paper or print face down on this cloth and brush it with water until the wrinkles are out and it lies flat and smooth. If there are several pieces of paper to mount, place the larger ones down first and brush each piece down smooth before placing one on top of it. Then allow the paper to soak for fifteen minutes. Then make some starch paste, which should be as thin as possible and still preserve all of its adhesive qualities, and also be free from lumps. If necessary, it can be strained through a piece of cheese-cloth. Remove the surplus water from the paper and the edge of the muslin with a squeezer or a dry piece of cloth, apply the paste to the paper, brushing it thoroughly in different directions until it has received an even coat of paste, then place one of the backboards on the table and lay the strainer on it face up and paste the muslin, and be sure to have the paste come out to the

it to soak a few minutes. Then turn the strainer over, carefully remove the paper, lay it on a wet cloth, and mount it as before. In case the paper refuses to come off, fill the back a second time with water and allow it to soak again. Occasionally it happens that after the paper has dried lumps in the starch cause raised places on the surface of the paper. These can be removed by turning the strainer over and wetting these places on the cloth and then scraping them on the cloth with a knife till the surplus paste works out through the cloth.

Mounting Bromide Enlargements.-Bromide paper, on account of the gelatin surface, needs a different method of mounting from that used for other paper; for if the surface when wet should be touched with a dry substance, it would adhere to it and injure the gelatin. Procure a tray large enough for the prints. You

edges of the strainer. Now pick up the paper and place it on the strainer, and then lift up each corner separately and rub it down with a clean cloth from the center to the corner. Then trim off the edges with a sharp knife.

Set the mounted strainer away to dry, but not near the fire nor in a place that is very cold. Sometimes the paper will not stick in places along the edges, and by examining it a few times before it has dried this can be remedied by rubbing the paper in contact with the muslin. Very often these places are along the bottom of the strainer and are the result of the water settling to the bottom. This can be overcome by chang ing the position of the strainer two or three times before it has dried. Sometimes a piece of paper will refuse to stick in some places, and it will be necessary to remount it. This can be done by turning the strainer face down and filling the back of it with warm water and allowing

can buy a hard-rubber one, or make one of wood. Have a wooden box, 27 inches by 32 inches by 4 inches deep, of half-inch grooved material, and line it with black oil-cloth, tacking it along the top edges. Do not cut the corners of the oilcloth, but fold them in. Fill the tray half full of water, and lay the enlargement, face side up, in the water, and let it remain fifteen minutes. Have a wet cloth ready to lay it on, as in mounting for other paper, and be very sure that there are no dry places in the cloth; then mount as for the other kinds of paper, only in rubbing the paper down to the cloth use the fingers, first wetting them in water. Bromide enlargements can be remounted if necessary, as other paper, but care must be used not to allow anything that is dry to touch the paper when it is wet.

Magic-Lantern Outline.-One of the best methods for producing an enlarged outline from a small photograph is with a magic lantern and

an attachment that can be fastened to it whereby the light is thrown on the photograph and then reflected through the lenses on the crayon strainer. While the image thus reflected on the screen or crayon strainer does not equal in brilliance that of a transparent glass magic-lantern view, yet it is brilliant enough for making crayon outlines and for many other sources of enjoyment or instruction, and it obviates the necessity of having a glass transparency.

Have a table 6 feet long, 16 inches wide, and 30 inches high. Fasten a stick 6 feet high, 1 inch wide, and inch thick perpendicularly 4 inches from the end of the table, one end resting on the floor. This stick will reach 42 inches above the table, allowing sufficient height for a 25 by 30 strainer. Stand the strainer with the back toward the magic lantern, on the bottom edge, on the table, against the stick, and at right angles to the side of the table, and nail it fast to the stick with two brads. Draw a vertical charcoal mark on the back of the strainer through the center, and a mark the proper distance from the top of the strainer horizontally where the top of the head

MAGIC LANTERN.

is to come. The reason for placing the strainer with the back toward the lantern is that the image must show through the strainer, as the reflection causes the image to be reversed when illuminated. Arrange the lantern according to the directions furnished with it, and set it the proper distance from the strainer to produce the size of head desired, and parallel with the strainer; then focus the features, using the charcoal marks as a guide for the proper place to make the head, the vertical line passing through the center of the face. Then take a seat at the end of the table and in front of the strainer, and make a charcoal outline, and then fasten the charcoal with the crayon.

