the art of cutting metals and precious stones, and representing thereon figures, letters, or whatever device, or design, the artist fancies.
Engraving, properly a branch of sculpture, is divided into several other branches, according to the matter whereon it is employed, and the manner of performing it. For the rudest branch, that of
ENGRAVING on Wood. See Cutting in Wood.
ENGRAVING on Copper, the making, correspondently to some delineated figure or design, such concave lines on a smooth surface of copper, either by cutting or corrosion, as render it capable, when charged properly with any coloured fluid, of imparting by compression an exact representation of the figure or design to paper or parchment.
Whether we consider the art of engraving, with regard to the utility and pleasure it affords, or the difficulty that attends its execution, we cannot but confess, that on every account it deserves a distinguished rank among the polite arts†. It is by means of this art‡ that the cabinets of the curious are adorned with the portraits of the greatest men of all ages, and all nations; that their memories, their most remarkable and most glorious actions, are transmitted to the latest posterity. It is by this art also, that the paintings of the greatest masters are multiplied to a boundless number; and that the lovers of the polite arts, diffused over the face of the whole earth, are enabled to enjoy those beauties which their distant situations seemed to have for ever debared them; and persons of moderate fortunes are hereby enabled to become possessed of all the spirit, and all the poetry, that are contained in those miracles of art, which seemed to have been reserved for the temples of Italy, or the cabinets of princes. When we reflect, moreover, that the engraver, beside the beauties of poetical composition, and the artful ordinance of design, is to express, merely by the means of light and shade, all the various tints of colours and clair-obscur; to give a relief to each figure, and a truth to each object; that he is now to paint a sky serene and bright, and then loaded with dark clouds; now the pure tranquil stream, and then the foaming, raging sea; that here he is to express the character of the man, strongly marked in his countenance, and there the minutest ornament of his dress; in a word, that he is to represent all, even the most difficult objects in nature; we cannot sufficiently admire the vast improvements in this art, and that degree of perfection to which it is at this day arrived. See the article PRINTS. The invention of this art is said to be owing to chance. In the 15th century, a goldsmith of Florence, who was in much esteem with pope Innocent X., having placed a sheet of oiled paper under a plate of silver that was engraved, and on which, by accident, he had laid a heavy weight, was much surprised to find, a few days after, a complete impression of the plate upon the paper. This he communicated to some able painters, his contemporaries; who profiting by that example, laid the first foundation of the art of engraving: which Raphael in Italy, and Albert Durer in Germany, greatly improved; and which the Italian, French, and Flemish masters, such as Michael Angelo, Edelinck, Rembrandt, &c. and lately some of the British artists, have successively carried to the highest degree of excellence.
The method by which engraving is performed, is of three kinds: By the graver or tool alone, which is in common language the only kind called engraving; by corrosion with aqua fortis, which is generally called etching; and by covering the surface of a copper-plate with a freeze or ground, in such a manner, that the whole would produce the effect of black in an impression; and then scraping or burnishing away part of the freeze, so as to cause the remainder to have the same effect as if they had been cut on the even surface, according to the delineation of any figure or design; which last kind is called scraping in mezzotinto. See Etching and Mezzotinto.
Engraving with the tool was the kind originally practised, and it is yet retained for many purposes. For though the manoeuvre of etching be more easy, and other advantages attend it; yet where great regularity and exactness of the stroke or lines are required, the working with the graver is much more effectual: on which account it is more suitable to the precision necessary in the execution of portraits; as there every thing the most minute must be made out and expressed, according to the original subject, without any license to the fancy of the designer in deviating from it, or varying the effect either by that masterly negligence and simplicity in some parts, or those bold fallies of the imagination and hand in others, which give spirit and force to history-painting.
The principal instruments used in engraving with the tool, are gravers, scrapers, a burnisher, an oil-stone, and a cushion for bearing the plates.
