,,ladies ,,manual ,,of ,,art ,,or ,,profit ,,and ,,pastime4 ,a ,,self ,,teacher ,,in ,all ,branches of ,decorative ,art1 ,,embracing ,,every ,,variety ,,of ,,painting ,,and ,,drawing ,on ,china1 ,glass1 ,velvet1 ,canvas1 ,paper and ,wood ,,the ,,secret ,,of ,,all ,,glass ,,transparencies1 ,,sketching ,,from ,,nature4 ,,pastel ,,and ,,crayon ,,drawing1 ,,taxidermy1 ,etc4 ,illustration ,,chicago3 ,,donohue1 ,,henneberry ,,co4 #djg-dbe ,,dearborn ,,street #ahij ,illustration3 ,,copyright1 ---------------------------------------- -------------------------------- ,,preface ,illustration ,in presenting to the public and our artistically inclined people our 8,art ,manual0 we should do so with some trepidation had we not the assurance1 in placing before them this work1 that it would instantly win its way into their favor by its merits4 ,most books produced by the press of the present day are novels1 compilations1 scientific and theological ones1 meeting as they do only certain classes1 and are subjects which have been constantly before the people4 ,we present you a 8new book0 in every sense of the word4 ,we propose entering with our readers into the beautiful realms of ,art1 than which there is no more interesting subject2 our object being its promotion and dissemination4 ,we want to see the great majority of our refined1 educated1 but needy women embrace it as a source of profit as well as pleasure1 many of whom with an intellect for greater things1 but incapable of muscular labor or exposure1 can1 by applying themselves energetically to this occupation1 earn a good livelihood and famous name1 and assist in disseminating its beauties everywhere4 ,many homes are there in our land1 which they can ornament1 and embellish to their profit1 and the pleasure of others4 ,those comfortably situated in life1 whose home decorations they prefer to be the product of their own hands1 will hail our 8,manual0 as 8a friend indeed40 ,to the child in whom is observed traits of genius it will be of invaluable assistance in developing those traits4 ,our aim is to combine in this work all the different methods of producing portraits1 landscapes1 painting on canvas1 wood1 china1 etc41 etc41 to furnish to all lovers of the useful and beautiful in art a true teacher1 making every instruction so plain and comprehensive1 that a child can grasp the meaning4 ,in thus combining all these arts in one volume1 we save the learner the expense of purchasing a large number of books at a cost which effectually precludes the possibility of many engaging in this profitable and pleasant occupation4 ,then1 to those whose tastes are artistically inclined1 and who find it most inconvenient to obtain instructions in all the branches desired2 to those in whom genius lies dormant and whom necessity compels to earn their own livelihood2 to those who desire to combine pastime with pleasure1 and to those who have the means1 tastes and desire but not the necessary assistance at hand to ornament their homes1 we respectfully dedicate our 8,art ,manual40 ,,the ,,publishers4 ,illustration ,,introductory ,,remarks4 ,in learning the art of drawing or writing1 like all other ,arts and ,sciences1 there are certain first and fixed principles to be observed as a foundation upon which the whole is built4 ,a right understanding of these is absolutely necessary that we may become masters of that art which we undertake to learn4 ,a neglect of these first principles is the reason why so many who have spent time sufficient to become accomplished artists1 are1 after all their pains and loss of time1 incapable of producing even fair work2 and are often at a loss to know how to begin4 ,many commence by copying the work of others1 and are surprised to find how little such ability avails them when attempting to make sketches from nature4 ,the instruction for those who intend prosecuting this delightful study1 is prepared with great care by the author1 who has had very many years of experience in landscape drawing4 ',tis true that much of his ability has been attained by years of patient industry and practice4 ,yet time might have been saved by little earlier attention to principles and study of works on the subject1 prepared by experts4 ,the best advice to those contemplating a study of the art--who possess any degree of skill in the use of the pencil1 is to go out into the field1 with the 8instructor0 in one hand and your sketch-book in the other1 select some object of interest1 and 8take it in40 ,if not satisfactory1 try again--be not too easily discouraged4 ,you will find the study of nature a source of pleasure1 objects of interest will appear on every hand1 in the valleys1 on the mountains1 the lakes1 or by the river side1 and as you become familiar with the scenes in nature1 difficulties will disappear1 and you are happy in the thought that sketching from nature is truly one of the most pure and refined of intellectual pleasures and professions1 and the sketch-book with you1 as with the writer1 will ever be a chosen companion4 ,when this branch of the work has been completed1 and the landscape transferred to paper and shaded up1 the most difficult part of the task is accomplished4 ,the next essential element in the advancement of the picture1 and that which renders it more beautiful to the eye1 is color4 ',tis well to turn aside from your unfinished landscape or portrait1 and study the colors in nature1 the mixing of tints1 and how to apply them1 as shown on a subsequent page of this book4 ,to become an artist requires only a love for the art1 a good eye1 and an abundance of continuity4 ,illustration ,,contents ,illustration ,sketching from ,nature4--,how to ,make a ,drawing--,linear ,perspective--,materials--,terms in a ,picture--,lines in ,nature--,line of ,beauty--,landscapes--,selecting a ,position--,lights and ,shades #i ,colors in ,nature4--,primary ,colors--,advantages of ,colors--,colors of a ,spectrum--,mixtures of ,colors--,transmission of ,light--,pure ,white1 ,black1 ,gray1 ,green--,neutralization of ,colors #bc ,pen and ,pencil ,drawing4--,paper ,used for ,transferring--,preparation of ,paper--,method of ,transferring--,shading by ,pen--,pentagraph--,how to ,use it--,copying with ,transparent ,paper #bg ,pastel ,painting4--,crayons and ,pastels--,paper ,used--,exposure to the ,sun--,colors ,employed--,colors of ,paper--,mounting the ,picture--,sketching ,in the ,outlines--,applying the ,crayon--,colors and ,composition of ,tints--,background #bi ,landscape ,painting in ,crayon4--,paper--,arranging the ,paper--,drawing--,using the ,colors--,fixing the ,drawing--,materials for ,pastel ,drawing #cc ,monochromatic ,drawing4--,directions--,materials ,used--,shades--,blending--,sky--,mounta ins--,water--,moonlight--,old ,ruins1 etc4 #cg ,water ,colors4--,instructions--,colors ,used for ,sky and ,distances--,hills--,trees--,foreground- -,sky--,moonlight1 etc4--,selecting the ,paper--,different ,kinds--,brushes--,other ,materials--,colors ,used #ch ,landscape ,painting in ,oil ,colors4--,technical ,names and ,materials ,used--,mixing of ,tints--,how to ,apply ,them--,a ,glaze--,impasting--,scrumbling--,handli ng--,light--,brushes--,materials ,used--,canvas--,prepared ,paper--,millboards--,panels--,palettes- -,a ,dipper--,rest ,stick--,knives--,easels--,vehicles--,mi xed ,tints #de ,oil ,photo4--,miniature or ,cameo ,oil--,improved ,method--,treating the ,photograph--,paste ,preparation--,the ,glass ,cleaning--,colors ,applied--,wedges--,caution--,directions for ,coloring--,second ,method--,ivory ,type or ,mezzotint--,mounting the ,photograph--,materials ,used--,another ,plan #ee ,photo ,painting in ,water ,colors4--,selecting ,photograph--,preparing the ,photo--,colors ,used--,coloring ,background1 ,face1 ,eyes1 ,mouth1 ,hair1 ,clothing--,shadowing #fj ,russian or ,egyptian ,method4--,to ,produce ,first ,class ,picture--,applying ,colors--,palette--,liquid ,colors ,used--,brushes #fc ,making ,photographs4--,gelatine ,dry-plate ,process--,the ,outfit--,filling the ,plate-,holder--,taking the ,picture--,making ,negatives--,chemical ,outfit--,directions for ,using ,chemicals--,instructions ,summarized--,making ,prints from ,negatives--,sensitized ,paper ,prints--,toning ,process--,mounting ,pictures #fe ,draughtsmen's ,sensitive ,paper for ,copying ,drawings4--,directions--,how to ,use--,printing by ,exposure #gj ,wood ,painting4--,from the ,german--,general ,preliminaries--,requisites--,colors--,t ransferring the ,drawing on ,wood--,enlarging and ,reducing ,designs--,divisions of ,wood ,surface--,tracing and ,transferring ,designs--,fixing ,transferred ,design--,coloring--,retouching--,wood ,articles--,polishing ,designs #ga ,transparencies4--,instructions--,genera l ,directions #ha ,crystal1 or ,oriental ,painting4--,materials ,used--,colors ,used--,directions #hc ,antique ,italian ,landscape ,painting4--,style of the ,painting--,transferring--,quality of the ,glass ,used--,materials--,directions--,paints ,used #he ,grecian ,oil ,painting4--,selecting the ,engraving--,applications--,method of ,painting--,mixing the ,paints--,eyes1 ,hair1 ,flesh--,suggestions--,colors--,brushes #hg ,ornamental ,glass ,sign ,work4--,lettering ,door ,plates--,ornamenting ,glass ,work1 ,boxes1 etc4--,instructions--,lettering the ,glass--,holding the ,letters--,next ,process--,remaining ,directions--,articles ,used--,note #hi ,vitremanie4--,easy and ,inexpensive ,decoration of ,windows1 ,churches1 ,public ,buildings1 ,private ,houses1 etc4--,supersedes ,diaphanie--,defects of ,diaphanie--,materials ,used in ,vitremanie--,simple ,instructions--,applying the ,design--,removing the ,paper--,arranging the ,designs #ia ,diaphanie4--,similarity to ,decalcomanie--,materials ,required--,the ,application--,designs ,used #ic ,painting on ,silk4--,satin and ,silk--,its ,beauty and ,popularity--,transferring--,painting ,directions--,using ,colors ,lightly--,raised ,work--,colors ,used--,bringing out the ,picture #id ,staining ,wood and ,ivory4--,yellow ,mahogany--,black1 ,red1 ,blue1 ,purple--,acids and ,materials ,used #if ,crystalline ,surfaces4--,paper1 ,wood1 and ,glass--,mixture ,used--,application--,directions #ig ,china ,painting4--,on ,china1 ,porcelain1 ,earthenware1 and ,enamel--,colors ,used--,process of ,burning ,in--,tracing and ,drawing--,first ,method--,second ,method--,third ,method--,cleaning ,brushes--,composition1 ,use1 and ,mixing of ,colors--,classification of ,colors--,tests--,fusibility--,thickness --,mediums--,conduct of the ,work--,special ,information ,concerning ,painting ,colors--,mode of ,use--,mixtures--,concordance of ,enamel with ,moist and ,oil ,colors--,technical ,names #ii ,monochrome4--,china ,painting--,painting on ,porcelain or ,earthenware--,tints of ,monochromes--,sketching ,in--,painting the ,head--,hair--,flesh ,tints--,drapery--,retouching--,m4 ,lacroix's ,colors--,finishing the ,monochrome--,general ,suggestions #aaa ,china ,painting4--,painting the ,head in ,colors on ,porcelain--,drawing and ,sketching ,in--,highly ,colored ,faces--,cast ,shadows--,painting the ,lips--,blue ,eyes--,fair ,hair--,colored ,draperies--,the ,palette #aae ,china ,painting4--,style of ,boucher--,flowers1 ,fruits1 ,birds and ,landscape on ,porcelain--,retouching ,leaves--,peaches--,instructions on ,landscapes--,the ,sky--,trunks of ,trees--,branches--,houses--,ground--,wa ter--,strengthening ,touches--,directions for ,packing #aah ,terra ,cotta ,painting4--,enamel1 ,oil and ,water ,color ,painting on ,terra ,cotta--,special ,instructions--,materials and ,brushes ,used #abc ,burning ,in4--,mineral ,decalcomanie--,new and ,beautiful ,art--,transferring ,pictures to ,china and ,other ,ware--,imitating ,exactly ,beautiful ,painting--,directions1 ,materials ,required1 ,designs1 ,numbers1 ,prices #abf ,natural ,flowers4--,preservation--,hot ,water ,system--,sandwich ,island ,process--,sand ,drying ,method--,last ,process #abi ,paper-,flower ,making4--,arrangement of ,bouquets--,materials ,used--,directions for ,using ,wire1 ,silk1 etc4--,crimson ,rhododendron--,white ,camelia1 ,rose1 ,pink ,fuchsia--,grouping ,flowers--,examples--,list of ,materials1 ,tools1 etc4 #acd ,french ,art--,decorating ,wood1 ,leather1 ,silk1 etc4--,to ,decorate ,delicate ,fabrics--,another ,method--,decorating ,dark ,colored ,articles--,choice of ,subjects--,covered ,designs--,list of ,subjects that can be ,decorated--,general ,suggestions #adc ,the ,wax ,art--,flowers and ,fruit--,instructions for ,making ,wax and ,molds--,materials ,used1 etc4--,molding--,preparing ,wax--,to ,mold a ,calla ,lily--,painting ,variegated ,flowers--,directions for ,sheeting ,wax--,molding ,wax ,fruit--,oranges1 ,apples1 ,peaches1 ,grapes1 etc4--,special ,instructions--,leaf ,molds1 ,wires1 ,steel ,molding ,pins1 ,moss1 ,miscellaneous ,articles1 ,colored ,wax #adf ,sprinkle ,work4--,decoration of ,wood and ,china ,ornaments--,its ,ease and ,beauty--,utensils--,process--,special ,directions--,varnishing and ,polishing--,sprinkle ,work on ,china--,veins--,colors ,generally and ,satisfactorily ,used--,general ,suggestions #aed ,pearl ,embroidery4--,fish ,scales--,to ,prepare ,them--,drawing the ,pattern of ,leaf--,directions #afa ,feather ,flowers4--,instructions to ,begin--,color of ,feathers--,dyeing--,renewing ,ostrich ,feathers #afb ,lustral ,bronze ,painting4--,preparations--,instructions --,copy from ,engravings--,stems of ,trees--,second ,shade--,figures--,parts of ,mountains--,varnishing--,suggestions--, gilding #afd ,japanese ,art4--,gathering ,leaves--,directions #afh ,staining ,glass4--,causes of ,decay--,of ,glass ,painting--,colors ,used--,classes--,process of ,laying the ,colors--,peinture et ,apprt--,ground or ,foundation--,the ,vehicle--,most ,suitable ,oil--,palette--,pigments--,fused ,colors--,illuminated ,colors--,new ,tone of ,color--,mosaic ,glass ,painting--,cartoons--,cutting--,over-la id ,glass--,colored ,pot ,metal #afi ,gilding ,glass4--,preparations--,cutting ,figures and ,ornaments--most ,important ,secret--,general ,suggestions #agi ,etching on ,copper4--,heating--,dabbing--,smoking-- ,etching--,fluid for the ,purpose--,directions #ahb ,kensington ,painting4--,its ,progress and ,popularity--,materials ,used--,colors ,necessary--,applying ,colors--,flowers1 ,leaves--,instructions #ahe ,arrasene ,embroidery4--,novelty and ,beauty--,wool and ,silk ,arrasene--,a ,wild ,rose--,blind ,stitch--,double ,rose--,daisies--,forget-me-not--,leaves --,stems--,full ,instructions #ahi ,portraiture in ,black ,crayon4--,careful ,instructions--,paper--,cutting and ,trimming--,dampening and ,framing--,selecting ,materials--,enlarging the ,photograph--,tracing--,carefulness--,fe atures--,pupils of the ,eyes--,iris--,nose--,lips--,blending ,process--,the ,hair--,the ,drapery--,collar and ,shirt ,front--,the ,background--,lace ,work--,finishing--,general ,important ,suggestions #aia ,analysis of ,colors4--,nature and ,quality--,blues--,reds--,browns--,mixin g ,compound ,tints for the ,face--,tints and ,colors--,producing them--,transparent ,colors--,semi-,transparent--,contrast and ,harmony of ,colors #aig ,taxidermy4--,profit1 ,usefulness and ,beauty--,skinning--,mounting in ,general--,preserving--,spiders and ,insects--,shell ,fish--,polishing ,shells--,collecting ,animals--,recipes--,general and ,special ,instructions #bjc ,,sketching ,,from ,,nature ,illustration 8,,god ,,has ,,diffused ,,beauty1 ,,and ,,art ,,has ,,combined ,,it40--,houssaye4 ,a sketch is a graphic memorandum4 8,the field of labor is the wide world of nature--her beautiful truths the lessons to be learned by heart4 ,once fairly within her school1 ,art awakens to a life of sympathy with its teacher that lasts forever40 ,a capacity for drawing means more than producing a linear representation4 ,the sculptor draws when he models the plastic clay into imitative or ideal creations4 ,the painter draws when he disposes his pigments with like impulse4 ,the stalwart smith draws when he shapes the heated metal into form4 ,he that cannot draw a crooked line1 cannot draw a straight one1 and he who cannot draw a straight line1 the simplest1 easiest1 and most comprehensible1 has certainly much to learn1 and should begin with it4 ,in ,making a ,drawing from ,nature1 we start out with one of two things in view1 a desire to make a perfect copy of the scene before us1 or a wish to make a choice selection from the whole1 and arrange it to suit our fancy4 ,the first is historic1 from the fact of its being a true and faithful copy4 ,the second is called poetic1 as the effort is for beauty of arrangement and general make up4 ,in the latter1 the artist is generally better satisfied with his effort when the picture is complete1 than if he followed closely to the laborious work of perfectly copying that which is not altogether interesting4 ,but at the same time the first1 that of picturing facts1 must form the basis of the art4 ,by it we acquire a knowledge of detail1 and store the mind with true nature1 which is essential in good work4 ,a true and faithful copy is what is sought after4 ,in following our own fancy1 we go out into the field and select from a combination of objects1 and make up our picture4 ,we find a log cabin standing beside a rocky stream of rippling water1 which is spanned by an ancient log bridge2 in another place we find cows grazing2 and again a horseman is coming down the road4 ,we combine the three4 ,the cattle are driven into the stream1 the horse and his rider are brought into and form a part of the picture1 which is now complete4 ,in sketching from nature it is first essential that we should be trained to some extent in a course of perspective drawing4 ,linear ,perspective is the application of the principles of geometry to the accurate delineation of the principal lines of the picture4 ,drawing on a plain surface an object as it appears1 or as it would appear on a pane of glass1 held between you and the object4 ,perspective is absolutely necessary in drawing from nature1 not only in perfecting finished work1 but in all circumstances4 ,theoretically1 as well as practically1 it bears more or less upon all the great requisites of perfection in art4 ,we can by its aid1 select our own point of observation1 even though it be imaginary4 ,materials4 ,of the variety of instruments and materials for drawing and sketching1 there is the lead pencil of different degrees of hardness1 and tint2 then there is the ,french crayon1 tinted crayons1 etc42 ,french sketching boards1 prepared of various tints1 with skies1 and suggestive effects ready laid in2 8solid sketching blocks10 bound as a portfolio1 will be found convenient4 ,paper for 8cartoons0 can be obtained of most any size1 up to six feet wide4 ,in a ,picture we have ,six ,terms1 the center of the picture1 or center of view1 the distance of the picture1 the base line1 the horizontal line1 the perpendicular line1 the point of view4 ,lines in ,nature4 ,it is a remarkable fact that all the lines in nature are curve lines1 the body of trees1 the branches and their leaves1 and the fruit that grows thereon2 the blades of grass1 and flowers in the field2 the swells of the ocean1 the hills and hollows1 are all composed of curved lines4 ,nature is all loveliness and perfection1 all her effects are true1 and the desire of the student should be to realize them thoroughly1 and let nature1 and nature alone1 be the teacher1 following her faithfully1 in the full assurance of the attainment of truth1 whatever else he may fail to accomplish4 ,then let the pencil1 the servant of thought1 ,copy the lessons which nature has taught2 ,for the skillful hand of the artist entwines1 ,no garland more fair than her beautiful lines4 ,a ,,lesson ,,in ,,drawing4 ,before going into the field to make a sketch1 it is essential you become familiar with the different lines used in drawing1 the less difficulty you will have in sketching from nature4 ,the first effort will be to get control of the hand and pencil1 or pen1 which is the leading essential in learning to write or draw4 ,secondly1 a right understanding of the straight and curve lines used cannot be dispensed with4 ,a neglect of these first principles1 and the want of a thorough drilling by an experienced teacher1 in our educational institutions1 is the leading difficulty in the advancement of students in these branches1 and has often been a subject of comment4 ,there are three leading lines in drawing1 the straight horizontal line1 thus3 ,illustration ,illustration made by carrying the pencil from left to right1 and vice versa1 beginning and ending abruptly2 then perpendicular ones1 commencing at the top1 draw the pencil down2 then a straight oblique line1 with #eb deg4 slant1 which is about the proper angle for writing4 ,the right and left curve is used as the beginning and ending of all the small letters4 ,illustration3 ,fig4 #a4 ,the ,line of ,beauty1 as it is called1 is the two curves combined2 commencing at the top1 making first the left and then the right line1 equal in length1 forming a compound curve1 the basis of two-thirds of all the capital letters4 ,a combination of curves lying horizontally1 as in fig4 #b1 gives the line which is formed by the meeting of the lips1 from these different lines our sketches from nature are made up4 ,illustration3 ,fig4 #b4 ,a curved line changes its direction at every point4 ,a circle is a figure comprehended by a single curve line1 called its circumference1 every part of which is equally distant from a point called the center4 ,from a to b will be found the left1 or convex1 and from c to d the right1 or concave curve4 ,the whole may be made by a quick movement of the hand1 with crayon1 on the black-board1 thus3 ,turn your right side to the board1 place the crayon at the bottom1 c1 and with the elbow as the radius1 carry the crayon toward the left from c to a1 and so on until you reach the starting point1 c1 again1 moving the hand at as rapid a rate as is possible4 ,illustration3 ,fig4 #c4 ,now1 if these lines can all be drawn correct1 and with freedom1 take the equilateral triangle and practice it without a ruler4 ,illustration3 ,fig4 #d4 ,an angle is the space between two lines that start from the same point4 ,the perpendicular line1 passing from the vanishing point a1 to the base b4 ,the whole of the fig4 #d forms what appears to us the gable of a house1 a the point where the rafters meet1 b the center of the plate4 ,this gives the horizontal1 vertical1 and oblique lines4 ,i shall endeavor to make these lessons clear and concise for the beginner1 touching only on those points which are indispensable in learning to draw4 ,although many of these principles you may have acquired1 the elements of linear perspective is the very first thing to which your attention should be directed4 ,landscapes4 ,all objects which present themselves to the eye1 such as buildings1 forests1 fields1 mountains1 water1 c41 whether viewed from a hill or on a level1 we will call a landscape4 ,now as it is impossible to make an exact copy of the subject before us1 by means of any transfer process1 it can only be effected by a distinct apprehension of the real form of the objects themselves1 and of those apparent forms under which they are presented to the eye1 in their different positions in the landscape4 ,all these objects have their outlines1 composed either of straight or curve lines1 which may be irregular in their relation to each other4 ,now if we were placed on a flat1 horizontal plain1 the water or ground which we would have in view before us1 would appear to rise from the spot on which we stood1 the limit of that rise being determined by a clear and well defined straight line1 called the horizontal line4 ,it will appear in the lake2 between this and the sky no object intervenes4 ,this horizontal or boundary line lies directly opposite to the range of the eye1 and the one to which every other line is referred1 and by which the accuracy of the drawing is secured4 ,the point where it crosses the perpendicular line will be the center of our picture4 ,in ,placing a ,landscape on ,paper1 first arises the question as to how much of the landscape we will introduce into our picture4 ,let us suppose it to be taken from the point of view1 then that position of the scene which the eye can easily take in1 without moving the head1 will constitute the picture4 ,the space included between the point where we are standing and a point where our picture commences1 establishes the required distance of the eye from the proposed picture4 ,now1 if through this point a straight line be supposed drawn1 perpendicular to the horizon1 this line will pass through1 and determine the foremost objects of the picture--touching all the leading objects directly in front of us4 ,position of the ,horizontal ,line will depend upon whether or not we make the sketch from the ground1 or from an elevation4 ,if the view be made from the level with it1 the horizontal line may be drawn at about one-fifth of the space of the paper we intend for our picture4 ,if we take the sketch from an elevated point1 a little above the level of the ground1 then the horizontal line may be placed at about one-third the height1 and so on4 ,if the view is to be made from a high hill1 or top of the house1 place the horizontal line at one-half the height4 ,now1 in holding up the pencil or ruler horizontally with the eye1 and on a level with it1 you will see what objects will appear on that horizontal line4 ,in making a photograph of a building it is always best to have the camera a little elevated1 and at a considerable distance from the object1 as a better picture can be secured4 ,all horizontal planes seem to ascend if they lie below the horizontal line1 and to descend if they lie above it1 vanish or merge into it1 as shown in figures #e and #f4 ,in making a sketch from an elevation1 the distant part of the view seems higher than the foreground4 ,this occurs when the point from where the view is taken is too much elevated4 ,a better1 and much more natural perspective1 can be obtained by lowering the point of view1 which also changes the horizontal line4 ,after knowing the position of the horizon of your subject1 point of sight for the point of distance1 you have to extend the line of horizon from the point of sight to the limits of such distance4 ,for illustration1 fasten a thread with a pin to the table1 at a point corresponding to the line of the horizon of your picture2 a thread thus adjusted will1 when drawn out over the picture1 fall exactly over all the lines seeking ,the ,vanishing ,point4 ,in this way you get the lines for the cornice in a building1 or row of buildings1 upper and lower lines of the windows and doors1 base and sidewalk4 ,illustration3 ,fig4 #e4 ,in making a sketch of a building1 it is only necessary to get the general outlines1 and instead of working in all the doors and windows1 finishing up the cornice1 etc41 all that is necessary will be to get the outline