and smoothly 't is because it is not whet exactly round If you have occasion to make your lines or hatches of an equall bignesse from one end to the other whether they be streight or crooked as those two lines in the letters A B represents you must as reason will tell you lean on your point with an equall force from one end to the other If you would make your strokes thicker at one end then at the other as the second letters A B shews you then you must lean on your point with your hand harder at the beginning and by degrees lighter and lighter towards the end These three sorts of lines or hatches may indifferently serve for all manner of hatching your shadows in any design what soever as appears in the figures M N. O P. Q G R. T E V. wherein is manifest that the shadowing is but a reiteration of the same strokes close one to another If you desire that your etching with Aqua fortis should look as like graving as may be you must lean hard upon your needle in those places where you would have the lines appear deep and large that is so hard that the needle may make some impression in the copper And by the same reason you are to lean very light on those places which you would have appear faint and small If it happen that you have made some lines or hatches too small and are desirous to enlarge your stroke you must passe it over again with a round short point of such a thicknesse as you desire your line should be of and lean strong and firmly on those parts of the line which you would have large and deep If at any time by reason of the large lines or hatches which you were to make you have used an Oval point which is the best to cut the varnish you must afterwards with one of your large needles whetted short and round passe in the midst of the said stroke firm and strongly but especially in those places which you would have large and deep Sect. 14. How to use the Oval points to make large strokes in etching or graving with Aqua fortis Pl. 5. YOu may see in the figure A B C D the form of those Oval points and that part next to C describes the end of it and B D the sides The manner of holding it is much after the manner of holding a pen only the flat side whetted is usually held towards the thumb as is represented in figure iii. Not but that it may be used otherwise with the face of the Oval turned towards the midle-finger as it is shewn in Fig. iv but I have found the other manner to be much better because that way you may more firmly and with more strength inforce your strokes Now to shew you how to make your strokes large and deep and that these Oval points are the most proper for it take notice of the two upper first and second figures which are made the larger purposely that you may the better apprehend what shall be hereafter spoken of it Your own reason will tell you that if you lean lightly in making your strokes those strokes will accordingly be lesse deep smaller and more faint for the harder you lean the deeper and larger your strokes will be Of this you have an example in the third figure marked r n s where leaning lightly at the beginning viz. r. and then harder by degrees to n. and afterwards lighter by degrees to s. you make your stroke bigger or smaller according to your leaning on it as you find represented in the said third Figure Some will first make their stroke with a round needle and then paste it over again with an Oval point to inlarge it in those places which they would have deeper and bigger but the other is the better way They that know how to grave after they have done etching their lines with Aqua fortis may with the assistance of their graver make them more neat and deeper I shall only think it not amisse to advise you by the way that in making your strokes with your Oval points you must hold them as upright and streight in your hand as you can and accustome your self to strike your strokes firm and bold for that will contribute very much to their neatnesse and clearnesse To do this the better you must be very carefull to have your points alwayes well whetted In those places which you would have appear in your piece by way of Landskip that is at the furthest distance from the sight as also in those places which approach nearest the light you must use a very slender point leaning so lightly with your hand as to make a small faint stroke But when you come to those places which you would have more shadowed lean so much the harder as that when you come to eat it in with your Aqua fortis you may cover most of your faint places at one and the same time for you must know that those strokes which you lean lightest on do little more then raise up the varnish So that when you shall apply your Aqua fortis to etch it it will appear much fainter then in those places where you have leaned with greater force though the strokes are done with one and the same needle Insomuch that when you shall have cover'd the greatest part of your faint places with your mixture those places whereon you lean'd more strongly will appear deepest though they were all covered at the same time In your working be carefull to brush off all the dust which you work off with your needles Sect. 15. How to prepare your plate to receive the Aqua fortis YOur plate being finished and ready for the Aqua fortis brush off all the rubbidge and dust that is in the strokes And if there happen to be any strokes which you would not have the Aqua fortis eat into or any places where the varnish is rubb'd off then melt your mixture of oil and grease which you have made and with a pencill bigger or smaller according to the proportion of those places which you would mend cover those places indifferently thick and the Aqua fortis will not eat in This done take a brush or pencill or ragg and dip it into the said mixture of oil and grease and rub the back-side of your plate all over to prevent the Aqua fortis from eating any part of it but take heed that your mixture be not too thin or liquid for if it be when you cast your Aqua fortis on the plate it will force it from those places whereto you had applied it When I find my mixture begin to grow cold I commonly use to put some small quantity of it on my left hand thereby to keep it warm to be used as occasion shall require In the winter time especially when the weather is cold and moist before you apply your Aqua fortis to the plate it will not
