fully recognizing their efficiency when they are used to the purpose, we
must also keep in mind the dangers which arise from their being applied
without discernment. Plates produced by an intelligent combination of
bitings, must be printed naturally, if they are not to lose the absolute
character given to them by the needle and the acid. If they are at all
wiped with the rag, so as to impart more softness to them, it must, at
least, be done with the greatest of care.

The artist has every thing to gain, therefore, by watching over the
printing of his plates, and instructing the printer as to the manner in
which he desires to be interpreted. Some etchers prefer the simplicity
of the natural state; but the great majority favor the other method of
printing, which, for the very reason that it is difficult, and on
account of the many variations in its application, ought always to be an
object of interest to the printer, and the aim of his studies. It is,
moreover, the method which is generally understood and adopted by our
first etchers.[22]

93. =Printing Inks.=--The quality and the shade of the ink, as well as
the way in which it is ground, are of great importance in the beauty of
a proof. Inks are made of pure black, slightly tempered with bistre or
burnt sienna, and the shade can be varied according to taste. A plate
like yours needs a delicate black, composed of Frankfort black and
lamp-black; the bistre-tint, which, in the course of time, loses its
freshness and strength, would not answer. This tint is always best
suited to strongly bitten work, but in your case it would be
insufficient. A very strong black, on the other hand, would make your
etching look hard. This last shade--pure, or very slightly broken with
bistre--is preferable for strongly accented plates.[23]

94. =Paper.=--_Laid paper_ is the most suitable paper for printing
etchings; its sparkle produces a marvellous effect; its strength defies
time itself.

Some artists and amateurs ransack the shops for old paper with brown and
dingy edges, which, to certain plates, imparts the appearance of old
etchings.

_India paper (Chinese paper)_ promotes purity of line; but, as its
surface is dull, it furnishes somewhat dry and dim proofs.

_Japanese paper_, of a warm yellowish tint, silky and transparent, is
excellent, especially for plates which need more of mystery than of
brilliancy, for heavy and deep tones, and for concentration of effect.
Japanese pap