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diff --git a/40924-h/40924-h.htm b/40924-h/40924-h.htm index 84509b9..534ce0f 100644 --- a/40924-h/40924-h.htm +++ b/40924-h/40924-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Invention of Lithography, by Alois Senefelder. @@ -263,46 +263,7 @@ table.ink1 .td6, .td7, .td8, .td9 {vertical-align: top;} </head> <body> - - -<pre> - -Project Gutenberg's The Invention of Lithography, by Alois Senefelder - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: The Invention of Lithography - -Author: Alois Senefelder - -Translator: J. W. Muller - -Release Date: October 3, 2012 [EBook #40924] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE INVENTION OF LITHOGRAPHY *** - - - - -Produced by Chris Curnow, Charlie Howard and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 40924 ***</div> <div class="figcenter" style="width: 584px;"> <img id="coverpage" src="images/cover.jpg" width="584" height="784" alt="cover" /> @@ -489,7 +450,7 @@ at that time Professor in Munich. I considered it my duty to clear away this uncertainty and to prepare a critical history of this invention while it still was possible.</p> -<p>The weekly <span lang="de"><i>Anzeiger für Kunst und Gewerbfleiss</i></span> in the kingdom of +<p>The weekly <span lang="de"><i>Anzeiger für Kunst und Gewerbfleiss</i></span> in the kingdom of Bavaria, which has appeared since 1815, exists for the purpose of producing annals of the art and industrial history of Bavaria. Therefore, toward the end of 1816 and early in 1817, I inserted some letters about the invention @@ -673,7 +634,7 @@ HISTORY OF STONE-PRINTING</h2> <span class="subhead">FROM 1796 TO 1800</span></h2> -<p>As my father, Peter Senefelder of Königshofen in Franken, was +<p>As my father, Peter Senefelder of Königshofen in Franken, was court actor in Munich, I had ample opportunity in early youth to see and read many theatrical pieces. Thus I developed such a love for this branch of literature and for the theatre that I would have @@ -692,10 +653,10 @@ most of the parts, as we lacked women. We were almost giving up hope when Herr Kuerzinger, now court actor, proposed to me to write a play, as I had begun one shortly before that happened to suit each of my friends.</p> -<p>I finished the little piece, <span lang="de"><i>Die Mädchen Kenner</i></span>, in a short time. It was +<p>I finished the little piece, <span lang="de"><i>Die Mädchen Kenner</i></span>, in a short time. It was ready for production, when through accident we were disappointed about securing the private theatre on which we had counted. We were emboldened -to request leave to produce it in the Kurfürst's Court Theatre and +to request leave to produce it in the Kurfürst's Court Theatre and succeeded, thanks to my father's aid. The over-kind praise which it won encouraged me to have the play printed. Although I was pretty generous<span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span> with free copies among my friends, I received so much from Lentner, the @@ -710,8 +671,8 @@ to become a dramatic author and actor.</p> <p>I found no place for me in the Court Theatre. Its leaders were opposed to my family, because my mother with her large family received a larger -pension, through the favor of the Kurfürst, than she could have expected -in ordinary course. In a few strolling theatres, such as Regensburg, Nürnberg, +pension, through the favor of the Kurfürst, than she could have expected +in ordinary course. In a few strolling theatres, such as Regensburg, Nürnberg, Erlangen, and Augsburg, where I endured privation and misfortune enough, my enthusiasm was well dampened in the course of two years. I decided, as I could see no other prospects for the moment despite my not @@ -720,13 +681,13 @@ inconsiderable attainments, to support myself in future as author.</p> <p>I had written several dramatic pieces already that had won sufficient applause. Therefore I decided to have some of these printed in order to meet my immediate expenses. I gave one of them to the printing establishment -of Herr Hübschmann, in Munich, and when the first folio was finished, +of Herr Hübschmann, in Munich, and when the first folio was finished, I made the proposition to Herr Lentner to take some or all of the copies. He told me that I would have done better to let him have the manuscript; but since it had been begun, he told me to make sure that it be finished before the beginning of the Leipsic Easter Fair, in which case he promised to obtain for me one hundred gulden net, after deducting all -costs. I begged Herr Hübschmann to finish the printing, but, as he assured +costs. I begged Herr Hübschmann to finish the printing, but, as he assured me that it was impossible, I took the remaining folios to another printer. Despite this the play was not printed till two weeks after the fair, and I received from Herr Lentner barely enough to pay the printing cost.