of one door or window1 and the style of cornice1 and indicate the remainder by merely a mark showing the position1 and make a memorandum of the essential points which is needed in completing the work4 ,in figure #e1 street view1 make a dot on the sketch board at a point where you wish the first upper corner of the building to commence1 draw a perpendicular line for the corner1 do likewise at such a distance to the left as you wish the building to extend on the sketch1 and you have the other corner4 ,holding the drawing book perpendicular between you and the building1 and on a level with the eye1 place the ruler on the sketch-book corresponding to the upper horizontal line of the building1 and make a line for the cornice1 the base line is produced in the same manner4 ,the point ,c1 where the two lines would meet1 were they continued toward the left1 will be the vanishing point1 from which run all the other horizontal lines when you come to finish up the drawing4 ,,the ,,effects ,,of ,,the ,,drawing ,,in ,,different ,,positions ,,of ,,the ,,horizontal ,,line4 ,illustration3 ,fig4 #f4 ,a horizontal right line has1 with respect to the plane of the picture1 one of three positions4 ,it is either parallel to it1 oblique to it1 or perpendicular to it4 ,we will sit with the back against one of the walls of a rectangular room4 ,the wall opposite is parallel to that behind us1 and consequently to the plane of our picture in that position4 ,the two remaining walls being at right angles with that opposite1 are evidently perpendicular to the plane of the drawing1 and all horizontal right lines on those two walls1 are also perpendicular to that plane1 and will appear to tend towards a point immediately opposite to the eye4 ,h4 ,h4 is the horizontal line or level of sight2 ,c the point opposite the eye1 and that point toward which all horizontal right lines on the walls1 ,a ,b1 appear to slant1 though in reality they are perpendicular to the wall ,c4 ,the lines #a #b1 where the ceiling and sidewalls meet1 and #c #d1 the lower limit of the walls1 as well as the horizontal lines of the door1 and its panels1 are in that position1 all perpendicular to the plane of the opposite wall1 and therefore to the plane of the drawing4 ,the effects of the drawing in different positions of the horizontal line1 should be carefully studied2 if it be placed above the level of the eye1 and removed to the right or left1 it will appear like this3 ,illustration ,if below the level of the eye1 it will assume a direction like this3 ,illustration ,but placed to the right or left of the eye1 on a perfect level1 and horizontal1 it will appear thus3 ,if drawn from1 and directly opposite to the eye1 the end may appear thus3 ,a point has position1 but not magnitude4 ,illustration3 ,fig4 #g4 ,if a book1 or block of wood1 having a square base1 be represented at different distances1 seen from a point in which its sides are oblique to the plane of the picture1 and seen from both points1 under the same circumstances in all respects1 as regards surrounding objects1 except that the distance of the artist from the base line is much less in one than the other1 then it will appear as do figures #g and #h4 ,illustration3 ,fig4 #h4 ,a surface has length and breadth only4 ,a solid has length1 breadth1 and thickness4 ,illustration ,in figure #g the distance from us is much greater than in figure #h1 and the vanishing point farther away4 ,we will find the first the most pleasing to the eye1 although both are accurate4 ,in these figures we make the two oblique lines of the base equal in length1 and our position directly opposite the center perpendicular line4 ,if we should change our position further to the right1 the left oblique line at the base would apparently shorten1 and vice versa4 ,in making a sketch from nature1 the artist must choose a position that will command the best view of the scene about to be placed on paper1 and from a standpoint that will secure the leading objects in the landscape before you4 ,begin by sketching those objects nearest you first4 ,the reasons will be shown hereafter4 ,in attempting to make a 8bird's eye0 view of buildings1 where an elevation cannot be obtained1 it will be found somewhat difficult4 ,we can only mark down on the sketch-book what can be seen from the position we occupy on the level with the objects before us1 and imagine the remainder4 ,at the same time three things should be kept in view1 the perspective1 the perpendicular lines1 and proper elevation1 in order to give to our picture the appearance it would have if others viewed it from the supposed point of observation as the sketcher4 ,the intention of the writer has been to touch upon all the points and rules in drawing1 and dwell upon each separately1 and sufficient for a person of ordinary ability1 and a good many grains of continuity1 to make a sketch artist4 8,it matters not what a man's vocation may be1 if he has the taste to discern1 and mind to esteem1 the good and beautiful in nature and art1 an expression of refinement will be manifest in all that he undertakes40 ,in this work ,i did not expect more than to take the first step toward teaching to sketch from nature4 ,an easy1 rapid1 and decided manner of sketching is to be acquired only by practice4 ,it is an acquisition essential to excellence in all the other artistic qualities1 to which it serves as a basis4 ,having given you the necessary instruction1 ,i will now assist you in ,selecting a ,position4 ,choose a point that will command a good view of the scene1 and prevent closer and more immediate objects from concealing any portion of the remote distance2 and though the height of the horizontal line in this case may sometimes be more than half the height of the paper1 according to the elevation attained by the artist to command the view4 ,in this case the horizontal line is at about one-half the height of the paper4 ,it frequently occurs in making a sketch1 that the artist cannot place himself at the desired point for the best view4 ,in such case we will imagine a point above the highest object in the foreground of the proposed sketch4 ,that point may be on the land1 or on the water4 ,the artist1 with a knowledge of perspective and elevation in view1 may make a memorandum of the whole2 but should he attempt to draw it from the point he is compelled to see it1 no one would recognize it as a truthful representation4 ,we regulate the whole by our knowledge of perspective1 as accurately as if we stood upon the very spot from which we desired to be understood that the view was taken4 ,in ,making a ,bird's ,eye ,view of a village or city1 the first thing to be done is to get a plat1 or outline1 of the streets and blocks1 and mark them on the sketch-book in squares1 7or rather diamond shape71 each line and cross line representing a street4 ,commence sketching in the buildings from the point chosen1 which should be the one nearest the business center1 and where the best houses stand1 or from a point where you can secure the best material for a foreground1 such as a stream of water and bridge1 or a forest1 etc4 ,transfer each block to paper1 showing the fronts of one side and the rear of the buildings of the other side1 and so on through the entire row of blocks1 when you return to the place of starting1 and go down the second row1 always working toward the vanishing point4 ,after you have gone over the entire city1 and taken every building1 tree1 and other objects of interest1 and completed the sketch1 you are ready for working it up4 ,lay out the blocks and streets on drawing paper1 with pencil1 in perspective1 ruling from the vanishing point1 the center of the picture1 toward the point of view1 which enlarges the objects of the foreground1 and diminishes those in the distance4 ,in drawing in the buildings1 begin with the first house in the foreground1 drawing the roof lines1 which should be parallel with the lines of the street2 next the gables1 after which the corner lines1 which should be perpendicular to the drawing paper4 ,the drawing should be made first with pencil1 and then in ink1 with fine pointed steel pen2 for shading1 use small camel hair brush and ,india ink4 ,lights and ,shades4 ,in a sketch it is found that mere outline is insufficient to the representation of an object in relief2 it cannot give substance1 nor define relative distances so as to maintain the objects in their proper places4 ,the matter of fact representation of the breadth of a meridian light1 and the same passage of landscape viewed under the shades of evening1 affects the feeling very differently4 ,in the latter1 there is a charm which operates even upon minds least susceptible of impressions from the beauties of nature4 ,the general principle acted upon by artists1 is to dispose the lights and shades in the manner best suited to the treatment they propose for their work4 ,there are two extremes of light and shade1 and between these lie all those half tints and reflected lights1 and exquisite gradations of shade1 which must be so carefully placed in the drawing as to clearly indicate the graceful curve of each individual petal1 without in any way destroying the roundness and breadth of a flower4 ,the gradations of shade are sometimes perplexing to the learner2 but in this respect the eye is a very safe guide4 ,it requires no cultivated taste--not even any great amount of critical observation--to see when an object which should look perfectly round1 appears flattened on the one side1 or swell too much on the other4 ,the theory of foreground and middle distances and background1 has much to do with the principles of light and shade4 ,it is not the line of perspective alone which makes one portion of a picture retreat1 and another come forward4 ,illustration ,in the drawing of a round object1 apple or ball1 the shades fall on the concave part1 and incline toward the side opposite to light4 ,all shades of objects in the same picture must fall the same way1 or farthest from the light4 ,that part lying nearest to the light must receive the least shade4 ,this rule will be noticed in the face1 folds of the drapery1 etc4 ,landscapes show the heaviest shades nearest us1 the greater the distance the lighter grows the picture4 ,in clouds1 the shades are the lightest that are nearest the horizon1 it being the greatest distance from us1 and those nearest the center of the picture the strongest4 ,,colors in ,,nature4 ,illustration ,colors are merely sensations produced by the action of light on the nervous tissue of the retina1 which covers the back of the eye4 ,there are ,three ,primary ,colors in ,nature1 ,blue1 ,red1 and ,yellow4 ,from these are formed1 all the other beautiful tints which well up from the bosom of the deep1 glows in every flower1 blossoms in the trees1 and sparkles in the dew drop2 softly stealing from the moon and stars1 and written upon the blue arc of night4 ,red indicates anger1 and sometimes guilt4 ,blue is said to be true1 but denotes melancholy and gloom4 ,yellow indicates cautiousness and prudence1 and reflects the most light of any1 after white4 ,yellow-green is the color nature assumes at the falling of the leaf1 and this was worn in the days of chivalry1 the emblem of despair4 ,green denotes tranquility4 ,in heraldry it is used to express liberty1 love1 youth and beauty1 and at one time all letters of grace were signed with green4 ,the color of all objects depend on the action of those bodies on the light which fall upon them1 the different rays of which they reflect1 either entirely1 or only partially4 ,the light of the sun1 and the lights used for illumination1 gas1 etc41 seem to consist of an infinite number of rays1 of different color1 and however widely they may be spread out by the prism in the spectrum1 can never be entirely separated1 but always form an even gradation of color1 from red at one end of the spectrum1 through orange1 yellow1 green1 etc41 to purple at the other end4 ,sir ,isaac ,newton divided the spectrum into seven parts1 thinking he could distinguish seven different colors1 red1 yellow1 blue1 orange1 green1 indigo1 and violet1 which he called primary colors4 ,sir ,d4 ,brewster showed that those colors which ,newton considered simple were1 in reality1 compound1 and mixed up with a considerable proportion of white light4 ,he concludes from his experiments that there were but three simple colors1 red1 yellow1 and blue--by the mixing of which the other colors were produced4 ,the principal advantages attending the choice of red1 blue1 and yellow1 as primary colors1 are3 ,that the choice seems to agree with the fact that whenever a ray of white light has one of these three colors removed by absorption1 the remaining colors of the ray is that which would be found by an equal mixture of the other two colors4 ,and when a ray has two of its primary colors removed1 the remaining color of the ray is that of the third primary color4 ,the color which opposes the strongest contrast to any primary color1 is that secondary color1 which is formed of a mixture of the remaining two primaries1 in such proportion as would form with the first white light4 ,this color is called its complimentary color--colors being called complimentary to each other when they together form white light4 ,for instance1 blue has for its complimentary color the neutral secondary orange1 formed of a mixture of red and yellow1 and this color gives the most vivid contrast that can be opposed to blue4 ,green is the complimentary1 and strongest contrasting color to red1 and red to green2 and yellow the strongest contrast1 and complimentary to purple1 and purple to yellow4 ,when the colors of the spectrum in a circle1 in a perfect gradation all around the circumference1 and so that the three primaries1 red1 yellow and blue1 are at points in the circumference equal distance from each other1 the strongest contrast to any color will be found at a point on the other side of the circle diametrically opposite to it4 ,thus1 blue will be found exactly opposite to orange1 which will be intermediate between red and yellow2 and1 in the same way1 yellow-green will be found exactly opposite purple-red1 etc4 ,now1 as red1 blue and yellow are the three primaries1 and that all other colors are composed of mixtures of these1 let us decide which of the many different colors called reds1 yellows1 and blues we are to consider as pure1 and true primaries4 ,a pure yellow has been decided upon2 chrome-yellow 7,no4 #a71 chromate of zinc 7citron yellow71 or light cadmium4 ,a mixture of any two bright primaries will produce a bright secondary1 and any admixture of the third primary will make the secondary color produced much duller or blacker4 ,we consider that would be the purest blue which gave the brightest green with yellow1 at the same time that it gave the brightest purple with a red1 and it was decided that cobalt blue was the pure primary1 which was blue with regard to the yellow chosen4 ,it is obvious that if the blue were a greenish blue1 although it might give a very bright green with yellow1 it would give but a dull purple with the red4 ,the yellow contained in the blue1 and which made it greenish1 would blacken or dirty the purple produced1 but would not interfere with the brightness of the green4 ,we choose carmine for the primary red as the color which gives the brightest purple with cobalt blue1 at the same time that it gave the brightest orange with chrome yellow4 ,thus we have chrome 7,no4 #a71 for yellow1 cobalt for blue1 and madder carmine for red4 ,these are the primaries4 ,colored objects appear colored owing to their action on light4 ,this action consists in absorbing one or more of the different colored rays which fall upon it1 and reflecting the rest2 and it is these reflected rays that give the color to the object4 ,bodies which emit light are called luminous1 as the sun4 ,bodies which transmit light1 and through which objects can be distinguished1 are called transparent1 as water1 glass1 etc4 ,bodies which transmit light1 and not so as to permit objects to be seen through them1 are called translucent1 as ground glass1 etc4 ,bodies which absorb or reflect all the rays of light1 or transmit so few rays that the eye does not perceive them1 are called opaque1 as wood1 metal1 etc4 ,what we call a pure white object1 such as chalk or white paper1 appears white by reflecting all the light which falls upon it1 and is therefore precisely the same color as the light which falls upon it4 ,a pure black object is one which absorbs all the light which falls upon it1 and reflects none4 ,such an object will always appear black1 whatever may be the color of the light which falls upon it4 ,gray objects1 7pale black71 absorb the three primary rays equally1 or in equivalent proportions1 but not entirely1 so that there is a certain portion of the white light reflected unchanged4 ,a pure green absorbs all the red1 and reflects all the yellow and blue4 ,a pale but pure green absorbs only part of the red1 and reflects the remainder of the red1 together with all the yellow and blue4 ,a dull and blackish green is formed by the absorption of all the red1 and also part of the blue and yellow1 and the reflection of the remainder of the blue and yellow4 ,the same rule will apply in all cases of all other colored objects1 except transparent ones4 ,silks and satins of either color reflect light4 ,when three colored rays are mixed together in neutralizing proportions1 white light is produced4 ,the easiest way of finding what are the equivalent proportions of the primary colors is this3 divide a circle of paper into three equal parts1 by lines drawn from the center to the circumference4 ,paint one of these spaces with pure yellow1 such as lemon yellow1 or the palest chrome yellow1 and paint one of the remaining spaces pure but weak blue1 with cobalt1 and the other space pure but weak red1 with madder carmine4 ,then try1 by spinning the card rapidly on a pivot1 whether these colors neutralize each other1 and if not1 darken that color that is deficient until the gray produced is neutral--that is1 of the color of lampblack mixed with white2 and when this is the case1 the colors on the three spaces will be of the proper neutralizing strength for equal spaces4 ,,pen ,,and ,,pencil ,,drawing1 ,illustration ,,by ,,aid ,,of ,,the ,,transfer ,,process4 ,the art of transferring pictures from one paper to another is what few understand4 ,many have drawings or engravings which they hold as valuable keepsakes1 and wish to preserve copies4 ,the plan of duplicating almost exactly a picture by the method given here1 is original with the author of this book1 who has many a time found it valuable in getting perfect the outlines of engravings1 prints1 and pictures of various kinds for pen or crayon drawings4 ,penmen produce very fine specimens of pen drawing1 aided by the above process of copying2 and although many a novice in the art of pen drawing exhibits equally as good designs as older professionals1 they are1 nevertheless1 borrowed4 ,the paper used for transferring purposes is light tea paper1 generally found in a tea store1 or on sale at paper stores4 ,we ,prepare it as follows3 ,procure a piece of soft pine or cedar1 and burn to a coal1 paste one side of the tea paper with it until quite black1 and you have a neat transfer sheet4 7,in choosing the wood be sure and get soft white pine74 ,lay this black paper upon the white1 where you wish the drawing to be made1 the dark side down2 upon this lay the copy1 face up1 and fasten the whole to the table with thumb tacks1 to prevent its moving around and changing the outlines4 ,this done1 go over the whole with a tracer made of wood or ivory1 with sufficient pressure to carry the lines through to the paper underneath1 following every outline of the picture until the whole has been gone over4 ,lift the tracing paper1 and you have upon the sheet below the desired drawing1 which you now go over with pen or pencil4 ,after this is done1 rub the crayon from off the picture with your handkerchief1 and complete the shading with a fine pointed steel pen or pencil1 keeping the copy before you4 ,use ,spencerian ,artistic ,pen1 ,crow-quill1 or ,gillott's ,no4 #agj4 ,,the ,,use ,,of ,,the ,,pentagraph4 ,this is an instrument in four sections1 so arranged that you can enlarge or diminish in size1 and copy a photograph1 engraving1 or any kind of picture4 ,it contains a screw to fasten it to the table1 a small steel needle to guide in the outlining1 and a lead pencil to do the drawing4 ,how to ,use it4 ,screw the ,pentagraph to the table1 with the needle point to your left1 upon the photograph1 7which is fastened to the table also71 holding the end containing the pencil with the fingers1 to the right4 ,with your eye on the photo1 move the hand so that the needle follows the outlines of the copy1 and the pencil is producing the same on your drawing paper at the right4 ,in this way go over the entire picture until you have a complete copy of the same4 ,you may now shade with pen or crayon to suit the wants of the copy4 ,the small screws on the bars near the figures1 are used in adjusting it to suit the size of picture required4 ,,copying ,,with ,,transparent ,,paper4 ,another method of transferring pictures to paper is by the use of a transparent paper1 which is made by dissolving castor oil in absolute alcohol1 and applying the liquid to the paper with a brush or sponge4 ,the paper becomes dry as soon as the alcohol evaporates1 which is almost instantly4 ,after which lay the paper on the picture you are about to copy1 and with a pencil follow the outlines of the picture until you have gone over the whole4 ,as soon as done immerse the paper in alcohol1 which will remove the oil1 and restore the paper to its natural state4 ,,pastel ,,painting1 ,illustration ,,with ,,suggestions ,,from ,,the ,,best ,,english ,,authors4 8,exactly in proportion as an artist is certain of his end1 will he be swift and simple in his means2 and as he is accurate and deep in his knowledge1 will he be precise and refined in his touch40--,ruskin4 ,,portraits4 ,for the past few years a great improvement has been made in the execution of portraits in black and colored crayons4 ,crayon painting is much easier in its execution than oil painting1 and pictures may be completed at one sitting1 owing to the fact that dry colors are used instead of oil1 which may easily be removed or changed at will1 left and resumed again at any time desired4 ,in this department of art crayon takes the place of brush and paint1 in all the different places where colors are used4 ,crayon painting is said to have been practiced for a century or more after it came into use1 and during the past few years it has had a 8big run0 in this country4 ,crayons1 or ,pastels1 can now be purchased by the box1 in all varieties of tint1 each box containing a graduated series4 ,the ,paper upon which the drawing or painting is made1 is manufactured for this purpose in such a manner that the texture becomes loosened and forms a woolly surface1 which assists the blending of the tints1 and receives the crayon4 ,as soon as a crayon picture is completed it will necessarily have to go under glass1 for so slightly tenacious is the crayon1 in some places where it may have been repeatedly applied with a view to brilliancy1 that it may be blown from the surface of the paper4 ,exposure to the ,sun1 which may brighten pictures painted in oil1 will in a short time destroy the delicacy of crayon colors4 ,they must also be kept free from moisture or dampness1 as it is sure to change the color and produce spots on the face of a portrait1 or the sky in a landscape4 ,colors4 ,the colors employed in pastel painting are about the same as used in oil painting1 with some exceptions4 ,the best for crayon work are the following3 ,oxide of ,zinc1 ,white ,chalk1 ,spanish ,white1 ,naples ,yellow1 ,mineral ,yellow1 ,chromes1 ,cadmium ,yellow1 ,gallstone1 ,soft ,red ,chalk1 ,chinese ,vermilion1 ,venetian ,red1 ,chrome ,red1 ,carmine1 ,lakes1 ,indigo1 ,prussian ,blue1 ,smalt1 ,cobalt1 ,terre ,verte1 ,cobalt ,green1 ,brunswick ,green1 all the ,greens from ,copper1 ,green ,oxide of ,chromium1 ,lampblack1 ,umber1 ,ivory ,black1 ,blue ,black1 ,black ,chalk4 ,color of ,paper4 ,in regard to the use of paper1 any color may be used1 it being wholly a matter of taste with the artist4 ,the prevailing colors are ,blue1 ,drab1 ,grey1 ,straw1 ,buff1 ,olive and ,stone ,colors4 ,a yellowish tint1 you will find1 produces the best results4 ,mounting the ,picture4 ,before commencing upon the drawing it must be mounted upon a stretcher1 after which1 with a firm crayon1 trace the outlines1 with either red1 brown1 or grey color4 ,the beginner will find the ,pentagraph of excellent service for outlining where you are working from a copy4 ,sketching in the ,outlines4 ,this must be done lightly1 in order that the crayon does not enter into the texture of the paper1 so as to render the marks difficult to be superseded subsequently by the necessary colors4 ,when the outline is completed1 the breadths are made out by means of a brown crayon1 and a stump1 working for the degrees of shade4 ,applying the ,crayon4 ,when the likeness is satisfactory in the sketch1 the complexion may be commenced on1 beginning with the lights4 ,the whites1 yellows1 reds and greys must be worked in1 and blended to an imitation of the reality of nature4 ,from the highest lights1 proceed in regular order to the deepest shades1 and1 in order to secure substance1 these must be put in equal in strength to nature2 after which the middle tones must be carefully blended1 so as to unite the lights and shades by imperceptible gradations4 ,the markings must be definitely made out1 and the reflexes also1 if there be any4 ,as the fresher tints occur principally in the lights1 it would be well to keep the color rather high1 and of a warm tone1 in order to reserve the brightest and most effective tints till the last4 ,when all the tints have been laid in1 and the head is in a satisfactory state as to form1 color and expression1 then1 with the finger1 pass over the whole1 working and blending the colors in harmony4 ,in this operation the finger is used instead of a stump1 and nothing else will answer better4 ,when this operation is concluded1 the crayons will be again used to bring up the colors1 and tone to those of the life--to modify and correct those which may require retouching4 ,those parts which are heavy must be relieved1 and those which may be too cold or too warm1 must be reduced to harmony4 ,working with the finger will be found the most available method of managing the crayons4 ,having laid in the tints1 according to the natural complexion1 it will be necessary1 before touching the work with the finger or blender1 to be certain that all are laid in the proper places2 a little experience will enable you to judge2 there remains but little work for the fingers to perform1 