oring, as much as possible,
to obtain the same intensity of tone. These additions, thus bitten by
themselves, will mingle with the lines previously drawn, and now
protected by the varnish.

It is hardly possible to judge of the additions, especially on
transparent varnish, until they have been bitten in. But, if you should
then find that you have not yet reached your point, you can revarnish
the plate once more, and complete the parts that appear to be
unfinished.

I must also call your attention to the fact, that all lines drawn on
transparent ground seem to thicken most singularly, as soon as the acid
begins to work. But do not let that deceive you.

Now look at this spot in the immediate foreground (Pl. I^_a_), which has
a somewhat coarse appearance. It is much softer in the original
(represented by Pl. II.). You must add a few lines, and must bite them
rather lightly; they will mingle agreeably with the energetic lines of
the first state. You may put the large trees through the same process,
and you will find that they gain in lightness by it. Later on, when you
have acquired more experience, you will occasionally find it handy to
make these additions between two bitings. You will thus reach the
desired result without the necessity of regrounding your plate.

Sometimes, when using strong acid for these retouches, the lines first
drawn are also attacked by the liquid. In that case, stop the biting
immediately, and rest contented with what you have got. It is not
difficult to understand why these revarnished lines should commence to
bite again, more especially if they are deep: the acid, finding the
edges of the lines (which are sharp and angular, and therefore do not
offer much hold to the varnish) but indifferently protected, attacks
them, without going into their depths. The ravages thus committed along
the edges of the lines may be quite disastrous; and it is well,
therefore, whenever you revarnish a plate, to give additional protection
to those parts which are not to be retouched, by going over them with
stopping-out varnish.

46. =Revarnishing with the Brush.=--Instead of revarnishing with the
dabber, the ground may also be laid with the brush. For this purpose you
can use the stopping-out varnish mixed with lamp-black. Spread a coat of
varnish all over the plate, using a very soft brush; if the copper
should not be perfectly covered on the edges of the deeply etched lines,
add a second coat of varnish. Do