</p> @@ -1055,9 +1016,9 @@ color, and wages had cost barely thirty gulden; thus we had a clear profit of seventy gulden, earned in fourteen days, and I gained so much happy hope that I thought myself richer than Crœsus.</p> -<p>We were gay and merry. Through his patron, Count von Törring, then +<p>We were gay and merry. Through his patron, Count von Törring, then President of the Royal Chamber, Herr Gleissner had presented an impression -of our first work to the Kurfürst Karl Theodor, and had received +of our first work to the Kurfürst Karl Theodor, and had received one hundred gulden out of the Cabinet Treasury, with the promise of a franchise.</p> @@ -1219,8 +1180,8 @@ the paper remaining in stock were taken away from us and given to Herr Falter, while we had to suffer severe censure from the Countess, and in her name from others. Herr Gleissner had to pay for new paper, which made a monthly deduction from his salary necessary. The grant of our privilege -was endangered, for the Kurfürst had obtained a poor opinion of our process. -Indeed, so long as the Kurfürst Karl Theodor lived, all our efforts to +was endangered, for the Kurfürst had obtained a poor opinion of our process. +Indeed, so long as the Kurfürst Karl Theodor lived, all our efforts to obtain a privilege were fruitless. We could not even succeed in having it proposed, although the referee, Herr von Stubenrauch, made us promises from month to month.</p> @@ -1253,7 +1214,7 @@ for each impression after the stone is under it. Figure 1, <a href="#plate">plat picture of such a cylinder press, made for stone-printing.</p> <p>As soon as the press was ready and erected, I began to inscribe on stone -the music of <span lang="de"><i>Die Zauberflöte</i></span>, arranged for quartette by Herr Danzy, and +the music of <span lang="de"><i>Die Zauberflöte</i></span>, arranged for quartette by Herr Danzy, and with Herr Gleissner we began the printing.</p> <p>But Herr Gleissner became dangerously ill. I trained two soldiers to do @@ -1272,7 +1233,7 @@ been said, and will let the matter speak for itself. From the foregoing the reader will have seen the natural but laborious way in which fate led me to this invention. If Herr Schmidt made a similar discovery at that time, he was much more fortunate than I. According to his own letter, printed in -the <span lang="de"><i>Anzeiger für Kunst und Gewerbfleiss</i></span>, the course of his invention was as +the <span lang="de"><i>Anzeiger für Kunst und Gewerbfleiss</i></span>, the course of his invention was as follows. He saw a gravestone in the Frauen-Kirche, in Munich, on which letters and pictures were in relief. "That must have been done with acid; it would be possible to print from it!" thought he, and the invention was @@ -1296,7 +1257,7 @@ is the new thing in the case.</p> <p>At that time (1796) I had not invented stone-printing, but, firstly, an ink available for writing on stone and resistant to acid, which ink I invented -out of my brains and not, like Herr Schmidt, out of an old Nürnberg +out of my brains and not, like Herr Schmidt, out of an old Nürnberg book: secondly, I invented a practical tool for inking the slightly elevated letters: and thirdly, the so-called gallows or lever press, of which I shall speak later.</p> @@ -1374,7 +1335,7 @@ various methods of making patterns for work on cotton, such as I conceived later in Vienna where I busied myself very much with cotton-printing.</p> <p>I happened to print for Herr Lentner a little song about the great fire of -Neuötting in Bavaria and used a little vignette showing a burning house. +Neuötting in Bavaria and used a little vignette showing a burning house. This induced Herr Steiner to let me etch a few small pictures for a catechism. So far as execution of drawing goes, they were very ordinary; but he continued to encourage me to try if the new printing process would not @@ -1440,7 +1401,7 @@ which, on the whole, turned out of only average quality, as I had not practiced this style sufficiently.</p> <p>Then he wanted me to draw Biblical pictures on stone or to let others -draw them. At that time he was having Herr Schön in Augsburg etch the +draw them. At that time he was having Herr Schön in Augsburg etch the Seven Holy Sacraments after Poussin. As the etching was expensive, the impressions could not be sold for less than four kreuzer each. Herr Steiner wished to circulate these pictures so generally that they could serve as @@ -1643,7 +1604,7 @@ method was used for the first work that I undertook.