Senefelder on Lithography

The Classic 1819 Treatise

Alois Senefelder

• Publisher: Dover Publications
• Year: 2013
• ISBN:
  9780486161891
• Topic: Art
• Subtopic: Art Techniques

The invention in the late eighteenth century of lithography, or `writing on stone,` reshaped the course of graphic arts. Some years later, the father of this world-changing technology, Alois Senefelder, published a description of the process. This English translation of the original German work, Vollständiges Lehrbuch der Steindruckerey, vividly describes Senefelder's struggles to develop and popularize the medium and the lithographic techniques employed in the process.
The work is divided into two parts: the first presents a history of the invention and its different processes; the second provides practical instructions for its application—the varieties of stone, ink, instruments, paper, and presses used for different tasks, and the pitfalls to be avoided in working with these materials.
An essential reference for graphic artists and students, the classic 1819 treatise remains the definitive work on this topic.

PART II.

ART OF LITHOGRAPHY,

CONTAINING

Instructions in the different Branches and Manners of this new Art.

ART OF LITHOGRAPHY,

&c. &c.

Introduction.

LITHOGRAPHY is a branch of a new method of printing, differing in its fundamental principles from all other methods now in use, and known by the name of Chemical Printing. All the other methods of printing, hitherto known, might be divided into two branches ; the one multiplying the original by elevated forms, the other by engraved forms. To the first branch belongs the common letter-press printing, where the letters and signs are moulded in a composition of metal, or in wood, in such a manner that those lines and points which are to receive the colour, and be printed, are elevated ; while the rest of the plate, which is to remain blank on the paper, lies deeper. The wooden blocks, for calico-printing, are of the same description.

Under the second branch may be included all the different methods of engraving on copper or tin, as well as calico-printing from copper-plates or cylinders.

The manner of taking impressions, or the printing, is, in the first branch, effected in the following way :—The types, which are all of equal height, and therefore form an equal surface, are repeatedly touched in all the parts of the surface by a printing ball of leather, filled with horsehair, and sufficiently charged with black or coloured ink. The ball, from its firmness and elasticity, touches only the elevated spots, which it covers with the adhesive liquid colour, so that in the proper press an impression may be easily taken off. The same manipulation, with some modifications, is employed in calico-printing from wooden blocks ; the block is charged by being put upon a ball or cushion covered with colour, then applied to the calico, and by a moderate blow of a hammer, the impression is obtained. A process, directly the reverse, is observed in the copper and tin printing ; for here, in order to charge the engraved lines with colour, the whole plate is first covered with colour ; then the surface is wiped off and cleaned with rags ; and, as they do not enter into the engraved furrows, the colour remains in them, and by the strong pressure of a press, by which the paper is forced even into these narrow furrows, the desired impression is obtained.

It is evident that in both these methods of printing, the charging the types or plates with colour, by which the impression is obtained, depends entirely on mechanical principles, viz.—that, in the letter-press printing, the colour adheres only to those places that come in contact with it ; and, in the copperplate printing, to those from which it is not wiped off.

The chemical process of printing is totally different from both. Here it does not matter whether the lines be engraved or elevated; but the lines and points to be printed ought to be covered with a liquid, to which the ink, consisting of a homogeneous substance, must adhere, according to its chemical affinity and the laws of attraction, while, at the same time, all those places that are to remain blank, must possess the quality of repelling the colour. These two conditions, of a purely chemical nature, are perfectly attained by the chemical process of printing ; for common experience shews that all greasy substances, such as oil, butter, &c., or such as are easily soluble in oil, as wax, bitumen, &c., do not unite with any watery liquid, without the intervention of a connecting medium ; but that, on the contrary, they are inimical to water, and seem to repel it. The principal dissolving and uniting liquid for the above-mentioned substances is alcali, which, by proper management, forms a sort of soap, soluble in water.

Upon this experience rests the whole foundation of the new method of printing, which, in order to distinguish it from the mechanical methods, is justly called the chemical method; because the reason why the ink, prepared of a sebaceous matter, adheres only to the lines drawn on the plate, and is repelled from the rest of the wetted surface, depends entirely on the mutual chemical affinity, and not on mechanical contact alone.

It might, perhaps, be objected, that in the other methods of printing, the colour adheres to the lines which are to be printed, from the very same cause, as it is a well-known law, that water and oil adhere to all bodies in a perfectly dry state. But the case is not the same with fluids and their mutual effect, and this constitutes the essential difference between the former and this new method of printing. A dry plate would every where imbibe the colour ; but the surface of the plate being sufficiently wetted, it takes the colour only on those places that are in a state the reverse of wetness. The repelling, therefore, of the colour, from all those places that are to remain blank, is the novelty in the whole process.

It is not, however, sufficient, in order to print chemically, to make certain spots of the plate greasy, and others wet ; water of itself being, when applied to most of the substances, used for plates, of insufficient power to act as a means for repelling the colour from all the places on which it ought not to be. In silicious and porcellaneous substances, such as glass, china, and clay slate, pure water might be sufficient ; but then the slight power of adhesion, and tenacity of the greasy ink, when applied to these plates, is another obstacle to the taking a considerable number of impressions from them ; however, in case of necessity, this obstacle may be removed, in part, by the use of very hard substances which soon dry, such for instance as linseed-oil varnish, mixed with a great deal of sulphate of zinc. But in those substances which powerfully attract the ink, as for instance, metals, wood, calcareous stone, artificial stone, paper, &c., it is necessary to prepare the surface of the plate so, that in those places which are to remain blank, it may reject, as if from aversion, the colour ; and, consequently, entirely change its nature.