Transfer Outline.-Have a photographic enlargement made from the small picture; it will

only be necessary to have the head—that is, an 11 by 14 enlargement will be large enough for a 25 by 30 crayon portrait, and this 11 by 14 enlargement will be good to work from in finishing the crayon. Transfer paper is transparent, and is made of fine tissue paper oiled with clarified linseed oil and then hung up and dried. Lay a piece of the transfer paper on the enlarged photograph, and go over the outline and features with a soft lead pencil, and then turn the paper and rub all over the back of it with charcoal; then lay it, charcoal side down, on the crayon strainer, and with a sharp pencil go over the lines first made; remove the paper, and you have a charcoal outline. Fasten it with the crayon. Positive or Negative Outline.-Make a positive or negative from the photograph to be enlarged. Have a room that is entirely dark excepting one window. Have a dark inside shutter for this window, with an opening in the center large enough for the negative or positive you intend to use. On each side of this opening and at the bottom have cleats to slide the negative in. Then remove the ground glass from your camera box and fasten the box against the opening in the shutter so that the lenses in the camera come opposite the negative. Fasten it with four hooks and eyes, or have cleats on the shutter. Have the box come close against the shutter, so that the light will be entirely excluded. Place the easel, with the crayon strainer on, at the proper distance from the window, to give the required size of the enlargement, and focus the image on the crayon strainer. The crayon strainer must stand at the same angle as the shutter, or the enlargement will be distorted. That is, if the shutter is perpendicular, then the strainer must be perpendicu lar. Now, go over the outlines and features, also the principal shadows, with the charcoal. Then open the shutter and examine the outline, for, sometimes in making an outline in the dark. some of the lines are overlooked. If that is the case, close the shutter and put them in. Then fasten the charcoal with the crayon.

The Metroscope.-The metroscope comprises a series of squares engraved upon the finest plate glass by machinery. The two plates of glass (of which one form of the instrument consists) are ruled for convenience, with squares differing in size. These are framed and held together by thumb-screws, allowing sufficient space between them for a picture the size of a cabinet photograph, which brings the lines in perfect contact with all parts of the photograph, giving the appearance of lines drawn upon the photograph. One feature of this instrument, which renders the square system very practical, consists of the division and subdivision of the squares by dotted lines and dash lines. The eye naturally divides a line or space into halves and quarters, and for this reason the dash lines have been designated for quartering the main lines, and the dotted lines for quartering the squares thus formed. This gives sixteen times as many squares for use as are drawn upon the photograph. A method like that just described, but without the aid of an instrument, is to fasten a photograph or picture to be enlarged on a board, and along each side and at the top and bottom of the photograph divide the space into 1-inch spaces; then drive pins in each of these division marks, and run white threads

across vertically and horizontally from each pin to the one opposite. If the enlargement is to be six times, divide the sides and top and bottom of the strainer into 14-inch spaces, and drive pins into these division-marks, and run the thread across vertically and horizontally from each pin to the one opposite, and then draw in the enlargement. Of course, this method will require some knowledge of drawing.

The Pantograph. This instrument for enlarging or reducing a picture was invented about the year 1603. It consists of four metallic or wooden bars or rules, each one being perforated with a series of holes, by which they are connected by means of a thumb-screw. It is provided with a tracing and a marking point, and a screw or point which is forced into the drawing-board to hold the instrument in position. They are usually numbered from one to twenty on the four bars indicated. To use the instrument, select the number desired and secure the pantograph to the drawing-board at the left-hand side. Place a piece of manilla paper at the other end of the board and secure it with thumb-tacks. Place the photograph under the indicating point in the center and secure it to the board. The indicating point should always touch the photograph. If it does not, place a little weight on the instrument over the point. Now, guide the instrument by taking hold of the marking point, and watch the tracing point. In this manner go

over the entire photograph, putting in all the outlines and details necessary, after which transfer the outline from the manilla paper to the crayon strainer, with the transfer paper.

