The daily morning journal and courier., 1904-09-10

It is true that the finished work of the lithographer is to be seen on every mbillboard display. in show windows, or heralding to the world the merits of a breakfast food or safe and desirable insurance company.
 It is to be seen so often that it is as common as the sun itself. Its ordinari- ness, however, conveys no hint of the skill, scientific knowledge, and the in tricate process necessary to produce it. Many have some sort of vague idea that it is the result of some color pro- cess that involves stones and many printings, but that is all.
 The cheapness of lithography is due entirely to the rapidity of the printing press. The skilled work of one man or a dozen men, working for days, may be reproduced hundreds of times within an hour by means of the press. And in lithography this finished reproduction gives little indication to the inexperi- enced eye just how has been accom- plished. '
 We look at the race track poster or the circus lad" and admire the beauti- full colors, the life and action shown un- consciously. It makes little or no diff ference whether we have the artistic eye or not cultivated to appreciate the perfect drawing or combination of col ors, out attention is held by the per- lection of the ensembled work.
 About 100 years ago a struggling Ba- varian printer, AIois Senefelder, discov- cred in an idle moment the real prinei- pie of lithography. He wrote on a stone of peculiar softness with ink of a greasy mixture. Its appearance sug- gested to him that it might be repro duced- He began experimenting and his success gave to the world the chromo-l -lithograph in crude form.
 The lithographing establishment of La Mercier in Paris, which is one of the largest on the Continent, is located Tn a building formerly used as church. Where the altar once stood now stands an immense statue of Senefelder. At the foot of the statue and all around it lie lithographing stones which are in daily use, yet seem like tablets designed to his memory. In galleries around the great auditorium are the artists and other workmen gaining livelihood by the results of Senefelder's genius.
 The growth of the art was slow, and skilled men gave 1t much attention and thought The broad principles of lith- ography rest in the strong adhesion of greasy substances to calcareous stone, the affinity of one greasy body for am other and the antipithy of such bodies to water. When water is applied to the surface of the stone 1t remains only on such portions as are not covered with grease, so that if roller, covered with greasy ink, be passed over the design on the stone the ink will only adhere to the greas yportions, while the moist parts will resist the ink and remain; clean.
 zrhese facts becoming known, the skill of the color expert was enlisted. It was seen that inks of many colors might be used on the stones, each stone contain ing the outlines of the separate colors which could be combined by successive printings
 The study of color for this purpose developed color masters who were able to tell at glance what the eolors were in the masterpieces of the great paint CTS. In fact, the skill of these men sur passed that of the painters themselves, who achieve their results by slowly painting and repainting, until their ar tistic eye told them the desired result had been obtained.
 But the color master in lthography looks at the finished painting, observes the numbers of colors used, determines how the shades are to be produced and the number of printings necessary.
 It was left to a Cleveland, O., com pany to demonstrate that all shades could be reproduced with four colors, namely black, yellow, red and blue. The company displayed in Paris reproduc- ton of Rosa Bonheur's painting, Horse Fair" It was revelation to the art critics of France and Europe and marked a new epoch in the art of lith- ography.
 Today all Photographic work is done In three colors, as in the technical phraseology fthe lithographer black is not considered color The stones used in this sort of printing are obtained for the most part in Germany. They are uuarried with great care an dsubiected to an elaborate process of treatment be- 4OTE3 LtlGy are TGdQy TOT uSG. IH6lF tlTSJ cost Is very heavy, but as they may be used for a long period of time they be- come to be considered as the fixed capi- tai of the firm.
 A visit to the workroom of litho- graphing establishment where stones which have been in use are being cleaned preparatory to being used again would make the visitor believe he had stepped into a marble or stone works where stone was being made ready for building purposes. The stones are piled high on every side, while men are busy with queer looking tools rub ping smooth the surfaces of them with sand and water. In the preparation of these stones great care is requisite.
 Leaving the stones, the visitor is shown into the artists rooms. Here is found a large corps of men at work drawing the copy on paper. The copy is obtained, sometimes from photo- graphs, oftener 1t is the work of the artists personal ideas. The artists of the United States surpass those of Eu- rope in freehand work, and it is their skill in this particular line which gives the American Autograph its lifelike ap- f1earance. The drawng is always per-