TRANSLUCENT: WITHOUT COLOR are old books of patterns for such windows which have been reproduced in modern times, as seen in Fig. 139, which reproduces such a design. This shows the leads in the simplest hexagons and triangles, and again in complicated patterns of flowerlike origin, fleurs-de-lis, anthemions and the like; and these suggest the limited and careful use of small patches of glass with some more decided color to set off and enliven the grisaille. The richer windows of this sort are adorned also with purely decorative purpose by what are known as jewels, that is, castings in glass of brilliant color, which, having a rounded shape and projecting above the surface, refract brilliantly the light and make vivid spots of color. decorative painting in which some suggestion of relief is given without color effect. A Chapter Nineteen ENGRAVING1 RTISTIC engraving has two main divisions: first, that which seeks the ornamentation of a surface, as of a silver vessel; second, that which provides for the taking of prints by means of ink applied to the engraved surface and afterwards transferred to 1 Engraving the practice of cutting lines, and small spaces usually connected with lines, in a hard material; the material being cut away or removed, usually by tools especially made for the purpose. When the engraving is in the surface of metal, as copper, the rejected metal forms curled shavings before the burin; or is turned up like the ridges of a plowed field when the " dry-point" is used; or is eaten away by the mordant in etching. When stone is engraved, the matter cut away is in the form of small chips, sometimes so small as to make dust; or, in drill and wheel work (see Chapter XXI) in an impalpable powder. Engraving in wood leaves small chips and shavings, according to the tool employed. In every case the essential characteristic is that the material is The most common form of engraving is that in which the incised lines form the pattern or other design which is sought for. There is, however, one form of engraving in which not the incised line but the undisturbed, unaltered surface of the material is the object looked at by the artist. The most common type of this is wood engraving, such as is used for printing illustrations in books and the like. It is noticeable that cameo-cutting is similar in character to this process, which may be called relief engraving, that is to say, engraving which results in the production of relief, and not in the production of an incised design. (Compare Intaglio and see Chapter XXI.) cut away. THE ENGRAVED SURFACE paper or other material. It is obvious that the two processes are closely akin in their artistic significance. Thus, as the impression upon the paper may be trusted to be a very close reproduction of all the lines engraved on the surface of the metal plate, it appears that the design which the artist had in mind as he worked will be found again in every one of the impressions so made. On the other hand there is found to be this difference, that the impression on paper, the print with which we are all familiar, shows as if drawn in black on white, whereas in the original the effect is different and is sometimes nearly reversed, bright lines on a dark ground; because the incised lines have a peculiar gleam caused by the sloping sides of the It is so difficult to sink a narrow canal, having at the bottom a flat surface with sides making nearly a right-angle with the original surface, that the cut made by the engraver has nearly always sides sloping inward in the form of a V (but see what is said, below, about damascening). In the case of the incised letters on a marble slab or block, a form of engraving known to all students from its constant use in lapidary inscriptions from the time of the ancient Romans to our own day, it is one of the means of producing decorative effect that the sides of the cut with their sloping surfaces catch the light and reflect it at different angles. cut. The differing effect of different slopes of the sides of the cut is beautifully exemplified in Oriental work. Fig. 140 shows a metal plate in which are engraved some stems and flowers of grass, with a butterfly; and it is noticeable how the long leaves seem to show alternately their under and upper surfaces by mere variations in the width of the incised line. straight down and the shaving taken out between them: while in others the section is that of a V of which one side slopes more than the other, so that the light is reflected from the long slope in a way productive of a remarkable decorative effect. Fig. 141 is the inside of the cover of a shibuichi box lined with silver; and here, while the play of light is less delicately considered, the contrast of dark and light is carried much farther the design coming out like a drawing in black on white, with the added flash of the sloping sur |