</p> praised in the musical paper) had been completed before I invented the<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span> new process. Only the title-page remained to do. As I wished to make this as handsome as possible, since Herr Gleissner intended to dedicate -the work to Count von Törring, I chose this new intaglio style, because I +the work to Count von Törring, I chose this new intaglio style, because I hoped to do my best work in it. Any one who still possesses a copy of this symphony can see by slight examination that the printing was done from an etched engraving. Therefore Herr Rapp in Stuttgart is mistaken when @@ -2668,7 +2629,7 @@ given me opportunity to get into the art line ten years earlier than I did, and make useful application of my inventions.</p> <p>The family Gleissner now arrived in Vienna and brought one of my -former apprentices, Mathias Grünewald. Meantime some presses had +former apprentices, Mathias Grünewald. Meantime some presses had been completed, and we could begin to print. Gleissner's symphonies recently had been much praised in a musical paper of Leipsic, and he proposed to us to begin with a few of his works. Of course it would have been @@ -2734,7 +2695,7 @@ was working at cotton-printing, and that Herr von Hartl intended to work my inventions, he managed to induce that gentleman to let him erect a cotton-printery, a matter which he did not understand in the least.</p> -<p>Mistelbauer had been a poor peasant boy of Helmannsöd by Linz. He +<p>Mistelbauer had been a poor peasant boy of Helmannsöd by Linz. He had gone into foreign lands in his youth, but when he obtained the ten thousand gulden from Count Saurau, he selected his native place for the works. Even at that time his improved condition aroused the envy of the @@ -2751,7 +2712,7 @@ had to make new advances all the time. Naturally Herr von Hartl began to feel apprehensive, and he decided to visit Mistelbauer on the occasion of our journey to Solenhofen.</p> -<p>When we reached Helmannsöd, Herr von Hartl shook his head dubiously, +<p>When we reached Helmannsöd, Herr von Hartl shook his head dubiously, especially when he found the accounts in the greatest disorder. But the great stock of goods, though most of them were only half finished, and the thought that everything could be made to go smoothly again with better @@ -2927,7 +2888,7 @@ himself thus, and that he would better pocket his losses and retire from all the matters that worried him.</p> <p>Therefore, when his secretary, Steiner, advised him to send a certain -Grasnitzky to Helmannsöd, he accepted the suggestion, and Grasnitzky +Grasnitzky to Helmannsöd, he accepted the suggestion, and Grasnitzky went there with unlimited power to do what he thought best. Now of course it was vital that Grasnitzky be absolutely honest, as otherwise it was certain that he would make the worst possible report in order to get @@ -2941,7 +2902,7 @@ it to Linz to be finished and sold.</p> <p>Hardly had Herr von Hartl received the alarming news that only the highest degree of commercial talent could save the capital that he had invested in this business, before worse news came. While Grasnitzky was -in Linz, fire started in Helmannsöd and spread to Mistelbauer's house, +in Linz, fire started in Helmannsöd and spread to Mistelbauer's house, which Grasnitzky had locked up. The peasants saved their own houses and were not at all displeased to let the handsome new building, with all its machinery and stock, burn down.</p> @@ -2991,12 +2952,12 @@ pressed harshly for payment. He even went to Herr von Hartl. That gentleman sent for me immediately and declared that he would try Steiner's plan, and that it would be his last attempt, and that I could see myself that there was nothing else to do. Since he promised to pay my debt, -and I hoped for good results anyway from Herr Steiner's coöperation, I +and I hoped for good results anyway from Herr Steiner's coöperation, I agreed willingly.</p> <p>Now passed another year, during which a number of pieces of music were printed under Grasnitzky's and Steiner's directions, and some experiments -made in art work. An artist, Karl Müller, learned to draw +made in art work. An artist, Karl Müller, learned to draw nicely on stone partly with the pen, partly with the brush. Among many, often very excellent efforts, one of his most successful was a copy of Preissler's drawing-lessons. The first number was printed under my direction @@ -3074,7 +3035,7 @@ draftsman, I could draw the entire design within two days, and with an accuracy that hardly could be attained by the engraving-tool. With this instrument I drew the design on the black etching surface of the cylinder, etched it and made a sample printing which, when it was repeated afterward -in presence of Fürst von Esterhazy and other members of the company, +in presence of Fürst von Esterhazy and other members of the company, earned universal praise.