ENGRAILED-ENGRAVING. Owen, Calamy, Collier, Leighton, South, Tillotson, Tennyson, the Brownings, Matthew and Edwin Ar and Barrow. This was also the epoch when the great Milton, driven into the shades of obscurity by political adversities, fulfilled the uttered hope of his youth, and wrote something which posterity will not willingly let die.' About this time, too, Walton angled, and Butler burlesqued dissent; Marvell turned his keen irony against the High Church; Locke and Newton speculated and discovered; and John Dryden, the literary chief of the time, 'found the English language (according to Dr Johnson) of brick and left it of marble.' The literary history of the 18th c., and of the reign of Queen Anne, has been variously estimated. If it was overvalued by those who lived in it, and in the age that succeeded, it has assuredly been undervalued in our own day. It was long glorified as the Augustan age of English literature; but among ourselves it has been set aside as a sceptical, utilitarian age, when poetry could find no higher field than didactic discussion, and prose found nothing to amuse but comic and domestic narrative, or bitter and stinging satire. The truth, as usual, lies in the middle. This age was far from being superior to every era that had gone before it, and it was not quite so low as some of its hostile critics have represented. One thing, however, is beyond dispute, viz., that the form, both in poetry and in prose, had come to be much more regarded than the matter. Addison, Swift, and Johnson, may be taken as types of the prose writers of this century. The first for ease and grace is unmatched in any age; the second stands equally high for rough and pointed vigour; and the third is famous for his ponderous, finely balanced sentences, the dignity of which not unfrequently surpassed the sense. The poetry of the time is represented by Pope, and it has been gravely asked whether he was a poet at all. He certainly versified with brilliant elegance, and the terror which his polished epigrams excited in the breasts of his enemies, shewed him to possess a force of genius which at least demands our admiration. Young and Akenside were perhaps animated by a higher poetic sense, but they accomplished much less; and the same may also be said of Thomson, Gray, Collins, Beattie, and Cowper. Incomparably the greatest poet, however, of the 18th c. was Robert Burns. Richardson, Fielding, Smollett, Sterne, Goldsmith, and Mackenzie are its novelists; Hume, Robertson, and Gibbon, its historians; Butler, Berkeley, Clarke, Shaftesbury, Hume, Paley, and Adam Smith its philosophers. The 19th c., though full of interest for us, is, from the novelty and the variety of the intellectual character employed in it, one of the most difficult to analyse of the whole range of English literature. It has been a time of extraordinary activity, books have been multiplied to an unprecedented degree, and readers have increased in an equal proportion. It cannot be doubted, however, that the first quarter of this century is greater in literature than any subsequent portion of it. It is greater, besides, in poetry than in prose. The early names of Coleridge and Wordsworth, of Scott and Byron, or Shelley and Keats, of Campbell and Southey, are higher than any now prominent except that of Tennyson. This is the age, besides, of novels and romances, of reviews and periodicals. Jeffrey and Sydney Smith, Hazlitt and John Foster, De Quincey and Carlyle, are the great names in review-literature; Hall, Chalmers, and Irving in pulpit oratory; Stewart, Mackintosh, Bentham, Brown, Hamilton, and Mid in philosophy; Dickens, Thackeray, Bulwer Lytton, Miss Bronte, and Miss Evans, as novelists; Hallam, Macaulay, Thirlwall, Grote, Milman, and Carlyle, as historians; Ruskin, a writer on art; nold, Dobell, and Smith, as poets; and in the New World beyond the Atlantic, Washington Irving, Poe, Longfellow, Cooper, Prescott, Emerson, Bancroft, Hawthorne, Whittier, Motley, Mrs. Stowe, and others, are among the great living authors of this age or those recently dead. A considerable portion of the literature of the 18th and 19th centuries is devoted to science, which can show a crowd of illustrious names too numerous to mention. Besides, in scientific works, the matter is of so much greater importance than the form, and so little attention is paid in general to the latter by scientific writers, that it is not customary to include them in a survey of literature proper. Several compends of English literature have been published within the last twenty years, which are well worthy of attentive study. Among the most judicions may be named, A Compendium of English Literature, from Sir J. Mandeville to William Cowper (Philadelphia, 1848), English Literature of the Nineteenth Century (Philadelphia, 1851), and 4 Compendium of American Literature (Philadelphia, 1858), all by Chas. D. Cleveland. Also, Chambers' Cyclopedia of English Literature (Edin., 2 vols. 8vo., 1844-1853); Duyckinck's Cyclopedia of American Literature (N. York, 2 vols. 8vo., 1856; new edition, revised, 1869). Allibone's Critical Dictionary of English Literature