interpret in his printing the etcher's meaning, for
the which, as a rule, he gets "more kicks than ha'pence," and in the
end wishes he had stuck to plain plate printing as far as the profit
is concerned.

In the process of printing an etching, the printer first covers the
plate with ink and then wipes it with the rags, and, if necessary,
with the hand. It depends entirely upon the etched work of the plate
as to how it must be wiped, and it rests with the printer to prepare a
proof which is satisfactory to the etcher. The plate is wiped
"closely" where the high lights are required or a tint (a thin coating
of ink) left over certain portions where it needs to be darker. After
this the plate is "retroussed," which is accomplished by passing a
very soft piece of fine muslin, or a "badger blender,"--a soft brush
used by artists,--delicately over the work in the plate and drawing
the ink up and over the edges of the lines. This softens and broadens
the lines and gives a very rich effect, and, if continued
sufficiently, fills the spaces between the lines and produces an
almost black effect. All this work is varied according to the wishes
of the etcher. A plate that left the etcher's hand a mere skeleton may
be made to produce a print which is a thing of life. The possibilities
of an etching in the hands of a skilful printer are almost limitless;
the effects can vary with every impression, each showing a new
picture. His processes are as interesting as those of the etcher
himself, and it is within his capabilities to transform an etching
from a broad daylight effect into a moonlight scene, including the
moon, by judiciously, or injudiciously, inking and wiping the plate.

A "dry point" plate is produced by drawing on a copper plate with a
steel or diamond point, and without biting by acid. The lines are cut
into the copper and a burr thrown up which holds the ink in printing,
and produces a soft, velvety line. The method of printing such a plate
is similar to that of an etching, but the possibilities are not as
great in the printing, as they rest to a greater extent upon the work
of the artist. A great depth of color, producing wonderfully rich
effects, can be obtained and the finer lines can be made much more
delicate than by any other method.

The printing of intaglio plates in color flourished for a short period
in the latter portion of the eighteenth century, and the best prints
of that time now in existence are of rare