The press of Herr Andre is much like this, except that its cylinder is only three inches in diameter and that it is forced on the stone not with weights, but with a lower cylinder that presses upwards. It prints fast, like the other, but does not possess enough power. In conclusion, I must remark that the concentration of ideas caused by writing this chapter has led me to begin experiments toward making a lithographic press which shall leave nothing to be desired. As soon as my affairs permit, I shall execute this on a large scale, and if the result fulfills my hopes, it will be a pleasure to describe it accurately to all friends of my art, or to furnish them models at cost. PART II CONCERNING THE VARIOUS METHODS There are two principal methods of stone-printing, Relief and Intaglio. In the former, the fatty parts of the stone are not attacked by the etching fluid, while the rest of the stone is dissolved more or less. Therefore the fatty places are left in relief. In the second method, the design is either engraved into the stone with a sharp steel instrument or etched-in with acid. The relief method has the advantage of greater speed and, generally, a greater number of impressions. It is easy for the artist to apply, especially in crayon work. The intaglio, however, makes possible finer and more powerful work, and again, in many cases, is the easier of the two for the artist. Therefore it is impossible to say in a general way which is the better. It depends on the work to be done. CHAPTER I RELIEF METHOD To this method belong principally: (_a_) Brush and pen designs; (_b_) the crayon method; (_c_) the transfer method; (_d_) the wood-cut method; (_e_) a sort of scraped style; and (_f_) spatter-work. I BRUSH AND PEN WORK This is one of the best in lithography, and perhaps the best, because it touches daily needs most directly. It can be used not only for all kinds of writings, but also for illustration that does not demand the supreme perfection of copper plate. The ease of manipulation, the speed and the almost countless number of impressions recommend it especially. It may even be prophesied that in future, when true artists have become better acquainted with it, it will be used for high forms of art. Much as this method has to recommend it, it has been used mainly for script and music, and it is difficult to gain adherents and followers for it. The reason is an apparently trivial thing, but it has made most artists averse to it. Since stone-printing exists I have found only two persons who could do anything with the steel pen at the first attempt. These were my brother Klemens, and a Herr Porner, who works now in the establishment of Herr Müller in Karlsruhe. All others have had to struggle more or less with this slight trouble, and yet it does not demand more than a few days of patience and study.