and British and American Authors, 3 vols. 8vo. (Phila., 1858-1870), is not properly a compendium, but a critical biography of English and American literature, and a work of extraordinary labour and erudition. ENGRAVING, in its widest sense, is the art of incising designs, writing, &c., on any hard substance, such as stone, metal, or wood. Many branches of the art are of great antiquity; such as gem-engrav ing, cameo-cutting, and die-sinking. The more important of these ornamental and useful kinds of engraving are described under their proper heads. But in a narrower sense, engraving is the special designation of the art of cutting or indenting the surface of metal plates or of blocks of wood with designs, for the purpose of taking off impressions or prints of the designs on paper. This department of the art arose as late as the 15th c., the earliest wood-engraving with a date being 1423, and the earliest dated engraving from a metal plate being 1461. See Wood-engraving differs from engraving on metal in this, that on a metal plate the traces or marks which are to appear on the paper are cut or sunk into the plate, and when printed from are filled with ink, while the rest of the surface is kept clean; whereas in wood-engraving they are left prominent or in relief, and the blank parts of the design are cut away. Hence a wood-cut acts as a type, and is inked and printed from in the usual way. PRINTING. This makes wood-engraving peculiarly suitable for the illustration of books; as the block can be printed from along with the letterpress; while the impressions from a metal plate must be taken by themselves, and by a slow process. The further treatment of the important art of WOOD ENGRAVING is reserved for a separate article; our attention at present being confined to engraving on metal. It is beyond our scope to enter into the practical details of the various processes; we can only aim at enabling a reader altogether ignorant of them to conceive how the effects may be produced, and to understand the terms currently used in speaking of this kind of art. The metals most commonly used for engraving are copper and steel, the former having the advan tage of being more easily worked, the latter of greater durability. The processes of working are ENGRAVING. essentially the same in both. The several manners or styles of engraving are distinguished as Line engraving, Mezzotinto, Stippling, and Aquatinta. 1. Line-engraving-in which, as the name implies, the effect is produced by a combination of lines is executed either by direct incision with the graver or the dry-point, or by a combination of incision with etching a chemical process to be immediately descril ed. The graver or burin is usually in the form of a quadrangular prism, fitted into a short handle. In making the incision, the graver is pushed forward in the direction of the line required, being held by the handle, at an angle very slightly inclined to the plane of the copper. A scraper is required to scrape off the barb or burr which is formed by the action of the graver and dry-point. The rubber is a roll of cloth dipped in oil, and is used to make the surface smooth. A burnisher is required to polish the plate, and erase any scratches which it may accidentally receive, and also to make lighter any part of the work which may have been made too dark. The dry-point is like a sewing needle fixed into a handle, and is used to cut or scratch the finer lines. The graver cuts the copper clean out, the dry-point throws it up on each side; and in some cases this is not scraped off, but made use of till it is worn off, as it gives richness to the line. In etching, the first step is to cover the plate with a composition of wax, asphaltum, gum mastic, resin, &c., dissolved by heat; an outline of the design, made on paper in pencil or red chalk, is then transferred' to the surface of this composition, by being passed through a press. The subject is then drawn on the ground with the etching-point, which cuts through it, and exposes the copper. Etching-points or needles resemble large sewing-needles shortened, and fixed into handles four or five inches long; some are made oval, to produce broader lines. A rim of wax being put round the plate, acid is poured on, and corrodes the copper not protected by the ground. If the acid is found not to have acted sufficiently, it may be applied again to the whole design, or only to portions of it, by stopping up, with a mixture of lampblack and Venice turpentine applied with a camel-hair pencil, what has been sufficiently bitten in. When a series of parallel lines are wanted, as in backgrounds, &c., an ingenious machine called a ruler is employed, the accuracy of whose operation is exceedingly perfect. This is made to act on etching-ground by a point or diamond connected with the apparatus, and the tracings are bit in with aquafortis in the ordinary way. 2. The process of mezzotinto is by no means so difficult as line-engraving. The plate is prepared by being indented or hacked all over by an instrument with a serrated edge, called a cradle, which is rocked to and fro upon it in all directions. The barb or nap thus produced retains the printer's ink, and if printed, a uniform dark surface would be the result. On this plate, after a tracing has been transferred, the engraver goes to work with tools called scrapers and burnishers-those parts of the ground most smoothed being the highest lights, and the ground the least operated on producing the deepest shadows. As the work proceeds, it may be blackened with ink, applied with a printer's ball or otherwise, in order to ascertain the effect. The design is sometimes etched on the plate by the ordinary process, before the mezzotinto ground is laid. 3. Aquatint Engraving.