</p> <p>Herr von Hartl planned to obtain an exclusive franchise for this cylinder @@ -3143,9 +3104,9 @@ establish a press and publishing house, and that they expected to get a comfortable building from the Government.</p> <p>Madame Gleissner went to Munich at once and ascertained that the -report was true. She also met our old apprentice, Grünewald, who had +report was true. She also met our old apprentice, Grünewald, who had left Vienna in 1804 with one of our note-writers, Held, to erect a stone-printing -establishment for Breitkopf and Härtl in Leipsic. He had just +establishment for Breitkopf and Härtl in Leipsic. He had just returned to Munich, and he induced Madame Gleissner to join him in erecting a small printing-house, which she did all the more willingly, since she hoped that it would earn her expenses for her in Munich. This occasion @@ -3206,7 +3167,7 @@ that we would not agree to his demands, and when Freiherr von Aretin insisted that Herr Vogler pay his share of the capital at once and in cash, instead of paying it by furnishing music whose value he set very high, he severed his connection with our company. There was also the added reason -that the Royal Academy of Sciences did not reëlect him as a member, +that the Royal Academy of Sciences did not reëlect him as a member, a fact which made him wish to leave Munich as soon as possible.</p> <p>At this time a former workman of my younger brother Karl, a man @@ -3236,7 +3197,7 @@ showed true appreciation publicly of the art.</p> <p>Immediately in the beginning of our establishment in Munich, our enterprise gained brilliant aspects through Freiherr von Aretin's activity. Several presses were operated, for music, for governmental work, and even -for art. Then came the publication of Albrecht Dürer's <i>Prayer-Book</i>, +for art. Then came the publication of Albrecht Dürer's <i>Prayer-Book</i>, which gave us an honorable reputation. This work was acclaimed by all art-lovers, and the conviction gained ground everywhere that the new process which hitherto had possessed few friends, was not so unimportant @@ -3343,7 +3304,7 @@ to the circumstances of the times.</p> <p>A third hope of no less importance was to erect a cotton-printery in Munich or Augsburg in association with His Excellency Count von Arco, -Court Chamberlain of Her Royal Highness the widowed Kurfürstin of +Court Chamberlain of Her Royal Highness the widowed Kurfürstin of Bavaria. This was ruined by the clumsiness of a Munich wood-turner, who made such uneven cylinders that we could not produce any satisfactory specimens. Although I made arrangements at once for a large English @@ -3532,7 +3493,7 @@ any decided success.</p> <p>Soon afterward Herr Mettenleithner, in association with one of the best of the Aretin printers, a man named Weishaupt, laid the foundation for -the stone-printery of the Royal Tax Commission (<span lang="de">Königliche Unmittelbare +the stone-printery of the Royal Tax Commission (<span lang="de">Königliche Unmittelbare Steuer-Kataster-Kommission</span>), which is now the most important of all the lithographic institutions of Munich. A little later a similar institution was founded for reproduction purposes by the Royal Privy Council, @@ -3703,7 +3664,7 @@ before I could intrust them to the hands of any artists. Still, I hoped finally to accomplish my plan for publishing a splendid work which should<span class="pagenum"><a name="Page_85" id="Page_85">[85]</a></span> be unique, because I invented improvements and perfections daily. When my dear friend Andre came to Munich in 1811, I laid my project before -him and he was so taken with it that he offered his cordial coöperation. +him and he was so taken with it that he offered his cordial coöperation. We agreed that the work was to be done by Frankfurter artists and printed there. But when I journeyed to Offenbach some months later, I discovered that the right kind of artists were not so easy to find as Andre had led @@ -3785,7 +3746,7 @@ of his own work, wherein it happens often that the copy turns out better than the original.</p> <p>Just as I was preparing to leave Vienna I received several numbers of -the <span lang="de"><i>Anzeiger für Kunst und Gewerbfleiss</i></span>, in which Herr Direktor von +the <span lang="de"><i>Anzeiger für Kunst und Gewerbfleiss</i></span>, in which Herr Direktor von Schlichtegroll, General Secretary of the Royal Bavarian Academy of Sciences, had inserted several letters suggesting an inquiry into the invention of lithography. He had used the information obtained from my brothers @@ -3824,7 +3785,7 @@ many years and long after the inventor himself was dead.</p> <p>Herr von Manlich, the Director of the Royal Gallery, has had his skilled pupils, Strixner and Pilotti, copy many collections in the Royal Drawing -Cabinet (<span lang="de">Königliche Zeichnungs Kabinett</span>), and many of these sheets are +Cabinet (<span lang="de">Königliche Zeichnungs Kabinett</span>), and many of these sheets are so good that competent critics have declared them to be perfect facsimiles.