and the less the colors are worked upon the more fresh and transparent they will remain4 ,colors and the ,composition of ,tints4 ,the shades of flesh tints are warm or cold1 according to the warmth or coldness of the breadths of the light4 ,if the lights be of a healthy hue1 the shades may be warm1 inclining to brown1 mixed of various colors1 broken with light red1 carmine1 yellow1 blue or grey4 ,some artists represent nature as violet or green1 in shade2 but this is untrue and must be guarded against4 ,it is advisable generally to follow the ,italian feeling of leaving the dark passages warm4 ,when the complexion is strong in color1 the effect is most agreeable2 if worked without hardness1 opacity or blackness4 ,in feminine portraits the work must be brought up to the utmost brilliancy of color1 by the brightest and freshest hues1 composed of ,white1 ,naples ,yellow1 ,vermilion and ,madder1 mellowed with ,yellows1 or slightly purpled with ,lake or ,carmine1 according to the prevalent tint of the subject4 ,in the masculine subject the colors will be stronger1 and the half-tints more positive4 ,great care must be observed1 lest the high and delicate passages be soiled or stained4 ,they must only be approached by1 and blended with1 other shades at their extremities2 and these shades are1 in most cases1 half tints4 ,it will be clearly seen by the artist1 that if the intermediate tint be too cold1 it must be treated with the reds or yellow2 if too warm1 reduce by grey or blue4 ,the lights and shades should be carefully graduated1 and harmony prevail throughout the work4 ,backgrounds4--,for backgrounds there is no established rule2 a head may be relieved by a light1 or dark background1 either producing good effect4 ,a dark background is not always suitable for female loveliness4 ,backgrounds are not to be rubbed in mechanically1 with the idea that any dark shade will relieve any light1 or that any middle tint will suffice4 ,as a general rule1 the background around the head should be lower in tone than the half tints of the face1 and lighter than the shades--to disengage the head4 ,where the paper becomes greasy or glazed by the too frequent application of the pastel1 or the finger1 it may be necessary to rub it with pumice pounce1 or with cuttle-fish1 lightly4 ,if the paper stretches by constant pressure on it1 you can remedy it by wetting the back with a light solution of alum water4 ,,landscape ,,painting ,,with ,,crayon ,,colors4 ,the crayons used are much harder than the soft kind required in portraits2 they are manufactured expressly for landscapes1 and resemble firm chalk4 ,the following is a list of the most useful crayons3 ,white1 ,italian chalk2 straw colors and light yellow1 blue1 grey1 vermilion and ,indian reds2 blacks1 conte crayons ,nos4 #a1 #b and #c4 ,the white ,italian chalk is used both for light touches and blending all the other crayons into which it may be worked4 ,the black conte chalks are also of the utmost importance2 ,nos4 #a and #b1 the harder degrees1 are used for outlining1 and the softest degree1 ,no4 #c1 may be blended with many colors to reduce their tones4 ,the ,paper4 ,the paper must be a good quality of drawing paper1 such as will take the crayon1 and it must supply a good middle tint1 as the color of the paper appears through almost every passage of the finished work4 ,a soft paper of a low-toned olive tint1 which has been found by long experience to be better adapted than any other for landscape drawing1 as affording an agreeable neutral1 upon which warm or cold tones1 lights or shadows1 may be placed with the best effect4 ,arranging the ,paper4 ,attach the paper to a drawing-board with thumb tacks1 in order that it may be kept smooth and level while the flat tints are rubbed in4 ,it is well to select paper some larger than your design1 so as to give the picture a margin4 ,the ,drawing4 ,with conte crayon ,no4 #a the design must be outlined1 showing enough of the objects to guide you in the flat tints of the sky and distances4 ,illustration ,the difference in the crayons used in portrait and those in landscape painting is1 that the latter is much harder1 which is essential1 as will be seen when applied to the paper4 ,the breadths of the composition are not laid by working with the point of the crayon1 but a part of the crayon1 sufficient for the purpose required1 is broken off and applied flat to the paper4 ,work it lightly over those parts of the drawing that it is desired to tint1 and the lightness of the tint is derived from the hardness of the crayon1 which is 8bitten0 by the surface of the paper1 and leaves on it a quantity of the color4 ,this tint is rubbed vigorously with the fingers1 so as to work the colors well with the texture of the paper2 as the operation leaves but little color these tintings are repeated until the necessary strength of tone is obtained1 varying and blending the colors by working them into each other from different directions with the fingers1 as the subject may require2 draw the remote forms with pieces of crayon1 held flat or lengthwise4 ,blend the tints in and repeat where necessary4 ,the distant ridges of the mountains being made out1 the middle distance and the nearer objects are approached by the nearer tints2 still drawing with broken pieces of crayon1 working obliquely or otherwise4 ,the black conte ,nos4 #a and #b1 are used in the near parts of the picture2 all the striking features of the foreground1 such as trees1 rocks and buildings1 are drawn1 and the material used in the manner described4 ,when any fine lines are necessary1 they are not made with the crayon cut to a point1 but by the sharp edges of the fracture of the crayon4 ,using the ,colors4 ,each object having been drawn in with the conte1 it is now tinted or colored by working over the black markings with the necessary colors4 ,it is like the operation of glazing in oil painting1 as under the light lines of the tracing of the colored crayon the conte drawing is still visible4 ,by blending and again drawing with conte1 and again glazing as often as may be necessary1 we approach the finish of the picture1 which is completed by sharp touches of light put in with sharp points of the broken ends of colored crayon4 ,the color should be used sparingly1 and the black chalk should appear prominent in the drawing4 ,do not rub in the colors in finishing or you destroy the effect4 ,the beauty of the work depends upon the paper being perceptible through the final finish4 ,any markings too sharp1 may be worked down by the finger or blender4 ,these retouchings are repeated until the desired effect be obtained4 ,as crayon painting is liable to become changed or removed1 even by blowing upon it1 we must present some method whereby it can be fixed permanent4 ,fixing the ,drawing4 ,infuse an ounce and a half of isin-glass in five ounces distilled vinegar twenty-four hours2 add to this one quart of hot water1 keep at a light heat1 stir often until the isin-glass is dissolved1 when you filter it through paper2 pour it into a bottle with the same quantity spirits of wine1 shake a few minutes and you have the fixatif ready4 ,place the picture face down 7avoid having the colors touch anything71 and apply the liquid to the back with a brush until it has penetrated through to the crayon and all the colors become moistened and bright4 ,the first application will penetrate very quick4 ,after this apply another with great care and evenness1 and not so plentiful as at first4 ,when done lay it with face up until dry4 ,the picture is now completed4 ,after this process of fixing the colors1 they can be cleaned any time without injury to the painting4 ,,materials ,,for ,,pastel ,,drawing4 ,illustration ,crayons1 square black conte1 ,nos4 #a1 #b1 and #c4 ,square white1 red1 and grey1 ,nos4 #a1 #b1 and #c4 ,round black conte4 ,nos4 #a1 #b1 and #c4 ,round white and red crayons4 ,conte crayon pencils in wood1 ,nos4 #a1 #b1 and #c4 ,charcoal in sticks4 ,hard and soft pastel1 containing #acj shades4 ,crayon holders4 7,brass and ,german silver47 ,,prepared ,,pastel ,,paper4 ,royal1 super-royal1 double elephant1 colombier4 ,,stumps ,,used4 ,chamois skin1 cork1 paper1 7grey74 ,illustration ,,directions ,,for ,,doing ,,the ,,monochromatic ,,drawing4 ,illustration ,take pasteboard or drawing paper1 size with isin-glass1 or paint with pure white lead4 ,when thoroughly dried1 smooth it down with sand-paper1 and paint again4 ,before this coat is perfectly dry1 sift upon it pulverized white marble1 through muslin4 ,when dry1 shake off the loose marble that remains4 ,monochromatic board can be found already prepared at the book stores1 where artist materials are kept4 ,the materials needed for this work are a thin-blade knife1 crayons1 fine sponge1 pencil1 cork1 rubber1 blender1 c4 ,commence painting with the dark shades first1 and blend gradually into the light4 ,for very dark shades1 rub the crayon directly upon the surface with a light hand1 and blend off carefully4 ,paint the sky first1 as in water colors4 ,it is well to shade distant mountains very light at first1 and be sure to have the edges soft and faint4 ,for water1 scrape some black crayon into a powder1 and lay it on your board with the blender1 working it horizontally1 making the lights and shades stronger as it comes nearer4 ,use the pen-knife for making sharp lights4 ,dark subjects work to the best advantage1 such as moonlight scenes on the water1 old ruins1 etc4 ,the foliage requires a great deal of attention in showing it up4 ,draw in the figures last4 ,one familiar with crayon or pencil drawing can acquire this branch of art very easily4 ,,water ,,colors4 ,illustration ,in this branch of fine art we will avoid all preliminary remarks in regard to its advantages1 and direct you at once to the method of treating it1 in as clear and comprehensible a manner as possible1 and at the same time omit nothing that will in any way facilitate the progress of the learner4 ,,instructions4 ,arrange the paper for the painting1 after sponging it1 by stretching upon a drawing board1 and then turn to the mixing of the colors4 ,illustration ,colors ,used for ,skies and ,distances4 ,,for ,,blue ,,of ,,sky4--,cobalt ,blue1 lowered with ,pink ,madder and ,gamboge1 to the hue required4 ,ochre may be substituted for ,gamboge4 ,,clouds4--,the same mixed so as to form a variety of warm and cool pearly greys4 ,,for ,,extreme ,,distance4--,cobalt and ,venetian ,red4 ,,for ,,local ,,tints4--,blend the colors so that the tints produced may incline toward yellow1 red1 or any tint required4 ,,for ,,middle ,,tints1 use ,indigo1 ,pink ,madder and ,ochre on the same principle for the light parts1 and ,indigo1 ,pink ,madder and ,gamboge for shady portions4 ,,setting ,,sun4--,use ,yellow ,ochre and ,pink ,madder1 or ,venetian ,red and ,yellow ,ochre2 sometimes ,vermilion and ,gamboge or ,indian ,yellow in small proportions1 when a strong effect is to be given4 ,,trees4--,in painting trees use ,indigo1 ,burnt ,sienna and ,gamboge4 ,these colors will make tints for the light2 ,indigo mixed with ,vandyke ,brown becomes a fine deep grey1 of a green hue4 ,purple ,lake may be added when you want the tint more neutral4 ,,foreground4--,green in foreground is made by mixing ,sepia with ,olive ,green in the shade1 and ,olive ,green and ,burnt ,sienna in the lighter parts4 ,a light transparent yellow1 raw ,sienna or ,italian ,pink may be carried over the foreground where herbage is to be represented1 when a bright sunny effect is desirable to give fullness and richness to the colors that come afterward2 it also answers for high lights upon leaves1 and the brilliant specks which are left sharp4 ,indigo1 ,indian ,red and ,ochre for the ashy grey of loam2 ,burnt ,umber alone1 or mixed with ,burnt ,sienna1 pure ,ochre1 and ,ochre mixed with ,sepia alone1 and mixed with ,purple ,lake for dark parts2 also1 ,vandyke ,brown and ,purple ,lake1 or pure ,brown ,madder for very dark touches4 ,indigo1 mixed with ,gamboge1 makes a cold green well suited to dark leaves2 ,purple ,lake may be added for cool reflected lights2 ,indian ,red mixed with ,indigo to a pale tint for willow leaves or foliage stained with dirt1 or for the grey back of a leaf4 ,these cold greys and greens are of great value in foregrounds to repeat the cool greys and cold lights of the sky in pictures composed of much warm color in the middle distance1 as midday effects1 sunsets1 etc4 ,the foreground should show a great deal of relief1 distinctness and accuracy in the drawing of these small objects which are particularly marked1 but are merged into masses when further removed4 ,with regard to roads in your painting1 ,yellow ,ochre1 mixed with ,burnt ,sienna1 and lowered with ,indian ,red and ,indigo4 ,indigo and ,brown ,madder being transparent colors1 will allow a wash of ,cobalt ,blue and ,pink ,madder to alter the hue without danger of opacity4 ,,water4--,the same as for clouds1 blended with the local color of the water 7greenish7 and with the reflected objects4 ,,dark ,,sea is indicated by combining ,indigo1 ,vandyke ,brown and ,lake4 ,,dark ,,sky4--,indigo1 mixed with ,pink ,madder and ,gamboge4 ,,in ,,brick ,,work4--,mix ,ochre with ,french ,blue and ,indian ,red1 ,indigo and ,venetian ,red1 ,ochre and ,pink ,madder for bright part of brick work4 ,when the color is more of red1 ,vermilion may be used1 with caution1 and in small quantities for lights4 ,for shades1 mix ,sepia and ,purple ,lake1 or ,sepia and ,indian ,red2 ,sepia alone is used for light shadows from trees4 ,we will now paint a landscape1 the foreground composed of rocks lying near and dividing a stream of water from a road2 the margin of the river skirted by trees2 beyond a range of hills1 and still beyond another range of mountains with high points extending above all else2 cattle standing at the foot2 flock of sheep coming along the road1 cottage1 etc4 ,direction4 ,cover the entire surface of your board with a tint of ,yellow ,ochre of moderate strength2 when this is dry a tint is formed from the mixture of ,cobalt ,blue and ,pink ,madder1 the blue predominating2 use it in a very diluted state1 on the side whence the sun is supposed to shine1 graduating the tint as the opposite part of the sky is approached1 so that the ether may appear of a clear and rather strong color2 the lights of the cloud to be left1 and care to be taken to diminish the strength of the tint in the lower part of the sky4 ,the same tint may be carried over the mountains1 leaving small1 brilliant lights if there be any4 ,a wash of ,pink ,madder and ,ochre1 or ,venetian ,red and ,ochre may be given to the lights on the clouds1 afterwards they may receive their middle tint1 composed of ,pink ,madder1 ,yellow ,ochre and ,cobalt ,blue4 ,,the ,,clouds may be finished by shading with ,cobalt ,blue and ,venetian ,red2 the water should receive its tints at this time2 any very bright lights should be left4 ,clouds that are darker than the ether1 lay on with ,venetian ,red and ,ochre4 ,if the clouds are meant to show lighter than the blue of the sky1 they should be left4 ,mix in one dish ,ochre and ,pink ,madder with more strength than the sky tints2 and in another ,cobalt1 ,pink ,madder and ,gamboge1 with as much strength as possible1 so that it will work freely4 ,having the brush charged with the first paint1 proceed to lay in the light parts of the mountains1 varying the color by the addition of ,cobalt ,blue where a greenish line is wanted1 ,pink ,madder where the granite prevails4 ,now1 with a brush filled from the other saucer1 lay in the shady parts1 varying the colors4 ,these opposite tints of light and shade should be made to blend imperceptibly where they meet4 ,indigo1 ,pink ,madder and ,gamboge1 mixed1 will be found useful for dark touches in shadows1 and ,cobalt mixed with ,indian ,red may be used for the same purpose in the lights4 ,,for ,,the ,,hills1 mix ,indigo and ,yellow ,ochre1 so as to make a light green2 lay in the light parts with this1 adding ,ochre when a brighter and warmer light is to be expressed1 and ,pink ,madder when the surface is broken by rock4 ,any bright projecting rocks may receive a touch of ,yellow ,ochre and ,indian ,red1 mixed4 ,a few broad touches will bring this sufficiently forward2 they may be given with a brown1 produced by the mixture of ,indigo1 ,purple ,lake and ,gamboge1 inclining to ,orange or ,purple4 ,,the ,,trees1 skirting the stream1 should be covered at the same time with the first and lightest tint1 varied in the same way and brought into the water1 leaving a sharp strip of light at the edge for a bank or path4 ,any very light stems of trees should be left4 ,when this has become quite dry lay in the trees with ,gamboge1 ,burnt ,sienna and ,indigo1 mixed1 for the light2 ,purple ,lake1 mixed with ,indigo and ,gamboge1 for stems2 stronger and browner for dark touches4 ,the rocky masses lying in the water near the promontory may be covered by a tint of ,indigo and ,brown ,madder1 mixed2 a little ,olive ,green will vary the tint1 if a greenish hue is wanted4 ,gamboge1 mixed with ,indigo to a light green1 and varied with ,purple ,lake and ,indigo1 will serve for the parts of the rising ground seen through the branches of the trees1 which may receive a tint of ,indigo mixed with ,burnt ,sienna and ,olive ,green4 ,,the ,,foreground may be laid in with ,indian ,red1 mixed with ,yellow ,ochre1 and broken by ,sepia or ,indigo2 shadows across the road may be rendered by washes of ,indigo mixed with ,brown ,madder1 and ,lampblack mixed with ,purple ,lake for cool slate colored rocks in shade4 ,birch trees should be covered with a tint of ,indian ,yellow and ,burnt ,sienna1 and shaded with ,brown ,madder and ,indigo mixed1 or ,sepia and ,purple ,lake4 ,bring out the stems by dark touches of ,vandyke ,brown mixed with ,purple ,lake1 in shade4 ,the dark greens about the foreground should be composed of ,sepia and ,indian ,yellow4 ,the figures in the landscape may have some red in the drapery2 the sheep1 a little ,yellow ,ochre4 ,in mixing the colors always incline towards warmth1 because a little more coolness and atmosphere may be given by a wash of ,cobalt ,blue mixed with ,pink ,madder or ,indian ,red4 ,reflections in water should be painted similar in hue to the objects1 but lower in tone and more transparent4 ,large stems of trees may be colored effectively by applying varied greys1 browns 7made by a mixture of ,indian ,red1 ,french ,blue and ,ochre71 for light sides1 leaving any very bright features shown in the bark4 ,brown ,madder and ,brown ,pink1 and sometimes ,vandyke ,brown mixed with ,indian ,lake1 will be found of service for markings4 ,when laying on the blue in the sky1 be careful to leave the shape of the light parts of the clouds1 then with another brush wash in the middle tint and suffer it to blend with the blue on the shady side of the cloud4 ,add a little ,venetian ,red1 as the tint is carried down to the horizon2 mix more ,cobalt for distance4 ,give a first color to the road and cottage2 pure ,yellow ,ochre for the light of the plaster1 with white paper left1 and with very small portions2 the shade1 ,sepia or ,brown ,madder1 mixed with ,indigo2 the hedge by the cottage1 brown-pink1 olive-green1 mixed with ,burnt ,sienna4 ,,when ,,the ,,drawing ,,is ,,dry1 begin with the sky1 and heighten or subdue as seems best2 give the shade to the clouds1 taking care that the indications of shadow1 and feature generally1 grow lighter the nearer they come to the horizon2 the country is distinguished from the sky by outline--a dark touch of blue in the shadows1 from the clouds4 ,dark touches on the roof1 chimneys and windows of the cottage1 will give it relief from the sky1 and give distance to the small objects2 they may be made with ,vandyke ,brown1 mixed with ,purple ,lake4 ,brown-pink1 mixed with ,purple ,lake1 gives a very dark transparency to water4 ,,for ,,moonlight ,,scenes1 wash in the general effect of sky with ,burnt ,umber1 mixed with ,cobalt ,blue and ,pink ,madder1 and ,cobalt ,blue for dark clouds and distances2 ,indigo1 mixed with ,vandyke ,brown and ,pink ,madder1 for the general landscape4 ,the learner1 before commencing at once upon a landscape1 will do well to practice upon blending colors2 commencing with ,cobalt ,blue and ,pink ,madder you will produce a purple2 add ,gamboge1 the purple will be grey1 etc4 ,in the combination of the following colors1 a great variety of tones adapted to skies and distance may be found3 ,sepia and ,gamboge1 ,sepia and ,indian ,yellow1 ,sepia and ,italian ,pink1 ,lampblack and ,indian ,yellow4 ,chinese ,white is of service when tinted paper is used for sketches4 ,,in ,,selecting ,,the ,,paper it should be as natural as possible1 either cool or warm in hue1 according to the effect intended4 ,the tint may serve as middle tint in light of buildings1 stems of trees1 banks1 etc4 ,cold pressed imperial paper is the best for landscape4 ,there are several other kinds of paper which are used1 such as ,whatman's extra thick1 of #adj lbs4 to the ream2 or ,creswick paper1 if white2 or pale cream color1 are good2 but if much opaque color is used in the picture1 any common paper will do1 especially if of a warm grey or brownish color2 and very good pictures are painted on the ordinary brown paper used for wrapping4 ,the most convenient form of paper for sketching in the outlines of a scene is that made up in blocks or tablets4 ,,brushes should come to a fine point of their own accord1 and not bulge out in the middle4 ,sables are the best for general use4 ,the brushes necessary are two or three red ,sable1 or goose quill size1 and a black ,sable of large swan-quill size for flat washes2 or where these are too high price for the beginner1 a large swan-quill ,french camel's hair with good points4 ,do not allow the color to dry on them1 or they are spoiled2 but wash as soon as used and allow them to dry with the hair in its natural position4 ,,other ,,materials1 such as a drawing-board1 a sponge1 an ,,hh pencil for outlining1 ,india-rubber1 a sharp penknife for mixing up opaque colors with ,chinese ,white1 a tin water-bottle to hold water when sketching1 prepared ox-gall to use in small quantities where the paper is greasy or woolly1 a quill pen1 will also be found useful4 ,illustration ,,the ,,colors ,,used ,,are ,indigo1 ,french ,blue1 ,cobalt ,blue1 ,purple ,lake1 ,indian ,red1 ,indian ,lake1 ,pink ,madder1 ,indian ,yellow1 ,gamboge1 ,yellow ,ochre1 ,vandyke ,brown1 ,brown ,madder1 ,sepia1 ,burnt ,sienna1 ,venetian ,red1 ,olive ,green1 ,brown ,pink1 ,vermilion4 ,one of the principal points in which water-color painting differs from oil1 is the laying on of the flat tints by means of washes4 ,,the ,,art ,,of ,,landscape ,,painting ,,in ,,oil ,,colors4 ,,technical ,,names ,,and ,,materials ,,used4 ,,mixing ,,of ,,tints1 ,,and ,,how ,,to ,,apply ,,them4 ,no doubt you are sufficiently acquainted with the general principles of ,drawing and ,perspective at the time you reach this branch of art work1 as to be able to apply them with facility and certainty to the representation1 in outline1 of a given view or subject4 ,the rules here laid down will place within your reach the power of securing to yourself one of the most delightful and agreeable of accomplishments4 ,in the production of a painting in ,oil ,colors1 there are certain modes of operation1 in introducing a beginner to the practice of the art1 the operations are distinguished by the technical names of glazing1 impasting1 scrumbling1 and handling4 ,a ,,glaze is a thin transparent film of color1 laid upon another color to modify the tone1 or to aid the effect of the latter1 the work thereby appearing distinctly through the layer of glaze1 from which it receives a characteristic hue4 ,this process of glazing is effected by diluting proper transparent color with megilp1 or other suitable vehicle4 ,thus diluted1 these colors are laid upon portions of the work1 either in broad flat tints1 or in touches1 partially and judiciously distributed4 ,the object is to strengthen shadows1 and give warmth or coldness to their hue1 to subdue lights that are unduly obtrusive1 or to give additional color and tone to those that are deficient in force and richness4 ,,impasting4 ,in oil painting1 the dark shadows1 or dark portions of the picture1 are painted thinly1 while the lights are laid on1 or 8impasted10 with a full pencil and a stiff color4 ,in the lights of the foreground1 and of parts not intended to be remote or to 8retire10 the impasting should be bold and free2 while in the more brilliant lights it cannot well be too solid4 ,the palette knife has always been a favorite instrument of this 8impasting10 or laying on of color1 capable as it is of producing an agreeable brightness on1 and of giving an appropriate flatness to1 the pigment4 ,a clear and appropriate tint1 skillfully swept across a sky by these means1 often produce a brilliant and charming effect which is surprising4 ,,scrumbling1 the opposite process to that of glazing1 is done by going lightly over the work with an opaque tint1 generally produced by an admixture of white4 ,for this purpose a hog-hair brush is used1 charged with color but sparingly1 and with it the tints are drawn very thinly1 and somewhat loosely1 over the previous painting1 which should1 as in the case of glazing1 be dry and firm4 ,the judicious combination of glazing and scrumbling will produce richness1 brilliancy and transparency4 ,,handling4 ,by 8handling0 is meant the mechanical use of the pencil or brush1 exhibiting the artist's power of adopting certain modes and processes in the expression and representation of the different textures of objects1 such as foliage1 wood1 water1 etc4 ,,light4 ,the position of a painter at his easel should be such that his work may receive the light from his left1 falling upon it only from the upper part of the window of his room1 the lower part being darkened by a piece of green baize4 ,a light proceeding from the north is the best1 it being most uniform through the day4 ,the first thing to be done in painting a landscape is to select a canvas of moderate size1 let the design be drawn upon it with a firm and well defined outline4 ,this being done1 tint the lower part of the canvas in a clear1 warm tone with a mixture of ,yellow ,ochre and ,venetian ,red1 or with a pale hue of ,burnt ,sienna1 in water colors1 mixed with a little ox-gall to make it adhere to the oil ground4 ,illustration ,the upper1 or sky part of the canvas1 being left clear1 commence the work lightly about where the horizon will appear1 and gradually strengthen the tint as you descend4 ,the sketch being laid in1 the painting of the picture may now be commenced4 ,have near your easel a slab of ground glass1 on which you can prepare your tints to a proper consistency or hue4 ,a set of tints1 of the hue of the sky1 and for the distances1 is now mixed1 and you commence with the blue of the sky1 working downwards1 and