-By this method, the effect of drawings in Indian ink is produced; and at one time it was greatly made use of in rendering the drawings of Paul Sandby and our early watercolour painters, and particularly prints for drawing | books. In this process, which is a very complex kind of etching, the ground, which is composed of pulverised rosin and spirits of wine, assumes when dry a granulated form; and the aquafortis acting on the metal between the particles, reduces the surface to a state that an impression from it resembles a tint or wash of colour on paper. David Allan engraved his celebrated illustrations of the Gentle Shepherd in this manner. It has now gone almost entirely out of use, having, like engraving in imitations of drawings in chalk or pencil, been in a great degree superseded by lithography. 4. In engraving in Stipple, which was much in vogue in the end of the last century, the drawing and effect are produced by small dots, in place of lines. Ryland, Bartolozzi, and Sherwin, excelled in this style. It is well suited for portraits; several of Raeburn's have been capitally engraved in stipple by Walker. It involves much more labour than mezzotinto, and is now little practised. Plate-printing-Copper-plates, engraved in any of the above styles, are ready for press as soon as they are finished by the engraver. The method of printing from them is very simple. Their engraved surface is daubed over with a thick oleaginous ink, so that the lines are effectually filled. As this dirties the whole face of the plate, it is necessary to clean it, which is done by the workman wiping it first with a piece of cloth, and then with the palms of his hands, rubbed on fine whiting. It may be calculated that a hundred times more ink is thus removed than actually remains in the indentations; however, such is necessary. The plate being thoroughly cleaned, it is laid on a press (see fig.), with a piece of damped paper over it; and being wound beneath a roller covered with blanket-stuff, it is forced to yield an impression on the paper. The plate requires to be kept at a moderate warmth during the operation. The frequent rubbing of the plate with the hand to clean it, as may be supposed, tends greatly to wear it down; and such is the wear chiefly from this cause, that few copper-plates will yield more than a few thousands of impressions in good order. The earliest, called proofs, are always the best and most highly prized. In consequence of this defect in copper, the praotice of engraving steel-plates, for all subjects requiring a great many impressions, has now become very common. This process was introduced by the late Mr Perkins of London, who originally softened the plates, engraved them, and then rehardened them— a practice now abandoned, as ordinary steel-plates can be worked upon by the burin, dry-point, scraper, and burnisher with perfect facility. Etching ou steel-plates is executed much in the same way as in the process on copper. An engraving on a steel plate may be transferred in relief to a softened steel cylinder by pressure; and this cylinder, after being hardened, may again transfer the design by rolling ENGRAVING. It upon a fresh steel-plate; and thus the design may be multiplied at pleasure. History of Engraving.-This most important invention, by which the productions of art are diffused without limit, is said to have been accidental, and is claimed for Tommaso Finiguerra, who first took impressions on paper about the year 1440. His employment was executing ornamental engraving, chiefly on articles used in religious services, such as small portable shrines, or altar-pieces. These were generally made of silver, and the designs engraved on them were filled up with a black composition, that hardened in a short time. This composition was called in Italian niello (from Lat. nigellus, dim. of niger, black), and the workers in it niellatori. It was the practice of Finiguerra, in the course of executing his work, to prove it by rubbing lampblack and oil into, and pressing paper over it he thus obtained an impression of his work up to a particular stage, and was enabled safely to carry it on till it was completed. Finiguerra's title to the invention has been disputed; and in a recent work by J. D. Passavant, Le Peintre-Graveur (Leip. 1860), a strong case seems to be made out for its German origin. Be that as it may, the principal early Italian engravers who followed Finiguerra, were Bacio Baldini (born about 1436, died 1515); Sandro Botticelli (born 1437, died 1515) — he