Repeated experiments have convinced me, that it is possible to discover preparations for all the substances belonging to this class, and of which I shall more minutely speak in another place. The chemical process of printing is not only applicable to stone, but likewise to metals, &c. ; and Lithography, therefore, is only to be considered as a branch of the more general chemical process of printing.

Amongst the different materials applicable to this new method of printing, the calcareous slate occupies the first place. It possesses not only a strong tendency to combine with unctuous substances, and to retain them obstinately, but it likewise possesses the power of absorbing bodies of a different nature, such as aqueous fluids; so that the stone, thus impregnated with them, will repel oleaginous and unctuous bodies.

This excellent quality, the cheapness and facility with which these stones could be procured in Bavaria, the advantage of their being easily rendered fit for use, determined me to overlook the few defects or inconveniencies they presented, such as their heaviness and occupying much room, and their not unfrequent difference in quality, and induced me to use them as the principal material for my various experiments, the successful result of which has now established this my invention as a new art.

Having so far treated of the elements and character of this new method of printing, and having explained the names and fundamental principles of it, it still remains for me to say a few words on the subject of its utility.

The merit of every new invention consists in the advantage resulting from it for sciences, arts, and manufactures ; it may not, therefore, be improper to inquire what advantage in this respect, has been derived from the art of Lithography ; and to ascertain in what points it is preferable to the other methods of printing hitherto known.

There is no invention, in this sublunary world, which unites in itself all the advantages and all the excellencies that might be wished. Lithography does not constitute an exception to the remark. It may, indeed, be said of the art of Lithography, that neither type, nor copper-plate printing, can be dispensed with in consequence of its invention ; though it is not impossible that, by farther improvement of the presses, it may one day combine the advantages of the other methods of printing, with those which are peculiar to itself; but at present the facility and quickness of composition, the equality and correctness of the single letters, which can be obtained in type-printing, give to this art a decided superiority for many purposes. Some subjects, however, that hitherto have been executed by types, such as circulars, bills of exchange, invoices, cards, and addresses, &c., can be executed by means of Lithography, more quickly and in greater perfection than by types.

With regard to copper-plate printing, it is to be presumed that, upon a more general introduction of Lithography, only two methods will remain in use, viz.:—The line engraving, and the etched manner, which is afterwards finished by the needle and the graver. Here, however, the talent of the artist ought to be taken into consideration, for a more experienced artist may, even in these manners, produce something equally admirable on stone, as on copper. The same may also be said of the manner of dotted engraving, as it was practised by the late Mr. Bartolozzi, or our eminent Mr. John, in Vienna, and many eminent artists in England, whose delicate style in that mode of engraving will not likely be rivalled by lithographic art.

All the various other methods of copper-plate printing must yield, without question, the palm to Lithography; especially when we consider the easiness of the manipulation, the comparatively short time required to take impressions, and the number of impressions that can be struck off. Thus, for instance, all sorts of writing can be done easier and more quickly on the stone with the needle, as well as with the greasy ink, than could be done by the most experienced engraver. For maps, and other topographical plans, Lithography has, therefore, a decided superiority, as they can be done on stone in greater perfection, and in much less time, than would be requisite if done on copper. Another advantage which stones possess over copper is, the greater facility in the printing of the former, for which less technical skill is required, while copper printing is attended with very considerable difficulties. Many persons, for instance, are of opinion that the German printers do not equal those of Paris and London ; but the laying on the colour on the stone requires so little time, that the printing, especially large plates, from stone, can be done much more quickly than printing from copper. Besides this, corrections can be made with more ease on stone, than on copper or tin.

From this it is evident that all sorts of drawing or writing, which hitherto have been done on copper or tin, and in which the utmost fineness, expression, and clearness, or, in short, the greatest possible technical perfection, is not absolutely requisite, can be done by Lithography in a more cheap and easy way, and may be multiplied in a comparatively very short space of time ; and it has been generally observed that drawings of the less excellent artists, appear to greater advantage on stone, than on copper.

Even this advantage would be sufficient to establish the usefulness of the new art; but there are besides several other methods that are altogether peculiar to it, and cannot possibly be imitated by type, or copper-plate printing. Of these I shall notice here only, first, the chalk manner, by which every artist is enabled to multiply his original drawings ; and, secondly, the transfer manner, by which every piece of writing or drawing with the greasy ink on paper, can be transferred to the stone, and impressions taken from it. This last method may, one day, be of great utility to public offices, and the public at large.

These are the principal advantages, which, according to my firm conviction, Lithography possesses ; and every impartial observer of this art will, no doubt, share my opinion. After these preliminary observations, I hasten to the description of the art, and its different branches or manners.

SECTION I.

GENERAL RULES AND EXPLANATIONS.

CHAPTER I.

OF THE STONES.

Description and Qualities of the Stones.

THE species of Stones which has hitherto been exclusively used at Munich, for the purposes of Lithography, is a sort of calcareous slate, found in the country from Dietfurt to Pappenheim, and along the banks of the Danube, down to Kellheim ; from which last place the name of Kellheim Stone-plates has been derived, as in former times they were principally taken from thence. The quarries at Kellheim seem at present to be exhausted, and the traffic in this article has its centre in the village of Solenhofen, in the districh of Monheim, three leagues from the town of Neuburg, on the Danube, where almost all the inhabitants are stone-masons. The country there abounds in this species of stone, so that for centuries to come no want of stones is to be feared. When the ground is uncovered to the depth of from ten to fifteen feet, these stone-plates appear in horizontal strata, which at first are of very inconsiderable thickness, often not thicker than paper ; and for that reason, and their want of consis...