which makes a kind of an Oval you come at the second time to cover that space which is between the line A B C and the line E O F. conceiving well that having suffered the Aqua fortis to eat in for the time requisite it will have an effect somewhat near that which you expected At the upper end of the plate you have the form of a woman's arm wherein you may perceive by the line marked a b c d as also by the other which lies yet nearer the shadow how the small hatches and fainter places are ordinarily covered at two severall operations as occasion shall require though in the forementioned example of the arm one time covering might haply serve I have also thought fit at the bottome of the plate to set down four severall pieces of ground in landskip the first marked m m m is the first covered as being the farthest of all from the eye then at another operation that marked n n n then that marked o o o there being only that marked p wherein the Aqua fortis eats in full and deep If it happen that when you dry your plate by the fire to take off the moisture as hath been said before that the mixture for want of care do melt and run into those hatches and strokes where you would have the water to eat in further wipe the place with a soft cloth then take the crum of stale bread and rub the place therewith till such time as you conceive you have taken off all the greasinesse This remedy is only appliable in point of extremity for you are to note that it is impossible to take out the grease so clearly but that it will somewhat hinder the operation of the Aqua fortis And therefore there must be the more care taken to prevent it Having thus cover'd your places as occasion requires for the second time place your plate on the board aforesaid and pour on it your Aqua fortis for another good half hour That done wash it with water and dry it as formerly and cover the places you think requires it for the third time for you must know that the faint places are to be proportionable to that is more or lesse according to the severall designes and pieces you work upon When you have done this pour on your Aqua fortis upon it for the last time and it is at this operation that you are to bestow more or lesse time above the precedent according to the nature of your work For instance if there be in your plate such hatches and shadows as require much depth and fulnesse and consequently must be very black you are to pour on the Aqua fortis for the space of an hour or better at this last operation alone that is proportionably to the precedent You may well imagine that there can be no certain rule given in generall either as to the convenient covering of the places or the precise space of time that is to be observ'd in casting on the water for it is not to be conceiv'd that Callot pour'd as much water on his little pieces as he did on those that were greater I told you before how that you may rub off your varnish or ground as occasion requires with a charcole to see whether the water hath eaten in deep enough you are therefore to judge of the space of time that you are to employ in pouring on the Aqua fortis by the works you are to do and where I tell you that you may bestow an hour and better on the last operation my meaning is in pieces that require much blacknesse All which notwithstanding it is to be considered that all copper and all sorts of Aqua fortis not being of the same strength nature and equality you are to proceed accordingly Having therefore pour'd the Aqua fortis upon your plate for the space of an hour more or lesse as the work requires as is before said wash it again with fair water but you shall not need to dry it as in the precedent operations but put it wet as it is upon the fire till your mixture be all melted and then wipe it very clean on both sides with a linnen cloth till you have quite taken away all the mixture Sect. 18. How to take the ground or the varnish off the plate after the Aqua fortis hath done its operation TAke a char-cole of willow or some such soft grain'd wood and take off the rinde of it and pouring fair water on the plate rub it with the char-cole with an even hand as if you were to polish copper and it will take off the varnish Be carefull that no dust or filth fall upon the plate as also that the char-cole be free from all knots and roughness for it might occasion small scratches in the plate which it would be difficult to get out especially in those places which are most faint and sweet Note that you are not to use such a burnt cole as you do to polish withall When the varnish is taken off the plate is of an unpleasant colour by reason of the operation of the fire and water upon it To reduce it therefore to its proper colour take some ordinary Aqua fortis to which add two third parts of fair water and with a little linnen ragg dipp'd therein rub your plate all over and you will find it come to its ordinary colour and beauty That done take immediately a dry linnen ragg and wipe it all over so as to take off all the foresaid water Then hold your plate a little to the fire and pour on it a little sallad-oyl and with the brims of an old beaver roll'd up rub your plate well all over with it then wipe it with a dry cloth This done you will perceive