securing a proper gradation of color2 then follow the distances1 mountains1 c4 ,this being done1 the work is left to dry4 ,the mode of applying the color to the canvas is chiefly by touches1 or pats of the brush in succession1 from left to right4 ,the color should be tempered with a proper quantity of vehicle1 that it may work crisply1 and above all1 that it may be laid sparingly upon the canvas4 ,short hair brushes are best adapted to painting with little color4 ,in laying on1 or 8impasting0 the lights1 the brushes should be rather longer than those used for general painting--such a brush will yield the color more readily4 ,unless the colors be allowed to harden between the first and second painting1 also between the second and third1 they will be liable to be rubbed off by the application of the oils and glazing used in the after painting4 ,when the first painting is dry1 the picture should have a damp cloth passed over its surface4 ,being then wiped dry1 let it be rubbed over with a small portion of poppy oil1 for this makes the after painting unite with the first4 ,it is a mere moistening of the surface that is required--no excess of oil to remain4 ,all that is not necessary should be removed by the moderate application of a piece of silk or linen4 ,in the second painting we advance by giving more attention to the details of various objects2 their drawing1 light and shade1 reflected hues1 and various tints in coloring are more elaborately made out2 the relative distances of objects from the eye are most carefully preserved1 and the shadows1 which are yet painted thinly and transparently1 are carefully united1 with half-tints1 so as to produce a roundness4 ,the third1 or finished painting1 is commenced by wiping and oiling the picture in the manner before described as necessary for the second painting4 ,we then proceed to complete the details of form and color1 which were brought forward in the former painting1 employing for this purpose delicate touches of glazing and scrambling alternately1 not to conceal1 but improve and render as perfect as possible what has already been done4 ,sharp1 vigorous touches where the markings of the details require them4 ,these touches must be made with freedom and decision1 or they fail in producing the desired effect4 ,they should be of a warm tone1 not cold--not grey4 ,in this stage of the work do not attempt too much at one sitting4 ,it is best to allow the colors to dry gently1 and to repeat the operation when necessary4 ,lastly1 a mode of aiding the finish is by passing over a portion of the work with light1 delicate tones1 which are left only on the projecting touches of texture objects4 ,,materials ,,used4 ,many of the pigments which change color by the action of impure air1 and are1 therefore1 useless in water-color painting1 may1 nevertheless1 be safely used in oil painting2 for this reason3 ,in water color the powder colors are mixed with only just enough of some binding cement 7called a vehicle71 such as gum1 size1 sugar1 etc41 to prevent their being easily rubbed off the paper1 and are1 therefore1 freely exposed to the action of the atmosphere1 or of the colors with which they may be mixed2 but in oil colors the powder colors are ground up in oil1 so prepared as to oxidise rapidly in the air into a kind of impermeable leathery resin1 which1 completely enveloping each particle of color1 effectually protects it1 not only from the action of impure air1 but also of neighboring particles of different colors4 ,and it thus happens that pigments may be used in oils with tolerable safety which in water color might turn black in a few days4 ,indeed1 the white which we invariably use in oils--flake white--is certainly one of the most unstable of colors in water colors2 and nearly the same may be said of the chrome yellow1 ,naples yellow1 emerald green1 etc4 ,the colors named below will be found a useful set3 ,flake ,white1 ,ultramarine1 ,prussian ,blue1 ,yellow ,ochre1 ,carmine 7in ,powder799 ,indian ,red1 ,lamp ,black99 ,cappagh ,brown1 ,raw ,sienna1 ,cadmium ,yellow99 ,rose ,madder99 ,emerald ,green99 ,cobalt ,blue1 ,madder ,brown99 ,burnt ,sienna1 ,pale ,cadmium ,yellow99 ,indian ,yellow99 ,the colors marked with an asterisk do not dry quickly1 except when mixed with much flake-white4 ,to these it is necessary to add a very little drier--a mixture of sugar of lead and boiled oil4 ,,brushes4--,after the colors1 the brushes are the most important part of the artist's materials4 ,flat hog's-hair brushes are the most useful for general purposes4 ,these should have polished handles1 and the hairs should not straggle at the point1 but keep together1 so as to form a straight1 thin edge4 ,the small sizes are most convenient when made very short and very thin in the hair1 it being difficult to make the long-haired ones keep together at the point4 ,for fine touches1 sable brushes are the most convenient1 some flat and some round2 the former thin and short-haired1 the latter coming to a fine point4 ,badger's-hair softeners are used1 as their name implies1 to soften broad tints in skies1 etc41 but require the greatest caution in their use1 or they will certainly produce a disagreeable 8woolliness10 or smudginess4 ,they are made with the hair radiating1 or spreading out1 towards the point1 and are used by dabbing or jobbing them lightly over the work1 and should always be used clean and dry4 ,the brushes should always be cleaned as soon as they are done with for the day4 ,the easiest way is to rinse them in a little spirits of turpentine1 and1 after drying them on a rag1 wash them out clean by rubbing them in the palm of the hand with thick soap and water1 and then rinsing them in clean water1 and allowing them to dry with the hair in its proper position4 ,it happens sometimes that1 leaving off in a hurry1 one has no time to wash out the brushes carefully4 ,in that case they may be laid by for a few days1 dirty as they are1 with their ends under water4 ,the paint will keep under water without drying4 ,,canvas4--,this is the best material for painting upon4 ,it is sold ready stretched on frames1 and is kept of all sizes at the artists' color warehouses4 ,,prepared ,,paper is perhaps the most convenient material for the beginner1 occupying so very little space when the picture is dry4 ,it must be fastened1 when in use1 to a board by means of drawing-pins4 ,it is also kept bound up into blocks1 like those used for water-color sketching1 and this is1 perhaps1 the most convenient form in which to buy it1 though not the cheapest4 ,,millboards seem to me to possess no advantage over paper1 and are very heavy1 and liable to break at the corners4 ,,panels are heavy and rather bulky1 but are peculiarly well adapted for works requiring high finish4 ,,palettes are usually made of mahogany or satin wood4 ,the latter are the best1 the colors being better seen on the lighter colored wood4 ,the rectangular shape is the most convenient1 and packs best into the lid of a color-box4 ,a wooden palette should have plenty of raw linseed oil rubbed into it before being used1 and be allowed to dry4 ,this will prevent the colors sinking into the wood and staining4 ,a ,,dipper is a small tin cup made to fix by sliding on to the palette1 to contain oil1 turpentine1 varnish1 or any other vehicle used4 ,,the ,,rest ,,stick is used to rest the right hand upon1 while painting those parts of the picture that require great steadiness and care4 ,it should be as stiff and as light as possible1 and is held in the same hand as the palette4 ,,palette-,,knives are necessary implements for mixing and manipulating the colors on the palette4 ,it is convenient to have two of different stiffness4 ,,easels are inconvenient usually in proportion to their cheapness4 ,they should be tolerably firm and heavy1 and should allow the picture to be raised easily and quickly4 ,,vehicle is the diluent used to temper and thin the colors for the purpose of bringing them to a proper state4 ,linseed oil1 rendered drying by boiling with certain metallic oxides1 is the vehicle generally used4 ,drying oil should dry quite free from stickiness in two or three days1 in ordinary weather4 ,copal varnish is also an excellent vehicle1 but dries so rapidly that it will not do where the colors require considerable manipulation with the brush--as in skies and broad tints generally4 ,colors used with varnish will require frequent thinning with spirit of turpentine4 ,megilp is a most pleasant vehicle to use2 so pleasant1 indeed1 that one is apt to use far too much of it4 ,it is made by mixing strong mastic varnish with drying oil4 ,the beginner should bear in mind that all oils and varnishes have a strong tendency to turn dark brown with age1 and should therefore learn to use as little as possible2 indeed1 the colors1 as generally sold1 are ground with sufficient oil for use with a hog's-hair brush2 and it is only where greater freedom is required1 and when using sable brushes1 that an addition of vehicle is of use4 ,it is absolutely necessary1 however1 in the process called 8glazing10 which is where a transparent color is rubbed thinly over parts of the picture1 the general tone or color of which it is desirable to modify4 ,and in this case1 too1 as little vehicle as possible should be employed4 ,,mixed ,,tints4 ,the following are given as examples of some of the tints that may be obtained by mixture of the more important colors4 ,rose ,madder and ,cobalt4 ,with these colors a variety of delicate tints of great purity and permanence may be produced2 of general use in distances1 skies1 water1 etc4 ,yellow ,ochre1 ,rose ,madder1 and ,cobalt4 ,being made up of the three primaries1 are duller or greyer1 but will produce a greater variety4 ,of use in distances1 middle distance1 etc4 ,vandyke ,brown and ,cobalt1 ,brown ,madder and ,cobalt4 ,of use in the same cases as the last4 ,good for middle distance foliage4 ,yellow ,ochre and ,orange ,vermilion4 ,of great use in obtaining warm1 sunny effects in distances1 skies1 clouds1 and for brilliant tints in foregrounds4 ,will give beautiful flesh tints with ,chinese white4 ,yellow ,ochre and ,prussian ,blue4 ,pleasant1 cool1 greyish-greens may be produced with these colors2 especially useful in middle distance trees4 ,may be saddened with black or ,vandyke brown4 ,rose ,madder and ,prussian ,blue4 ,a variety of useful and permanent sober greys and purples may be thus obtained4 ,of great use in cloudy skies and distances1 etc4 ,vandyke ,brown and ,prussian ,blue4 ,useful in the same cases as yellow ochre and ,prussian blue4 ,vandyke ,brown and ,yellow ,ochre4 ,gives good tints for earth1 etc41 in foregrounds4 ,vandyke ,brown and ,gamboge1 ,vandyke ,brown1 ,gamboge1 and ,prussian ,blue4 ,give colors of the greatest use for foreground and middle distance foliage4 ,burnt ,sienna and ,carmine1 ,gamboge and ,burnt ,sienna4 ,warm1 rich1 transparent colors4 ,of use in autumnal foliage1 and for bright tints in foregrounds1 such as the shading of draperies1 etc41 and cattle1 birds1 and flowers2 in fact1 in all cases where very rich transparent color is required4 ,burnt ,sienna1 ,gamboge1 and ,prussian ,blue4 ,of the greatest use for foreground and middle distance foliage4 ,burnt ,sienna and ,yellow ,ochre4 ,useful for the same purposes as ,vandyke brown and yellow ochre4 ,raw ,sienna1 ,carmine1 and ,prussian ,blue4 ,with these three colors an immense number of beautiful transparent greys and browns may be obtained1 useful in all kinds of foreground shadows4 ,burnt ,sienna and ,cobalt4 ,for distant and middle distant foliage4 ,carmine and ,prussian ,blue1 ,carmine and ,french ,ultramarine4 ,whenever brilliant and transparent purples of great depth are required in foregrounds4 ,indian ,red and ,cobalt1 ,indian ,red and ,prussian ,blue4 ,useful in the same cases as rose madder and ,prussian blue4 ,raw ,sienna1 ,madder ,lake1 and ,cobalt4 ,give quiet1 semitransparent greys for middle distances1 cloudy skies1 etc4 ,carmine and ,gamboge4 ,for transparent deep oranges and reds in foregrounds4 ,emerald ,green and ,gamboge4 ,may be sparingly used where very bright greens are required in foreground foliage4 ,orange ,vermilion and ,cadmium ,yellow4 ,safe colors to use for all very vivid oranges4 ,lamp ,black and ,cobalt1 ,lamp ,black and ,gamboge4 ,illustrate the use of lamp black in saddening other colors4 ,the most beautiful greys may be thus obtained4 ,of universal use1 whether for foregrounds1 distances1 or skies4 ,,the ,,oil-,,photo ,,miniature4 ,,called ,,by ,,some ,,cameo-,,oil4 ,,improved ,,method4 ,when the photograph you desire to color is mounted on a card1 first immerse it in boiling hot water4 ,this will soften the paste1 and in a short time the print may be lifted from the mount4 ,do not hurry1 but give the print a thorough soaking before trying to lift it from the card1 and always use great care to avoid tearing the photograph4 ,rinse the picture in cold water to clean it from the paste and coloring matter that may adhere to it from the card4 ,let it remain in the vessel of clear water until ready for mounting on the glass4 ,prepare a little thin starch paste1 as follows4 ,amylum 7,refined ,corn ,starch7 a teaspoonful1 cold water #b ounces1 or nitrate strontium ounce2 stir till dissolved1 then bring it to a boil1 stirring constantly4 ,have the starch paste thin and strain it through fine muslin4 ,having cleaned your ,convex ,glass thoroughly with alcohol and a piece of cotton batting1 take the photograph and blot off the surplus water4 ,paste the face of the print and the concave or hollow side of the cleaned glass with your starch1 being very careful to cover both the print and glass smoothly4 ,a wide bristle brush is most suitable for this work4 ,lay the print on the glass1 the prepared surfaces together1 and proceed carefully to work the bubbles out with your fingers1 after which lay two or three thicknesses of tissue paper on the print1 and with an ivory paper-knife1 or flat stick1 with curve about the same as the concave surface of the glass1 work the print down to the glass1 forcing out all the air4 ,work from the centre of the glass toward the edges1 and with great care1 using very light pressure to avoid breaking the glass4 ,the mounting of the print should be done quickly1 as the paste dries very fast4 ,if any bubbles should remain1 prick them through with a fine-pointed needle and rub over with the ivory knife4 ,after mounting the picture on the glass allow it to dry thoroughly4 ,now fill the concave or hollow side of the glass having the picture on1 with ,castor ,oil three parts1 ,oil ,lavender one part4 ,allow the oil to remain until the photograph is transparent2 this will take from three to twelve hours4 ,when perfectly transparent1 pour off the oil and wipe with a fine sponge until nearly dry4 ,your picture is now ready for painting4 ,the colors applied directly to the photograph are those that need no blending--such as the eyes1 lips1 jewelry1 light ribbons1 flower ornaments and neck-tie4 ,edges of ruffles and embroidery should also be touched up on the photograph4 ,when you have finished coloring the picture on the first glass1 pour ,glycerine over it1 being careful to cover the surface thoroughly4 ,drain off and then put the other convex glass to the back of the one having the print1 and wedge apart from it by attaching little pieces of card-board to the second glass with mucilage4 ,have the wedges very narrow and close to the edge4 ,this separates the glasses and keeps the upper one from pressing the oiled and painted glass below4 ,on this second glass you will color the face and other flesh1 hair1 drapery1 and1 if necessary1 the background4 ,the miniature is finished by using card-board to back up the picture1 white being very effective4 ,bind the edges of the glass and card-board together with strips of adhesive paper4 ,,caution6 ,don't use ,silver ,gloss ,starch2 it will not do nearly as well as ,corn ,starch4 ,,directions ,,for ,,coloring4 ,the coloring of the eyes1 lips1 jewelry1 ribbons1 edges of embroidery1 lace1 neck-tie1 flowers1 and other ornaments1 is applied directly on the photograph after it is mounted on the glass and made translucent with the oil4 ,,eyes--,use small brush4 ,,blue ,,eyes--,use ,prussian ,blue mixed with little ,ivory ,black4 ,,brown ,,eyes--,use ,vandyke ,brown4 ,,grey ,,or ,,hazel ,,eyes--,prussian ,blue mixed with ,vandyke ,brown and ,silver ,white4 ,,lips--,use ,rose ,madder4 ,,jewelry--,yellow ,ochre for ,gold1 ,silver ,white for ,pearls1 ,emerald ,green for ,emeralds1 ,rose ,madder for ,rubies4 ,,ribbons--,whatever color is required4 ,flowers and other ornaments the same4 ,the color for ,flesh1 ,hair1 ,drapery and ,background is applied to the concave surface of the clear glass which is placed over the mounted print4 ,,flesh--,use ,vermilion1 ,silver ,white and ,chrome ,yellow2 mix to suit4 ,for children use ,rose ,madder or ,carmine in place of ,vermilion4 ,for dark complexions dull the color by adding ,vandyke ,brown4 ,,hair--,for blonde hair1 use half ,naples ,yellow and ,vandyke ,brown4 ,for lights1 use ,naples ,yellow4 ,brown ,hair1 ,vandyke ,brown4 ,black ,hair1 ,ivory ,black and ,silver ,white1 adding a little ,prussian ,blue4 ,for ,grey ,hair1 use ,silver ,white1 ,naples ,yellow1 ,black1 ,burnt ,sienna1 and a little ,prussian ,blue4 ,,drapery--,whatever color suits4 ,,background--,your own judgment will suggest the proper color to use4 ,if you want to change the work in any way1 take a small piece of cloth1 dipped in turpentine1 and remove the color4 ,for home work and adornment it offers special attractions4 ,the photographs of relatives and friends can be made into ,oil-,photo ,miniatures1 done by your own hands1 and handsomely furnished for the mantel and wall at small expense4 ,we have given you the simplest and best process for making the picture4 ,it is claimed by some that when the oil is used it dries out after a time1 and produces opaque spots4 ,should this trouble appear1 it is easily overcome by using glycerine as previously directed4 ,we herewith give you another method in use1 and you can adopt whichever you see fit4 ,,second ,,method4 ,,ivory-,,type ,,or ,,mezzotint4 ,,for ,,mounting ,,the ,,photograph4--,isin-glass 7fish glue7 made in the following proportion3 ,one teaspoonful to half cup of water1 dissolved by boiling2 strain through fine muslin1 and apply the same as starch4 ,pure ,albumen1 or white of egg1 brushed over the glass and surface of the photograph1 is used with great success by some4 ,equal parts ,canada balsam and turpentine is also used for attaching the print to the glass4 ,rubber varnish1 made with pure rubber1 dissolved in benzole4 ,some add a little ,cooper's glue to the starch when making it4 ,dextrine is a favorite with many4 ,after the use of the castor oil1 castor oil and glycerine1 poppy oil1 nut1 or any of the oils1 the print may be covered with a coating of ,damar varnish1 which it is claimed holds the oil and preserves the transparency4 ,many artists after oiling or varnishing1 use water colors mixed with ox-gall in coloring on the back of the print1 then follow with the oil colors as directed4 ,in adopting any of the methods herein noted1 your judgment will dictate care in observing the results1 and suggesting changes that may facilitate the work1 and success of the picture4 ,you will find this art very attractive1 simple1 and productive of both pleasure and profit4 ,ladies are occupying leisure hours1 and making home attractive with their artistic work in producing the ,miniature4 ,by the first process pictures have stood for years without spotting or cracking4 ,,another ,,plan ,,is3 ,after cleaning the photograph1 blot off the surplus water and place it in alcohol1 let it remain until transparent4 ,old1 faded pictures can be brought out clear in this way4 ,after placing it on glass1 cover the print with 8paraffine10 and let it lie for a short time in the sun1 until crystalized1 when it is ready to receive the colors4 ,you may use water colors on the first glass with good effect4 8,by this simple process any person unaccustomed to painting1 and ignorant of art1 may color photographs1 and produce with rapidity and little trouble1 effective1 permanent1 and beautiful pictures1 so soft and delicate as to closely resemble painting on enamel2 may render the treasured family portrait doubly valuable by adding the warm tints of life to the faithful but cold and deathlike production of the photographer1 and produce a pleasing as well as a truthful representation4 ,the largest and the smallest work may be painted with equal facility1 the life-size portrait or a miniature for a locket1 the only qualification for success1 even in very elaborate pictures1 being taste in the arrangement of the colors4 ,an objection to coloring photographs1 as coloring has hitherto been practiced--that the delicate truthfulness of nature's drawing was injured1 and sometimes a likeness wholly destroyed1 through being obscured by the colorist in the working1 that the only guarantee of fidelity was the talent of the artist--in the beautifully simple process under consideration with which all the softness1 lights1 and shadows of the photographs are preserved40 ,illustration ,,the ,,art ,,of ,,coloring ,,photographs ,,in ,,water ,,colors4 ,illustration ,select a well-defined ,photograph1 one of light color is preferable1 and the background free from spots2 it is also well to have a duplicate copy to refer to in case of necessity--a copy of two different sittings4 ,always select a good subject1 as a good portrait depends much on a good model4 ,in sitting for a photograph1 take your own natural and easy position several feet in front of the background1 with your eyes a trifle above the camera4 ,avoid all superfluous surroundings1 such as fancy chairs1 table covered with books and other objects1 making your face a secondary affair in the picture4 ,preparing the ,photograph4 ,take a piece of ,white ,glue about the size of a hickory nut1 and about one-half the quantity of pulverized alum2 dissolve in half a wine-glass of warm water and it is ready for use4 ,apply the mixture with a flat camel-hair brush to the photograph2 cover the entire face of the picture1 care being taken not to get it too wet4 ,when dry1 wash it in clean cold water with a sponge to remove any superfluous matter that may rest upon it4 ,it may be necessary to go over it a second time1 as it is essential that the paper be well hardened to work upon4 ,you may test it by applying a drop of the color to one corner and if it washes off and leaves no stain the paper is in good condition for the work4 ,albumen paper can often be worked without using this preparation1 but should be sponged off with cold water4 ,the colors used are in cakes3 ,dry ,carmine1 ,rose ,madder1 ,crimson ,lake1 ,venetian ,red1 ,indian ,red1 ,vermilion1 ,chrome ,yellow1 ,indian ,yellow1 ,roman ,ochre1 ,gamboge1 ,cobalt1 ,french ,blue1 ,emerald ,green1 ,indigo1 ,prussian ,blue1 ,burnt ,sienna1 ,burnt ,umber1 ,sepia 7,brown71 ,vandyke ,brown1 ,madder ,brown1 ,ivory ,black1 ,chinese ,white1 ,constant ,white4 ,burnt ,umber1 mostly used for the hair2 ,vandyke ,brown is one of the most used of browns1 although ,sepia may be said to be the most useful in black silk and satin1 when mixed with ,lake1 ,indigo and ,gamboge2 ,sepia and ,lake for the eyebrows and hair2 ,sepia and ,indigo form a gray1 very nice for background4 ,of ,red1 ,carmine is the most brilliant2 ,rose ,madder the most useful in flesh1 especially in youths2 in elder persons add ,vermilion2 ,crimson ,lake is very useful for flesh tints2 ,light ,red1 ,venetian and ,indian ,red can be used for nearly the same purpose4 ,coloring4 ,commence upon the face with the flesh tints1 using for this a good size ,sable brush2 go over the entire face and wait till dry4 ,use for the lips a little ,vermilion and ,lake4 ,now go over the background1 and then the draperies4 ,deepen the ,carnations1 touching the eye and mouth with ,lake2 also the hair with the proper color4 ,touch the under lip with ,rose ,madder enough so as it may look natural4 ,the white of the eye in youth is nearly blue1 in old age it becomes yellow1 in middle age it is white4 ,you must vary your tints to correspond4 ,the iris must be laid in with transparent color1 then shaded1 then finished with ,chinese ,white4 ,the pupil is touched with a dark color and the speck of white laid on last4 ,use the same color for black or brown as used for the hair1 viz43 ,light ,red and ,chinese ,white1 and neutral or ,purple tint and ,white for the latter4 ,the face is now nearly finished2 it only remains to add a few touches to the eyes and mouth1 and impart life and expression to the countenance4 ,if the person be dark1 use ,sepia and ,purple ,lake1 equal proportions2 but if fair1 dispense with most of the ,sepia4 ,next complete the background1 after which finish up the hair over the background2 after the last shaded parts of the hair lay on the high lights4 ,burnt ,umber is most useful in brown and auburn hair2 ,indigo1 ,sepia and ,lake1 or ,lake1 ,indigo and ,gamboge1 are the colors used for high lights1 the lights inclining to a purple tint1 the blue predominating4 ,keep the hair in masses2 a good sized brush is needed4 ,in painting cloth fabrics it will be well to use the local color at first very light1 much more so than you desire it to be when finished4 ,a black coat3 begin by laying in a weak local wash as directed1 and when it is dry go over the folds with a thin shadow color1 which will prevent them being obscured by the next local wash4 ,having repeated this two or three times1 you will find the garment to be as dark as necessary1 but the shadows will be feeble2 you may strengthen them with ,sepia and ,lake4 ,a good black for gentlemen's drapery is made of ,indigo1 ,lake and ,gamboge4 ,when a blue-black is required1 first make a purple-blue and then add the ,gamboge till the tint is changed into black4 ,in shadowing1 always carry your pencil the way the folds run1 instead of across them4 ,the colors for backgrounds for fair people are blue1 purple and greys4 ,dark complexions should have dark background4 ,stone is represented by a tint formed of ,carmine1 ,indigo and ,yellow ,ochre1 and the more distant you wish it to appear the more must the ,indigo prevail4 ,a background made of ,cobalt1 ,burnt ,sienna and a little ,rose ,madder works well4 ,madder ,brown and ,cobalt answers for the same4 ,a purple cloudy ground is made of ,indigo and liquid ,carmine or ,lake4 ,an opaque ground1 of a chocolate color1 is composed of ,lampblack and ,india ,red4 ,paint curtains over the background and put on the lights with body colors4 ,,russian1 ,,or ,,egyptian ,,method ,illustration ,,of ,,coloring ,,photographs ,,with ,,transparent ,,indelible ,,colors4 ,this is the 8biggest little thing0 in painting that probably has ever been presented to amateur artists4 ,for beauty of