main printed feature: intaglio

Illustrations that have been printed from copper plates with lines inscribed in them belong to the category of “intaglio” prints (the “g” is silent: in-TAH-lee-oh). Such prints might be engravings, in which the lines are carved out of the plate with a burin, or etchings, in which acid is used to create the lines. They are categorized here together because the printing process is the same for both.

Ames, Typographical antiquities, 1749 (frontis.)

Copies of early English printer's devices make up the frontispiece to Ames's history of English printing.

Bible, English, 1611 (πA1r)

The title page for the Authorized version of the Bible is completely engraved, including the title and imprint information, by Cornelius Boel, whose name appears in the bottom left of the image. (This version is more commonly known as the King James Bible, since James authorized it to be translated and placed in all churches.)

Collaert, Nova Reperta, 1600 (pl. 19)

In this depiction of copper engraving, you can see the full range of activities involved in printing an engraving. In the background a sheet of copper is being flattened and prepared for engraving; in the lower right, boys are being taught how to use a burin to draw on a plate; in the middle men are inking and preparing a plate for printing; on the left, a man is turning the wheel of a rolling press to print a plate; and in the background, finished prints are being hung to dry.

Collaert, Nova Reperta, 1600 (pl. 4)

In this illustration from the series The Inventions of Modern Times, you can see the full range of activities associated with common-press printing, from delivering blank paper to proofreading printed sheets.

Comenius, Orbis, 1685 (O1v-O2r)

This opening from a popular Latin textbook uses different typefaces to set apart the English and Latin phrases and to call attention to the vocabulary words that are illustrated on the facing page.

Encyclopédie plates, 1769 (vol 7, pl 14)

An illustration of a pressroom: on the left the paper is being placed on the tympan while the type is being inked; on the right a separate press is being pulled while the beater works the ink in the background. At the bottom of the page is a top-down view of the press showing how a quarto imposition looks on the press stone and how it is inked on the paper held on the tympan.

Encyclopédie, Plates, 1769 (vol 7, pl 1)

An illustration of compositors working along with detailed pictures of pieces of type.

Encylopédie plates, 1769 (vol 7 pl 15)

This side view of the common press is particularly useful for showing how the frisket folds down over the paper on the tympan, which then folds down over the imposed forme for printing. The pressman (standing facing us) would then roll the forme under the platen (barely visible hanging between the upright cheeks) and then reach across to pull the lever to lower the platen, creating the pressure to transfer the ink from the type to the paper.

Faithorne, A perpetuall ephemeris (1655)

Although engraved and etched plates in books tend to be primarily of images, intaglio techniques can also be used to write text, as in this perpetual calendar. For more on how this calendar works, see Erin Blake's post "Happy New Year's E" in The Collation.

Gerard, Herball, 1633 (¶2r)

This engraved title page, with portraits not only of the author but of classical figures and with architectural structures providing an edifice tying the details together, strives to create an imposing authority for this herbal.