Certainly, thou art so near the gulf, Thou needs must be englutted.

ld. Henry V. Το

ENGO'RE, v. a. From en and gore. pierce; to prick. Not used.

As savage bull, whom two fierce mastiffs bait,
When rancour doth with rage him once engore,
Forgets with wary ward them to await,
But with his dreadful horns them drives afore.

Spenser. ENGORGE', v. a. & n. Fr. engorger; Ital. ingorgiare; Lat. ingurgitare, from in and gurges, originally a whirlpool, and thence a devouring glutton. To swallow; devour: and, as a neuter verb, to feed voraciously; riot in food.

cular position or the purpose of boarding. When an opportunity offers of grappling across a ship's bows, or stern, so as to allow raking her fore and aft, the battle is usually but of short duration; it being nearly impossible for a crew to stand to their guns while subject to so destructive a fire. Generally when a commander is intent on boarding his opponent, he has his yard-arms supplied with small grapnails, which, being lowered down at pleasure, hook in amongst the enemy's rigging, and thus prevent her from retiring to avoid the boarders. Sometimes poles, having long barbs at their ends, are used for the same purpose; these are chiefly managed by the forecastle men, and have their butts lashed Whatever conto the davit, or to the cat-head. trivance may be in use for engrappling, it is expedient that the implement be every where sufficiently solid or firm to retain its hold, and to resist the hatchet, otherwise it will be speedily cut away; thus, all grapnails should be suspended by means of chains, passed through blocks at the yard-arms; nor should the tackle, until the points of the grapnails may be firmly by which they are acted upon, be hauled tight hooked among the shrowd-hawsers, or some such substantial part of the enemy's rigging, which he could not, with safety to his masts or yards, cut away. Where it is practicable, a very strong chain is passed round the whole of the shrowdhawsers of that mast, respectively, opposite which the vessel is engrappled; or, if that be too hazardous, the chain-plates may be secured in a similar manner. It is evident, that were the former to be all included, the enemy must cut away every support on that side his mast, before he could extricate himself; in the latter instance, as the chain-plates are of iron, and very substantial, nothing but the chain, whereby they are embraced, giving way, could afford the means of separation.

Ships sometimes become fortuitously engrappled, by the flukes of their anchors hooking among the rigging of the vessels opposed to them; this however, is seldom permanent; for, as the engrappling arises from accident, a lift, or heave of the sea, will ordinarily set the parties at liberty, either by tearing away whatever hitches upon the fluke, or by causing the latter to unhook itself. It should ever be well considered by a commander, how far the safety of his ship may become questionable in the attempt to approach his opponent, when there is much swell. The practice of engrappling is, indeed, but rarely resorted to in ships of the line, or even by frigates; but is extremely common among privateers.

sce.

ENGRA'SP, v. a. From en and grasp. To seize; to hold fast in the hand; to gripe. Now 'gan Pyrocles wax as wood as he, And him affronted with impatient might; And both together fierce engrasped he, Whiles Guyon standing by, their uncouth strife does Spenser. ENGRAVE, v. a. Į Fr. engrever; Belg. and ENGRAVER, n. s. Teut. greven; Sax. graver, gnaran, to excavate or dig out. To cut or score into; hence to depict on copper or other hard materials; to impress; imprint: and, in an ob solete sense, to put into a grave; to inter. 2 D

a folio size, illuminated in the same manner as the playing cards; and at the bottom is the following inscription :

Christopheri faciem die quacunque tueris,
Illâ nempe die morte malâ non morieris.

Millesimo CCCC° XX° tertio.

On the invention of wooden types, that branch of the brief-mahlers' business, so far as it regarded the making of books, was gradually discontinued; but the art itself of engraving upon wood continued in an improving state; and towards the end of the fifteenth, and the beginning of the sixteenth, century, it became the custom of almost all the German painters to engrave copies of their designs on wood as well as on copper. Hence the freedom and artist-like character of the old engravers. The works of Albert Durer, in this style of engraving upon wood, are justly held in the highest esteem. Besides Germany, Italy, France, and Holland, have produced many eminent artists of this description; but for boldness of conception, and for spirit in the execution, the works of Christopher Jergher, who worked under the direction, and engraved from the works of Rubens, who doubtlessly occasionally assisted him, stand preeminent.