arrangement1 ease and simplicity in its execution1 no branch of art work of a similar nature has ever met with like success4 ,with a fair idea of colors and their application1 you may increase the beauty and enhance the value ten fold of any ordinary photograph1 by following these instructions4 ,to produce a first-class picture1 you must necessarily have a good subject to work on4 ,a photograph that will take a variety of colors1 is best adapted for a showy picture4 ,before applying the colors to a burnished or finished photograph1 soften or cleanse the surface with the tongue until the saliva wets the picture evenly1 without crawling2 oxide gall is good1 but saliva is the best for this purpose4 ,for a palette on which to mix or dilute colors1 the bottom of a plate or saucer will answer4 ,always have a piece of blotting paper at hand to take up or remove superfluous paint from the picture1 and use it after each application of color to the photograph4 ,it is not necessary to mix paints on a palette1 washing one color over another will produce better results4 ,a tint is a color absorbed in the picture1 and washing or wetting will not remove it4 ,a surface color remains on top1 and water will remove it4 ,you can use colors stronger over the shadows4 ,use just what liquid you will find on the cork of the bottle1 added to about one teaspoonful of water1 for flesh2 for draperies you can use it stronger1 or as you desire4 ,the liquid colors are mostly used1 and consist of twelve one ounce bottles1 and are very powerful4 ,therefore1 make your application very weak1 a mere tint only is required4 ,repeat the washing or tinting until the desired shade is produced4 ,the colors used are as follows3 ,black1 ,red1 ,blue1 ,green1 ,carmine1 ,gold1 ,brown1 ,violet1 ,orange1 ,purple and ,lemon1 all of which are transparent1 soluble in water1 and used as tinting colors4 ,white is a surface color1 and opaque4 ,for ,flesh--,use first a weak wash or tint of gold2 over this a tint of red1 a little stronger for the lips4 ,white--,this is always used last for high lights2 you can make the white any tint by use of other colors4 ,black--,can be used for a natural tint if toned down2 valuable for all kinds of shading4 ,red--,takes readily1 and produces all tints from rose to scarlet2 used in flesh4 ,carmine--,a delicate pink to magenta4 ,gold--,takes readily2 is a substitute for yellow2 used for jewelry1 flesh1 blonde hair1 etc42 use weak1 and wash over with red for deeper results4 ,brown--,takes readily2 darkened by tinting over with violet or black4 ,violet--,takes on touch1 and is very powerful2 first application very weak to insure even coloring2 it makes all tints from lilac to purple1 etc4 ,blue--,takes slowly2 repeat the washing for deep results4 ,green--,takes easily1 lighten by washing over with gold2 darken with the blue2 always let your first wash or tint be very weak2 increase as desired by repeating4 ,the colors in moist cake form are often used1 but the liquids are preferable4 ,sable brushes1 about ,nos4 #c1 #h and #ab1 are sufficient for ordinary purposes4 ,,how ,,to ,,make ,,photographs ,,by ,,the ,,gelatine ,,dry-,,plate ,,process ,the latest and most rapid advance in the art is due to the discovery of the sensitiveness of a gelatine film4 ,this knowledge has been practically applied in the introduction of plates prepared with such a coating2 they are called 8dry plates10 to distinguish them from plates which must pass through the silver bath1 and be used while wet4 ,the gelatine-bromide dry plates are now in general use for taking pictures of out-door scenes1 landscapes1 houses1 groups of people1 etc4 ,to make photographs1 ,first ,procure an ,outfit from a dealer in photograph requisites1 costing from ten to twenty-five dollars1 consisting of a view camera1 for making #de or #eh inch pictures4 ,this camera is so constructed as to make either a picture on the full size of the plate 7#eh inches71 or by substituting the extra front 7supplied with the outfit71 and using the pair of lenses of shorter focus1 it is admirably adapted for taking stereoscopic negatives4 ,also1 by the same arrangements1 two small pictures1 of dissimilar objects1 can be made on the same plate4 ,included in the outfit1 are also one patent double dry-plate holder1 one large achromatic nickel plated lens1 one pair 8,waterbury0 achromatic matched stereoscopic lens1 one ,taylor folding tripod1 one carrying case4 ,filling the ,plate ,holder4 ,if this is done in the daytime1 a closet or room is selected1 and all white light excluded from it4 ,it is difficult to make this exclusion absolute4 ,one ray of white light will spoil a sensitive plate1 and therefore the evening is generally chosen to develop negatives1 and for illumination1 the light from a ruby lantern is employed4 ,gelatine ,plates are glass1 with one side coated with gelatine1 containing a haloid salt4 ,place one of them in a dry-plate holder1 with the sensitive 7or the coated7 side facing outward4 ,handle the plates by the edge1 between the thumb and fore finger1 without touching the sides4 ,after putting into the holders as many plates as are needed for the day's work1 pack the outfit so that it can be carried about4 ,taking the ,picture4 ,for field service a camera1 a number of plate holders1 filled with sensitive plates1 a lens1 tripod1 carrying case1 and focussing cloth are needed4 ,when these have been taken to the place which you want to photograph1 fasten the camera on the tripod1 throw the focussing cloth over your head1 gather it under your chin1 draw out the back of the camera1 thus extending the bellows1 and continue the movement until the image on the ground glass appears distinct1 then fasten the back of the camera4 ,this is called 8focussing40 ,at the first glance1 an inexperienced person sees no reflection on the ground glass1 but the eye soon becomes practiced to perceiving the inverted image there4 ,substitute a plate holder for the ground glass1 see that the cap is on the lens1 pull the slide out of the holder1 place it on the top of the camera1 or in a convenient place4 ,if everything is now in readiness1 and the time for exposing the sensitive plate determined1 uncap the lens1 re-capping it at the end of the allotted time1 and replacing the slide in the holder4 ,after you have picture impressions on each sensitive film1 pack your outfit and return home4 ,making ,negatives4 ,amateurs may content themselves with making the exposures1 and sending their plates in a light1 tight1 negative box1 to some photographer1 who will produce the finished picture1 and mount them on cards4 ,it is not necessary that this should be done at once1 months may elapse1 and these dry plates be carried hundreds of miles4 ,the chemical outfit for making negatives comprises the following items3 ,two vulcanite trays1 a glass graduate1 a set of small scales1 and weights for weighing chemicals1 a ruby lantern1 a bottle of varnish1 a package of dry plates and of chemicals1 a small quantity of bromide of ammonium1 neutral oxalate of potash1 protosulphate of iron1 hyposulphite of soda1 alum1 and sulphuric acid4 ,these chemicals are not dangerous1 neither will they injure any one who handles them1 and they do not emit offensive odors4 ,silver stains1 and the disagreeable smell of collodion belong to the old or 8wet0 process4 ,at a convenient time take the plate holder into the dark room1 illuminate it with ruby light1 take the sensitive plates out of the holders1 being careful not to touch their surfaces4 ,hold them by the edge4 ,place one of the sensitive plates1 film side up1 in a tray partly filled with water4 ,while it remains there1 mix this solution3 ,neutral oxalate of potash1 #e ounces2 bromide of potassium1 #bj grains2 water1 #bj ounces4 ,if the solution does not turn blue litmus paper red1 add a few drops of oxalic acid1 enough to make it do so4 ,a graduated glass is used to measure out the liquids4 ,after rinsing the glass out1 mix a second solution made as follows3 ,protosulphate of iron1 #e ounces2 water1 #bj ounces2 and acidulate it with #bj drops of sulphuric acid4 ,both of these solutions keep well4 ,now combine a quarter of an ounce of the latter solution with two ounces of the former and mix them well4 ,pour off the water in the tray containing the gelatine plates4 ,be certain not to touch the sensitive side of the plate4 ,flow the combined developing solution over the plate and displace1 by a touch of your finger1 any air bubbles that may form4 ,after a short time traces of the image on the sensitive film will appear4 ,if they do not1 pour the developing solution back into the tray and add a quarter of an ounce more of the iron solution4 ,pour the strengthened solution over the plate and look at it intently4 ,in a short time the details of the picture may be dimly seen4 ,wait patiently till the milky white appearance is changed to a grey color1 and then pour off the developer into a developing bottle1 if you have one4 ,wash the plate in two changes of water4 ,in the unused tray mix a solution composed of #d ounces of hyposulphite of soda and #bj ounces of water4 7,label this tray 8,hypo410 and do not use it for any other purpose47 ,a plate lifter is a convenient device for taking plates out of the solutions or baths4 ,change the plate to the hypo4 tray1 and let it remain there until every vestige of the milky white appearance has vanished1 even from the under surface of the plate4 ,the plate can now be examined by white light1 which has no effect upon it at this stage4 ,wash it thoroughly4 ,a negative washing box will be found to be of great assistance4 ,if this washing of the plate is not done thoroughly1 the hyposulphite of soda crystals will adhere to the plate and mar the picture4 ,meanwhile rinse out the tray first in use and partially fill it with a solution consisting of #bj ounces of water and all the alum it will hold in solution4 ,allow the plate to remain in the alum bath five minutes4 ,cleanse your hands from any adhering soda solution4 ,again wash the plate1 and set it on edge to dry in a negative rack4 ,all the preceding instructions can be briefly summarized4 #a4 ,put some sensitive plates into dry plate holders4 #b4 ,make the exposure4 #c4 ,after taking a plate out of the holder1 place it in a tray filled with water4 #d4 ,drain off the water and put the plate in the mixed developing solution4 #e4 ,wash the plate and place it in the soda solution4 #f4 ,wash the plate and give it an alum bath4 #g4 ,wash the plate and set it in the rack to dry4 ,when perfectly dry1 coat the plate over with negative varnish1 and have that coating dry and hard4 ,now it may be touched by the fingers4 ,making ,prints from ,negatives4 ,at this point the work ceases to be one of faith1 as the results are now to appear4 ,an outfit of printing requisites comprises a printing frame1 a porcelain pan1 a vulcanite tray1 some ready sensitized paper1 a bottle of ,french azotate1 a bottle of chloride of gold1 a glass graduate1 some hyposulphite of soda1 a glass form1 a ,robinson trimmer1 some sheets of fine card-board1 a jar of parlor paste1 and a bristle brush4 ,sensitized ,paper ,prints4 ,in the morning prepare a toning bath sufficient for the prints to be toned that day4 ,put #g grains of chloride of gold into #g ounces of water4 ,label the bottle 8,chloride of ,gold ,solution40 ,take #a ounce of ,french azotate1 #a ounces of the chloride of gold solution1 and add #f ounces of water1 and you have a toning bath which keeps well4 ,where the prints do not give the required tone1 the bath must be strengthened by adding to it some new solution4 ,place the glossy side of a sheet of sensitized paper upon the film side of the negative in the printing frame4 ,do this in a very dim light4 ,the printing has gone far enough when the print looks a little darker than you wish the finished picture to appear4 ,make as many prints from the negative as you desire4 ,wash the prints in several changes of water4 ,take seven ounces of the toning solution and change the prints to the pan containing it1 where the prints should be turned over and over to make the toning even4 ,the toning process should go on until the dark part of the pictures have a very faint purplish tint and the white portion is clear4 ,wash the picture1 but preserve the toning solution4 ,the pictures should now be left for twenty minutes in a solution composed of #d ounces of hyposulphite of soda1 #a ounce of common salt1 ounce of washing soda1 and #cb ounces of water4 ,this solution should also be prepared a day or two in advance4 ,give the pictures a final and effectual washing4 ,after they are dried1 lay them out one by one and1 using the ,robinson trimmer1 cut them to the desired size4 ,now spread over the back of each in turn some parlor paste1 and lay them down with the center on the sheets of card-board4 ,this operation is called 8,mounting ,pictures40 ,press with a paper cutter upon the pictures and toward their edges until you are satisfied that they will lay flat4 ,,draughtsmen',s ,,sensitive ,,paper1 ,,for ,,copying ,,drawings4 ,illustration ,procure a printing frame1 such as photographers use2 lay the tracing1 face down1 upon the glass1 upon which place the sensitive paper1 prepared side down1 then several thicknesses of cotton flannel for a pad to equalize the pressure1 and cause the sensitive paper and tracing to lay in close contact1 and then close in the back4 ,if1 on turning the frame over1 any wrinkles appear1 that side of the hinged back may be opened and a piece of paper laid in just above the spot1 when all will come smooth on closing the frame1 7this should be done in a dimly lighted room71 then expose to direct sunlight1 care being taken that the whole frame comes under the light1 without shadows2 let the exposure be from five to ten minutes1 according to the brightness of the day4 ,remove again to darkened room1 examine by opening one of the hinged backs2 if the lines have slightly turned in color1 it has been highly exposed2 it can be removed and washed in clear water1 with two or three changes1 then hang up to dry4 ,you will have an exact copy of the original1 with white lines on a blue ground1 at a cost of about one tenth that of tracing1 with absolutely no error4 ,the paper must be kept in perfect darkness until used4 ,,the ,,new ,,wood ,,painting4 ,illustration ,,translated ,,from ,,the ,,german4 ,the term wood painting has1 through the numerous designs invented for the purpose1 found such a widespread use that it would be wasted pains to attempt to substitute a more fitting one4 ,not everything that is painted upon wood1 falls under the knowledge of wood painting4 ,no one would think of counting an oil painting1 executed upon wood1 under the category of wood painting4 ,but if the colors were the distinguishing sign1 then wood and water color painting would fall together1 or wood painting could be only an aquarelle painting applied upon wood4 ,wood painting permits itself to be thus defined1 inasmuch as the character of the material and the choice of its objects differ1 so wood water-color painting differs from the actual water color4 ,while it is possible for the water-color artist to produce upon paper the softest tones and most brilliant phenomena of nature1 so that the painting inspires the observer through its life-like freshness2 if the same picture1 by the same artist's hand1 were reproduced in exactly the same manner upon wood1 it would appear raw and unfinished1--yes1 even wholly incorrect4 ,the prepared wood takes the softest tint1 as well as paper1 but the texture of the wood shimmers through the transparent tones1 and though the fibres and pores of the same have taken another hue1 they still act as wood1 and thereby destroy the effect which the artist intended4 ,for it is originally the task of the artist to thus deceive the human sense of vision in such a manner1 and so faithfully imitate the appearance of things in nature that the observer must believe himself transported in the midst of reality and actual life1 through the activity of fancy2 in short1 the artist must reproduce true to nature1 and his pictures have the effect of nature4 ,if one was to try with exclusive body colors which do not allow the grain of the wood to penetrate1 to attain this ideal of painting1 and attempt to create upon wood an actual life-like picture1 we would not conceive such an aquarelle1 that never can compare with a picture upon paper in softness1 just as little as an oil painting upon wood1 as wood painting in the general sense4 ,therefore1 neither the material to be painted nor the colors applied are the criterion of distinguishing reasons for wood painting on one hand1 and the oil or nearer related aquarelle painting on the other4 ,the difference in a measure lies herein1 that the characteristic peculiarity of wood does not subdue1 but is drawn upon for the effect of the painting1 partly in the nature of that which painting upon wood represents or should represent4 ,wood painting1 as far as we have touched upon it1 cannot and does not intend to create natural pictures2 it only serves to ornament objects in wood1 which through colored and tasteful designs are to produce an agreeable charm to the eye4 ,it is not an object in itself1 like a painting1 the frame of which serves as a folio1 but an external addition1 like the ornaments of buildings1 to make an otherwise monotonous surface interesting4 ,wooden articles admit of being ornamented in various ways1 through sculpture work1 by inlaying of colored woods and metal1 and by painting4 ,the choice of ornamenting is naturally dependent upon the purpose the object to be decorated is intended for2 a table1 which must naturally have a smooth surface1 we would not think of making useless by carving the top4 ,wood painting1 as it is now en vogue1 is of a recent date1 and originally sprang out of the idea to imitate the mosaic work of art cabinet-makers4 ,it may1 with consideration for the purpose of the objects to be ornamented1 also imitate carving1 but must not go beyond the wood tones and the production of the effects of light2 it may even attempt to imitate enamel work by the application of strong1 bright colors2 but it ought at the same time be in keeping with the purpose the object in hand is intended for1 and never involve itself in contradictions4 ,its refined field should always remain the imitative1 and should therefore confine itself as near as possible upon the application of ornaments with a surface where effect is flat1 and consequently do not mar the surface4 ,to apply figures1 modest1 decorative additions for the ornamentation of surfaces1 is allowable1 as long as they do not clash with the character of the surface2 but here the limits that are drawn by the nature of the article are not to be overstepped4 ,for every perspective representation of a figure painted with the application of light and shade intends to deceive the observer2 it lifts itself off the surface and no longer works upon our fancy as a part of the surface1 but as body4 ,cases1 chests and other large pieces may be decorated in this manner2 tables1 portfolios and similar pieces which in themselves are required to have smooth surfaces2 smaller objects to be handled1 where the sense of touch can at every moment convince itself of the attempted deception intended for the eye1 one will do well to take heed in not painting these with figures of a plastic effect4 ,such contradictions are not to be tolerated in principle and should be avoided in the selection of patterns and designs4 ,to create a real picture in the beginning lies outside the province of the art of wood painting1 and therefore the practice of the same1 as far as it does not reach into the professional art1 must always be confined within the circle of amateurs4 ,good1 correct drawings of the outlines1 cleanliness in coloring and a proper combination of the colors1 is the highest aim the art of painting upon wood may achieve2 for the artist is greatly answerable for the composition of ornaments1 where designs are used as patterns4 ,but even in the narrow limits in which the art of painting upon wood moves1 it accomplishes much that is beautiful1 that the acquirement of the same cannot be too strongly recommended4 ,this is especially intended for young ladies1 who1 in the occupation of painting upon wood1 find just as agreeable and remunerative diversion as the tedious1 sense-dulling work of embroidery4 ,general ,preliminaries4 ,the first essential requirement to paint upon wood is1 without a doubt1 practice in drawing4 ,one is easily inclined1 inasmuch as there is no self-inventive gift employed in connection with it1 to consider painting on wood as a purely mechanical work1 because the design is traced and transferred upon wood1 by means of tracing paper2 yet there remains1 up to this easy beginning1 the further embellishment entirely to the free hand1 and it is just here that difficulties meet the painter unskilled in the art of drawing4 ,the difficult point in wood painting lies in the conscientious1 artistic execution2 the more pains taken in that direction1 the stronger the lines of beauty and harmony in coloring1 the more certain it is to obtain something excellent in this work4 ,the simplest design1 when correctly and cleanly painted1 has a more agreeable effect upon the observer than the most beautiful pattern that has been faultily produced through a series of shortcomings4 ,requisites4 ,the possession of a good and complete set of instruments1 in a measure1 assists in the success of the work4 ,the following utensils are used in wood painting3 ,lead ,pencils1 7,faber's ,b1 ,,hb1 ,,hh71 a pen knife1 a lead pencil file1 an eraser1 a horn protractor upon which to rest the compass upon round articles1 a ruler1 a square1 a porcelain palette with six cells1 several good fine and coarse water-color brushes on handles with metal ferrules1 several sheets of extra fine tracing paper or cloth2 the latter is more expensive than the paper1 but far more durable1 in such cases where the drawing is gone over again4 ,for the drawing of fine outlines1 pens 7,gillott's crowquill pens are best72 for heavier outlines or large designs goosequills are best4 ,it is desirable to possess a complete outfit of drawing materials1 of which the following are indispensable3 ,a drawing pen1 a compass with pen and pencil pieces4 ,the ,colors4 ,it is advisable to use only the genuine ,india ink1 as the ordinary ,india ink nearly always discolors the soft tints that are painted over it1 which sometimes spoils the entire work4 ,the ordinary water-colors1 not the covering or ,gouache colors are to be used4 ,the prepared wood just as readily takes the ,gouache and covering colors1 as a large number of designs of natural flowers show1 yet this method should not be indulged in1 for this reason1 because it completely covers the texture of the wood1 thereby giving the art critic an opportunity to censure4 ,since wood painting is mostly an imitation of inlaid wood work--mosaic--as a rule the preference should be given to the application of the fitting colors to the stained wood tones4 ,who does not possess a complete outfit of colors1 ought at least secure the following3 sepia1 dark sepia1 burnt sienna1 light ochre1 dark vermilion1 carmine1 cobalt blue1 ,indian red1 olive green1 ,roman brown1 lampblack and white4 ,the best colors are the ,dusseldorf 7,schonfeld or ,winsor ,newton's7 moist water-colors1 in metal tubes or porcelain pans4 ,gold and silver is generally painted from shells1 this is to be used sparingly1 and is polished when the work is finished with a steel instrument1 a knitting-needle1 glove buttoner1 or an agate burnisher4 ,red gold has a dark effect1 retreating2 green gold1 on the other hand1 stands out and has a light appearance4 ,black-lead is to be had in lumps1 and is most effective for bright or red ornamentations4 ,bronze powder is prepared with a little gum water4 ,the possession of a magnifying glass is of importance in going over the work when finished1 and subjecting the same to a severe scrutiny4 ,it also greatly assists in the correction of faults that may have crept in4 ,transferring the ,drawing upon ,wood4 ,a design should be chosen that corresponds with the size and shape of the wood article4 ,a design is seldom spoiled by extending the outer lines1 yet we should be cautioned against the reverse case1 in trying to force a large design upon a small space by omitting the outer lines that serve as a frame4 ,enlarging and ,reducing ,designs4 ,if a design is to be brought within the compass of another1 reduced or enlarged1 take a proportional divider1 or draw a net of equal squares1 the original or a drawing of the same with a lead pencil1 in proportion required for the wood surface1 which are numbered4 ,in each square exactly the same parts are drawn from the design which are contained in the corresponding square on the wood4 ,the ,divisions of the ,wood ,surface4 ,at the beginning of the work1 the surface to be painted is divided by distinct pencil lines into halves1 quarters1 sixths1 etc41 just as the design admits of2 these lines serve as a starting point for the traced design to be placed upon this1 where halves1 quarters1 etc41 must fit exactly into these4 ,the measuring is done by means of a compass or a strip of paper the length of the object1 which gives the center point by cutting the same in two4 ,in painting round articles1 such as lamp plates1 table tops1 etc41 a sheet of paper of the exact size is cut out ,this is folded once1 in halves and quarters1 as the case may be4 ,it is spread upon the surface of the article1 then prick through the creases where they cross each other4 ,to avoid injury to the center of a round wooden plate by the repeated application of a compass1 a horn protractor is fastened to the center with thumb tacks1 which leaves the center transparent1 upon which the compass may be applied with considerable pressure4 ,in the absence of a compass with an extension where large circles are required1 a strip of pasteboard is substituted2 this is fastened to the center by a needle4 ,for every cross line a hole is made into the strip1 the pencil is inserted and drawn around by moving the strip in a circular motion4 ,the ,tracing and ,transferring of ,designs4 ,the design is carefully drawn upon tracing paper or tracing cloth1 by means of a medium soft pencil2 the more perfect the drawing is made1 the more it will lighten the work4 ,if the drawing obtained is perfectly symmetrical1 i4 e41 the right half of the same exactly like the left1 it will save much time and labor by transferring it upon the surface by rubbing4 ,if the symmetrical design is accompanied in the center by a monogram1 motto1 figures or flowers1 these are for the present omitted and traced in a manner which will be explained further on4 ,the tracing of an entirely symmetrical design is reversed1 with the drawing turned