on See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of the biting, which is never easy to See also:

• MANAGE

manage when it becomes elaborate .

The etcher has, however, many resources; he can make passages paler by burnishing them, or by using charcoal, or he can efface them entirely with the scraper and charcoal; he can darken them by rebiting or by regrounding the plate and adding fresh work; and he need not run the See also:

• RISK

risk of biting the very palest passages of all, because these can be easily done with the dry point, which is simply a well-sharpened stylus used directly on the copper without the help of acid . It is often asserted that any one can etch who can draw, but this is a mistaken assertion likely to mislead . Without requiring so See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long an See also:

• APPRENTICESHIP (from Fr. apprendre, to learn)

apprenticeship as the burin, etching is a very difficult See also:

• ART

art indeed, the two See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main causes of its difficulty being that the artist does not see his work properly as he proceeds, and that mistakes or misfortunes in the biting, which are of frequent occurrence to the inexperienced, may destroy all the relations of See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone . Etching, like line engraving, owed much to the old masters, but whereas, with the exception of See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert Dtirer, the painters were seldom See also:

• PRACTICAL

practical line engravers, they advanced etching not only by See also:

• ADVICE (Fr. avis, from Lat. ad, to, and visum, viewed)

advice given to others but by the work of their own hands . See also:

• REMBRANDT (1606-1669)

Rembrandt did as much for etching as either See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael or See also:

• RUBENS, PETER PAUL (1577-164o)

Rubens for line engraving; and in landscape the etchings of See also:

• CLAUDE, JEAN (1619-1687)

Claude had an See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence which still continues, both Rembrandt and Claude being practical workmen in etching, and very skilful workmen . See also:

• OSTADE

Ostade, See also:

• RUYSDAEL (or RUISDAAL), JACOB VAN (c. 1628-1682)

Ruysdael, Berghem, See also:

• PAUL
• PAUL (PAULUS)

Paul See also:

• POTTER, ALONZO (1800-1865)
• POTTER, HENRY CODMAN (1835–1908)
• POTTER, J
• POTTER, JOHN (c. 1674-1747)
• POTTER, PAUL (1625—1654)
• POTTER, PHILIP CIPRIANI HAMBLEY (1792—1871)

Potter, Karl Dujardin, etched as they painted, and so did a greater than any of them, Vandyck . In the earlier part of the r9th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century etching was almost a defunct art, except as it was employed by engravers as a help to get faster through their work, of which " engraving " got all the See also:

• CREDIT (Lat. credere, to believe)

credit, the public being unable to distinguish between etched lines and lines cut with the burin . But from the See also:

• MIDDLE

middle of the century See also:

• DATES

dates a great revival of etching as an See also:

• INDEPENDENT

independent art, a revival which has extended all over See also:

• EUROPE

Europe . Apart from the copying of pictures by etching—which was found commercially preferable to the use of line engraving— a number of artists and amateurs gradually practised See also:

• ORIGINAL

original etching with increasing success, notably See also:

• SIR

Sir See also:

• SEYMOUR
• SEYMOUR, HORATIO (1810-1886)
• SEYMOUR, or ST MAUR
• SEYMOUR, THOMAS

Seymour See also:

• HADEN, SIR FRANCIS SEYMOUR (1818-1910)

Haden, J . M . See also:

• WHISTLER, JAMES ABBOTT

Whistler, See also:

• SAMUEL

Samuel See also:

• PALMER
• PALMER, EDWARD HENRY (1840-1882)
• PALMER, ERASTUS DOW (1817-1904)
• PALMER, GEORGE (1818-1897)
• PALMER, JOHN
• PALMER, RAY (1808-1887)
• PALMER, SAMUEL (1805-1881)
• PALMER, SIR CHARLES MARK, BART

Palmer and others in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, See also:

• FELIX
• FELIX, ANTONIUS
• FELIX, LIA (1830– )

Felix See also:

• BRACQUEMOND, FELIX (1833— )

Bracquemond, C . F .

