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.

Moxon, Mechanick exercises, 1683 (pl. 1)

This illustration shows the standard layout of a pair of 17th-century type cases. Individual sorts (or categories of type) would go in the appropriately labeled boxes; although it's hard to tell from this picture, there are actually two cases shown, an upper case and a lower case.

Moxon, Mechanick exercises, 1683 (pl. 24)

This entire page is made by engraving lines into a copper plate. When the engraver noticed that a letter had accidentally been dropped from "Emptying" in the caption, he used a caret to insert the "p" in its proper place.

Pepusch, Solos for violin, 1705 (p. 1)

In this collection, the music is printed with copper plates in an oblong format---making for clear lines of the two staffs of music.

Soldini, Anima brutorum, 1776 (a8r; Getty)

The opening of each chapter in this book features intaglio initial letters, the colors of which vary from copy to copy. In this copy from the Getty, a blue ink is used, but in the Smithsonian's copy, the initial letter is printed in sienna. (The plates facing this page also differ in the two copies; search "Soldini" to compare.)

Soldini, Anima brutorum, 1776 (a8r; Smithsonian)

The opening of each chapter in this book features intaglio initial letters, the colors of which vary from copy to copy. In this copy from the Smithsonian, an ochre ink is used, but in the Getty's copy, the initial letter is printed in blue.

Soldini, Anima brutorum, 1776 (pl. facing a8r; Getty)

Because plates are printed in a separate process from letterpress text, and because the images in Soldini's work are not closely related to the text, different copies of the book have the plates inserted and bound in different locations. In this copy from the Smithsonian, this is the illustration facing the first chapter, but compare this to the Getty's copy of the book.

Soldini, Anima brutorum, 1776 (pl. facing a8r; Smithsonian)

Because plates are printed in a separate process from letterpress text, and because the images in Soldini's work are not closely related to the text, different copies of the book have the plates inserted and bound in different locations. In this copy from the Smithsonian, this is the illustration facing the first chapter, but compare this to the Getty's copy of the book.

Songs in the opera of Hamlet, 1712 (p1)

This (now disbound) page from an opera of Hamlet shows clear marks from the copper plate used to print the music.

Wroth, Urania, 1621 (A1r)

This title page for Wroth's prose romance is entirely engraved, from the illustration to the title above and the imprint statement below. At the very bottom of the page, on the left, is the engraver's name, "Sim. Passaeus, sculp:"