Special
Subjects J

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EPI GRAM'[
MATA CLA
RISSIMI DI
SERTISSIMr
QVE VIRI
THOMAE
MORI BRI'

TANNI, PLERAQ.VE E GRAE
CIS VERSA.

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Fig. 201 (see footnote, p. 329).

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metal. The engraver leaves the mark of his tool
and hand upon, and. so gives character to, such
lettering; while, if he has some knowledge of letters,
he may give fresh beauty to their forms.

The Zincotype Process reproduces, either in fac¬
simile or on a reduced scale, the “design” made
by the craftsman in “black and white.” This it
does more or less exactly according to the pains
taken by the zincographer, the quality of the paper
employed, &c. The literalness and facility of this
process, however, seem to have had a prejudicial
effect on the work of the designer. Unless he con¬
scientiously determines that his design shall stand
without “touching-up,” the knowledge that he may
blot out or trim a faulty line with white, that he
may fill out or finish a deficient stroke with black,
that he may work large and zincograph small, is
apt to result in carelessness combined with over¬
finishing—or a sort of perfection without character.

If zincography be used, a strong, rather type-like
letter, or a built-up letter—arranged to give a general
effect of richness of mass, would appear more natural
than the doubtful “reproduction” of delicate writing
or fine pen-lettering.1

Etching.—Calligraphy might be reproduced with
very fine effect, retaining its natural delicacy and
on a plane surface, if a process of etching writing
in facsimile were possible.

PRINTING

The general question of fine printing and its
relation to calligraphy can only be briefly referred

1 Doubtful, because, unless unusual care be taken, its delicate
quality may be lost in the process, and also because of the
type-like impress of the block on the paper.

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Special

Subjects