Backgrounds.-Begin the crayon portrait by putting in the background, using one of the four different methods given. No rule can be given for the lights and shadows, as every portrait will need a characteristic background adapted to the subject. There should always be a nice contrast of light and shade, having the light come against the dark side of the face and dark against the light side of the face, and generally a cast shadow, and this shadow must not be placed too near the head, as simplicity should be one of the principles of the background, and this can only be accomplished by breadth of light and shade. Hence in placing the lights and shadows in the background there should be a broad effect. When the strainer is laid on the table and rubbed with the cotton, first lay a piece of manilla paper on the table, and after rubbing the cotton in the crayon sauce rub it on the manilla paper to remove any foreign substance before rubbing it on the crayon paper, and always take a good handful of cotton to rub in the background with. The proper position to take in finishing a background is to place the strainer on the easel, with the center of the picture on a level with the eyes when standing, and then step back about six feet and decide where you intend to place the lights,

and after putting in each light or cloud effect, walk back and see if it is satisfactory.

The first method of producing a background is called the stump effect, and is produced by first rubbing the chamois block in the box of crayon sauce. Holding this in the left hand, with the large gray paper stump put in the darkest places and the cast shadow, using the broad end of the stump, and in a parallel direction with the face of the strainer to avoid making any dark spots with the point of the stump. Produce broad lines, and have them cross at the same angles given for the line effect, and finish with the large eraser cut so as to produce a line about the same size that the stump gives.

The second method is to lay the strainer on the table and with the cotton and crayon sauce rub in the background, using care not to rub harder in some places than in others, thus causing dark spots, and rub in close to the face and out toward the edge of the strainer six or eight inches from the face, in the form of a circle, the upper line of the arc coming just above the head, and then place the strainer on the easel and put in the cloud effect.

The third method is to lay the strainer on the table and with the cotton and crayon sauce rub in the background, producing the desired effect, then sprinkle some of the pumice stone over the background, and go over this with the fingers, rubbing in a circular movement, using the fingers flat from the second joint to the end. Then lift up the strainer and put it on the edge and jar off all the pumice stone. Then lay it down and rub it off with a clean piece of cotton. Now rub the fingers in the crayon sauce and then on the manilla paper, then go over the background with the fingers thus charged with the crayon, the same as in rubbing the pumice stone, and it will produce a fine stipple effect. The pumice stone cuts through the sizing of the paper and produces an even-tooth or raised surface, which afterward takes the crayon from the fingers in a very beautiful manner, and it also causes the paper to assume a different color than when rubbed with the cotton and crayon sauce, as that makes the paper look dirty, whereas this method produces a clear, transparent effect. If the desired result is not obtained the crayon can be removed by going over the surface with the pumice stone and a second application of the crayon can be made. Then remove the strainer to the easel and finish.

The fourth method is to make the background similar to the second method, only not quite as dark. Then make the three sets of lines. Do not carry them out as far as the background should be when finished. Make them one quarter of an inch apart in a life-size portrait and a little closer in smaller ones. As a rule, the lines in the background should be a little farther apart than in the face. These lines need not be horizontal with oblique ones crossing them; they can be curved ones, but they should be an equal distance apart and produce the diamond effect. After the lines are in rub the background with a clean piece of cotton, sufficient to rub out the lines enough to cause that degree of indistinctness required. Then place the strainer on the easel and finish, and if any of the lines are too decided subdue them with the nigrovine eraser.

Filling in Free-hand Outline. The principal difference in the appearance of free-hand crayons and those that are made over a photographic enlargement is that the shadows in the free-hand crayons are lighter and more transparent, and a truer likeness can be made by the former method in the hands of a competent artist, as the photograph paper that the enlargement is made upon, in the manipulations that it undergoes before the enlargement is completed. causes the paper to stretch to such an extent as to cause a distortion of the image. A piece of photographic paper, 25 inches by 30 inches, will in its manipulations stretch one inch in the length and one and one half inch in the width.