downward upon the wood and carefully observed that the center of the tracing lies completely in correspondence with the center line of the division line of the surface4 ,the tracing paper is fastened with wax1 and held as firmly with the left hand as possible1 that it cannot be displaced1 and rubbed with a paper folder or the thumb-nail of the right hand over all parts of the design1 until the same is plainly transferred upon the wood4 ,for figures1 flowers1 monograms and all not strictly symmetrical designs1 the following manner is applied3 ,the tracing paper is laid upon the surface1 design upward1 under which a piece of colored transfer paper is placed and the design is retraced with a hard lead pencil4 ,for this somewhat slower and more tedious manner it is advisable to fasten the tracing and transfer paper with thumb-tacks4 ,those parts of the surface are selected for the thumb-tacks that are afterwards to be painted with black or other ground colors1 so that there will be no visible traces left after design has been transferred4 ,fixing the ,transferred ,design4 ,after the design has been transferred1 all the straight and intersecting lines are carefully measured and compared with the compass from the center or the dividing middle lines2 then with the drawing pen and ,india ink the entire design is gone over in fine lines4 ,in figures and light ornamental designs1 that come upon a dark ground1 the ,india ink line is not put over1 but closely to the outside pencil mark1 or such figures will become too faint in the beginning1 and are lost in the dark ground1 whilst it can always be remedied by the subsequent removal of parts that have been drawn too heavily4 ,the entire article is now cleaned from all pencil marks left by tracing1 and the coloring begins4 ,the ,coloring4 ,spread upon the palette1 before beginning to paint1 all the different colors1 in sufficient quantity1 that are to be used4 ,a good rule in coloring the design1 is not to apply the colors in too dry a state1 so that the separate brush strokes may not be visible4 ,the coloring is just that part of the work which cannot be explicitly enough described and taught in written instructions1 and can only be thoroughly comprehended through the practical knowledge gained by experience1 and thereby perfected4 ,upon the most delicate tinting of entire surfaces the middle tones follow1 lastly the dark ground colors1 black1 and the metals4 ,allow each color to dry thoroughly before beginning with the next1 or going over it4 ,the colors must stand out boldly from each other and should not be too lightly applied2 this must be particularly observed in the dark body tints1 as the colors lose a little of their depth in the process of polishing4 ,when the work is completed1 the entire drawing is gone over again with a fine brush or pen2 all the outlines lost in painting are reproduced with ,india ink4 ,clear white upon light wood is to be avoided as much as possible2 on the other hand1 a mixture of white serves to make the light colors stand out more effectively upon gray or black wood4 ,retouching4 ,if there are any weak points in the painting1 the spots are to be carefully removed with a damp sponge1 and the dampened parts scraped clean with a penknife4 ,if visible holes are left by the thumb tacks used in the tracing of the design1 a small drop of clear water is applied to them1 when they will gradually draw together4 ,paint in good light1 have a steady table1 and keep the design constantly before the eyes during the work4 ,in painting boxes and other high objects1 it is necessary to place on the right and left of the same some other objects1 such as books1 to reach the plane of the surface being painted1 in order that the hand and arm may rest with ease4 ,the ,wood ,articles4 ,wooden articles ready for painting are procured from the cabinet makers1 or at the art stores4 ,there are over #ijj different articles in wood for decorating1 in all shapes and sizes1 beautifully and tastily finished1 for the artist and amateur to paint upon4 ,a few of them may be mentioned here--tables1 panels1 workboxes1 paper weights1 fancy boxes1 fans1 hat brushes1 glove boxes1 albums1 dust pans and brushes1 photo frames1 easels1 trays and newspaper holders4 ,what canvas is to oil painting1 and paper is to color painting1 the above articles are to the art of painting upon wood4 ,not every ordinary smooth-planed piece of wood is adapted to painting4 ,the wood must be prepared for the purpose it is intended for1 or it would cause the color to flow or spread4 ,lime1 maple1 chestnut1 ash and holly are the woods generally manufactured into articles intended for painting upon4 ,olive wood is also excellent for this purpose4 ,in the south of ,france and ,italy1 painted olive wood1 forms quite an article of commerce1 being closely allied with the inlaid work4 ,polishing4 ,procure a bottle of the wood varnish 7prepared for this purpose72 in a warm room1 with a soft flat brush1 go over the article as rapidly as possible1 with a thin coat4 ,leave this first coating until the next day to dry1 in a place entirely free from dust4 ,the varnish is applied twice more in the same manner2 then have at hand a small bottle of white shellac polish and one of linseed oil4 ,make a small ball of flannel2 put upon this a few drops of the oil2 then cover it with a piece of linen1 which is moistened with the polish1 and the article is rubbed in a circular manner1 without resting upon the article when the rubbing is discontinued4 ,if the linen should adhere during the polishing1 put a drop of the oil upon it4 ,it sometimes requires from one to two hours of constant rubbing until the surface is completely smooth and polished4 ,illustration ,designs recommended are those by ,minna ,laudin1 ,hermann ,schaper1 ,e4 ,wendt1 ,emil ,zschimmer and ,elizabeth ,hubler4 ,they are lithographic color plates1 and come in the form of sets4 ,minna ,laudin's designs are among the newest4 ,the two sets contain over twenty patterns1 each fitting exactly in size and shape the wooden articles already mentioned4 ,schaper's designs are intended for larger pieces1 such as table tops1 music holders1 lamp trays1 etc4 ,his first series 7entirely new7 is divided into five sheets1 with as many sheets upon which the outlines of the designs are clearly printed1 to facilitate the transferring of the same upon wood4 ,e4 ,wendt's designs are both unique and rich in their way1 and contain considerable ornamental work in gold and silver4 ,his designs for table tops are extremely handsome4 ,emil ,zschimmer's and ,elizabeth ,hubler's are acknowledged as standard works1 and favorites of the artists engaged in painting upon wood4 ,,transparencies4 ,illustration ,these transparencies1 or window pictures1 are of late very much used and admired1 and are purchased by those who have no knowledge of how they are made1 at exorbitant prices4 ,they are made upon glass1 perfectly transparent1 and require a good light to see them4 ,the way these pictures are produced is simple1 and the process easy to learn4 ,in it lies the secret1 or fundamental principles1 of all glass pictures4 ,instructions4 ,procure a fine1 clear1 ,french plate glass1 size required1 to receive the picture1 and make it perfectly clean with alcohol4 ,select the picture you may desire from the list of fine steel engravings contained in magazines1 etc4 ,go over the face with a damp sponge1 in order to remove the dust or spots that may have accumulated upon it1 and smoothing it out4 ,apply to the face of the print1 with a brush1 a paste made from amylum1 a teaspoonful1 and nitrate strontium1 ounce--sometimes albumen is used4 ,now go over the glass in the same way1 evenly and smoothly4 ,when this is done1 lay the picture1 face down1 upon the glass1 and press with dry cloth until every part of the picture has adhered to the glass1 and all the air bubbles pressed out4 ,lay away the glass for a few hours1 until perfectly dry1 when you wet the paper and commence rubbing it off2 if it works well without any further wetting1 continue the process until every vestige of paper has been removed1 and nothing left upon the glass but the outlines of your engraving4 ,oil it now with castor oil three parts1 oil of lavender one3 if too thick1 add turpentine4 ,it is now complete1 and by holding it to the light it will present a beautiful1 steel-like engraving transparency4 ,you can add a border if you like1 by pasting around the margin a tinted paper2 or to give them still a better finish1 back them up with a pane of ornamental ground glass1 and place in a transparency metal frame1 with rings to hang them by1 which can be found at any art store4 ,illustration ,,the ,crystal1 or ,oriental ,painting4 ,illustration ,illustration ,,instruction4 ,lay the glass over the pattern or copy you wish to paint from1 such as flowers1 birds1 wreaths1 etc41 then with a fine pencil brush1 or a common writing pen1 trace all the outlines of your pattern as well as possible on the glass1 using for that purpose black paint made from lampblack and copal varnish2 if too thick1 add a little turpentine4 ,when this is done1 paint all the glass outside the picture1 or that part not occupied by your drawing1 with the black paint1 same as used in making the outlines1 only a trifle thicker4 ,this will give your picture a neat background2 other colors can be used1 but this gives the best body1 and is the most appropriate1 contrasting well with the other colors to be used in the picture4 ,let it lay until well dried1 so the black will not unite with the colors you are about to use4 ,now1 with the glass still remaining over the copy1 you may commence applying the paints1 if the tracing lines are dry4 ,if you are painting a red rose1 use carmine and flake white1 ,prussian blue1 and chrome yellow for the leaf1 etc41 using a small camel-hair brush4 ,continue in this way until you have used all the colors which appear in your copy or picture underneath1 which remains there to guide you1 and the pen lines upon the glass to separate the colors4 ,when the first color is perfectly dry1 apply the second1 and so on until you have completed all the work which the copy demands1 using your own judgment in the matter1 applying them as they appear in the picture you are working from4 ,when the painting is done and dry1 cover the back of the transparency with copper or tin-foil crinkled1 which gives it a sparkling1 crystal-like appearance4 ,it is now ready for framing4 ,in placing it in the frame1 be careful and not press the backboard too close on to the foil1 or it will destroy the brilliant effect in the picture4 ,the colors used in this kind of painting must be transparent oil colors1 with the exception of the background4 ,for white1 use ground silver or flake white2 for blue1 ,prussian blue2 for pink1 mix scarlet lake and silver white2 orange1 mix chrome yellow and scarlet lake2 for red1 use scarlet lake1 crimson lake1 or carmine2 for green1 mix ,prussian blue and yellow lake2 for purple1 mix red and blue4 ,use the best tube paints and camel-hair brushes4 ,no style of painting has yet been produced which shows transparent colors to such advantage1 and never fails to attract attention and admirers wherever introduced4 ,it is called ,oriental from the fact of its producing effects of coloring equal to the colors of ,oriental flowers1 and the plumage of ,oriental birds4 ,,antique ,italian ,landscape ,painting ,illustration ,,on ,,glass4 ,all honor to the worthy sire who produced the first pictures upon glass1 paper or canvass1 with oil2 and1 although those pictures have passed from sight of the present generation1 we live to enjoy the knowledge given to us through history1 that many a fine artist did live long enough to give to the world the highest productions of his artistic hand2 and1 although passed to 8that bourne from whence no traveler returns10 his teachings are still practiced among men4 ,and no man1 however original he may be1 can to-day sit down and paint the form or ornament of a house1 but that it will be the development or degradation of forms practiced by the artists of early days4 ,the style of painting which is given below is somewhat ancient1 but very ornamental and useful2 and1 although to an extent it passed from existence years ago1 the lovers of decorative art have again revived it in the ,east1 and it is now being sought after and practiced by thousands on account of its being cheap and easy to attain4 ,this plan of transferring the engraving from paper to glass1 and discarding the paper wholly1 is simply wonderful4 ,we give it below3 ,procure a fine quality of ,french glass1 make perfectly clean with alcohol1 then apply with a stiff brush a coat of damar varnish2 after drying about an hour1 apply another coat1 evenly and smoothly2 this allow to dry about ten minutes1 or just long enough to make it sticky4 ,procure an uncolored steel engraving that you may desire to see painted1 and trim off all the paper not connected with the picture4 ,dampen it with a sponge or wet cloth1 and while yet damp place the engraving on the glass with the face to the varnish1 rubbing with your dry hand or cloth until every part adheres to the surface1 and all air has been removed1 rubbing from the center4 ,lay this away a few hours1 until it is perfectly dry1 then dampen the picture again1 and commence rubbing therefrom the paper2 continue this until you have removed every vestige of the same1 nothing remaining upon the glass but the face of the engraving4 ,now apply a coat of boiled oil1 let it dry fifteen or twenty minutes1 and apply another1 or a coat of varnish1 evenly and smoothly2 after laying an hour or two it is ready to receive the paint4 ,as the paper has been all removed the colors will strike through readily4 ,arrange the glass to the light in such a manner that you may see through it1 and apply the colors to the engraving on the back1 as in the ,grecian oil4 ,the outlines and shades are already produced by the engraving1 and all that is necessary now is to place the colors where they belong1 which1 with a little practice1 can soon be acquired4 ,the paints used are1 yellow lake1 yellow ochre1 chrome yellow1 chrome green1 ,prussian blue1 burnt sienna1 ,vandyke brown1 ivory black1 verdigris green1 silver white1 mixed with damar varnish4 ,use brushes as in ,grecian oil4 ,,the ,,grecian ,,oil ,,painting4 ,illustration ,grecian oil paintings are made from engravings and lithographs4 ,there is but little of it done in this country2 and1 although there was quite an interest manifested in it here a few years ago1 it did not live long1 and this is the first time ,i have seen the instructions in print since or before4 ,we select the engraving most desired to hang upon our walls1 7regardless of size71 and place it upon a frame or stretcher with small tacks or glue2 this prepares it for the work4 ,when ready1 commence by sponging it with clean water2 when dry1 saturate it well with turpentine1 applied with a large size paint brush2 when this is done1 apply ,grecian varnish in the same way1 spreading it smoothly and evenly over the surface1 until all the dry spots in the paper have entirely disappeared4 ,the application may be made on either side of the picture4 ,when done1 let it lay level 7with the face down71 twenty-four hours1 and it will then do to paint1 if free from spots and perfectly transparent4 ,when you commence upon the back to paint1 follow the lines with those colors necessary to make it look natural2 the shading being made by the engraving1 nothing is necessary but to apply the colors required4 ,suit your taste in choosing those colors4 ,mix the paints with varnish made from balsam fir three parts1 alcohol two parts1 and spirits of turpentine one part2 or use tube paints1 which are already prepared4 ,in painting the figure of a person1 if the eyes are blue1 mix ,prussian blue and white2 for dark eyes or hair1 ,vandyke brown works with good effect2 for flesh color1 mix red1 white and a little yellow1 adding a little more red for lips or cheeks4 ,you may suit your own taste in regard to the color for background1 but ,i will suggest equal parts of blue1 red1 green1 and ,vandyke brown1 covering all that part which is not connected with the object you have painted4 ,don't apply a second color until the first is perfectly dry4 ,when done1 give the face a coat of varnish4 ,the colors suitable for this painting are chrome yellow1 yellow lake1 emerald green1 carmine1 ,prussian blue1 burnt sienna1 raw sienna1 ,vandyke brown1 ivory black and silver lake4 ,the brushes required are one large varnish brush1 with two or three small to medium size camel or sable hair paint brushes4 ,illustration ,,ornamental ,,glass ,,sign ,,work4 ,illustration ,,for ,,lettering ,,door ,,plates1 ,,ornamenting ,,glass ,,work ,,boxes1 ,,etc4 ,how this art may be applied to making signs of every description1 numbers of dwellings1 door plates1 ornamental borders for pictures1 ornamenting work boxes1 etc41 which are made at a trifling expense1 and unsurpassed for brilliancy4 ,first4 ,clean well the glass to be used1 with alcohol4 ,second4 ,wet with your tongue the side cleaned1 and immediately lay over the whole of that side a coat of gold or silver leaf4 ,third4 ,let this dry on--it will take from two to four minutes4 ,fourth4 ,when the leaf has dried on the glass1 polish it with a ball of cotton4 ,some of the leaf may possibly be rubbed off by the polishing1 but this is of no consequence4 ,fifth4 ,after polishing1 wet again with your tongue the whole side you have polished1 and lay another coating of leaf over it4 ,let this dry4 ,sixth4 ,after the second coat of leaf is dry1 polish it as before1 with the ball of cotton1 and then your sign or door plate will be ready for lettering4 ,as a border will add much to the appearance of the plate1 ,i will now instruct you how to make one4 ,rule with the point of a needle two lines around the edge of the plate1 the outside line one-quarter of an inch from the edge4 ,after the lines have been ruled1 wet your pencil brush1 and with it moisten the leaf laying outside of the space between the lines you have ruled1 and remove with the brush the leaf thus moistened1 working gently from the lines4 ,your border is now made4 ,your next step is to put the lettering on the glass4 ,to do this1 first measure the height of your letters1 then rule with the needle two lines as far apart as the letters are high4 ,when this is done1 lay the letters on the leaf1 one at a time1 beginning at the right hand1 and placing the back of the letters up1 or backwards4 ,hold the letters on firmly with your left hand1 and with your right mark around them with a needle4 ,when you have marked around all the letters in this way1 wet with your tongue the pencil brush1 and apply it to all the leaf on the glass1 except what is needed for the letters and border2 then remove the leaf thus wet by rubbing it gently with the brush4 ,the next process is to apply the ,japan4 ,do this with a small paint brush1 and cover the whole of the side which has been covered with the silver leaf4 ,it will require two coats1 and after these are dry you have an elegant plate4 ,all that now remains to be done is to place the plate in a frame1 to do this apply a little putty to the edges of the glass1 and set it in the frame2 then lay upon the back a piece of paper of the same size1 and over that a piece of tin1 and fill up the remaining space with plaster of ,paris4 ,your door plate is now complete4 ,to ornament glass work boxes1 flowering1 etc41 proceed as above4 ,articles ,used4 ,a small camel-hair pencil brush1 cost three cents2 blue or black enamel1 or ,japan1 per gill1 #be cents2 selected silver leaf1 per book1 7#bd sheets71 #bd cents2 patterns for letters1 per set1 #cg cents2 patterns for numbers1 per set1 #be cents4 ,,note4--,a gill of ,japan will answer for fifty signs4 ,a book of silver leaf will answer for six or eight door plates4 ,,vitremanie4 ,illustration ,,for ,,the ,,easy ,,and ,,inexpensive ,,decoration ,,of ,,windows1 ,,churches1 ,,public ,,buildings1 ,,and ,,private ,,houses4 ,vitremanie is the process by which glass of all kinds may be easily1 durably1 inexpensively1 and elegantly decorated by any person4 ,diaphanie1 which this art supersedes1 was a great success1 7no less than #bej1jjj sheets of designs having been sold in ,england alone74 ,it had1 however1 its defects2 the sheets being applied with transfer varnish1 bubbles of air sometimes remained between the design and the glass1 which in the subsequent process of rubbing off the paper1 resulted in holes2 this rubbing off1 moreover1 required much time1 patience1 and care1 and was rarely perfectly performed4 ,these defects are obviated by ,vitremanie4 ,by this method the designs1 after being covered with ,glucine1 may be applied to the glass with water only1 and the paper removed entire1 a few minutes sufficing for the operation1 and nothing being left upon the glass but the design in colors of unclouded brilliancy and transparency4 ,the ,materials ,required are as follows3 ,the printed designs1 three brushes1 7two of camel's hair and one of hog's hair71 a bottle of each1 ,glucine and enamel varnish1 a roller1 a sponge1 a little blotting paper1 and a pair of scissors4 ,the instructions are very simple4 ,with the camel-hair brush pass a coating of ,glucine over the colored face of the designs that are proposed to be used1 care being taken that the ,glucine does not touch the plain side of the paper2 the sheets of the designs should be laid flat to dry1 they should be left two or three days before being used1 and they will remain good for three months1 or even longer4 ,to apply the design to the glass it should be wetted with water on both sides1 the glass should also be wetted2 lay the design on the glass1 and roll well down--all air bubbles will be easily removed by this means--keep the plain side of the paper wet for a few minutes1 then1 with the point of a knife1 carefully raise a corner of the paper and pull it gently off2 the work is now to be washed with a camel-hair brush and water1 and afterwards dried by placing a piece of blotting paper over the work1 and rolling it2 leave it now for a few hours1 then coat it with enamel varnish1 and the work is finished4 ,in removing the paper it is sometimes better1 particularly when the design is large1 to carefully scratch a hole in the paper1 and tear it off in pieces from the center4 ,the work is more easily performed on free glass1 cut to the proper sizes1 and afterwards fixed over the glass already in the window1 by means of a bead2 it may1 however1 be done upon the window as it stands4 ,the designs may be arranged to fit any window1 strips of lead foil applied with gum being used for the purpose of covering the edges of the borders1 groundings1 etc41 where they join4 ,for circles and other shapes the strips of lead may be stretched with the thumb and fingers to any pattern desired1 the creases being smoothed by the handle of a knife or paper-cutter1 slightly wetted4 ,,diaphanie4 ,illustration ,the ,diaphanie prints for transferring to glass are very similar to the ,decalcomanies2 they are colored lithographs arranged on paper for transferring to glass1 to represent stained glass1 and is equally as pretty1 and not so expensive4 ,by this plan you may ornament your church windows1 lamp shades1 glass work boxes1 or wherever stained glass is employed4 ,the materials required are a bottle of fixatif for fastening it to the glass1 one or two medium size brushes1 a bottle of transparent varnish1 a plate of glass1 and your design4 ,the ,application is as follows3 ,lay on a coat of the fixatif to the face of the design1 and place it upon the glass1 pressing it closely and evenly1 that it may adhere perfectly to the entire surface of the glass4 ,in order to do this1 it may be well to lay over the design a piece of heavy damp paper1 and then roll it to the glass with a small roller used for that purpose2 when this is done1 and it is dry1 apply a coat of transparent varnish with a flat camel-hair brush4 ,some of the designs used are as follows3 ,there are the ,japanese and ,china figures1 autumn leaves1 ,grecian and ,egyptian heads1 birds of paradise1 soldiers1 national figures in bronze1 butterflies1 angels with wings1 roses1 fruits and flowers1 buildings1 landscapes1 etc41 besides ten thousand other choice selections which can be furnished to you by mail1 at catalogue prices4 ,,painting ,,on ,,silk1 ,,satin ,,and ,,velvet1 ,illustration ,,with ,,the ,,english ,,oil ,,colors4 ,from all the different styles of modern painting1 we select this as the most admired1 and seemingly the most sought after by ladies of taste1 fashion1 or wealth2 for nothing will aid more in beautifying the dress than a beautiful flower or butterfly painted upon the little satin or silk scarf which surrounds the neck1 the collar or cuffs2 your monogram on one corner the pocket handkerchief1 or any other portion of the dress desired by the lady artist and lady of taste4 ,transferring4 ,first get the outlines of the picture you wish to paint1 by use of transfer paper1 or in the following manner3 ,lay the picture upon the silk to receive the painting1 and with a needle-point prick through the picture1 following closely the outlines1 until you have passed over the whole1 holding it to its place with one hand--with the other rub over the perforated part a black powder or fine crayon4 ,for this purpose use a piece of velvet1 rubbing it sufficiently to pass the powder through the holes4 ,on raising the picture you have the outlines of it left on the silk1 which is now ready to receive the paints4 ,this method is merely given to aid the beginner in getting started2 those more familiar with painting can commence at once upon the silk1 without the aid of transferring4 ,the ,painting4 ,stretch your silk upon a board1 and lay the board flat4 ,after you have the outlines1 proceed with fine pointed brush1 the same as other fine painting4 ,do not place a brush full of paint upon the work at once1 but use paint lightly at first1 otherwise it may crack and harm the picture4 ,in painting on velvet1 with oil1 place such colors as are intended to be used1 on blotting paper for a couple of days1 until the paper absorbs the oil4 ,this will leave the colors in better condition for this kind of work4 ,use colors lightly--a great deal of stippling is needed4 ,for raised work1 or what is sometimes called ,kensington painting1 use sugar of lead1 with the colors as a medium4 99 99 99 99 99 ,n4 ,b4 ,use for this painting the ,english ,oil ,colors1 and mix with gold size or opaque mixture4 ,after the work is completed1 if it looks dull1 you can bring it out again by using the sicatif gently upon the surface4 ,illustration ,,staining ,,wood ,,and ,,ivory4 ,illustration ,,yellow4 ,diluted nitric acid will produce a fine yellow on wood2 sometimes it makes a brown1 and if used strong1 it will