See also:

• DAUBIGNY, CHARLES FRANCOIS (1817–1878)

Daubigny, See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles Jacque, Adolphe See also:

• APPIAN (Gr. 'Aairtavbs)

Appian, Maxime Lalanne, Jules Jacquemart and others on the See also:

• CONTINENT (from Lat. continere, "to hold together "; hence " connected," " continuous ")

continent, besides that singular and remarkable See also:

• GENIUS (from Lat. genere, gignere)

genius, Charles See also:

• MERYON, CHARLES (1821-1868)

Meryon . Etching clubs, or associations of artists for the publication of original etchings, were gradually founded in England, See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France, See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany and See also:

• BELGIUM
• BELGIUM (Fr. Belgique; Flem. Belgic)

Belgium . Meryon and Whistler are two of the greatest See also:

• MODERN

modern etchers . Among earlier names mention may be made of See also:

• ANDREW (Gr. 'AvBp4as, manly)
• ANDREW, JOHN ALBION (1818-1867)

Andrew . See also:

• GEDDES, ALEXANDER (1737-1802)
• GEDDES, ANDREW (1783-1844)
• GEDDES, JAMES LORRAINE (1827-1887)
• GEDDES, SIR WILLIAM DUGUID (1828-1900)

Geddes (1783-1844) and of Sir See also:

• DAVID
• DAVID (a Hebrew name meaning probably beloved 1)
• DAVID, FELICIEN (1810—1876)
• DAVID, GERARD [GHEERAERT DAVIT], (?=1523)
• DAVID, PIERRE JEAN (1789–1856)
• DAVID, ST (Dewi, Sant)

David See also:

• WILKIE, SIR DAVID (1785–1841)

Wilkie (1785-1841) . Geddes was the finer artist with the needle; he it was whom Rembrandt best inspired; his work was in the See also:

• GRAND

grand manner . Of the See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich and rare dry-points " At See also:

• PECKHAM, JOHN (d. 1292)

Peckham See also:

• RYE

Rye " and " At Halliford-on-See also:

• THAMES

Thames," the deepest and most brilliant See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of landscape would have no need to be ashamed . David Wilkie's prints were, naturally, not less dramatic than his pictures, but the etcher's particular See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift was possessed by him more intermittently: it is shown best in " The See also:

• RECEIPT (M.E. receite, derived through Fr. from Lat. recepta, participle of recipere, to receive)

Receipt," a strong and vivid, dexterous sketch, quite full of See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character . J . S . See also:

• COTMAN, JOHN SELL (1782-1842)

Cotman's (1782-1842) etchings are also historically interesting though they were " soft ground " for the most part . They show all his qualities of elegance and freedom as a draughtsman, and much of his large dignity in the See also:

• DISTRIBUTION (Lat. distribuere, to deal out)

distribution of See also:

• LIGHT

light and shade .

T . See also:

• GIRTIN, THOMAS (1775-18o2)

Girtin (1775-1802), in the preparations for his views of See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, was notably happy . The work of Sir See also:

• FRANCIS
• FRANCIS (FRarrcols) OF SALES, ST (1567-1622)
• FRANCIS (Lat. Franciscus, Ital. Francesco, Span. Francisco, Fr. Francois, Ger. Franz)
• FRANCIS, SIR PHILIP (174o-1818)

Francis Seymour Haden (b . 1818) had a powerful influence on the art in England . Between 1858 and 1879 Seymour Haden—the first See also:

• PRESIDENT (Fr. president, from Lat. praesidens, post-Augustan Lat. for praeses, director, ruler, from praesidere, to sit in front of, preside)

president of the Royal Society of Painter Etchers—produced the vast See also:

• MAJORITY (Fr. majorite; Med. Lat. majoritas; Lat. major, greater)

majority of his plates, which have always good draughtsmanship, unity of effect and a See also:

• PERSONAL

personal impression . They show a strong feeling for nature . If, amongst some two See also:

• HUNDRED

hundred subjects, it were necessary to select one or two for See also:

• PECULIAR

peculiar praise, they might be the " Breaking up of the See also:

• AGAMEMNON

Agamemnon," the almost perfect " Water Meadow," the masterly presentment of " See also:

• ERITH

Erith Marshes," and the later dry-point of " See also:

• WINDMILL

Windmill See also:

• HILL
• HILL (0. Eng. hyll; cf. Low Ger. hull, Mid. Dutch hul, allied to Lat. celsus, high, collis, hill, &c.)
• HILL, A
• HILL, AARON (1685-175o)
• HILL, AMBROSE POWELL
• HILL, DANIEL HARVEY (1821-1889)
• HILL, DAVID BENNETT (1843–1910)
• HILL, GEORGE BIRKBECK NORMAN (1835-1903)
• HILL, JAMES J
• HILL, JOHN (c. 1716-1775)
• HILL, MATTHEW DAVENPORT (1792-1872)
• HILL, OCTAVIA (1838– )
• HILL, ROWLAND (1744–1833)
• HILL, SIR ROWLAND (1795-1879)

Hill." Another great etcher—Frenchman by See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth, but See also:

• ENGLISH

English by long See also:

• RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence —is See also:

• ALPHONSE, COUNT OF TOULOUSE AND OF POITIERS (I220-1271)

Alphonse See also:

• LEGROS, ALPHONSE (1837– )

Legros (q.v.) . Great in expression and suggestive draughtsmanship, austere and economical in line, Legros's work is the See also:

• GRAVE

grave See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record of the observation and the See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy of an imaginative mind . In poetic See also:

• PORTRAITURE

portraiture nothing can well exceed his etched See also:

• VISION (from Lat. videre, to see), or SIGHT

vision of G . F . See also:

• WATTS, ALARIC ALEXANDER (1797-1864)
• WATTS, GEORGE FREDERICK (1817-1904)
• WATTS, ISAAC (1674-1748)

Watts; " La Mort du Vagabond " is noticeable for terror and homely pathos; " Communion dans 1'Eglise St Medard " is perhaps the best instance of the dignity, vigour and grave sympathy with which he addresses himself to ecclesiastical themes . Something of these latter qualities, in dealing with similar themes, Legros passed on to his See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil, Sir Charles See also:

• HOLROYD, SIR CHARLES (1861– )

Holroyd (b .

1861)—an etcher in the true vein; whilst an earlier pupil, prolific as himself, as imaginative, and some-times more deliberately uncouth—See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William See also:

• STRANG, WILLIAM (1859- )

Strang, A.R.A . (b . 1859)—carried on in his own way the tradition of that part of Legros's practice, the preoccupation with the humble, for which Legros himself found certain See also:

• WARRANT (Med. Lat. warantum; O. Fr. garant, warant, derived from O.H.G. root represented in modern German bygewdhren)

warrant in a portion of the great oeuvre of Rembrandt . See also:

• FRANK, JAKOB (1726-1791)

Frank See also:

• SHORT, FRANCIS JOB (1857– )

Short, A.R.A . (b . 1857), as with the very See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch of Turner, carried to completion great designs that Turner left unfinished for the See also:

• LIBER

Liber sludiorum . The delicacy of " Sleeping till the See also:

• FLOOD (in O. Eng. flod, a word common to Teutonic languages, cf. Ger. Flut, Dutch vloed, from the same root as is seen in " flow," " float ")
• FLOOD, HENRY (1732-1791)

Flood," the curiously suggestive See also:

• REALISM (from Low Lat. realis, appertaining to res, things, as opposed to ideas and imaginations)

realism of " Wrought Nails "—a See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene in the Black See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

Country—entitle him to a lasting place in the See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list of the fine wielders of the etching-needle . D . Y . See also:

• CAMERON, JOHN (1579–1623)
• CAMERON, RICHARD (1648?–168o)
• CAMERON, SIMON (1799-1889)
• CAMERON, VERNEY LOVETT (1844–1894)

Cameron (b . 1865) betrays the influence of Rembrandt in a See also:

• NOBLE, SIR ANDREW (1832- )

noble etching, " Border Towers," and the influence of Meryon in such a print as that of " The See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

Palace, See also:

• STIRLING
• STIRLING, JAMES (1692-1770)
• STIRLING, JAMES HUTCHISON (182o-1909)
• STIRLING, MARY ANNE [FANNY] (1815-1895)
• STIRLING, WILLIAM ALEXANDER, (titular) EARL OF (1726—1783)
• STIRLING, WILLIAM ALEXANDER, EARL OF (c. 1567-1640)

Stirling." His " See also:

• LONDON

London Set " is particularly fine . The individuality of C .