embellished an edition of Dante's Inferno, brought out in 1481; Antonio Pollajuoli (born 1426, died 1498, at Florence); Andrea Mantegna (born at Padua 1431, died at Mantua 1505); and Marc Antonio Raymondi (born at Bologna 1487 or 1488, died 1539), who executed his chief works at Rome. The most celebrated early German engravers were Martin Schoengauer (born at Colmar about 1455, died 1499); Israel van Mecheln, or Meckenen (born at Meckenen on the Meuse about 1450, and died 1523); Michel Wohlgemuth, who died in 1519; Albert Dürer (born at Nürnberg in 1471, died in 1528); and Lucas van Leyden (born at Leyden 1494, died 1533). The engravings of all these artists are very valuable, not only from their scarceness, and as illustrating the early history and progress of the art, but as exemplifying many high qualities that have never been surpassed in later times. The most of them were painters, and engraved their own works, except Marc Antonio, who engraved chiefly those of Raphael, by whom he was employed, and who occasionally overlooked and directed him. All those engravers, and their immediate followers, executed their works with the graver; but soon after, engravings came to be generally executed by two processes-etching, and cutting with the graver or the dry-point. The works of these early masters are often remarkable for character and expression, as those, for instance, by Mantegna; and for the correctness and high style of the drawing, for which qualities Marc Antonio has never been surpassed; also for finish of the most careful and elaborate kind, which has been carried further by Albert Dürer and Lucas van Leyden than by any other engravers. The styles of these early engravers were cultivated by numerous successors, several of whom followed their masters as closely as they could, while others diverged into something like originality: the chief names are Agostino Veneziano, about 1620; Nicolas Belin da Modena, and Giov. Ghisi, 1630; Luc. Damesz, who died in 1533; Giov. Giac. Caraglio, and Marco da Ravenna, about 1640; Giul. Bonasone, born at Bologna in 1498, died in Rome in 1564; Eneus Vicus, George Vens, Henrid Aldegraf, and Jean Sebast. Boehm, about 1550; Adrian, Charles, William, and John Coller, Adam and George Glisi, Sutermann, Virgilius Solis, Cornelius Cort, Martin Rota, and others, ranging from the middle to the end of the 16th century. Agost. Caracci the celebrated painter, executed many spirited engravings. Saenredam, De Bruyn, Galle, Kellerthaller, Alberti, De Goudt, C. de Pass, Sadeler, are names of well-known engravers that enter on the 17th century. Henry Goltzius is noted for the number and variety of his works, and his imitations of the styles of the older masters. In the plates of engravers towards the middle of the 17th, and beginning of the 18th c., a large proportion of the work consists of etching, the graver being chiefly used for deepening and clearing up the etching. This arose from the manner of working being well adapted for rendering the style of the painters of that period, whose works were distinguished for freedom of execution or touch, and clearness and transparency. The most noted engravers of this period were the Vischers, who flourished between 1610 and 1650, and engraved many of Berghem's pictures; Bolswert, 1620; Lucas Vosterman the Elder, 1630; Suyderhoef, about 1640. These engravers rendered many of the works of Rubens in a very spirited manner. Coryn Boelwhose engravings from Teniers are in some respects superior even to Le Bas-Troyen, and Van Kessel, are worthy contemporaries. In the age of Louis XIV., a race of engravers of portraits arose, who carried execution with the graver almost to perfection. The works of the artists they engraved from were florid in style, with a great display of drapery and lace, and accessories in the backgrounds elaborately executed. Among these engravers the following rank highest: Gerard Edelinck (b. Antwerp 1627, d. Paris 1707)— he was one of the best engravers of the period, and specially patronised by Louis XIV.; Masson (b. 1636, d. 1700); Larmessin (b. 1640, d. 1684); Drevet the Elder (b. 1664, d. 1739); Drevet the Younger (b. 1697); Gerard Andran (b. 1640, d. 1703). There was a large family of Andrans engravers, but Gerard was the most celebrated, indeed he was one of the best of the French engravers. Among engravers of talent in England may be mentioned Robert Walker (b. 1572); William Faithorne (b. London between 1620 and 1630, d. 1694) executed many excellent engravings of portraits; George Vertue (b. London 1684, d. 1756), a good engraver, and a man of general information and taste in matters of art; John Smith (b. London 1654, d. 1722) executed in mezzotinto a vast number of interesting portraits In the 18th c., there were numerous excellent engravers, by whose works the taste for the pictures of the Dutch school of the 17th c. has been widely extended. Two of the most distinguished of these were John Philip le Bas (b. Paris 1708, d. 1782) and John George Wille (b. Königsberg 1717, d. 1808). Their styles are totally dissimilar. Le Bas's plates are chiefly etched, and remarkable for spirit