be nearly black4 ,,mahogany ,,color ,is produced by a mixture of madder1 ,brazil wood1 and logwood1 dissolved in water and put on hot4 ,the proportions must be varied1 according to the tint required4 ,,black4 ,brush the wood several times over with a hot decoction of logwood1 and then with an iron lacquer2 or1 if this cannot be had1 a strong solution of nut-galls4 ,,red can be made by a solution of dragon's blood in spirits of wine4 ,this stain is to be laid on the wood boiling hot1 and before it dries it should be laid over with alum water4 ,,blue4 ,ivory may be stained blue thus3 ,soak the ivory in a solution of verdigris and nitric acid1 which will make it green1 then dip it into a solution of pearlash boiling hot1 and it will turn blue4 ,to stain ivory1 black1 the same process as for wood may be employed4 ,purple may be produced by soaking the ivory in a solution of sal-ammoniac and four times its weight of nitrous acid4 ,,to ,,produce ,a ,,crystalline ,,surface ,,on ,,paper1 ,,wood ,,and ,,glass4 ,illustration ,a concentrated solution of salt1 acetate of soda1 ,epsom salt1 etc41 mixed with ,dextrine in the cold1 and laid on thinly as possible1 with a broad1 soft brush1 and allowed to dry4 ,the paper must be sized first1 otherwise the formation of crystals will be irregular1 on account of the absorption of the liquid4 ,the coating on glass is rendered adhesive by brushing it with a solution of shellac in alcohol4 ,colored glass arranged in this way makes a pretty transparency4 ,a beautiful adhesive coating of pearly lustre upon paper produces a very handsome card4 ,illustration ,illustration3 8,out of ,art ,culture grows ,refinement40 ,,china ,,painting4 ,illustration ,,painting ,,on ,,china1 ,,porcelain1 ,,earthenware ,,enamel4 ,colors ,used1 and the ,process of ,burning them in4 ,illustration ,at the present time this art is receiving a great deal of attention among the ,american people1 and especially the intelligent class1 who are taking every opportunity of informing themselves in regard to the plan of moulding the various ornaments for use1 the art of decorating them1 the particular kinds of paints used1 and the operation through which they pass in the burning in of the colors4 ,it would be useless for me to attempt a book on art that would meet the wants of the people1 and omit ,china ,painting1 which is gaining universal favor among the higher classes in eastern cities4 ,the art is applied directly to the ornamentation of the house1 which makes it much sought after by ladies1 who take pride in ornamenting their china and earthenware by the use of the ,la ,croix ,enamel ,colors1 which are arranged especially for this kind of painting4 ,after the paints are applied1 the ware requires a certain amount of heat to fix the colors1 and prevent it from being effaced by washing4 ,commence work by first ,tracing the ,drawing4 ,for tracing1 details should be left out as much as possible1 or at any rate indicated soberly4 ,,direct ,,outline4 ,if the pupil can draw well1 she will outline her subject lightly on the object she wishes to paint1 directly1 without tracing1 by means of a lithographic pencil4 ,,transferring4 ,when you want to make a minute and complicated drawing1 you are obliged to transfer1 to avoid getting double lines on the china4 ,before transferring1 prepare your piece of ware as follows3 ,pour three drops of alcohol on the plaque or white plate intended for decoration4 ,it is very easy to trace on a perfectly flat surface4 ,we shall mention several ways4 ,,first ,,method4 ,tracing by ,rubbing4 ,after having traced from the engraving1 or original model to be reproduced1 the outline of your subject 7figure1 ornament1 or landscape71 with one of the lithographic pencils1 you reverse the tracing over a sheet of white paper1 and go over the outline again very carefully with the same pencil2 this being done1 prepare your piece of china with medium as we have just described4 ,the vegetal tracing paper is then fixed1 by means of little lumps of modeling wax1 on the exact spot the subject is to occupy2 and when that is done1 you have only to rub all over the outline with an ivory knife1 to make the lead that is on the vegetal tracing paper convey itself distinctly on to the previously prepared oiled enamel4 ,,second ,,method4 ,tracing with a ,tracing ,point4 ,take either black1 blue1 or carmine transferring paper1 according to the tint of the painting that is to be done4 ,the carmine gives all security for the success of the painting2 it does not soil it4 ,when the piece of paper has been rubbed with carmine from a soft crayon1 after taking great care to remove what is superfluous it is cut to the size of the subject1 or rather to that of the space you are to paint on4 ,to make sure of tracing on the exact spot1 you must draw a horizontal line in the middle of your drawing1 one also in the middle of the tracing paper1 and one as well on the porcelain1 with crosses and letters to each end as landmarks2 two crosses marked ,a and ,b on the horizontal line of the enamel1 and a b on the horizontal line of the tracing paper4 ,the piece is prepared with oil of turpentine or spirits of wine4 ,at the end of two or three minutes you place your drawing on the porcelain in accordance with the marks a b1 taking care to place the middle lines one on the top of the other1 a on ,a1 and b on ,b2 you fix the vegetal tracing paper by means of small bits of gummed paper1 or else with little balls of modeling wax2 the sheet of tracing paper being quite firm1 you slide beneath it the piece of paper rubbed with carmine1 blue1 or black lead2 you then take a porcupine quill with a fine point1 and without leaning too hard you go over all the outline4 ,you must be careful not to press your fingers on the drawing1 for it often causes the deposit of powder to be of the same color as your transferring paper1 which spoils the result and prevents careful painting4 ,before finishing all the work1 lift up a corner of the overlying paper to see if the tracing does mark4 ,it will be but an affair of habit to trace well1 for it is by experiments frequently repeated that one comes to know exactly the amount of strength to be used so that the transferring paper may mark sufficiently4 ,this paper lasts a long time1 and improves as it grows old2 you must prevent it from getting creased4 ,for this1 each time it has been used1 it should be put away into a brown paper cover1 wherein the tracing papers are also placed4 ,,third ,,method is by pricking the outline with small holes1 and in making what is called a 8,poncif40 ,in a bottle containing alcohol the brushes and the dabbers are cleaned after each day's work4 ,to preserve these useful instruments it is indispensable never to leave any color in them2 you must take care to wipe them well after this washing1 and even to blow a little on them1 to make the spirits of wine evaporate1 for if any were to remain it would spoil the color and take away the painting already finished4 ,with a few drops of spirits of wine1 the most loaded palette can be instantaneously cleaned1 and the driest painting can be effaced4 ,for this reason ,i recommend that the little bottle of spirits of wine be kept always far away from you during your work2 if a single drop were to fall on the painting1 it would immediately smear and obliterate the work done4 ,cleaning brushes with spirits of wine has to be done every day4 ,from time to time a more thorough cleaning with soft soap is resorted to2 the brushes are steeped in the soap1 and are washed the next day only4 ,,porcelain ,,and ,,earthenware4--,,composition1 ,,use ,,and ,,mixing ,,of ,,the ,,colors4 ,,general ,,information4 ,we borrow from ,m4 ,lacroix his classification of colors1 which is very practical with regard to their employment in painting3 8,,classification ,,of ,,colors ,,with ,,respect ,,to ,,iron4--,iron plays an important part in the composition of a great many enamel colors2 for this reason ,i have taken it as a standard for my classification of colors into three groups4 8,,first ,,group4--,colors that do not contain any iron3 ,first1 the white2 secondly1 the blues2 thirdly1 the colors from gold4 8,a horn or ivory knife is preferable for the use of colors of this group4 8,a glass muller is still better than knives4 8,,second ,,group4--,colors with but little trace of iron4 ,this group includes the yellows and greens1 several of which colors contain iron in small quantities4 8,third ,group4--,colors with an iron basis1 or of which iron is one of the coloring parts3 ,first1 the reds1 fleshes1 red browns1 and violets of iron2 secondly1 the browns1 yellow browns1 ochres1 blacks and a greater part of the greys40 ,the enamel colors usually designated by the name of iron colors are3 ,all the browns2 the greys1 excepting platina grey2 the blacks1 minus iridium black2 the ochres2 the reds1 and the violets of iron4 ,the enamel colors said to be with a golden basis are3 ,the carmines2 crimson lake2 the purples1 and the violets of gold4 ,,tests4--,the amount of flux added to the coloring oxides for the manufacture of enamel colors varies according to the color2 this difference1 joined to the diversity of the chemical elements1 causes actions in the firing which may modify certain colors and even make them disappear entirely2 it is said expressively that they have been eaten up1 devoured by the fire4 ,we shall cite1 as an example1 the mixture of ivory yellow with carmine1 as one of those which decompose in the firing4 ,other causes act likewise on enamel colors during firing2 the intensity1 more or less great1 of the heat1 the thickness1 and the amount of oil in the color1 the way it is used1 etc4 ,in order to well understand the various influences1 and to secure yourself against accidents1 you must be continually making tests of the mixtures yourself2 it is the only way to paint with safety4 ,it is indispensable for the test to be double1 that is1 on two small bits of precisely the same manufacture of china as the piece you wish to paint4 ,the same mixture is made on both small pieces1 they are both dried1 and one only is fired in order to be able to judge what change is caused by the firing1 by comparing it with the unfired test you have kept by you4 ,besides1 you will be able to make sure of a satisfactory result by comparing your experiments with the test tiles and plates of fired colors4 ,mixed colors should be stirred with the brush when used2 without this precaution they would separate2 light blue would rise on dark blue1 yellow on green1 ivory yellow on carnation4 ,some hints follow which it will be advantageous to verify and to carry out by tests4 ,they apply generally to painting on porcelain or earthenware for the ordinary muffle4 ,,fusibility4 ,hard colors 7those which require the greatest heat to make them fuse7 spoil and often destroy those of a softer flux 7that fuse more easily74 ,the flux added by the manufacturer to the coloring oxide lightens the tint of the color2 dark colors are therefore generally harder than light ones4 ,in the palette of ,m4 ,lacroix the colors more fusible than the rest1 although taking the same time to fire1 are light sky-blue1 light carmine ,a1 pearl grey1 warm or russet grey1 and ivory yellow1 all light colors4 ,,thickness4 ,the tint of enamel colors get darker when you increase their thickness4 ,but you must beware of doing it too much4 ,light and fusible colors used too thick1 blister in firing2 it is prudent to give them only a medium thickness4 ,you should apply in drops those colors only that are specially designed for the purpose2 permanent white1 permanent yellow1 and relief4 ,they hold on earthenware1 but their use on porcelain is liable to failure4 ,,mediums4 ,experience will prove that if too much oil of turpentine is added to the colors used1 which is called adding 8fat10 they will craze in the firing4 ,make some trials by exaggerating this fault4 ,you will remark nevertheless that colors applied very thin1 although with much 8fat10 do not craze4 ,the cracks caused in the firing1 by the action of the resinous part of the oil1 which evaporates and causes the white of the enamel to reappear1 is called crazing4 ,,conduct ,,of ,,the ,,work4 ,it is very important in the first painting to use the most fusible light colors1 and those most easily developed in the first firing1 which is the strongest4 ,commence always on a lighter scale than the final tint1 for in pottery painting any color made too dark in firing cannot be made light again4 ,when the mixtures have produced1 for example1 some browns or russet hues which have not glazed in the first firing1 the glazing is brought back by a little fusible light grey1 applied before the second firing for retouches4 ,these short general instructions will be resumed and developed in the following lessons4 ,,special ,,information ,,concerning ,,painting ,,colors4 ,,mode ,,of ,,use--,,mixtures--,,concordance ,,of ,,enamel ,,with ,,moist ,,and ,,oil ,,colors1 ,,and ,,their ,,usual ,,technical ,,names4 ,whites1 belonging to the first group4 ,white is obtained by permanent white1 7for high lights71 and ,chinese white1 a color of very limited use in painting1 it being preferable to keep the white of the china when possible4 ,permanent white1 alone or mixed with other colors for heightening1 which is called high light1 or relief1 requires perfect grinding4 ,it should be tried by repeated and well fired tests before using it for important works4 ,it is lifted up with the point of the brush1 and laid without spreading4 ,it could not bear two firings2 it is put at the second firing1 which is always less powerful4 ,,blues4 7,first group47 ,in his character as a chemist1 ,m4 ,lacroix gives us1 in his work already quoted1 the general reason for excessive care in using blues4 8,all the blues1 with very few exceptions1 derive their color from cobalt4444 ,as the mixture of cobalt and iron produces1 proportionably1 tints varying from light grey to black1 it is well to take great precautions in painting when blues are used with reds1 fleshes1 browns and ochres4 ,it follows as a natural consequence1 that when you wish to have some beautiful shades of blue1 you must avoid using brushes which have already served for one of the iron colors1 and have not been properly cleaned40 ,blues are laid on in very thin coatings1 particularly blue green4 ,ordinary oil medium4 ,the first painting is but little loaded1 and is shaded with the same tint in a second coating1 added to grey in the last firing for the darkest parts4 ,here are some notes on the concordance of enamel colors with oil colors and their usual names4 ,sky ,blue--sky blue4 ,light ,blue--light sky blue4 ,blue ,verditer--two-thirds ultramarine blue2 one-third deep blue green4 ,slight oiling4 ,barbeau ,blue1 or ,smalt--,victoria blue4 ,marine ,blue 7in oils7--half ,victoria blue1 half carmine ,no4 #b4 ,cobalt--deep ultramarine4 ,prussian ,blue--one-third dark blue2 one-third ,victoria blue2 one-third ultramarine2 a touch of grey ,no4 #b2 a very little touch of purple4 ,indigo--dark blue2 a touch of raven black4 ,,carmines ,,and ,,purple4 7,first ,group47 ,carmines must be used very thin1 lest they should turn yellow in the firing4 ,you must put but little oil to avoid shrivelling4 ,never touch them with a knife2 the brush must be sufficient4 ,it is also recommended1 when using purple1 to fill the brush well and to turn it round and round to dissolve the little gritty lumps generally found at the opening of the tubes4 ,when a pink color has had an addition of purple to it1 spirits of lavender with a drop of oil of turpentine should be preferred to turpentine only4 ,all the carmines are shaded with the same tint4 ,purples are also used for strong shadows1 and blues for reflected lights4 ,if light tints or pinks are made with light yellows1 these colors must not be spread one over the other1 but side by side1 otherwise the carmine tints would be injured4 ,in the first painting1 carmines and purples are to be laid on very light2 it is only in the second firing that strengthening touches are made4 8,when carmines are fired in the muffle at too low a temperature1 silver takes the upper hand and the color has a dirty yellow tint2 if1 on the contrary1 the temperature is too high1 the silver shade is completely destroyed1 and the carmine becomes lilac or violet1 which explains the difficulty in firing carmines4 ,the same thing takes place with purples1 but in a considerably less perceptible degree1 because of the shade being much darker and cassius being in a larger quantity40--,a4 ,lacroix4 ,,enamel ,,carmines ,,and ,,purples are equivalent to the oil colors of the same name4 ,light ,pink--,carmine ,a and carmine ,no4 #a4 ,deeper ,pink--,carmine ,no4 #b with carmine ,no4 #c4 ,laky ,red--,crimson lake4 ,purple ,lake--,carmine ,no4 #a and a touch of purple4 ,peony ,pink--,half ruby purple2 half carmine ,no4 #a4 ,chinese ,pink--,carmine ,no4 #c2 touch of ruby purple4 ,lakes 7in oils7--,carmines4 ,crimson ,lake 7in oils7--,purples4 ,red ,purple--,deep purple4 ,crimson--,crimson purple4 ,,lilacs ,,and ,,violets4 7#ast group1 except the violet of iron1 which belongs to the #c;d group47 ,the same precautions are required in using lilacs as for carmines4 ,lilac--,half carmine ,no4 #a2 half sky-blue2 a touch of carmine ,no4 #c4 ,mauve--,half carmine ,a2 half ultramarine4 ,magenta--,two-thirds carmine ,no4 #c2 one-third deep ultramarine2 a touch of ruby purple4 ,violet--,light violet of gold4 ,deep ,violet--,deep violet of gold4 ,light ,pansy--,light violet of gold1 with a touch of deep ultramarine4 ,deep ,pansy--,deep violet of gold1 sustained more or less and with an addition of ultramarine4 ,,reds4 7#c;d group1 except the purples47 ,red1 a predominant color1 is nearly always used alone4 ,thus1 the reddish tips of green leaves are obtained by placing the red next the green1 but not by putting it over4 ,with the dark colors1 on the contrary1 it is red that disappears4 ,chinese vermilion in oils has an equivalent tint in coral for porcelain applied thin2 backgrounds are made of it1 but it would be risking a great deal to use it in painting1 on account of its extreme sensibility in firing2 besides1 it suffers no mixing4 ,scarlet vermilion is approached by adding a touch of flesh ,no4 #a to capucine red1 and laying on this mixture in a moderate thickness4 ,capucine ,red--,capucine red4 ,poppy ,red--,half capucine red2 half deep purple4 ,a satisfactory result is obtained only at the third application of this mixture1 which loses at each firing4 ,madder--,capucine red2 a touch of purple and of carmine ,no4 #c4 ,gules 7in heraldry7--,capucine red and a touch of purple4 ,venetian ,red 7in oils7--,violet of iron 7third group74 ,,yellows4 7,second group47 ,certain yellows greatly destroy the colors mixed with them1 and even make them disappear entirely4 ,this disadvantage is perceived when too much ivory yellow is mixed with red1 or when that yellow is placed abundantly over other colors4 8,the yellow called silver yellow contains no silver2 it is composed of jonquil yellow and orange yellow4 ,yellows that contain no iron 7yellow for mixing and jonquil yellow7 are generally preferred for making fresh greens4 ,on the other hand1 for mixing with iron colors1 yellows that contain already this metal are used40--,a4 ,lacroix4 ,light yellows scale very easily2 the dark yellows1 being less fusible1 need to be used moderately thin in the first painting1 for the first fire develops them2 at the second firing they increase in depth1 and if they are too heavily loaded they cannot be made lighter again4 ,avoid using yellows next to blues1 which would produce a green tint4 ,for the centers of blue flowers1 which necessitates some yellow1 the place must be well scraped before putting the color4 ,permanent yellow1 7half white and half yellow for mixing71 serves for placing lights in drapery and yellow flowers1 as well as high lights in ornaments4 ,lemon ,yellow--,yellow #dg of ,sevres1 with a touch of silver yellow4 ,golden ,yellow--,half silver yellow2 half jonquil yellow4 ,saffron ,yellow--,two-thirds ivory yellow2 one-third flesh ,no4 #a2 a touch of capucine red4 ,salmon--,two-thirds ivory yellow2 one-third flesh ,no4 #b2 a touch of carmine ,no4 #c4 ,straw ,color--,yellow for mixing1 used very lightly4 ,yellow ,lake--,yellow for mixing4 ,dark ,chrome ,yellow--,silver yellow2 a touch of jonquil yellow4 ,light ,chrome ,yellow--,jonquil yellow4 ,indian ,yellow--,half jonquil yellow2 half ochre4 ,naples ,yellow--,ivory yellow4 ,orange ,yellow--,orange yellow4 ,maize--,half ivory yellow2 half orange yellow4 ,,greens4 7,second group47 ,for foliage it is well to remember that dark tints placed in advance of light ones destroy the latter in the firing4 ,all the greens1 whether in foliage or in drapery1 can be shaded with browns1 reds1 and carmine tints4 ,by painting over for the second fire1 foliage can be made purple or bluish4 ,dark green1 being very powerful1 should be used with caution4 ,the blue-greens are used for the distance1 but then excessively light2 they are tinted with capucine red for the horizon4 ,emerald-stone ,green--,emerald-stone green4 ,water ,green--,half apple green2 half deep blue-green4 ,veronese ,green--,one-third apple green2 one-third chrome green2 one-third emerald-stone green4 ,malachite--,apple green2 a touch of emerald-stone green4 ,blue-green--,deep blue-green4 ,dark ,green--,two-thirds chrome green #c ,b2 one-third dark green4 ,bottle ,green or ,sap ,green--,sap green4 ,emerald ,green--,two-thirds blue-green2 one-third emerald-stone green4 ,,browns4 7,third group47 ,the artistic browns for china which steady painters prefer1 are vigorous browns1 fresh when mixed1 and resisting well the action of the fire1 but which have not the brilliancy of the less coloring browns4 ,the warm browns in oils exist for china4 ,the deep red brown and mixtures of violet of iron and of laky red correspond to the red browns4 ,golden ,brown--,golden brown4 ,vandyke ,brown--,it is impossible to obtain it exactly4 ,the nearest approach would be by mixing brown #ajh with violet of iron4 ,raw ,sienna--,sepia4 ,orange ,mars--,uranium yellow and a touch of purple4 ,,blacks4 7,third group47 ,the blacks in oils are represented in the palette for pottery by raven1 ivory and iridium black1 which answers all purposes4 ,if these blacks fail1 others can be composed by mixtures of simple colors1 as dark reds and dark blues4 ,it would be better to operate in two firings to avoid crazing4 ,the use of iron reds is not admitted on soft paste2 the blacks are to be made with iridium black1 which is ready made1 or with purple and dark green4 ,it is rare that black is needed for subjects painted on soft paste4 ,it is sometimes used in decoration for surrounding ornaments with a line1 but seldom for backgrounds1 excepting on decorative vases of a certain style4 ,,greys4 7,third group47 ,a grey of some kind is always obtained by mixing complementary colors2 reds with greens1 or yellows with violets1 violet being a combination of carmine and blue4 ,the greys obtained by mixing greens1 ready made or composed1 with carmine or purple1 as required1 are very frequently used by flower painters4 ,experience on this subject can only be acquired by continual trials4 ,dove ,color--,dove color4 ,ash ,grey--,light grey used lightly1 and a touch of sky blue4 ,pearl ,grey--,pearl grey ,no4 #f4 ,russet ,grey--,warm grey4 ,brown ,grey--,grey and sepia4 ,,monochrome ,,painting ,,on ,,porcelain ,,or ,,earthenware4 ,,instruction4 ,we now come to painting4 ,begin on porcelain by a plate1 and on earthenware by a tile4 ,if the pupil has had no practice either in water colors or in oils--if1 in a word1 has no idea as yet of setting a palette1 undertake first a monochrome1 that is to say1 a painting done with one color only1 heightened by one or two other tones4 ,monochromes are made in the following tints3 ,grisailles1 green1 blue-green1 blue1 violet of iron1 carmine1 purple capucine red1 sepia1 red brown1 bitumen4 ,deep red brown and violet of iron are the two colors easiest to be used4 ,grisaille ,monochrome3 ,light grey ,no4 #a1 touched up with brown grey4 ,greys ,nos4 #a and #b2 mix a little carmine ,no4 #a to warm up the tints4 ,on porcelain the bodies of cupids are often done in grisaille1 with a little carmine at the extremities4 ,green--,emerald-stone green and deep green4 ,blue-green--,blue-green1 touched up with the same color4 ,blue--,deep ultramarine2 dark blue2 permanent white4 ,or common blue1 shaded with itself2 any other blue would spoil it4 ,violet of ,iron--,violet of iron1 and the same with a grey tint4 ,carmine--,light carmine ,a2 deep carmine ,no4 #c4 ,purple--,deep purple1 strengthened by the same tint placed at the second firing4 ,capucine ,red--,capucine red3 orange red2 sepia4 ,or orange yellow and capucine red in juxtaposition2 the capucine red touched up with red brown4 ,sepia--,sepia touched up with the same shade4 ,red ,brown--,orange yellow for light and distant tints2 the foreground deep red brown4 ,or deep red brown heightened with bitumen4 ,or else deep red brown and sepia4 ,bitumen--,yellow brown2 brown ,no4 #c bitumen2 brown ,no4 #d or #ag4 ,the design having been traced on to the porcelain or china1 you take the tube of color and uncork it with care4 ,squeezing out the color from the extreme bottom of the tube1 you set about the tenth part of its contents on your glass palette1 which should be extremely clean4 ,grind it with the palette knife1 7of steel or of ivory1 according to the color71 for about a minute4 ,sketching ,in4 ,is done with the finest pointed of your brushes1 dipped lightly into the little bottle of spirits of lavender1 then filled with a little of the color taken from the edge of the lump1 turning the brush meanwhile between your fingers to get a fine point4 ,it is better still to work with the color diluted with water1 and with the addition of a little dextrine1 which gives it the advantage of resisting the oils4 ,indicate lightly the nose1 the mouth1 the lachrymals a little1 as well as between the fingers4 ,it will be useless to efface this sketch4 ,you will then begin to paint the head1 taking a larger brush to spread the color broadly and quickly4 ,still very little medium4 ,put a rather light local tint2 while the color is still wet deepen the tone beneath the arch of the eyebrows1 the cheeks1 the extremity of the chin1 and the parts to be shaded1 taking care meanwhile to leave out the bright lights1 or those reflected1 which should remain of the first tint1 in order that the shadows may give an appearance of roundness4 ,take next a small dabber1 with a flat top1 and holding it perpendicularly1 dabble lightly before the color has time to dry4 ,soften and mix well the two tints1 keeping them distinct the while4 ,do the hair after the flesh tints have been laid on1 toning the locks more or less4 ,here1 however1 no more