The directions for working over a platinum enlargement, silver enlargement, and free-hand crayons are the same after the outline of the free-hand crayons has been filled in. Suppose that it is desired to put in a background after the third method. Having made the outline, lay the strainer on the table and put in the background. Then place the strainer on the easel and finish the background, after which take the chamois block in the left hand and a tortilian stump in the other hand, and put in the shadows, beginning on the hair, putting in

the broad shadows, working the stump in the same direction that the lines of the hair run, and endeavor to give the soft effect that hair should have. The eyebrows should then be made; then the eyes, beginning with the upper lids, putting in the lines between the eyes and the lids, and also the second line forming the lids, then the under lines of the lower lids. Next form the pupil, placing it in the center of the iris, making it very dark; then the iris, noticing that the upper lids cast shadows on the iris. Then the shading of the nose and nostrils, and the shadow under the nose. The mouth is the next important feature, and herein lies nearly the whole expression of the lower part of the face. Then the ears, and then model the face, making all the shadows broad and decided, leaving the details for the finishing touches. Then put in the clothes with the large gray paper stump, sweeping it gently across the lights in different directions, forming the lapels and arms, and finish according to directions for finishing silver or platinum enlargements.

Line Effects.-The lines are drawn to cross one another so as to leave diamond shaped spaces. One of the important things in this style of finishing is the line of direction, by which is meant the lines or grains that represent the object to be drawn. We say that wood is cross-grained, meaning that the grains or fibers of the wood run crosswise. If we were to represent the grain of a straight board in crayon drawing, we would draw straight lines running lengthwise of the board, unless it should have some cross-grained places in it. If we should take the same board and bend it in the form of a circle, to represent the grain of the board in that position, we would draw curved lines to correspond with the grain in that position. The idea to be impressed is that when we represent an object in crayon and that object is flat, we draw straight lines to represent its surface, and when an object is round or partly so, we draw curved lines to represent its surface, conforming the lines to the surface of the object. Light and shade in nature have each their different qualities. Light expresses form, while shade obscures it; consequently, in the lighter places of an object we see its grain or texture, and this grain will gradually become obscure as it enters the shadows, until it is lost in the darkest. Hence, in the making of crayon portraits with lines, the grain effect will show more decided in the lights and half-shadows.

The Face.-For a line effect on a silver or platinum enlargement begin on the hair, using the Mines Noire's crayons No. 2, and put in the shadows and half-shadows. Do not work over the lights. Then with the Mines Noire's crayon No. 1 put in the face, strengthening all the shadows, and define the eyebrows, eyes, nose, and mouth, the shadows under and around the chin, and the ears. Then put in the line effect as shown in illustration No. 2. This shows the lines before they are rubbed. Observe that there are three sets of lines in the background, and two sets in the face and clothes. The line effect in the face is the beauty of this method; for if they are properly drawn it will represent and give the effect of the grain of the flesh. These lines are drawn in the form of elongated diamonds, yet when finished they must have the effect of broken diamonds. If you examine the back of your hand, you will see more clearly what is meant by the term broken diamonds. Begin on the forehead and put in one set of lines running straight across and curving down as the forehead rounds off toward the hair. Then one more set, which will produce the diamond form, and then continue all over the face, making these two sets of lines. These lines should indicate the grain of flesh by carefully keeping the line of direction. The lines are dark in the shadows, and lighter as they approach the lights, and on the highest lights of the forehead, nose, and chin, there should not be any lines. After the lines are drawn, with a piece of cotton rub the hair and face, rubbing in the line of direction. The crayon will now be about three shades darker in the lights than when finished, and not dark enough in the shadows. Proceed to finish, using the 0 crayon wherever it needs to be darker, and the nigrovine eraser where it should be made lighter, using the eraser on the same prin

by rubbing it on the emery paper. Take a piece three inches square and place it in the left hand between the index and second fingers, holding the fingers half an inch apart, and bend the paper in this opening so as to make a crease to rub the eraser in. It will be necessary to sharpen the eraser occasionally with the knife.

The Dress.-To represent the effect of the lines in the clothes, every fold, sleeve, and lapel should have lines to distinguish them from the adjoining surface, and these lines will disappear in the wrinkles or shadows that define the fold, and in the next fold the lines will have a different direction. With the large gray paper stump and crayon sauce, put in the shadows, and then with the Mines Noire's crayon No. 2, draw the lines, and with a piece of cotton and crayon sauce rub over the clothes, and finish with the