Of the processes of engraved fans, the most usual is that of etching, often finished (sweetened is the technical term) by means of the graver or burin. Pure line-engraving is frequently employed, although most line-engravers make use of the etched line as a foundation for subsequent work with the burin. Etching is occasionally supplemented by stipple-engraving and the free use of the roulette. Many fans are painted in a brownish black ink with the flesh-tints in red; in others several colours are introduced, thus anticipating the modern process of coloured etching. This latter is practically a system of painting upon the plate in colours, and can scarcely be considered as a legitimate process, although the result in modern coloured etching is often interesting, and in some instances even admirable. Aquatint was also employed, especially during the earlier years of the nineteenth century, on a number of fan leaves illustrating the Peninsular War. Many of these were produced in London by Behrmann and Collman, for the Spanish market, with inscriptions in Spanish. Portraits of the Duke of Wellington were also popular. After the introduction of lithography many fans were produced by means of this process, invented by Aloys Senefelder of Munich about 1798; all lithographed fans must therefore be of a subsequent date to this. This process was employed as a groundwork for subsequent painting, often carried to a high pitch of finish, so much so, that it is difficult for any but a practical eye to detect the lithographic foundation. Examples of these fans, which include a great variety of subjects, appear in most collections. [Illustration: DOUBLE HIDE FAN (Taken from the King’s Palace at Benin, 1897. Horniman Museum, Forest Hill.)] Lithography has been employed during the whole of the nineteenth century for the decoration of fans, and is largely in use at the present time. CHAPTER XI MODERN AND PRESENT-DAY FANS [Illustration] We now gather together the various threads of our subject at the point where they were left, viz. the close of the Empire. We have found that during two centuries and a half—from 1600 to 1800, with a little overlapping at either end—the fan passed through the various stages of development and decline; that during the latter years of the sixteenth century both Italy and France, but especially the former, produced objects which may be legitimately described as fine art; that in France, if we make allowance for, and accept a different standard of taste and fashion, the most exquisitely dainty things were produced, the period of Louis XV. being that of the highest development of the art, with a steady decline from thence onwards.