From these 8th- and 9th-century dates, it is clear that the use of woodcuts (images cut into a surface parallel to the wood grain) and wood-block engravings (images incised into the end grain of an assembled block) antedates the invention of movable type. The earliest
extant
example of a European print from a wood engraving to which a reliable date may be attributed is a print titled “St. Christopher,” dated 1423, discovered in the library of the Carthusian monastery in Buxheim, Germany. Another authenticated example of 15th-century wood-block printing is the “Apocalypse of St. John,” printed in 1450, after a 14th-century manuscript.
Early
etched
plates
Plates engraved in wood continued to find use in printing application through the late-medieval and early-modern periods. Plates made of
copper
, pewter, and other metals were also produced, by a process in which an image in wax or bitumen was drawn on, or transferred to, the surface of the plate and nonimage areas removed by action of
appropriate
acids.
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Preparation of intaglio printing plates by coating a metal plate with an etchant-resistant substance (ground) such as wax, bitumen, or shellac, scratching through this substance (ground) to expose the plate surface, then etching in acids is also a late-medieval European development. This process, however, developed as a medium of artistic expression, rather than a technique for the
mass production
of printed images.
The first experimental application of light-sensitive materials to the production of printing surfaces was made by
Joseph Nicephore Niepce
, of France, an early researcher in
lithography
who began his experiments in about 1813. He is
credited
with having produced the first permanent
photograph
. In 1826 Niepce coated a pewter or copper plate with a photosensitive asphaltum and exposed the surface to bright sunlight through an etching of a portrait, which served as a positive image. Sunlight passing through the background of the etching hardened the asphaltum, while the protected areas, under the inked portion of the etching, were developed in oil of lavender and white petroleum to create an image in exposed metal. This image was then etched into the plate, and from the intaglio image, prints were made on a copperplate press.
Though this basic discovery was of historical importance, it did not bring about the immediate use of photoengraved images for printing, and many other attempts to produce engravings by exploitation of the photosensitivity of various natural
compounds
were made by experimenters in Europe and the
United States
. The origin of the modern photoengraving process rests, however, on the report (1839) by a Scottish scientist and inventor,
Mungo Ponton, of the light-sensitive properties of certain chromium compounds. But Ponton, who demonstrated the chemical change that occurs when glue containing a
compound
of chromium is acted upon by light, was not concerned with preparation of printing plates, and it remained for
William Henry Fox Talbot
, an English pioneer in photography, to propose the use of chromium-treated colloids such as albumin as an etchant-resistant for preparation of intaglio printing surfaces.
Early 19th-century work on production of chemically etched letterpress printing plates antedated, in many instances, the invention of photography. A researcher in Paris developed a process for the preparation of engravings on
zinc
. His work involved transfer of an image to the zinc plate by mechanical means, using ink or wax, and the removal of the nonprinting areas in a series of etching operations, each of which involved applying a coating of ink to the sidewalls of the etched lines by means of
resilient
rollers. The ink served to protect the lines of the
engraving
from the action of the etching
acid
, so that the printing area was not reduced.