The invention of that species of the art which is distinguished by the appellation of chiaroscuro engraving, appears also to be justly claimed by the Germans, being first practised by Mair, an artist of that country; one of whose prints bears the date of 1499. Many admirable works of this kind have been produced in France; and in Italy, Parmigiano, Titian, and other great masters, have practised it with the greatest success. In Germany, about the year 1450, prints from engraved copper-plates first made their appearance. The earliest date known of a copper-plate is 1461; but however faulty the print may be in respect to drawing, or defective in point of taste, the mechanical part of the execution of it has by no means the appearance of being one of the earliest productions of the graver. There are also several other prints in select collections, evidently the work of the same master, in which the impressions are so neatly taken from the plates, and the engravings so clearly printed in every part, that, according to all appearance, they could not be executed in a much better manner in the present day, with all the conveniences which the copper-plate printers now possess, and the additional knowledge they must necessarily have acquired in the course of three centuries. We may therefore fairly conclude that if they were not the first specimens of the engravers' workmanship, they were much less the first efforts of the copper-plate printers' ability.

It is likewise to be observed, that Martin Schoen, who is said to have worked from 1460 to 1486, was apparently the scholar of Stoltzhirs; for he followed his style of engraving, and copied from him a set of prints, representing the passion of our Saviour. Now, allowing Stoltzhirs to have preceded his disciple only ten years, this carries the era of the art back to 1450, as was said above. There is no ground to suppose that

it was known to the Italians till at least ten years afterwards. The earliest prints that are known to be theirs are a set of the seven planets and an almanack by way of frontispiece; on which are directions for finding Easter from 1465 to 1517 inclusive: and we may be assured, that the engravings were not antedated, as the almanack would have thus been less valuable. These prints must therefore have been executed in 1464, which is only four years later than the Italians claim. The three earliest Italian engravers are Maso, Finiguerra, a celebrated painter, Boticelli, and Baldini. If we are to refer these prints to any of the three, we shall naturally conclude them to be the work of Finiguerra or Baldini; for they are not equal either in drawing or in composition to those ascribed to Boticelli, which we know at least were designed by him; and, as Baldini is expressly said to have worked from the designs of Boticelli, it will appear most probable that they belong to Finiguerra. With respect to the invention of etching, it seems to be not well known to whom it is to be ascribed. One of the most early specimens is the print by Albert Durer, known by the name of the cannon, dated 1518, and thought by some, with little foundation, to have been worked on a plate of iron. Another etching by the same artist is Moses receiving the tables of the law, dated 1524. It was also practised in Italy soon after this by Parmigiano, in whose etchings we discover the hand of the artist working out a system as it were from his own imagination, and striving to produce the forms he wanted to express. We see the difficulty he labored under; and cannot doubt, from the examination of the mechanical part of the execution of his works, that he had no instruction; and that it was something entirely new to him. If the story is true, that he kept an engraver by profession in his house, the novelty of the art is rendered so much the more probable. He died in 1540. As to that species of engraving in which the modes of etching and cutting with the graver are united, it must have been found necessary immediately upon the invention of etching; it was, however, first carried to perfection by Gerard Audran, and is now almost universally practised, whether the work is in strokes or in dots. Engraving in dots, now called stippled engraving, is a very old invention, and the only mode discovered by the Italians. Agostino de Musis, commonly called Augustine of Venice, a pupil of Marc Antonio, used it in several of his earliest works, but confined it to the flesh, as in the undated print of an old man seated upon a bank, with a cottage in the back ground. He flourished from 1509 to 1536. We also find it in a print of a single figure standing, holding a cup and looking upwards, by Giulio Campagnola, who engraved about the year 1516. The back ground is executed with round dots, made apparently with a dry point. The figure is outlined with a stroke deeply engraved, and finished with dots, in a manner greatly resembling those prints which Demarteau engraved at Paris in imitation of red chalk. The hair and beard are expressed by strokes. Stephen de Laulne, a native of Germany, followed the steps of Cam

pagnola; and many of his slight works are executed in dots only. John Boulanger, a French artist, who flourished in the middle of the last century, and his contemporary Nicholas Van Plattenberg, improved greatly on this method, and practised it with much success. It is only, however, of late, that it has been considered as an object worthy of general imitation. John Lutma executed this kind of work with a hammer and a small punch or chisel. Engraving in mezzotinto was invented about the middle of the seventeenth century; and the invention has generally been attributed to prince Rupert: but the editor of Parentalia (p. 214) asserts that Sir Christopher Wren was the first inventor of the art of graving in mezzotinto; which was afterwards prosecuted and improved by his royal highness prince Rupert. See also Elmes's Life of Wren, p. 108, where the same fact is also recorded. See MEZZOTINTO. Engraving in aquatinta was originally the invention of Le Prince, a French artist. His process was for a long time kept secret; and his prints, it is said, were at first sold for drawings. That he carried the art to a very great degree of perfection, seems evident, from the prints which he executed being still admired as the finest and best specimens of this mode of engraving. He appears, however, to have been only acquainted with the powdered grain, and the common method of stopping out. This art was first practised in England by Mr. Paul Sandby; and by him it is believed to have been communicated to Mr. Jukes, whose works display the proficiency that has been attained in aquatinta, which, though now generally practised all over Europe, is most successfully so in Britain. To the account we have given of this art under the article AQUATINTA, we shall add a few farther observations under the different modes of engraving on copper.