plainly if there be any places that require to be touch'd with the graver as it for the most part happens especially in those places that are to be most black For you may well judge that when there are many strokes and hatchings one close to another there is so little varnish between that the Aqua fortis commonly takes it off because it eats under it But if this happens when you cast on your water you may presently cover those places where you perceive the varnish to break up with the mixture it being much more easie to touch it afterwards with the graver then when the Aqua fortis hath made a pit therein which at the working of it off at the presse causes a great black patch but after some number of coppies taken off the said patch seems to be white because there is not any thing for the ink to fasten on Having therefore in good time cover'd that part you have no more to do but to perfect those strokes and hatchings to make them more firm and beautifull which done your plate is ready for the Rolling Presse OF SOFT VARNISH Sect. 19. How to make it and the uses it is
it is not so subject to cause the varnish to break up nor to many other accidents as the being hurtfull to the sight or to ones health as that of the Refiners is neverthelesse every one may use which of them he pleaseth Sect. 22. The manner how to lay a white ground upon your hard or soft varnish THere is a way to whiten your varnishes upon the plate instead of making them black with a candle which is thus When you have apply'd your hard varnish as hath been taught upon the plate harden it upon the fire without blacking it yet in the same manner as if it were blackt then let the plate cool and having gotten white Cerusse and put it into an earthen dish well leaded with a little Flanders Starch in it set them upon the fire and melt them together making them pretty hot that being done take up the white Cerusse which ought to be indifferently clear with a brush or great pencill of hoggs hair and therewith whiten your varnish laying it as thin and as even as you can then leave it to dry laying the plate flat in some convenient place and if by chance in whitening it the white be difficult to spread you need do no more but put among the said white Cerusse a drop or two of the gall of an Ox and so mingle them together in the dish with your brush And for the soft varnish you shall need onely to do the same thing after you have laid it upon the plate and extended it very evenly with the featherd end of your quills Some will say that if they black it before they apply the white upon it when they come afterwards to grave the hatchings will be the more black and by consequence will appear so much the more distinct to the eye But to this I answer First That when it is blackt the white will not touch it and that they must not venture to put so much gall for fear of spoiling the varnish Secondly That if the white should spread wel yet it would not appear otherwise then grey by reason of the blacking of the said varnish unlesse you should lay it so thick that all would be nothing worth The marking of your design upon soft varnish is performed with the dust of red chalk as is before mentioned speaking of hard varnish or with rubbing well the paper or design with the dust of black chalk or black lead when the varnish is made white for red chalk is most proper for a black ground When you shall have grav'd that which you intend upon the soft varnish and that you go about to etch your plate with Aqua fortis that which you have then to do is to take a little fair water somewhat more than lukewarm and to cast it upon the said plate and then with a soft clean spunge or with the fleshy part of the end of your finger to rub upon the said white Cerusse to moisten it all over afterwards wash the said plate to take off the whiting of it and then dry it Lastly you may lay on which of the two Aqua fortisses you please and for the preserving of the said white varnish while you are working you shall onely need to lay upon it a piece of soft linnen in stead of paper or else of Damaskt linnen If you shall choose rather to take away the said whiting you must take some Aqua fortis of the Refiners tempered with fair water lay it upon the plate dispersing it all over this will soke and quickly eat in after that you have also thrown clean fair water upon it having in this manner taken away the whiting you shall also let the water dry up which shall remain upon it and lastly cause it to eat into your work as I have said before Sect. 23. Another way how to lay a white upon your varnish TAke Cerusse of the best and grind it very fine upon a stone with fair water that being done take gum-water and pour a small quantity upon the stone and mix it with the Cerusse then take a large pencill of hoggs hair or the like provided it be not too stiff with that pencill take it off the stone and spread it thin all over your plate and immediate after take a larger pencill made of long and very soft hair either of a Foxes tail or Bears hair and with a very light and gentle hand passe it all over the plate so as to make it ly exactly even in all parts that the streaks of the former brush may not appear then place your plate so that it may ly very even and let it dry By the way it will be necessary to give you this advertisement that you are not to mix too much gum with the white nor too little for if there be too much it will break and crack the varnish if there be too little it will easily rub off therefore you must be carefull to use neither more nor lesse than will just serve to binde the white upon the plate Likewise you must have a care not to lay it too thick for if it be you cannot work with that neatnesse and curiosity as otherwise you may Sect. 24. Here followeth the manner after that your