and sharpness of touch and transparency; accord. ingly, mostly all his works are after painters who excelled in these qualities, particularly Teniers Wille's engravings, again, are of the most carefil and elaborate description, and his best prints an after Gerard Dow, Terburg, Mieris, and Metzumasters distinguished for the high finish of their pictures. He worked with the graver; and his plates are distinguished by the precision and clearness with which the lines are cut. It was about the middle and latter portion of last century that engraving reached its highest point in England. The works of William Hogarth (b. London 1698, d. 1764) are of world-wide cele. brity, but that is owing mainly to the excellence and dramatic interest of the pictures from which the engravings are made, though, no doubt, his ENGRAVING. · artists of the day. Several, however, of Landseer's earlier works have been engraved in the line mai ner, particularly his pictures of Drovers leaving the Grampians,' and The Watering-place,' by Watt, which are capital examples of line-engraving. There is no good modern school of landscape-engrav ing on the continent; the influence of Woolet was entirely confined to this country, where landscapeengraving, particularly in illustrated works after Turner, has attained great excellence. Towards the end of last century, mezzotintoengraving was practised in England with great success; arising from its being peculiarly adapted to render effectively the works of Sir Joshua Rey nolds. M'Ardell, Earlom, Watson, Smith, Valentine Green, and Ward were among the best engravers of his works. The invention of this process is generally given to Prince Rupert, others ascribe it to Dr Wren, 1662, and state that Prince Rupert merely improved on the invention. It has been practised very generally from the time of its invention, but attained its highest position in Sir Joshua's time; and it is very successfully carried out now, in an altered manner, additional force being aimed at, by means of stippling and etching. It is well calcu Studiorum, and the landscapes after Constable, are admirable examples of its capabilities in this way; the effect in Turner's plates, however, is heightened by etching. prints, are engraved in a firm, clear style, similar to that practiced by the French engravers of the time, several of whom were employed by him. It was Sir Robert Strange (b. Orkney 1721, d. London 1792), an engraver of figures, and William Woolet (b. Maidstone 1735, d. London 1785), a landscape-engraver, who imparted to English engraving those qualities and characteristics that enable us to claim a style of engraving that is national, differing from other styles, and that has aris n ard been best carried out in this country. In drawing and form, Strange was rather defective; but he excelled in what engravers call colour, or the art of producing, by means of variety of line, a toxin or quality that compensates for the want of colour, by giving to the engraving something of the richness produced by colour in a picture. His imitation of the softness and semi-transparency of flesh was particularly successful, and superior to that of the French engravers, whose works, though in most respects admirable, failed in that respect, and had, in the more delicate parts, a hard or metallic look. Woolet treated landscape-engraving in a manner totally new, imparting to it more firmness and decision, by making great use of the graver. His works have more finish and force than former land-lated for producing broad effects: Turner's Liber scape-engravers, but they are in some degree liable to the objection of hardness, in the treatment of foliage in particular. The works of these two engravers have had a marked influence on art, not only in this country, but abroad. The merit of Strange's style was acknowledged on the continent; he was elected a member of the Academies of Florence, Bologna, Parma, and Rome. At the end of last century, art had fallen very low on the continent, but a regeneration was beginning; and in Italy, engravers were then arising, such as Volpato and Cunego, who studied and imitated the softness and, technically speaking, fleshiness of texture that distinguished the works of the British engraver; those, again, were followed by Raphael Morghen, Longhi, Mercurii, and others, in Italy; by Boucher Desnoyers, Forster, &c., in France; and by Müller, Keller, Gruner, and numerous other engravers in Germany. By them, engraving has been carried to the highest pitch. Amongst their works, the following are chefs-d'œuvres: The Last Supper,' after Da Vinci, by R. Morghen; the Spozalizia,' after Raphael, by Longhi; La Belle Jardinière,' and other works, after Raphael, by Boucher Desnoyers, who has engraved the works of Raphael perhaps on the whole better than any other engraver; The Madonna de San Sisto,' by Müller, and The Dispute on the Sacrament,' after Raphael, of Keller. No engravings executed in this country come up to the works of these last-named masters, who have engraved works of a higher class than the majority of those done by Strange, while the drawing and general treatment of their