ENGRAVING ON COPPER.-The most ancient as well as the most legitimate and beautiful mode of practising the art, is that which is called lineengraving, or engraving proper; and is the art of cutting lines upon a copper-plate, by means of a steel instrument called a graver or burin, without the use of aqua-fortis. This was the first way of producing copper-plate prints that was practised, and is still much used in historical subjects, portraits, and in finishing landscapes. The tools necessary for this art are the graver or burin, of which there are various sorts, a scraper, a burnisher, an oil-stone, a sand-bag, or cushion for supporting the plate, an oil-rubber, and some good charcoal The graver is an instrument made of tempered steel, of the form of a quadrangular prism, about one-tenth of an inch thick, fitted into a short wooden handle. They are square and lozenge-shaped. The first are used in cutting broad strokes, the other for fainter and more delicate lines. In making the incision, it is pushed forward by the hand in the direction of the line required. The scraper is a three-edged tool, also of steel, about six inches long, having three sharp edges, and is used for rubbing off the burr or barb raised by the graver. The burnisher is about three inches long, and is used for softening or reducing lines that are two deep, or for burnishing out any scratches or holes in the

copper: it is formed of hard steel rounded and polished. The oil-stone is for whetting the gravers, etching-points, &c. The sand-bag, or cushion, about nine inches diameter, is for laying the plate upon, for the conveniency of turning it in any direction, but is seldom used by artists. The oil-rubber and charcoal are for polishing the plate. As great attention is required to whet the graver, particularly the belly of it, care must be taken to lay the two angles of the graver, which are to be held next the plate, flat upon the stone, and to rub them steadily till the belly rises gradually above the plate; otherwise it will dig into the copper, and then it will be impossible to keep a point, or execute the work with freedom. For this purpose the right arm must be kept close to the side, and the fore finger of the left hand placed upon that part of the graver which lies uppermost upon the stone. In order to whet the face, the flat part of the handle should be placed in the hollow of the hand, with the belly of the graver upwards, upon a moderate slope, and the extremity rubbed upon the stone till it has an exceedingly sharp point. When the graver is too hard, as may be known by the frequent breaking of the point, it should be tempered by heating a poker red-hot, and holding the graver upon it, within half an inch of the point, till the steel changes to a light straw color; then put the point into oil to cool; or hold the graver close to the flame of a candle till it be of the same color, and cool it in the tallow. Be not hasty in tempering; for sometimes a little whetting will bring it to a good condition, when it is but a little too hard. To hold the graver cut off that part of the handle which is upon the same line with the belly, or sharp edge of the graver, making that side flat, that it may be no obstruction. Hold the handle in the hollow of the hand, and, extending your fore finger towards the point, let it rest on the back of the graver, that you may guide it flat and parallel with the plate.

To lay the design upon the plate, after you have polished it fine and smooth, heat it so that it will melt virgin wax; with which rub it thinly and equally over, and let it cool. Then the design which you are about to lay on must be drawn on paper with a black-lead pencil, and laid upon the plate with its penciled side upon the wax; then press it, and with a burnisher go over every part of the design, and when you take off the paper you will find all the lines which you drew with the black-lead pencil upon the waxed plate, as if it had been drawn on it; then with a sharp-pointed tool trace the design through the wax upon the plate, and you may then take off the wax, and proceed to work. Let the table or board you work at be firm and steady; upon which place your sand-bag with the plate upon it, and, holding the graver as before directed, proceed in the following manner :-For straight strokes move the right hand forwards, leaning lightly where the strokes should be fine, and harder where you would have them broader. For circular or crooked strokes hold the graver firmly, moving your hand or the plate as you see conve nient. Learn to carry the hand with such dexterity, that you may end your stroke as finely as you began it; and if you have occasion to make

one part deeper or blacker than another, do it by degrees and take care that your strokes he not too close nor too wide. In the course of your work scrape off the roughness which arises with your scraper, but be careful not to scratch the plate; and, that you may see your work properly as you go on, rub it with the oil-rubber, and wipe the plate clean, which takes off the glare of the copper, and shows what you have done to advantage. Any mistakes or scratches in the plate may be rubbed out with the burnisher, and the part levelled with the scraper, polishing it again lightly with the burnisher or charcoal. Having thus attained the use of the graver, according to the foregoing rules, you will be able to finish the piece by graving up the several parts, and advancing gradually with the stronger, till the whole is completed. The dry point, or needle (so called because not used till the ground is taken off the plate) is principally employed in the extremely light parts of water, sky, drapery, architecture, &c.

