The Invention of Lithography. Alois Senefelder

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СКАЧАТЬ they would have learned that these illustrators either made their first attempts under my personal direction, or else owe their skill to persons whom I taught; and lastly, that none of my critics can boast of having penetrated into the very inmost spirit of the art like only Herr Rapp of Munich, the venerable author of the work published by Cotta, The Secret of Lithography. If they learned all this, they might feel a little ashamed. But then, they would have much to do.

      Had my skill in writing and drawing on stone been greater at that time, Herr Steiner would have given me opportunity enough and manifold. He permitted me to do a small book, Rules for Girls, in German script, which, on the whole, turned out of only average quality, as I had not practiced this style sufficiently.

      Then he wanted me to draw Biblical pictures on stone or to let others draw them. At that time he was having Herr Schön in Augsburg etch the Seven Holy Sacraments after Poussin. As the etching was expensive, the impressions could not be sold for less than four kreuzer each. Herr Steiner wished to circulate these pictures so generally that they could serve as gifts from the country preachers to their little Christian pupils. He wished, also, to ornament various school-books with pictures of this kind, and thus, gradually, to replace the miserably drawn species of saints that generally fill the prayer-books of the pious households.

      Only the utmost cheapness could make this possible, and this naturally suggested the stone process to him. Even if the pictures were not so fine as those etched on copper, they would serve amply if they were correctly drawn, noble in design, and handsomely printed. It was necessary either to draw myself and practice faithfully, or to train a skilled artist to draw with fatty ink on stone. We preferred the latter method and trained several young men, who produced various works, sometimes good, sometimes inferior.

      Through all this I ran more and more danger of losing my secret. Indeed, it was lost already except perhaps so far as concerned the exact composition of the ink. But I hoped still to obtain the privilege for Bavaria, toward which end the Schulrath promised me his best aid, and so I let the matter proceed, and trained the men. But among all these young men there was not one who did not desire a substantial reward for his very first attempts, and when they found that they were expected first to learn, they stayed away, one by one. Herr Steiner was hurt. I, however, was indifferent, for I was just beginning to plan to use a new and important discovery in such a manner that my stone-printing would be greatly improved and we could hope to carry out our idea of illustrations without the aid of artists.

      I had been assigned to write a prayer-book on stone for the Schul-fond. It was mostly in a style of writing in which I was least expert. When I wrote music notes, our method, proved best by experience, had been to write the entire sheet in reverse on the stone with lead pencil to serve as pattern. This was mostly Herr Gleissner's work, and being a musician he had achieved great perfection. For me this preparatory work was far less agreeable than the final execution with the stone-ink. Therefore, as ever in my life, when a difficulty or a burden was before me, I studied for some way to make it easier for me. Previously I had found that if one wrote on paper with good English lead pencils, then moistened the paper, laid it on a polished stone and passed it through a powerful press, a good impression was the result. I had used the method on various occasions. I wished that I possessed an ink that could be used the same way. Trials showed that fine red chalk needed merely to be rubbed down gently in a solution of gum, and that even the ordinary writing-ink of nut gall and vitriol of iron would serve when mixed with a little sugar. But this did not satisfy my ambition, which always demanded the best and most perfect. The gum in one and the vitriol in the other did not agree well with the stone-ink. In addition, the impression often squashed. Therefore I tried a mixture in water of linseed oil, soap, and lampblack which met my demands better. I had a music-writer write notes correctly on note-paper with this ink, printed it on the stone, and thus had an accurate pattern, which was at the same time reversed, as was necessary.

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