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“Alois Senefelder never benefited much by his discoveryof the elementary principles of lithography, but none of thoseto whom it has given profitable occupation will rememberwithout some feeling the patient and persistent efforts of thestruggling actor and dramatist who, only after the greatestsacrifices and hardships, laid the germ of this splendid development,and watched and guarded its growth.” There isone characteristic feature of the discovery of lithography forwhich Senefelder ought to receive the fullest credit. Unlikeother discoveries of industrial and scientific value, there canbe no doubt whatever as to its origin. Senefelder’s claim hasnever been disputed, yet “the payment of a debt of gratitudeto the fact is easily overlooked when the wheel of historyhas made another turn.”
It has been again and again suggested that the blightinginfluences of Commercialism have robbed lithography of manyof its traditional features and a few, at least, of its best andmost artistic qualities as a reproductive art. This samecommercial spirit, however, has inspired and encouraged acharming variety of effect both in colour and design, andlithography of to-day, in almost every form of its manifestation,is infinitely more attractive and capable of considerablymore expressive power than could ever have been hoped forbefore commercial utility and value demanded a full recognition.Pleasing and harmonious effects, which are almost[vi]invari