After all, in the conduct of the graver and dry point, it is difficult to lay down rules which shall lead to eminence in the art. Every thing seems to depend on the habit, disposition, and genius of the artist. A person cannot expect to excel very much in engraving who is not a good master of design, and he ought to be well acquainted with perspective, the principles of architecture, and anatomy. He will by these means be able, by proper gradations of strong and faint tints, to throw backward and bring forward the figures, and other objects of his picture or design, which he proposes to imitate. To preserve equality and union in his works, the engraver should always sketch out the principal objects of his piece before he undertakes to finish them. In addition to the rules already given, we may observe, that the strokes of the graver should never be crossed too much in the lozenge manner, particularly in the representations of muscles or flesh, because sharp angles produce the unpleasing effect of lattice-work, and take from the eye the repose which is agreeable to it in all kinds of picturesque designs. There are exceptions to this rule, as in the case of clouds, the representation of tempests, waves of the sea, the skins of hairy animals, or leaves of trees, in which this method of crossing may be admitted.

In managing the strokes, the actions of the figures, and of all their parts, should be considered, and, as in painting, it should be observed how they advance towards, or recede from the eye; and the graver must, of course, he guided according to the risings or the cavities of the muscles or folds, making the strokes wider and fainter in the light, and closer and firmer in the shades; thus the figures will not appear jagged, and the outlines may be formed and terminated without being cut too hard. However, though the strokes break off where the muscle begins, yet they ought always to have a certain connexion with each other, so that the first stroke may often serve, by its return, to make the second, which will show the freedom and taste of the artist. In engraving the muscles of the human figure, the effect may be produced in the lighter parts by what are called long pecks of the gravers, or by

round dots, or by dots a little lengthened, or, what will be better, by a judicious mixture of these together. With regard to the hair, the engraver should begin his work by laying the principal grounds, and sketching the chief shades with a few strokes, which may be finished with finer and thinner strokes to the extremities. In the representation of architecture, the work ought not to be made too black, because as the edifices are usually constructed with stone, marble, &c., the color, being reflected on all sides, does not pro duce dark shade, as is the case of other substances. Where sculpture is to be represented, white points must not be put in the pupils of the eyes of the figures, and in engravings after paintings; nor must the hair or beard be represented as in nature, which makes the locks appear flowing in the air, because, as is evident, in sculpture there can be no such appearances.

For engraving a series of parallel lines, which are either all equidistant, or approximating towards each other in regular gradation, from a great to the most minute distance, such as the blue part of a sky, water, or in plates of machinery, architecture, &c., where a smooth flat tint is required, nothing has yet equalled the rulingmachines invented by the late Mr. Lowry, about thirty years since. They are thus described by Mr. Landseer, in his Lectures on Engraving, delivered at the Royal Institution in 1806, and since published:-'The next mode of engraving that solicits our attention is that invented by Mr. Wilson Lowry. It consists of two instruments, one for etching successive lines, either equidistant, or in just gradation, from being wide apart to the nearest approximation, ad infinitum; and another, more recently constructed, for striking elliptical, parabolical, and hyperbolical curves, and in general all those lines which geometricians call mechanical curves, from the dimensions of the point of a needle to an extent of five feet. Both of these inventions combine elegance with utility, and both are of high value, as auxiliaries of the imitative part of engraving; but as the auxiliaries of chymical, agricultural, and mechanical science, they are of incalculable advantage. The accuracy of their operation, as far as human sense, aided by the magnifying powers of glasses, enables us to say so, is perfect; and I need not describe the advantages that must result to the whole cycle of science from mathematical accuracy.' The whole of Mr. Lowry's works, as well as those of his school, are proofs of the accuracy of these opinions.

MEZZOTINTO ENGRAVING, or SCRAPING.—This art, which is of modern date, is recommended by the ease with which it is executed, especially by those who understand drawing. Mezzotinto prints are those which have no strokes of the graver, but whose lights and shades are blended together, and appear like drawing in Indian ink. They are different from aquatinta, but, as both resemble Indian ink, the difference is more easily perceived than described. Mezzotinto is applied to portraits and historical subjects, and aquatinta is chiefly used for landscape and architecture. The tools necessary for mezzotinto scraping are the grounding tool, burnishers, and scrapers. To lay the mezzotinto ground, lay your plate, with