J . See also:

• WATSON, RICHARD (1737-1816)
• WATSON, THOMAS (c. 1557–1592)
• WATSON, WILLIAM (1858- )
• WATSON, WILLIAM (c. 1559-1603)

Watson is less marked, but his skill, chiefly in architectural work, is noticeable . Admirers of the studiously accurate portraiture of a great See also:

• MONUMENT (Lat. monumentum or monumentum; from monere, to advise, bring to mind, remind; the German equivalent is Denkmal)

monument may be able to set Watson's print of "St See also:

• ETIENNE, CHARLES GUILLAUME (1778-1845)

Etienne du Mont " by the side of Meryon's See also:

• AUGUST (originally Sextilis)

august and mysterious and ever-memorable vision . Paul Helleu (b . 1859) in his brilliant sketches, particularly of See also:

• WOMEN

women, has used the art of etching in a peculiarly individual and delightful way . Among the numerous other modern etchers only a'bare mention can be made of See also:

• OLIVER, ISAAC (c. 1566--1617)
• OLIVER, PETER (1594-1648)

Oliver See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

Hall, Minna See also:

• BOLINGBROKE, HENRY ST JOHN, VISCOUNT (1678-1751)

Bolingbroke and See also:

• ELIZABETH
• ELIZABETH (1533-1603)
• ELIZABETH (1596-1662)
• ELIZABETH (1635–1650)
• ELIZABETH [ AMELIE EUGENIE ] (1837—1898)
• ELIZABETH [1lisabeth Philippine Marie Helene of France] (1764—1794)
• ELIZABETH [PAULINE ELIZABETH OTTILIE LOUISE] (1843– )
• ELIZABETH [PETROVNA] (1709-1762), EMPRESS
• ELIZABETH, SAINT (1207-1231)

Elizabeth See also:

• ARMSTRONG, ARCHIBALD (d. 1672)
• ARMSTRONG, JOHN (1709-1779)
• ARMSTRONG, JOHN (1758—1843)
• ARMSTRONG, SAMUEL CHAPMAN (1839—1893)
• ARMSTRONG, WILLIAM GEORGE ARMSTRONG, BARON (1810—1900)

Armstrong (Mrs Watson and Mrs See also:

• STANHOPE, EARLS
• STANHOPE, LADY HESTER LUCY (1776-1839)

Stanhope See also:

• FORBES
• FORBES, ALEXANDER PENROSE (1817-1875)
• FORBES, ARCHIBALD (1838-1900)
• FORBES, DAVID (1828--1876)
• FORBES, DUNCAN
• FORBES, EDWARD (1815—1854)
• FORBES, JAMES DAVID (1809—1868)
• FORBES, SIR JOHN (1787—1861)

Forbes), See also:

• ALFRED

Alfred See also:

• EAST
• EAST, ALFRED (1849- )

East, See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert See also:

• MACBETH

Macbeth, See also:

• WALTER, HUBERT (d. 1205)
• WALTER, JOHN (1738/9-1812)

Walter Sickert, Robert Goff, See also:

• MORTIMER (Family)

Mortimer Menpes, See also:

• PERCY (FAMILY)
• PERCY, SIR HENRY
• PERCY, THOMAS (1729-1811)
• PERCY, THOMAS (c. 156o-16os)

Percy See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas, See also:

• RAVEN (O.E. hrafn, ,Icel. hrafn, Dan. ravn, Du. raaf, Ger. Rabe)

Raven Hill, and Prof . H. von Herkomer, in England; in France, Roussel, J . F . Raffa4lli (b . 1850), See also:

• BESNARD, PAUL ALBERT (1849— )

Besnard and J . J . J .

See also:

• TISSOT, JAMES JOSEPH JACQUES (1836-1902)
• TISSOT, PIERRE FRANCOIS (1768–1854)

Tissot (1836-1902) . The See also:

• OLDEST

oldest See also:

• TREATISE

treatise on etching is that of Abraham Bosse (1645) . See also P . G . See also:

• HAMERTON, PHILIP GILBERT (1834-1894)

Hamerton, Etching and Etchers (1868), and Etchers' Handbook (1881) ; F . See also:

• WEDMORE, FREDERICK (1844— )

Wedmore, Etching in England (1895); See also:

• SINGER, SIMEON (1846-1906)

Singer and Strang, Etching, Engraving, &c . (1897) .