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for 1860-61, by contributing the present communication on Chromo-lithography, and submitting the accompanying specimens illustrative of the subject, we have considered it advisable, at a time approaching so near the termination of your proceedings for the present year, to refrain from any allusion to the discovery by Senefelder of the lithographic art-of the early struggles of its inventor, and subsequent promoters, or to the later cultivated higher branches, allied to the fine arts. Each would be sufficient to form a theme on which to speak at greater length than the limits we have allowed ourselves would admit of. We therefore propose, for a few minutes only, to direct attention to that particular style or department of the lithographic art which has been recently introduced, and is now becoming popular and well known, by the name of Chromolithography.

Chromo-lithography may be shortly defined as the term used to denote the various combinations and blending of colours together, so as to imitate water-colour drawings, or oil paintings, and is produced by a series of printings in different colours from separate stones, whereby copies approaching facsimiles in exactness of form and colour to the original painting are obtained.

Chromo-printing differs only from the ordinary style of lithographic printing, in requiring a more extended series of stones, and consequent printings, not one of these being complete in itself, but all tending in the aggregate to produce the result of a pleasing and harmonious whole.

The subject proposed to be reproduced as a chromo-print having been selected, is traced in delicate outline upon transparent lithographic transfer-paper; every feature and character of the painting, whether in expression, outline, or colour only, is carefully made, and the whole picture mapped out so perfectly, that not the simplest form of any leaf, twig, stone, rock, cloud, or shadow is omitted or passed over. Every means is taken in this first process to ensure perfect accuracy of form, as upon the truthfulness and fidelity with which this tracing is executed depends, in a great degree, the faithfulness of the chromo as a copy of the original work. This being done, the outline or map is trans

ferred to stone, impressions are taken from it, and reversed upon as many different granulated stones as there are colours to be printed,—the outline serving in each case as a guide to the boundary the draftsman must confine himself to. The original painting or copy is then carefully studied by the artist, the various tints and colours are separated from one another, or dissected, so to speak, in his mind's eye, that he knows exactly the amount of drawing required in each stone to produce the proper quantity of colour. On each of the stones, all objects partaking of the same colour are worked in with lithographic chalk, ink, stumping, scraping, &c., the gradations of tone being obtained by darker or lighter shading. That this is a matter requiring mature judgment, and a correct eye for colour, may be gleaned from the fact, that in order to produce certain qualities of colour, combinations of as many as 5, 6, 7, or more printings from different stones require to be blended, by printing one over the other, ere the required effect can be produced; and when it is considered that the material with which the draftsman works is not a crayon partaking of the colour of the model he is copying, but a black chalk, with which he must calculate the proper tone to be produced, the difficulties he has to contend with may easily be conceived.

When the different stones are finished the printing is proceeded with, care being taken in every instance that each colour is thoroughly dry before the succeeding printings are commenced. In addition to the printing being entrusted to careful and skilful workmen, great care is necessary to have the coloured inks prepared with the purest tint varnish and the finest oil colours, well ground, as upon this being properly attended to depends the brilliancy of the impressions. To make the different tints, colours, &c., fall on the proper places, and so secure the utmost accuracy of fitting in the separate printings, minute holes, previously marked in the outline stone, are drilled into opposite margins, in exactly corresponding positions, in all the stones. The impression to be printed having been previously perforated, is guided to its proper position by means of needles directed to the points or holes in the stone; when properly adjusted the needles.

are withdrawn, and with proper care the most perfect registering is obtained. As the value of an impression depends upon the care and attention bestowed upon the registering; it will easily be seen that, supposing a subject requires as many as twenty-five printings, although the first twenty printings may be all that could be desired, if the twenty-first printing misses its true position, all the printings in that impression are spoiled and rendered valueless, and the print is destroyed.

When the printing of the various colour stones is finished, a reverse from the outline is made upon another granulated stone. The stone is then prepared with a coating of varnish applied to the surface. When dry, the draftsman, by judiciously cutting and scraping on the stone, and the application of a solution of nitric acid, produces on the impression, when passed through the press, by means of embossing, the effect of thickly loaded layers of oil colour, and the more delicate touches and handling of the artist's pencil, thereby giving a still greater resemblance to the quality and texture of an oil painting than could otherwise be done. The impression is then stretched and mounted on canvas, after which it may be varnished in the usual way, and framed without any glass, -the full effect of an oil picture painted by hand being thus obtained. It may now be treated in every respect as a painting, and, when needed, may be washed on the surface without any injury, care being taken, however, in doing so, that the water does not get between the paper and canvass, or behind the canvass upon which it is mounted.

A series of progressive impressions from the different coloured stones would have tended to show, more clearly and vividly, the method of preparing them, and the difficulties to be contended with, while they would have proved interesting by showing the numerous combinations required before form and ultimate finish are imparted to the design. In the present instance the specimens submitted to the Society are shown in their completed state, and may be taken as indicating in some slight degree what, with proper encouragement, may yet be achieved in this interesting department of practical art. In the hands of an accomplished draftsman, there is no limit

to the finish and detail which may be expended in copying an elaborate work of art. Each additional printing adding to the depth and richness of colour, the chromo-lithograph may be made to appear as firmly and solidly painted, and with all the finish of the most elaborated picture of the ablest masters.

The above remarks apply principally to the production of fac-similes of oil paintings. Water-colour drawings are copied in the same manner; but being generally lighter in character, fewer stones and lighter finish suffice to produce the necessary effect. From seven to twelve stones will produce a very excellent fac-simile of a water-colour drawing, while from twenty to thirty stones are requisite for a good oil painting.

Of the various specimens submitted to the Society, the first and smallest subject is a young woman at a window, and entitled "Flora." It has been copied from an oil painting by William Gale, a young and very rising artist, resident in London. It partakes to a considerable extent of the character of the pre-Raphaelite school of art, of which this artist is a disciple, the peculiarities of the school and the artist being well and faithfully rendered in the chromo. It occupied about twenty stones in the printing.

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The second specimen is a reproduction of a painting by Robert Gavin of Edinburgh, a young and very talented artist, and is entitled, "Returning from School, Storm coming on." It is of a freer character than the preceding subject, and is presumed to be a favourable illustration of the artist's style. It required about twenty-five stones, or separate printings.

The third specimen represents a gypsy girl, and is termed "Kitty O'Brien." It was copied from a picture painted by James Sant, R.A., of London, one of the most popular artists of the present day. It is done with a broader touch, and in a more forcible manner, than either of the preceding specimens. It, in like manner with the previous subjects, required about twenty-four stones.

In conclusion, the whole of these specimens have been executed by ourselves and the artists in our employment. None of them have been touched up in the slightest degree by the

hand, it being considered better to show them in their integrity as they came from the lithographic press, rather than, by touching them up, however slightly, the supposition should be made, that they were indebted to the artist's pencil to correct defects which, in a good specimen, should not exist.

The following is the rotation of coloured stones used in printing the chromo-lithograph of " Kitty O'Brien" :

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Description of a Governor, or Regulator of the Pressure of Gas, applicable to Street-Mains; and also, of a Design for a Regulator of the Flow of Water under Distribution, applicable to Street-Mains. By JOHN REID, F.R.S.S.A., Engineer, Edinburgh and Leith Gas-Light Company.*

The subjects I have the honour to submit to the Society, consist of,

I. A governor or regulator of the pressure and flow of gas, applicable to street-mains; and,

II. A design of apparatus for regulating the flow of water under pressure, applicable to street-mains.

* Read before the Society, and models and drawings exhibited, 8th April

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