plates are eaten into by the Aqua fortis how to touch up or re-grave that which haply you may have forgotten or that which you would amend or supply BEfore I make an end I thought fitting to shew you the manner how to touch over again many things according as need may require by the means of Aqua fortis as when it happens that having made upon your copper any thing that doth not at all please you and that for this cause having covered it with your oyly mixture to the end that the Aqua fortis should not perform its operation or that you would add any ornaments either in Drapery or any other thing which might be thought on upon severall occasions In this case therefore take your plate and rub it over well with oyl-Olive in those places where there is any thing graven in such sort as that the blacknesse and foulnesse which is likely to be in the hatchings or strokes may be taken away Afterwards take out the grease so throughly with crumms of bread that there may remain no grease nor filth upon the plate nor in any of the strokes or hatchings Then heat it upon a char-cole fire and spread the soft varnish upon it with a feather as hath been said before That which you are to take speciall care of is that the hatchings which you would have to remain be filled with varnish That being done black it and then you may touch over again or add what you intend And lastly make your hatchings by the means of your needls according as the manner of the work shall require being carefull before you put on the Aqua fortis to cover with your oyly mixture as is said before the first graving which was
upon your plate for in case that the varnish should not have entred all over that to be sure will In so much that if it should happen in some places of the hatchings there should be neither of the mixture nor varnish the Aqua fortis would not fail to enter and spoil all Having then caused the Aqua fortis to eat into your work take away your varnish from your plate by the means of the fire as hath been said before THE ART OF GRAVING Sect. 25. The severall wayes of drawing your design upon the plate BEfore I speak of the manner of managing and whetting your Graver I think it will not be amisse to let you know the wayes that are used in the drawing your designe upon the plate which must be of the same bignesse as your design or print is which you intend to copy Put your plate upon the fire and let it heat a little then take a piece of the whitest Virgin-wax and spread it thin over the plate and with a smooth feather gently stroak it all over to the end it may lie the more even and smooth then let it cool If you intend to coppy a printed picture and that you would have it to print off the same way when it is graved with your pattern then you must place your picture which you would grave with the face or printed side next to your plate waxed over as is before mentioned and having placed it very exactly rub the back-side of the print with a burnisher or any thing that is smooth and round and you will find that it will stick to the wax which is upon the copper When you have so done take off the print beginning at one side or corner but be carefull you take it not off to hastily for by so doing you may tare your print or design and also if you put your wax to thick upon the plate it will be a means to cause the same inconvenience But if you would grave it the same way as your print or design is then take the dust of black-lead or black-chalk and rub the backside of your drawing or print all over therewith and place it with that side so blacked towards the plate so waxed as is before mentioned and with your needle or drawing-point draw all the out-lines of your design and you will find all those lines upon your plate but if you desire to preserve the backside of your design from being blacked with the dust before mentioned then take a fine thin piece of white paper of the bignesse of your design and instead of rubbing the backside of your print or design rub one side of the said paper with the dust or powder of black-chalk as is before mentioned and placing it with the side so blacked next to the plate waxed over-lay the backside of your design upon the paper and fix them both firm to your plate at each corner with a little wax then draw the out-lines of your design onely note that you must lean somewhat harder with your needle in drawing Sect. 26. The forms of graving-tools as also the manner of whetting your Graver Pl. 9. THe upper part of this figure will shew two sorts of Graving-tools the one formed square the other lozeng the square Graver makes a broad and shallow stroak or hatch and the lozeng makes a deep and narrower stroke The use of the square Graver is to make the largest strokes and the use of the other is to make the strokes more delicate and lively But I preferre a Graver made of an indifferent size betwixt both these two which will make your strokes or hatches show with more life and vigour and yet with sufficient force according as you shall manage it in your working The forms of which will appear in the I. and II. figures The III. figure shews you how to whet the two sides of your Graver which is to be done in this manner following you must have a very good oyl-stone smooth and flat and having powred a little Sallad oyl thereupon take the Graver and laying one side of it that which you intend shall cut the copper flat upon the stone whet that side very flat and even and to that purpose have an especiall care to carry your hand stedfast and with an equall strength pracing your forefinger very firm upon the opposite side of your Graver to the end that you may guide it with the more exactnesse then turn the very next side of your Graver and whet that in the like manner as you did the other so that there may be a very sharp