Gravers are made in several forms with respect to the points, some being square, others lozenge; the square graver for cutting broad and deep, and the lozenge for more delicate and fine strokes and hatches. La Boffe recommends, as the most generally useful, such as are of a form betwixt the square and lozenge: and he advises, that they should be of a good length; small towards the point, but stronger upwards, that they may have strength enough to bear any stress there may be occasion to lay upon them: for if they be too small and mounted high, they will bend; which frequently causes their breaking, especially if they be not employed for very small subjects.
The burnisher is used to assist in the engraving on some occasions, as well as to polish the plates. It is seven inches in length, and made of fine steel well polished. The burnisher is formed at one end, and a scraper on the other, each about an inch and a half long from the point: betwixt them, about four inches of the instrument is made round, and serves as a handle; and is thicker in the middle than at the necks, where the burnisher and scraper begin, which necks are only one quarter of an inch in diameter. The principal application of it in engraving, besides its use in polishing the plates, is to take out any scratches, or accidental defacings, that may happen to the plates during the engraving; or to lessen the effect of any parts that may be too strongly marked in the work, and require to be taken down.
A cushion, as it is called, is likewise generally used for supporting the plate in such a manner, that it may be turned every way with ease. It is a bag of leather filled with sand, which should be of the size that will best suit the plates it is intended to bear. They are round, and about nine inches over, and three inches in thickness.
The cushion, made as above directed, being laid on the table, the plate must be put upon it; and the graver being held in the hand, according to the instructions before given, the point must be applied to the plate, and moved in the proper direction for producing the figures of the lines intended: observing, in forming straight lines, to hold the plate steady on the cushion; and where they are to be finer, to press more lightly, using greater force where they are to be broader and deeper. In making circular or other curve lines, hold your hand and graver steadily; and as you work, turn your plate upon the cushion against your graver, otherwise it will be impossible for you to make any circular or curved lines with that neatness and command of hand you by this means may. After part of the work is engraved, it is necessary to scrape it with the scraper, or graver, passed in the most level direction over the plate to take off the roughness formed by the cutting of the graver; but great care must be taken not to incline the edge of the scraper or tool used, in such a manner that it may take the least hold of the copper, as it would otherwise produce false strokes or scratches in the engraving: and that the engraved work may be rendered more visible, it may afterwards be rubbed over with a roll of felt dipped in oil. In using the graver, it is necessary to carry it as level as possible with the surface of the plate; for otherwise, if the fingers slip betwixt them, the line that will be produced, whether curve or straight, will become deeper and deeper in the progress of its formation; which entirely prevents strokes being made at one cut, that will be fine at their extremities, and larger in the middle; and occasions the necessity of retouching, to bring them to that state. For this reason, it is very necessary for those, who would learn to engrave in perfection, to endeavour, by frequent trials, to acquire the habit of making such strokes both straight and curving, by lightening or sinking the graver with the hand, according to the occasion. If, after finishing the design, any scratches appear, or any part of the engraving be falsely executed, such scratches, or faulty parts, must be taken out by the burnisher, and further polished, if necessary, by the above-mentioned roll.
The plate being thus engraved, it is proper to round off the edges, by using first a rough file, and afterwards a smoother; and to blunt the corners a little, by the same means: after which, the burnisher should be passed Engraving passed over the edges to give it a farther polish.
Engraving on Precious Stones, is the representing of figures, or devices, in relievo or indented, on divers kinds of hard polished stones.
The art of engraving on precious stones is one of those wherein the ancients excelled; there being divers antique agates, cornelian, and onyxes, which surpass any thing of that kind the moderns have produced. Pyrgoteles among the Greeks, and Dioscorides under the first emperors of Rome, are the most eminent engravers we read of; the former was so esteemed by Alexander, that he forbade any body else to engrave his head; and Augustus's head, engraven by the latter, was deemed so beautiful, that the succeeding emperors chose it for their seal.