works are in a purer and more correct style. However, the engravings of Burnet, Raimbach, Stewart, and others after Wilkie and contemporary British painters, deservedly hold the highest place among works of the class to which they belong, and betoken clearly the great Influence which Strange exercised on their style. At present, few figure-subjects are executed in the line-manner, and that art has certainly fallen in this country. This may be accounted for, perhaps, by the great use made of mechanical appliances, in portions of the work, to save time, and by the preference shewn for mezzotintoengraving as practised at present, that is, with a mixture of lining or stippling. The greater number of Landseer's works have been engraved in that way, and it is now adopted for rendering the works of John Phillip and Millais, and the leading Etching has been already described as a part of the process of engraving; but as practised by painters, it is classed as a distinct art. The plate is prepared with a ground, and corroded in the same way; but the treatment is more free. Not being tied to the task of literally copying or translating the idea of another, like the engraver, the painter has scope to impart a spirit to his work peculiarly suggestive of what he intends to embody; his idea is represented directly, and not at second-hand, as it were. The etchings of Rembrandt, Paul Potter, Karl du Jardin, Adrian Vandevelde, Teniers, Ostade, Berghem, Backhuysen, Van Dyck, Claude, Salvator Rosa, Canaletti, and other painters, are very highly valued, as conveying more completely the feeling of the painter than the best engravings. Etching was more practised by the old than by modern painters; yet Wilkie, Landseer, and other modern artists, have etched various plates, remarkable for character and spirit. English Works on Engraving-Sculpture, or the History and Art of Chalcography and Engraving on Copper, by John Evelyn (Lond. 12mo, 1663; Svo, 1755); The Art of Engraving and Etching, with the Way of Printing Copper-plates, by M. Faithorno (Lond. 1702); Sculptura Historico-technico, or the History and Art of Engraving, extracted from Baldinucci Florent, Le Compt, Faithorne, the Abecedario Pittorico, and other authors (Lond. 4to, 1747, 1766, and 1770); An Essay upon Prints, by Gilpin (Lond. 8vo, 1767, 1768, and 1781); Strutt's Biographical Dictionary of Engravers (2 vols., 4to, Lond. 1785); Landseer's Lectures on Engraving (Svo, Lond. 1806); An Inquiry into the Origin and Early History of Engraving upon Copper and on Wood, by William Young Ottley (4to, Lond. 1816). Of late years, many inventions have been introduced, having for their object to supersede the slow and laborious manual operations of engraving by means of machinery and other appliances. It is, however, to business and ornamental purposes that they are applicable, and not to the production of artistic engravings of the kind treated of in this article. The subject will be noticed under MACHINE ENGRAVING, MEDALS, GLASS, etc. With regard to the reproduction of plates, and other applications of ENGRAVINGS-ENLISTMENT. galvanic electricity to engraving, see GALVANISM was thought safer to include the Scottish statutes to and MAGNETO-ELECTRICITY. See also PHOTOGRAPHIC the same effect. The earliest is 1503, c. 38, and the ENGRAVING. latest 1661, c. 280. ENGRAVINGS, PROPERTY OF. The property of engravings and prints is secured by statutes sim lar to those for the protection of literary property. By 8 Geo. II. c. 13, the property of historical and other prints was declared to be invested in the inventor for 14 years. The proprietor's name must be affixed to each print, and the statute imposes a penalty on printsellers and others pirating the same. The provisions of this statute were extended by 7 Geo. III. c. 38, which secures to the widow of William Hogarth the sole right of printing and reprinting his works for the period of 20 years. The other acts are 17 Geo. III. c. 57, 6 and 7 Will. IV. c. 59—which extends the former acts to the whole United Kingdom-and 15 Vict. c. 12. The latter act-the object of which was to enable her Majesty to carry into effect a convention with France on the subject of copyright, to extend and explain the international copyright acts, and to explain the acts relating to copyright in engravings-reduces the duties on foreign engravings, and extends the protection of the acts to prints taken by lithography, or any other mechanical process by which prints or impressions of drawings or designs are capable of being multiplied indefinitely '-a clause which has now been found to cover photographs. The statute 6 and 7 Vict. c. 24 does not apply to the spreading of false rumours, with the intent to enhance or decry the price of merchandise, or pre venting goods from being brought to market by force or threats, which continue to be punishable as if that act had not been made. ENGROSSING A DEED. See INGROSSING. ENGUE'RA, a town of Spain, in the province of Valencia, 43 miles south-west of the town of that name. It is poorly built, and has narrow and irregular streets. It has manufactures of linen and woollen goods, and some