</p> <p>But on the whole the publication of the Royal Gallery of Paintings is @@ -4281,7 +4242,7 @@ Further, most of these works done on stone, by only average artists and printers, usually are more beautiful than if they had been done by the same men in copper or zinc.</p> -<p>This property alone gives lithography a preëminent value, the more so +<p>This property alone gives lithography a preëminent value, the more so as no great expense is incurred in establishing a plant. But in addition to this, there are several art methods peculiar to it, which cannot be imitated by book-printing or copper-print, and which make it possible for @@ -6020,7 +5981,7 @@ giving injured places new potency. Also, that the contrary effect can be produced by violent rubbing, especially with wool, leather, or tough colors, because this prepares the wet stone and makes it useless for accepting fat. The first method may be used with advantage, therefore, -for reëstablishing a vanished design. The second method is good for +for reëstablishing a vanished design. The second method is good for getting rid of smut. If the smut has occurred in previously clean and thoroughly prepared places, it can be destroyed entirely. But if it is only that the deeper fat has lost its superficial polish, and has appeared again, @@ -6051,7 +6012,7 @@ the readiness to take dirt.</p> <p>The cause of both phenomena is that in the first case the fats that lie deep gradually work upward into the partly prepared surface and -practically reëstablish their interrupted communication with the printing-color.<span class="pagenum"><a name="Page_136" id="Page_136">[136]</a></span> +practically reëstablish their interrupted communication with the printing-color.<span class="pagenum"><a name="Page_136" id="Page_136">[136]</a></span> In the second case, the small quantity of fat that has adhered merely to the surface has penetrated into the stone, so that it loses its effectiveness. Added to this, in the latter case, is the fact that the linseed @@ -6127,7 +6088,7 @@ surface, in part a filling of pores. Both make the stone reluctant to take color.</p> <p>(10) If the stone has been prepared and polished already, it can be -made rough again and receptive to color by being reëtched. At the same +made rough again and receptive to color by being reëtched. At the same time the prepared surface can be destroyed by etching, and a communication established with the fat lying in the interior. The result is according to the manipulation.</p> @@ -6608,7 +6569,7 @@ finally, if the color is right for it, it can be used with thorough success.</p> should he try to use a certain kind of paper which is very handsome, durable, very white, well sized, but a little rough and possessing an odor somewhat resembling honey as well as urine. Sometimes it is called -<span lang="de"><i>Kühnel</i></span>, and comes from a French factory. This paper has the property +<span lang="de"><i>Kühnel</i></span>, and comes from a French factory. This paper has the property of depriving the stone of its preparation, and consequently to smut it. This paper can be used only for dry printing, where it does not require any dampening at all.</p> @@ -7011,7 +6972,7 @@ I know also—</p> <p>(6) And the press of Herr Steiner in Vienna.</p> -<p>Herr Müller in Karlsruhe and Herr Ackermann in London have a press +<p>Herr Müller in Karlsruhe and Herr Ackermann in London have a press with paper cylinders the construction of which is unknown to me.</p> <h3>IV<br /> @@ -7281,7 +7242,7 @@ The reason is an apparently trivial thing, but it has made most artists averse to it. Since stone-printing exists I have found only two persons who could do anything with the steel pen at the first attempt. These were my brother Klemens, and a Herr Porner, who works now in the -establishment of Herr Müller in Karlsruhe. All others have had to struggle +establishment of Herr Müller in Karlsruhe. All others have had to struggle more or less with this slight trouble, and yet it does not demand more than a few days of patience and study.</p> @@ -9724,386 +9685,6 @@ U.S.A.</div> <p>This book had no overall Table of Contents; the one before the start of the book was created by the transcriber.</p> </div> - - - - - - -<pre> - - - - - -End of Project Gutenberg's The Invention of Lithography, by Alois Senefelder - -*** END OF THIS PROJECT GUTENBERG EBOOK THE INVENTION OF LITHOGRAPHY *** - -***** This file should be named 40924-h.htm or 40924-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/9/2/40924/ - -Produced by Chris Curnow, Charlie Howard and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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