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 laid of gum-water and lamp-black, and the needle used as on copper, special care being taken not to cut into the stone. After this the stone was rubbed with linseed oil, and washed with water. Pencil sketches on coloured paper touched up with white were reproduced very beautifully by the use of a second stone. The second stone, termed the "tint stone," was inked with various colours and printed from, this print then received an impression from the first stone in black.

These are only the earliest methods, as the art advanced chromo-lithography became more intricate, and as many as fourteen or fifteen stones were employed, and some wonderful and highly artistic results obtained. But as we have stated in the previous chapter on colour prints, this is rather the art of the printer than that of the artist. Mention should be made of the magnificent series of large chromo-lithographs from pictures by the old masters, which were issued by the Arundel Society. Zincography is another form where zinc plates were used in place of stone, and similar results in monochrome obtained. Aluminium has also been employed, and the process is termed algraphy.

From about 1820 to 1860 lithography was very extensively practised in this country. Samuel Prout (1783-1852) produced some excellent work on the stone. His Sketches in France, Switzerland, and Italy consist of twenty-six fine plates delicately coloured by hand. Strasbourg and the Fountain at Schaffhausen, Sandgate, "drawn from nature on stone" (8-5/8 in. by 12-5/8 in.), and printed by C. Hull