5. _Line engraving._ The first thing done, in this species of engraving, is to transfer to the plate an exact copy of the outlines of the design to be executed. In accomplishing this, the plate is moderately heated, and covered with a thin coating of white wax. A piece of transparent paper is then laid over the design to be copied, and traced in outline with a black-lead pencil. The outline thus sketched is turned down upon the coating of white wax, and the whole is subjected to the action of a rolling-press; or it is kept for a while under heavy weights. By the application of this pressure, the lines are transferred from the paper to the wax on the plate in a reversed position, which is necessary to make the impression of the finished plate resemble the original. 6. The pencil-marks on the wax having been lightly traced on the copper with the dry-point, and the wax having been melted off, a perfect outline is found on the plate. Small subordinate parts of the design are transferred to the plate in the same manner, except that the transparent paper is brought in forcible contact with the waxed surface by means of the burnisher. 7. At this stage of the process, the artist commences the use of the graver. While operating with this instrument, he holds the handle in the palm of his hand, and pushes the point forward with a firm and steady motion, until a line is produced by a removal of a portion of the metal. By a succession of such strokes, judiciously applied, the work is completed. The _burrs_, or little elevations of the copper, left by the graver on each side of the lines, are removed by means of the scraper and burnisher. Mistakes or blemishes are erased from the plate, either with the burnisher, or by friction with charcoal. 8. _Stippling._ The second mode of engraving is called stippling. This resembles the last method in its process, except that the effect is produced by means of minute punctures or excavations, instead of lines. These are made either with the dry-point or graver. When produced by the former instrument, they are of a circular form; when by the latter, they are rhomboidal or triangular. This style of work is always more slow, and consequently more expensive, than engraving in lines. It has, however, some advantages in the softness and delicacy of its lights and shades, and the prints struck from it approach more nearly to paintings. 9. _Etching._ This mode of engraving is far more easy than any other, being performed chiefly by chemical corrosion. In fact, any person who can draw, may _etch_ coarse designs tolerably well, after having learned the theory of the operation. To perform it, the plate is first covered with a thin coating of some resinous substance, upon which the acid employed can have no action. The design, and all the lines it requires, are next traced on the plate with steel points, called _etching needles_, which are instruments similar to the dry-point.