tistic
productions, having passed the ordeal of critical examination, are
handed over to the photographer, who, if he understands his part, does
all that the beeswax did, and a good deal more. He takes the
black-and-white drawing above referred to and reproduces it, in the
size desired, directly on a brass plate covered with a sensitive
coating, and then having prepared it with acid-proof preparations, he
passes it over to the etcher.

The etcher in his turn, with unerring judgment in the strength of his
acids, does what the most careful outliner could not accomplish; he
produces a perfect facsimile of the original drawing, with all its
artistic freedom. The process used is practically the same as the zinc
etching process described in the chapter on half-tones and line
plates. The plate, having been etched as deep as is safe, is then
turned over to the router, whose business it is to cut out all the
metal between ornaments and lettering to the proper depth. This done,
the engraver, who in former years practically dug out the entire plate
with his hand tools, comes in to give the finishing touches and
correct any slight imperfection that may remain. It is of the utmost
importance, of course, that the dies should be clear-cut and deep, to
avoid clogging up in printing, particularly in the plates used for
stamping in inks. The experienced and watchful engraver is expected
to detect any spots where the etching process has not fully
accomplished its purpose. Lettering, especially, should be cut clear,
deep, and free from "feather," or ragged edges.

The above process applies to single plates or to plates intended for
printing in one color only, or in gold. Where two or more colors are
wanted, the photographer has to make as many prints as there are
colors in the artist's design, as each one calls for a separate plate.
The proceeding otherwise remains the same, excepting that to the
engraver's task is added the necessity of making sure of a perfect
register or fitting together of the various parts.

The transformation in the demands of publishers and writers has become
so great since the days of the primitive little shop above referred
to, that a die cutter, working on those lines, would be hopelessly out
of the race at the present day. In order to meet satisfactorily the
artistic expectation of the present generation a first-class engraving
establishment must have: an accomplished staff of artists, supplied
with a librar