edge for the space of an inch or better then turning uppermost that edge which you have so whetted and setting the end of your Graver obliquely upon the stone carry your hand exactly even to the end that it may be whetted very flat and sloping in the form of a lozeng making to the edge a sharp point as the figure IIII. shews you It is very necessary that you take great care in the exact whetting of your Graver for it is impossible that you should ever work with that neatnesse and curiosity as you desire if your Graver be not very good and rightly whetted I cannot demonstrate it so plain and fully by figures and discourse as I would if you have acquaintance with an Artist in this way you may easily understand it in a short time Sect. 27. The manner how to hold your Graver with other particulars YOu may see also that the uppermost part of this figure describes to you the form of two Gravers with their handles fitted for the whetting They that use this Art do before they make use of them commonly cut away that part of the knob or bowl that is at the end of their handles which is upon the same line with the edge of their Graver to the end it may not obstruct or hinder them in their graving as the figure II. shews you For if you should work upon a large plate you will find that part of your handle if it be not cut away will rest so upon the copper that it will hinder the smooth and even carriage of your hand in making your strokes or hatches also it will cause your Graver to run into the copper in such sort that you shall not be able to manage it at your pleasure The third figure describes to you the way of holding your Graver which is in this manner You must place the knob or ball of the handle of your Graver in the hollow of your hand and having extended your forefinger towards the point of your Graver laying it opposite to the edge that should cut the copper place your other fingers on the side of your handle and your thumb on the other side of the Graver in such sort that you may guide your Graver flat and parallel with the plate as you may see in the IIII. figure Be carefull that your fingers do not interpose between the plate and the Graver for they will be troublesome and hinder you in carrying your Graver level with the plate so that you cannot make your strokes with that freedome and neatnesse as otherwise you may This I think fit to give you notice of in this place because the skill of holding your Graver is that which you must first perfectly learn and be able to practise without pain or difficulty or else you will not gain so great a readinesse and command of your hand as is required in an accurate and skilfull Graver Sect. 28. The mauner of governing your hand in Graving and other particulars HAving described the way of holding your Graver the next thing is to shew you how to guide your Graver upon the plate in making of your strokes which are streight or crooked that you may work with the more ease and convenience you must have a strong round leather cushion fill'd with sand or fine dust let it be made about half a foot broad in the diameter and three or four inches deep lay this upon a table which standeth fast and firm then lay your plate upon the cushion as is described in the II. figure in the former Section When you are to make any straight strokes hold your Graver as is directed in the former Section and if you will have your strokes deeper or broader in one place than in another in that place where you would have them deepest you must presse your hand hardest but especially in making of a streight stroke be carefull to hold your plate firm and stedfast upon the cushion And if you make any crooked or winding strokes then hold your hand and Graver stedfast and as you work turn your plate against your Graver for otherwise it is impossible for you to make any crooked or winding stroke with that neatnesse and command as by this means you may if you do not move your plate and keep your arm and elbow fixed or rested on the table If as you are working your Graver happen to break often on the point it is a sign it is tempered too hard therefore take a red hot charcole and lay the end of your Graver upon it and when you perceive your Graver to wax yellowish dip it in the water If your Graver become blunt without breaking it is a sign it is nothing worth It will be convenient for you to have a piece of box or hard wood that after you have sharpened your Graver by striking the point of it into the said box or hard wood you may take off all the roughnesse about the point which was caused by whetting it upon the oyl-stone After you have graved part of your work it will be necessary to scrape it with a sharp edge of another Graver carrying it along even with the plate to take off the roughness of the strokes but in so doing take heed of making any new scratches in your work To the end you may better see that which is graven they commonly roll up close a piece of a black Felt or Castor liquored over a little with oyl-olive and therewith rub the places graven And if you perceive any scratches in your plate rub them out with your burnisher and if you have graved any of your strokes too deep you make them appear fainter with rubbing them with your burnisher FINIS
