the traces of the engraving; and, from the general appearance, it was conjectured that the largest but one was the original impression from the copper-plate.
The means by which this singular operation was executed have not been published; but two conjectures were formed at the time which merit notice. It was supposed that the artist was in possession of some method of transferring the ink from the lines of a copper-plate to the surface of some fluid, and of re-transferring the impression from the fluid to paper. If this could be accomplished, the print would, in the first instance, be of exactly the same size as the copper from which it was derived; but if the fluid were contained in a vessel having the form of an inverted cone, with a small aperture at the bottom, the liquid might be lowered or raised in the vessel by gradual abstraction or addition through the apex of the cone; in this case, the surface to which the printing-ink adhered would diminish or enlarge, and in this altered state the impression might be re-transferred to paper. It must be admitted, that this conjectural explanation is liable to very considerable difficulties; for, although the converse operation of taking an impression from a liquid surface has a parallel in the art of marbling paper, the possibility of transferring the ink from the copper to the fluid requires to be proved.
Another and more plausible explanation is founded on the elastic nature of the compound of glue and treacle, a substance already in use in transferring engravings to earthenware. It is conjectured, that an impression from the copper-plate is taken upon a large sheet of this composition; that this sheet is