trade in cattle and agricultural produce. Pop. 5250. ENGUICHÉ. A hunting-horn, the rim around the mouth of which as of a different colour from the horn itself, is said heraldically to be enguiché, of the colour in question. the name of a note is changed without any sensible ENHARMONIC, a term applied in Music when difference of sound, such as C and D, F and Gb. Correctly speaking, there is, or ought to be, a difference; but on keyed instruments, such as the organ and pianoforte, there can be none, as the same key serves for both sharp and flat, while with a just equal temperament the ear is in no way offended. In harmony, the principal seat of enharmonic change is in the chord of the diminished seventh, which, by a change of the uotes, may be treated fundamentally in four different ways, without any sensible difference in the intonation. It is Formerly, E. was a town of some importance-400 vessels used to leave its harbour annually for the herring-fisheries; at present, not more than 7 vessels are thus employed. It has still some trade in butter, cheese, timber, cattle, and fish. Pop. 5400. ENGRO'SSING AND REGRATING. An engrosser, regrater, or forestaller, is a person who brys grain, flesh, fish, or other articles of food, with the intention of selling them again at an enhanced price, either in the same fair or market, or in ENKHUI'SEN, a fortified town and seaport ot another in the neighbourhood, or who purchases or the Netherlands, in the province of North Holland, contracts for corn while still in the field. These is situated on the western shore of the Zuider Zee, practices were regarded as criminal in most coun- about 30 miles north-east of Amsterdam. tries, before the laws by which trade is regulated built with great regularity, and is of a circular form. were properly understood. In England, they were The most important public building is an elegant forbidden by various statutes, from the time of town-house, surmounted by a lofty tower. There Edward VI. to that of Queen Anne. These statutes are also numerous ecclesiastical edifices, several salt were repealed by 12 Geo. III. c. 71, on the pre-refineries, ship-building yards, and a cannon-foundry. amble, that it hath been found by experience, that the restraints laid upon the dealing in corn, meal, flour, cattle, and sundry other sorts of victuals, by preventing a free trade in the said commodities, have a tendency to discourage the growth, and to enhance the price of the same. It was found, howENLISTMENT, in the Army, is the chief mode ever, that engrossing was not only a statutory but by which the English army is supplied with troops, a common law offence, and a prosecution for it in as distinguished from the CONSCRIPTION prevailing the latter character actually took place in the in many other countries. Enlistment was ir private present century. The Act 7 and 8 Vict. c. 24, for hands until the year 1802, middlemen procuring abolishing the offences of forestalling, regrating, and recruits, and receiving a profit or commission for their engrossing, was consequently passed. Besides declar- trouble. This system being subject to much abuse, the ing that the several offences of badgering, engross-matter was taken into the hands of the government ing, forestalling, and regrating be utterly taken in the above-named year, and is now managed by away and abolished, and that no information or the adjutant-general. Formerly, a soldier enlisted prosecution shall lie either at common law or by | for life, and could never look forward to a period of virtue of any statute, either in England, Scotland, or Ireland, this statute repeals a whole host of earlier enactments in restraint of trade, which had been omitted in the statute in the time of George III., above referred to. The rubrics of these enact nents give a curious picture not only of the trading errors, but in many other respects of the obsolete customs of our ancestors. The first, for example (51 Henry III.), is called a 'Statute of the Pillory and Tumbrel, and of the Assize of Bread and Ale.' Then there is an act passed in several reigns which provides for the punishment of a butcher or cook that buyeth flesh of Jews and selleth the same to Christians.' Notwithstanding the doctrine of the Scottish law, that statutes may be repealed by mere desuetude, it freedom; or, at best, he could not retire on a pension while still possessed of a fair share of health and strength. This system was changed in 1847, by an act relating to limited enlistment. If a man serves as a soldier in an infantry regiment for ten years, he is then at liberty to leave the ar ny; but if he wishes to retire on a small pension, he must serva a further period of eleven years, making twenty-one years' service in all. He has a choice, and, if he please, six months for deliberation, whether he will render this second period of service or not. In the cavalry and artillery, the two terms of service are of twelve years respectively. If apprentices enlist, the master may recover them under certain conditions detailed in the Mutiny Act (q.v.) (which is passed every year); and if they state to the magistrate that |