MEZZOTINTO, is a kind of engraving which re sembles drawing in China ink. Instead of the tedious and laborious operations of the graver, in highly finished plates, it is executed by a more simple and expeditious process in the following manner: The plate, with a piece of flannel under it, is to be laid on the table, and the grounding tool held perpendicularly in the hand.* While leaning moderately on it, the hand must be kept rocking in a right line from end to end, until the plate be wholly covered in one direction. Next let the strokes be cros sed from side to side, and afterwards from corner to corner, working the tool each time over the whole plate in every direction, somewhat like the points of a com pass; at the same time taking all possible care not to cut in one direction twice in a place. Thus the surface is covered completely with lines, and would produce a black impression if printed. Next, the designed effect is to be given by removing such parts of the surface as are necessary for light or sunshine. After the ground has been laid, the scrapings of black chalk are to be rub bed over the plate with a rag, or it may be smoked with candles. The drawing to be engraved is now to be traced on the plate, after having rubbed the black with red chalk dust. The lights and shades are to be pro duced by marking the outlines with a blunt needle, and scraping off the lights in every part of the plate as clean and smooth as possible, in proportion to the strength of the lights in the drawing, observing to preserve the out lines. Their the extreme light parts, such as the tip of the nose, the forehead, or lines, are to be softened or rubbed down with the burnisher. When an impression from the plate is dry, it should be touched with white chalk, where it ought to be light, and with black where darker ; and the plate being retouched, the same course must be followed for the lights ; and employing a small grounding tool for bringing the shades to a proper con sistence. It is necessary to take successive proofs until the requisite quality be obtained.
By another method, the outlines of the object to be re presented are etched, as also the folds in drapery, mak ing the breadth of the shadows by dots, which must be Lit to a proper depth by aquafortis. The ground used in etching is taken off, and the mezzotint° ground being laid, the scraping proceeds as before. Ituisun, Elements of Science and Art, vol. ii. p. 360.
Instead of following the manual operations of laying the ground of a mezzotinto engraving, Mr. Dossie has suggested that it may be attained with greater ease and accuracy by some mechanical means, and recommends the invention of a machine for that purpose. Vol. ii. p. 174. In his work are copiously detailed the whole pro cess of engraving in mezzotint°, its uses and effects. It is there remarked, that " the principles on which the fit ness or unfitness of subjects of this kind of engraving are founded, are of two kinds ; the one respecting light and shade, the other the nature of the design with re gard to the outline. Such pieces as contain large and
clear masses of light do not succeed at all ; but where, on the contrary, there is a large proportion of very dark parts, as in the representation of night scenes, or a large proportion of brown shades, as in the pictures of Rembrandt, Benedette, and Terriers, in some insta.ices the best effect is produced, and with the least labour. Such pieces likewise as are of a simple composition,and do not require great force and variety of expression in passion and character, are suitable. But where great spirit is required to give merit, this manner of engrav ing fails, as it does not admit of those sharp and delicate strokes and touches which are the means of that expres sion." It thence appears, that mezzotint° engraving is best adapted to objects of considerable size. Nevertheless, some persons, such as M r. Gilpin, incline to bestow greater qualities on it than it seems to deserve. It appears, in deed, that artists in general are disposed to elevate en graving to a higher rank than belongs to it. They wish it to be considered an original, not an imitative art. But what more is the most refined painting than mere imita tion? It is either the description of real, or the repre sentation of imaginary subjects. Engraving apparently holds a second place.
Facility of execution has been one principal means of diffusing mezzotint° engravings, while novelty has proved their recommendation. It appears, however, that what is susceptible of the greatest delicacy must be viewed as the most perfect. Mezzotinto has been more succes fully cultivated in England than elsewhere, whence it is called on the continent the black or English style.
Evelyn ascribes the invention of this manner of en graving to Prince Rupert, Count Palatine of the Rhine, by whom he was acquainted with the method of exe cuting it. But what he says is given under an air of great mystery, and he declines publishing the process, though expressing himself willing, privately and with permission of the Prince, to impart it to any " curious and worthy person." The author was at the same time furnished with the plate of a head engraved by the Prince, which is inserted in his work, Sculpture, or the History and Art of Chalcography. Chap. vi. Baron Heineken, however, refuses him this credit ; and indeed both he and a later author, Huber, bestow it on Louis de Siegen, or de Sichem, a lieutenant-colonel in the service of the Landgrave of Hesse Cassel, who produced a mez zotinto print of the Princess Amelia, in folio, in 1643. Prince Rupert, having learned the method from him, im parted it to Wallerant Valliant, a Flemish painter and engraver, on a promise of secrecy. But it was soon dis closed by the indiscretion of one of tl.e workmen em ployed in preparing the copper. The engraving by Siegen is some years anterior to the date of Evelyn's publication. See Heineken, /dee Ginerale d'un Collec tion des Estampes, p. 208, Note. .Vutice Gene rale des Graveurs, p. 59. (c.)