scratches When you have done this wash it clean and dry it by the fire and if by any accident your Plate be foul or greasie take the crummes of stale bread or fine-powdered Chalk and rub your Plate over with it The Plate being thus polished and cleansed is fitly prepared to lay on your Varnish Sect. 7. How to apply your hard Varnish on the Plate and make it black TAke your Plate thus cleansed and lay it on a chafing-dish with a little fire in it and when it is indifferently hot take it away and take up some of the Varnish with a little stick and put a drop of it on the top of one of your fingers then lightly touch the plate with the top of your finger in severall places at equall distances as the uppermost figure in the plate sheweth you the same being marked with the letter O and lay no more on one place then on another And if your plate grow cold heat it again as before being very carefull to keep it from dust or filth This done having well-wiped the fleshy part of the palm of your hand tap it upon the Plate till all the little spots of varnish are equally spread upon the Plate After this tapping wipe or slide your hand upon the Varnish to make it more smooth and equal Take great care that there be not too much Varnish upon the plate and that your hand be not sweaty because the sweat mixing with the Varnish wil cause little bubbles when it is applied to the fire which will become little holes in the Varnish Your Varnish being thus smoothed upon the Plate the way to black it is thus Take a great tallow-candle lighted which burneth clear let it have but a short snuff then place the corner of your plate against the wall with the varnished side downward as the lower figure in the Plate represents it to you Take heed that your fingers do not touch the Varnish then take your candle and apply the flame to the Varnish as close as you can without touching the Varnish with the snuffe of the candle guide the flame all over till you see it perfectly black keep it then from dust or filth untill it be dried Plate 1 2. Sect. 8. How to dry or harden the Varnish upon the Plate KIndle a fire in a chimney of such chark-coles as are not subject to sparkling and when they are well kindled range them in a square somewhat larger than the Plate as the letter P sheweth you Before you place your plate to be dried hang up a cloth in the chimney to hinder and keep off any soot or filth from falling down upon it as you may see by the letters B C D. Then take your plate and place it in the middle of the range upon two low Andirons as the letter O directs this done you will soon perceive the Varnish to smoke and when you perceive the smoke begins to abate then take off the plate from the Andirons and with a stick pointed scratch near the side of your plate and if it easily take off the Varnish then you must lay it again upon the Andirons for a little space Then take it off and touch it again with your pointed stick and if it take off the Varnish not too easily then immediately take it from the fire and let it cool If the Varnish do much resist the point of the stick then presently throw on some cold water on the back-side of the plate to cool it so that the heat of the plate may not cause the Varnish to be too hard and brittle Sect. 9. How to choose your needles wherewith to make your tools to etch with Pl. 3. CHoose some broken needles of severall sizes and bignesse such as break neat without bending and of a fine grain Then take round sticks of a good firm wood not apt to split of the length of half a foot or somewhat lesse of the thicknessse of a good large quill at the ends of which sticks fix in your needles so that they stand out of the sticks about as much as you see in the figure following Sect. 10. How to whet the points of your needles THere are two wayes of whetting your needles the one round the other sloping You must have an oyl stone with a fine grain to whet your needles upon For those you would have to be round you must upon the oyl-stone whet their points short not as your sowing needles are but as the Figure shews you For the other which you intend to make sloping first upon the oyl-stone make it blunt then holding it firm and steddily whet it sloping upon one side only till it come to a short roundish Oval for the long Oval is not so good to work with You will need a soft brush-pencill to brush off the varnish which you work off with the strokes of your needle as is represented by the Letter A. Sect. 11. To preserve your Varnish upon the plate YOur plate being varnished place it upon a low desk or such like thing and cover that part which you do not work one with a sheet of fine white paper and over that a sheet of brown paper whereon you rest your hand to keep it from the varnish when you work When you have occasion to use your Ruler to draw streight lines lay some part of it upon the paper that it may not rub off the varnish But above all things have an especiall care that no filth or dust gets in between the paper and the varnish for that will cause some holes and scratches in the varnish Sect. 12. How to etch IN etching you will have occasion to make divers sorts of lines or hatches some bigger some smaller some streight some crooked To make these you must use severall sorts of needles bigger or smaller as the work requires The great lines are made these three severall wayes 1. By leaning harder on the needle and the point being short and thick makes a larger passage but the point being round it will not cut the varnish clear 2. By making divers lines or hatches very close one to another and then by passing them over again with a thicker needle but this way is both too tedious and withall very difficult 3. By making the lines with an indifferent bigg needle and letting the Aqua fortis lie the longer on it Those needles which you whet sloping with an Oval are the best to make the large lines withall because with their sides they cut that which the round points cannot Pl. 4. Sect. 13. How to guide your needles upon the plate YOu may perceive from what is said that those points which you intend to make use of in graving with Aqua fortis ought to be whet exactly round that they may turn more freely upon the plate Some of those round points must be whet very sharp that they may cut the varnish and copper more easily If you find that your point cuts not freely