Line Engraving.—Fully described in Chapter VI.
Lithograph.—This is an impression taken from a stone upon which a drawing has been made with specially prepared ink. Fully described in Chapter XIV.
Lozenge.—This term is applied to the interstices between lines crossing each other at various angles in "cross-hatched" work.
Margin.—This is the white paper as a framework outside the engraved work in a print. Fastidious collectors lay great store on full margins, and admit no trimmed examples to their cabinets.
Mezzotint.—Engraving in mezzotint fully described in Chapter XII.
Open Letter Proofs.—Sometimes lettered proofs are divided into two classes, of which those with printed title in open letter are the earlier, after which follow the ordinary thick letter proofs.
Pinxit.—Literally, He painted it (Latin), and follows painters name on print.
Print.—An impression taken on paper from an engraved plate. The term is used in general to denote all impressions after the lettered proofs.
Proofs.—See Artist's Proofs, Remarque, Signed Proof, Lettered Proofs, Open Letter Proofs, Engraver's Proofs.
Proofs before Letters.—Next after Artist's Proofs these are printed from the plate, and have the name of artist and engraver printed upon them in the left and right corners respectively. They are not signed by either artist or engraver.
Remarque.—A small design etched on the margin of the plate or drawn on artist's proof by the artist. This is a modern fashion, often done in order to enhance the value of proofs.
Ruling Machine.—A modern invention to lay the flat tints mechanically and rule parallel lines in the sky and elsewhere with exactitude. All good engraving eschews this process.
Sculpsit.—Literally, He engraved it (Latin). Follows engraver's name on a print.
Signed Proofs.—These are the Artist's Proofs issued in the early state and signed as a guarantee that the engraver held these to be brilliant impressions of his work.