All the polite arts having been buried under the ruins of the Roman empire, the art of engraving on stones met with the same fate. It was retrieved in Italy at the beginning of the 15th century, when one John of Florence, and after him Dominic of Milan, performed works of this kind no way to be despised. From that time, such sculptures became common enough in Europe, and particularly in Germany, whence great numbers were sent into other countries; but they came short of the beauty of those of the ancients, especially those on precious stones; for, as to those on crystal, the Germans, and, after their example, the French, &c. have succeeded well enough.
In this branch of engraving, they make use either of the diamond, or of emery.
The diamond, which is the hardest of all stones, is only cut by itself, or with its own matter. The first thing to be done in this branch of engraving, is to cement two rough diamonds to the ends of two sticks big enough to hold them steady in the hand, and to rub or grind them against each other till they be brought to the form desired. The dust or powder that is rubbed off serves afterwards to polish them, which is performed with a kind of mill that turns a wheel of soft iron. The diamond is fixed in a brass dish; and, thus applied to the wheel, is covered with diamond-dust, mixed up with oil of olives; and when the diamond is to be cut facet-wise, they apply first one face, then another, to the wheel. Rubies, sapphires, and topazes, are cut and formed the same way on a copper wheel, and polished with tripoli diluted in water. As to agates, amethysts, emeralds, hyacinths, granates, rubies, and others of the softer stones, they are cut on a leaden wheel, moistened with emery and water, and polished with tripoli on a pewter wheel. Lapis-lazuli, opal, &c. are polished on a wooden wheel. To fashion and engrave vases of agate, crystal, lapis-lazuli, or the like, they make use of a kind of lathe, like that used by pewterers to hold the vessels, which are to be wrought with proper tools; that of the engraver generally holds the tools, which are turned by a wheel; and the vessel is held to them to be cut and engraved, either in relievo or otherwise; the tools being moistened from time to time with diamond dust and oil, or at least emery and water. To engrave figures or devices on any of these stones, when polished, such as medals, seals, &c. they use a little iron wheel; the ends of whose axis are received within two pieces of iron, placed upright, as in the turner's lathe; and to be brought closer, or set further apart, at pleasure; at one end of the axis are fitted the proper tools, being kept tight by a screw. Lastly, the wheel is turned by the foot, and the stone applied by the hand to the tool, and is shifted and conducted as occasion requires.
The tools are generally of iron, and sometimes of brass; their form is various, but it generally bears some resemblance to chisels, gouges, &c. Some have small round heads, like buttons, others like ferrets, to take the pieces out, and others flat, &c. When the stone has been engraven, it is polished on wheels of hair-brushes and tripoli.
Engraving on Steel is chiefly employed in cutting seals, punches, matrices, and dyes proper for striking coins, medals, and counters. The method of engraving with the instruments, &c. is the same for coins as for medals and counters: All the difference consists in their greater or less relievo; the relievo of coins being much less considerable than that of medals, and that of counters still less than that of coins.
Engravers in steel commonly begin with punches, which are in relievo, and serve for making the creux, or cavities, of the matrices and dyes; though sometimes they begin with the creux, or hollows; but then it is only when the intended work is to be cut very shallow. The first thing done, is that of designing the figures; the next is the moulding them in wax, of the size and depth they are to lie, and from this wax the punch is engraven. When the punch is finished, they give it a very high temper, that it may the better bear the blows of the hammer with which it is struck to give the impression to the matrix.
The steel is made hot to soften it, that it may the more readily take the impression of the punch; and after striking the punch on it, in this state, they proceed to touch up or finish the strokes and lines, where by reason of their fineness or the too great relievo they are anything defective, with steel gravers of different kinds, chisels, flatters, &c. being the principal instruments used in graving on steel.
The figure being thus finished, they proceed to engrave the rest of the medal, as the mouldings of the border, the engrailed ring, letters, &c. with little steel punches, well tempered, and very sharp.
'ENGUICHE', in heraldry, is said of the great mouth of a hunting horn, when its rim is of a different colour from that of the horn itself.