dabber2 on the contrary1 the strokes of the brush must appear and mark the hair4 ,pass on to the drapery1 and wash in broadly the principal shadows with a still larger brush4 ,it will be effective to preserve the white of the porcelain or china for the lights of the draperies4 ,in the first painting1 spirits of lavender are used1 so that the color may dry less quickly4 ,you must not be afraid to paint the drapery with large strokes of the brush1 the effect is all the better for it4 ,above all1 let there be no harsh or dry marks2 in painting there are no marks1 but shadows and lights4 ,before retouching1 the painting must be allowed to dry1 and the medium to evaporate1 and you must not work again on it unless1 lightly placing the tip of your finger on the painting1 you feel scarcely any dampness left2 some1 however1 must remain1 for the color would easily be removed by retouching1 if it were in a pulverized state4 ,the dessication can be hastened by heating1 either at a lamp of spirits of wine1 or in an oven2 but you must wait until the work is quite cold again before resuming4 ,the first painting must be taken great care of1 and kept very clean4 ,while it is drying1 it should be placed out of the reach of dust and damp2 if it be a plaque1 place it in a flat box with a proper lid to it1 shutting hermetically4 ,m4 ,lacroix's colors being perfectly well prepared1 we will not dwell upon the disadvantages offered by the former badly ground colors4 ,the inexperienced beginner used to put too much #8fat1' or too much spirits of lavender4 ,in the former case the painting crazed in the firing2 it was lost4 ,with too much spirits of lavender the colors ran2 fled in the firing4 ,therefore there must be no excess1 but the three mediums must be used with management and discretion4 ,when you retouch your painting1 before the first firing1 you must model by retouching with flat tints1 and you must do it very soberly1 very lightly1 not to remove what is underneath2 work almost dry1 that is1 without much soaking the brush in the spirits of turpentine4 ,if the color does not spread easily1 the brush is wetted with the least possible quantity of oil of turpentine1 a drop of which has been poured on the palette4 ,spirits of lavender are of no use for this second performance4 ,to finish the monochrome completely1 it is necessary to stipple the shadows1 using very little rectified spirits of turpentine4 ,if the beginner will master thoroughly the shadows of the original1 she will not find it more difficult to paint in monochrome than to reproduce a drawing either in black chalk or in stump2 the brush will take the place of the stump or chalk3 the only difficulty that can arise being in the use of the mediums1 and in the lack of time for allowing the painting to dry4 ,i repeat it again1 for it is of great importance1 that with the colors of ,m4 ,lacroix one can work almost dry1 once the palette has been set4 ,when the work is finished1 it is submitted to the firing1 either at home1 7by the ,gabelle process71 or at a decorators4 ,according to the result obtained1 the parts which lack vigor are retouched4 ,in general few raised lights or reliefs are employed4 ,yet in accessories1 they heighten advantageously the brilliancy of the painting4 ,the paint for raised lights is taken from the palette in a particular way2 the brush must lift up a lump of color at the point1 that it may be laid on the easier4 ,raised lights are placed on small flowers1 on jewelry1 pearl necklaces1 etc4 ,a light in the eye is often marked with permanent white1 but it should be used in great moderation1 and placed at the second firing4 ,photographs from casts1 medals1 bas-reliefs1 afford excellent models for copying in monochrome painting4 ,copies of photographs on oval plaques are done with red brown1 heightened with bitumen4 ,raphael's female figures on plaques for sconces1 are copied in light grey1 retouched with brown grey1 on a ground of very light carmine ,no4 #a4 ,china ,painting4 ,,painting ,,the ,,head ,,in ,,colors ,,on ,,porcelain4 ,set on the palette1 at intervals of about an inch1 some ivory yellow1 yellow brown1 flesh ,no4 #a1 flesh ,no4 #b1 light grey1 brown #ajh1 blue-green1 and the other colors4 ,the drawing having been traced with chalk1 you proceed to sketch it in1 which should always be done in the same color as the object4 ,for the flesh take some flesh ,no4 #a at the tip of your brush1 and indicate very lightly the outline of the eyes1 the nostrils1 the corners of the mouth1 and the ears2 but above all1 take care not to make a line all round the face1 as the effect produced in the firing would be exceedingly bad4 ,paint likewise the face1 the neck1 and inside the fingers1 but especially not on the side of the light1 which must detach itself by the local tint only4 ,with the ivory knife mix one-third flesh ,no4 #a with two-thirds ivory yellow2 this forms the flesh color for the local tint4 ,prepare also a little yellow brown for the reflected lights4 ,these two tints are to be applied almost simultaneously1 one next to the other4 ,commence always from the top of the head1 and only when the sketched outline is dry1 otherwise the local tint will remove it4 ,this tint must be laid on very thin2 apply it quickly with precision and without deviation of the brush1 that is1 without discontinuation of tint2 look at the china sideways1 and if the color is deficient in any place remedy that at once4 ,finally1 the tints are made even by dabbing1 and the flesh color is gently blended with the yellow brown by means of a very small fitch brush4 ,for faces high in color1 yellow browns should be used with the reds1 and some violet of iron4 ,while the first tint is still wet1 and before dabbling1 the flesh color should be strengthened with some flesh ,no4 #a beneath the arch of the eyebrows1 the cheeks1 and the lower part of the chin4 ,cast shadows are commenced with yellow brown1 and retouched with brown #ajh4 ,strong shadows are made of violet of iron1 and the edges of blue-green and light grey4 ,paint the lips with flesh ,no4 #a1 retouch with ,no4 #b1 but above all1 let there be no outline either to the upper or to the lower lip1 nothing but a soft1 flat1 pale tint1 strengthened a bit for the shadow4 ,blue eyes are made with sky-blue and a minimum of blue-green1 retouched with blue-grey4 ,brown eyes1 with yellow brown retouched with sepia or bitumen4 ,the pupil1 raven black4 ,the sparkle is left white1 or is laid on with a dab of permanent white4 ,fair hair is begun with ivory yellow4 ,the shadows are made with yellow brown1 and brown #ajh graduated1 and they terminate with grey and bitumen4 ,colored draperies are begun like the draperies in monochrome1 a flat general tint touched up again at once with the same tint to give strength to the shadows4 ,there is nothing prettier than pink drapery shaded with blue1 and yellow shaded with pink or capucine red4 ,white drapery is begun with an extremely light grey1 mixed with green4 ,whites are reserved1 that is1 the greatest possible part of the china is left bare without paint to form the lights4 ,the beginner will do well if she paints a subject with several figures in it1 to ascertain which colors throw back1 and which bring forward4 ,in the foreground1 light colors2 white1 pink1 light blue1 lilac4 ,in the middle ground1 blue1 green1 purple and red are used4 ,for the background there are dark blue1 brown and dark green4 ,the ground is made with ivory yellow 7for the lights71 bitumen1 grey1 and a little violet of iron4 ,trunks of trees are begun with yellow-grey1 greenish-grey1 and bitumen4 ,the palette1 set complete for figure subjects1 includes the following colors3 ,chinese white1 sky-blue1 light sky-blue1 dark blue1 deep ultramarine ,victoria blue1 blue ,no4 #bi1 7special for porcelain scales on earthenware71 brown ,no4 #c1 bitumen1 brown ,no4 #d or #ag1 yellow-brown1 deep red-brown1 sepia1 light carmine ,a1 carmine ,no4 #b1 deep carmine ,no4 #c1 light grey ,no4 #a1 grey ,no4 #b1 neutral grey1 russet or warm grey1 silver yellow1 permanent yellow1 ivory yellow1 7#dg of ,sevres71 yellow for mixing1 7#da of ,sevres71 crimson lake1 raven black1 iridium black1 yellow ochre1 purple ,no4 #b1 crimson purple1 deep purple1 capucine red1 flesh ,no4 #a1 flesh ,no4 #b1 deep flesh1 orange red1 grass green ,no4 #e1 brown-green ,no4 #f1 dark green ,no4 #g1 deep blue-green1 deep chrome green1 apple green1 sap green1 violet of iron1 light violet of gold4 ,illustration ,,china ,,painting4 ,,style ,,of ,,boucher1 ,,flowers1 ,,fruits1 ,,birds1 ,,and ,,landscape ,,on ,,porcelain4 ,,style ,,of ,,boucher4 ,to paint the style of ,boucher 7,cupids7 you begin by transferring your design on the china4 ,then you sketch with flesh ,no4 #a the lines of the face1 and the fingers and toes4 ,when this sketch is dry1 the reflected lights are marked with yellow-brown1 mixed with ivory yellow4 ,the local tint of flesh color is laid on immediately after1 the same as in the preceding lesson2 the dabbling evens the two colors placed side by side1 and blends them one into the other4 ,let it dry1 then heighten by half a tone the extremities of the hands1 feet1 knees1 etc4 ,sketch in the hair and accessories1 the clouds and background1 while the local tint is drying4 ,retouching4 ,when the first painting has lost nearly all its moisture1 return to it again2 work the shadows by stippling some brown ,no4 #ag1 mixed with sepia1 yellow ochre1 light grey1 and a touch of blue-green for the transparent parts4 ,where the flesh is brown1 the reflected lights are made with yellow ochre throughout1 and the scale of browns is more used4 ,a touch of violet of iron warms up the shadows1 and approaches nearer to ,vandyke brown in oils4 ,illustration ,flowers4 ,to paint flowers well it is necessary that the drawing should be exceedingly correct and sober in its lines1 for the tints having to be very light and very pure1 too many pencil marks would injure the painting4 ,the little details of the petals are done with the brush1 without previous tracing4 ,the pencil must only mark the leaf's contour and central vein2 the direction of the brush strokes is enough to indicate the smaller veins4 ,a general rule for the manipulation of the brush in flower painting may be laid down thus3 ,the handling is always done the way of the petals1 converging towards the center4 ,leaves4 ,each plant possesses a particular kind of leaf1 and even in the rose the leaves of different varieties are not alike4 ,thus1 for the leaves of the ,bengal rose1 a semi bright tint1 a shiny appearance without many veins1 the young shoots tinged with carmine1 or else purple mixed with silver yellow4 ,the king's rose3 the leaves of this rose are of a darker green than the preceding2 they are done with grass green ,no4 #e1 the edges of the older leaves become somewhat russet1 the young shoots light green4 ,red rose3 the leaves deep green1 heightened with brown1 the veins dark green ,no4 #g1 the serrations carmine red1 the fading leaves have a reddish brown hue4 ,yellow roses3 shiny leaves inclining to blue-green1 retouched with grey1 mixed with grass green2 the deeper tints made with dark green ,no4 #g4 ,do not use this last color too freely4 ,leaves have a direction1 to paint them properly you must begin them from the top1 that is1 from the stalk end4 ,half the leaf is painted at a time1 from the principal vein to the edge1 making the brush twist in such a manner that the brushmarks and ridges done in the handling may represent the secondary veins4 ,the leaves of bulbs are painted from the top downwards2 so are the leaves of heartsease4 ,the leaves of nasturtium are made almost of a flat tint1 converging to the center1 which is a light spot2 their color is a very light blue-green1 shaded with grey4 ,you must not be afraid to mix purple or carmine with green1 to shade foliage4 ,illustration ,fruit4 ,this style is done indiscriminately on porcelain1 earthenware1 enamel1 and faience4 ,it is very easy2 the essential point is to match well the different shades of color1 and to lay them one over the other while they are still wet4 ,the softener flattens them and helps the tints to mingle4 ,leaves are not dabbled1 nor are the stalks4 ,to describe in detail the manner of painting divers fruit would take too long1 and would1 in truth1 have very little interest4 ,we shall limit ourselves to one example4 ,,painting ,,of ,a ,,peach4 ,flat yellow tints1 graduated into green1 and mixed with grey in the shadow4 ,dabble carefully4 ,be careful to add more oil to the red part1 which is softened afterwards very easily with a dabber1 and red blending freely with its neighboring color from the effect of the oil4 ,illustration ,birds4 ,on faience birds look very well4 ,they are also done on porcelain to imitate ,saxony ware4 ,there is nothing particular to be said about bird painting4 ,with regard to fancy birds1 the merit consists in the servile copy of ancient and exotic types4 ,good examples of natural birds are not scarce4 ,general information sufficient for the use of the colors will be found in our lessons4 ,landscape4 ,landscape is not traced2 it is drawn very lightly1 so that the pencil may form no obstacle to the painting4 ,this is how the painting is proceeded with3 ,on a square ground-glass slab of moderate size set your 8palette0 with green tints1 in the following order3 yellow for mixing1 yellow ochre1 apple green1 grass green1 chrome green1 blue-green1 brown-green1 dark green1 sepia1 bitumen1 violet of iron1 etc4 ,take care to leave a space of about three-quarters of an inch between each color1 in order to be able to mix them1 for they ought not to be used pure2 the effect would be bad and inharmonious4 ,commence by the sky1 using sky-blue and excessively light ultramarine2 the lighter parts of ivory yellow1 also very thin1 and the distance blue green1 with the slightest touch of carmine4 ,skies are to be done with a very large brush1 and the mixing of blue and yellow1 which would produce impossible green clouds1 is to be avoided4 ,skies are worked from left to right2 they are washed in very rapidly1 covering also the place for the trees4 ,a dabber may be used after4 ,the sky being dry1 the trees are massed4 ,inasmuch as light tints would disappear in the firing if they were put beneath dark colors1 fresh tints of apple green are commenced first1 which are retouched or darkened at once before dabbling4 ,when these tints have been laid and are dry1 the foliage is done by manipulating the brush from left to right with little strokes close together1 to imitate the leaves4 ,autumn tints are preferable to greens that are too bright4 ,you obtain them by sepia and the ochres4 ,trunks of trees1 light grey and sepia4 ,branches1 bitumen4 ,for strengthening touches use violet of iron4 ,houses1 ivory yellow mixed with grey2 shadows1 violet of iron4 ,ground1 the lights of ivory yellow1 and sometimes yellow ochre2 shadows1 bitumen2 strong tints1 brown mixed with black4 ,water is done with very light blue-green1 retouched with grey1 and occasionally revived with fresher green to reflect grass or trees4 ,strengthening touches are given at the second firing1 and a glaze is passed over the tints altered in the first firing4 ,,directions ,,for ,,packing ,,decorated ,,china1 ,when it has to be shipped away for firing4 ,have the work perfectly dry2 if necessary1 drying in oven1 which may alter the color1 but firing will restore that4 ,wrap each piece separately in fine paper1 and pack in a box large enough to admit sufficient excelsior straw or paper to keep all steady1 particularly the corners4 ,allow good layers at the bottom and top of the boxes4 ,by sending directions in the box with the china1 its prompt return is assured4 ,in giving instructions with the china1 be explicit as to pieces requiring gilding1 and amount desired4 ,prices quoted on list refer to simple lines only4 ,gilding costs extra4 ,,firing ,,generally ,,done ,,twice ,a ,,week4 ,,average ,,prices ,,for ,,firing ,,decorative ,,ware4 #a ,cup and #ae1 #bj and #be4 ,gilding inclu'd1 #be1 #cj #ce4 ,saucer1 #f ,cup and 7#ab pieces71 #ge4 ,gilding inclu'd1 #a4ej ,saucer1 #a doz4 ,individ'l #ej to #fj4 ,gilding inclu'd1 #a4jj ,butters1 ,plates1 single1 #aj to #ae4 ,gilding inclu'd1 #bj to #be4 #a doz4 ,plates1 #a4jj to #a4be ,gilding inclu'd1 #a4ej to #b4jj ,pitchers1 #aj1 #ae1 #bj1 #be and ,gilding inclu'd1 #bj to #ej4 #ej4 ,fruit ,dishes1 #be to #ej4 ,gilding inclu'd1 #ej to #ge4 ,covered ,dishes1 #be1 #ej and #ge4 ,gilding inclu'd1 #ej4 to #a4be ,placques1 #aj1 #ae1 #bj1 #be to #ej4 ,gilding inclu'd1 #bj to #ge4 ,tiles1 #ff #aj4 ,tiles1 #hh #ae4 ,plates ,banded in any tint desired 7,gilding inclu'd71 per #c4jj doz4 ,other pieces according to size and amount of ,gilding4 ,ladies who wish their ,china gilded must clean the edges of the same4 ,illustration ,,terra-,,cotta ,,painting4 ,illustration ,,enamel ,,painting ,,on ,,terra-,,cotta4 ,illustration ,first outline with a lead-pencil the subject to be painted2 if tracing is preferred1 use tracing paper1 and transfer the design upon the article1 by means of a colored transfer paper4 ,the terra-cotta is now immersed in water2 when thoroughly saturated1 take it out1 and with a soft sponge absorb all the superfluous moisture4 ,if1 during the process of painting1 some of the parts become too dry1 moisten them with a flat brush dipped into water4 ,have on hand a sufficient quantity of white enamel powder1 and with a glass muller grind this upon a ground glass slab until perfectly smooth1 with water1 adding a little gum water 7dissolved gum arabic71 until it assumes the consistency of cream4 ,apply this to the surface to be painted1 going over it a second time1 so as to cover the tint of the ware4 ,the enamel should be put on heavy enough so that it appears raised from the flat surface1 being careful to spread it on very evenly1 that none of the parts are coated lighter than others of the design4 ,enamel will stand firing several times1 and such parts not brought out sufficiently can be restored by retouching the same1 and subjecting the article to a second firing4 ,if the design is to be in natural colors1 these are painted over the enamel after having been fired1 proceeding in the same manner as in china painting4 ,some colors will bear mixing with the enamel before firing2 in such case the dry enamel colors 7,china7 are used1 thoroughly mixed with the white enamel4 ,steel grey1 neutral grey1 blues and yellows are among the colors that bear mixing4 ,the first three are best adapted for mottled or clouded backgrounds1 if such are desired4 ,the glaze contained in the colors and enamel when vitrified by firing1 produce the effect of ,limoges ware4 ,for ornamental work the relief enamel colors can be used successfully in the way of bead work1 as well as in the entire design1 they being already mixed in a powder state1 consisting of about twenty-four different tints4 ,in doing larger pieces1 where a quantity of color is used1 the former instructions are to be preferred4 ,if vases are decorated1 intended for use1 the inside should be washed with a mixture of enamel and color to give it a glaze1 and thus prevent the outer decoration from being injured by the penetration of liquids4 ,before taking the article to be fired1 place it where it will become thoroughly dry1 as it cannot be fired in a moist state4 ,the ,barbotine ware1 which has lately come into the market1 can be effectively decorated in the above manner4 ,,oil ,,painting ,,on ,,terra-,,cotta4 ,upon terra-cotta of a light tint the design is drawn with a lead pencil2 upon that of a dark tint1 use the colored impression paper4 ,place the article between piles of books1 or fill a box with sand1 and lay or stand it into this in the position required2 see that the right arm rests upon an even plane with the article to be decorated4 ,a terra-cotta medium is made from a small quantity of gum arabic dissolved in water1 to which is added a little syrup2 go over the entire article with a flat brush dipped into the medium2 when dry1 repeat the wash4 ,the article is now ready for the oil colors4 ,mix these with flake white1 and use ,mc,guilp instead of turpentine2 lay the colors on fairly thick1 and let them dry for some hours1 then tint and finish with the colors necessary1 without the flake white1 but still using ,mc,guilp4 ,when finished and quite dry1 varnish with best copal or mastic4 ,the artist should have at hand two or three fine oil brushes1 a flat brush1 and the necessary colors4 ,those being indispensable are the following3 black1 burnt light ochre1 terra di sienna1 ,indian red1 and flake white4 ,the artist is reminded that vases of antique shape look best when decorated in antique designs4 ,,water-,,color ,,painting ,,on ,,terra-,,cotta4 ,outline or transfer the subjects as before mentioned4 ,moisten the terra-cotta1 and absorb the superfluous moisture with blotting paper4 ,mix the colors with ,chinese white1 and use with them the terra-cotta medium already mentioned4 ,for the blues1 yellows1 carmines1 and the bright colors1 coat the parts thickly with ,chinese white1 using plenty of medium2 when quite dry1 add the pure1 bright colors4 ,wash them carefully over the white1 mixed with medium1 in order not to rub the latter up1 which would lessen the effect4 ,when finished and thoroughly dry1 varnish with copal or mastic4 ,,burning ,,in1 ,,or ,,mineral ,,decalcomanie4 ,illustration ,a ,,new ,,and ,,beautiful ,,art ,,of ,,instantly ,,transferring ,,pictures ,,to ,,china ,,and ,,other ,,ware ,,to ,,imitate ,,exactly ,,the ,,most ,,beautiful ,,painting4 ,decalcomanie has now been successfully before the public for a number of years4 ,the above is still a later invention1 and never before brought to the market4 ,it has long been a question whether the durability of a transferred article1 particularly on glass1 porcelain1 china1 etc41 could not be improved upon4 ,this has at last been accomplished1 and the choicest designs are now likewise printed with mineral or china colors1 thus meeting a demand often made4 ,articles ornamented in this manner1 and after going through the regular process of burning in1 will be found as durable and impossible to deface as those painted by hand from the celebrated potteries of ,europe4 ,by this1 the art of ,decalcomanie is brought to perfection4 ,,directions4 #a4 ,place the mineral subject which you wish to transfer 7about ten to fifteen minutes before being used71 between some blotting paper slightly moistened4 ,the object of this is to give flexibility to the paper1 which thus moistened will give itself easy to the object1 either concave or convex1 on which you desire to transfer4 #b4 ,cover the object to be decorated with a coat of ,vitrifiable ,varnish1 about the size of the design1 with a flat camel's-hair brush2 leave it to dry a few minutes1 that is1 until the varnish is nearly dry1 and be careful to lay on the varnish as thin and even as possible1 nor leave any spots bare4 ,the varnish may be applied to the picture instead of the ware4 #c4 ,press the picture on in a uniform manner1 and rub at first with a clean piece of linen1 then1 with the handle of a tooth brush1 or ivory handle of an infant's brush1 or any smooth article suitable in shape1 rub constantly for several minutes1 until the entire paper assumes a polished appearance4 #d4 ,place the transferred object in a pail of water1 until the paper detaches itself1 or can be removed without any difficulty4 #e4 ,pass gently a soft brush1 dipped in water1 over the transferred picture1 in order to remove the preparation off the paper4 ,press down the blisters of the picture with a soft pad made of silk or linen1 instead of the above manner1 if preferred4 #f4 ,now lay aside the decorated article for twenty-four hours1 to get thoroughly dry1 and be careful in keeping it out of the dust4 ,this being all done according to directions1 your work is now ready for being burnt in by the furnace4 ,the burning in process for which the work is now waiting1 is only to be accomplished in a china burning establishment4 ,materials ,required4 #a4 ,one flat camel's hair brush4 #b4 ,vial of vitrifiable varnish4 #c4 ,vial of clarified spirits4 ,illustration ,designs go by numbers1 as follows3 #cja4 ,upright ,flower ,bouquets1 #cd1 #cj on sheet #b4aj #ccj4 ,scenes1 ,landscapes1 #bb1 #ce on sheet #a4ej #cea4 ,roman ,heads1 #bb1 #cf on sheet #c4fj #cee4 ,celebrated ,painters' and ,female ,heads1 #bb1 #bj on sh4 #c4jj #eeg4 ,ladies' ,heads1 small1 #a1 #add on sheet #b4dj #dja4 ,children scenes1 ,watteau style1 #bb1 #db on sheet #b4dj #dag4 ,ladies' ,heads1 oval1 #bc1 #bj on sheet #b4dj #ejb4 ,flower ,bouquets1 assorted1 #fd on sheet #b4dj #eje4 ,children's ,heads4 #aa1 #afh on sheet #b4dj #ejg4 ,roman ,heads1 #cb1 #cf on sheet #b4dj #ejh4 ,females1 #dc1 #af on sheet #b4dj #eji4 ,female ,heads1 #bb1 #db on sheet #b4dj #eaj4 ,monkeys1 #cc1 #bj on sheet #a4hj #eaa4 ,roman ,heads1 one color1 #dh on sheet 4#ge #eab4 ,round ,fruit ,pieces1 #ee1 #af on sheet #b4aj #eac4 ,classical ,statuary ,figures in groups1 #fi1 #f on sheet #a4hj #eae4 ,deers1 full size1 #ae on sheet #a4hj #eba4 ,oval ,fruit ,pieces1 #cc1 #cf on sheet #b4aj #eba4 ,bis4 ,oblong ,fruit ,pieces1 #cc and #ac1 #cj on sheet #b4aj #ebb4 ,bis4 ,children's ,pieces1 #cc1 #ah on sheet #b4dj #ebb4 ,children in squares1 #cd1 #ab on sheet #b4dj #ebc4 ,chinese in groups1 #fd1 #aj on sheet #a4bj #ebd4 ,birds in squares1 #bb1 #bd on sheet #b4aj #ebe4 ,oval ,flowers and ,fruit ,pieces1 #eb1 #bb on sheet 4#fe #ebg4 ,garland of ,mosses1 ,roses1 etc41 assorted1 #bh on sheet #b4aj #ecj4 ,etruscan ,figures1 ,emblems1 etc41 #ca on sheet #c4jj #eca4 ,female ,busts1 #de1 #aj on sheet #b4dj #ecb4 ,oval ,landscapes1 #ed1 #i on sheet #b4dj #ecc4 ,children's ,heads1 #bc1 #ba on sheet #b4dj #ecd4 ,fantastic ,warriors and ,females1 assorted1 #ad on sheet #b4dj #eci4 ,female ,busts1 #cc1 #ba on sheet #b4dj #edc4 ,figures in ,groups1 ass't'd1 #h on sheet #b4dj ,the above designs are all to be burnt in on crystal1 porcelain1 etc41 and cannot be used any other way4 ,,preservation ,,of ,,natural ,,flowers4 ,illustration ,,written ,,especially ,,for ,,this ,,work ,,by ,,the ,,first ,,premium ,,preserver ,,of ,,flowers4 ,illustration 8',twas a lovely thought to mark the hours1 ,as they floated in light away1 ,by the opening and the folding flowers1 ,that laugh in the summer's day40--,hemans4 ,there are five distinct methods for preserving natural flowers1 and no one method can be given proper for all varieties1 and all families of the floral kingdom4 ,annuals1 flowers of quick growth1 of a succulent nature1 cannot be preserved in their natural state4 ,balsams require the elaborate chemical method1 and all flowers resembling the balsam require the same specific treatment4 ,to preserve flowers as they should be preserved1 a thorough acquaintance with all five methods is desired4 ,these1 in combination1 form one perfect system1 which requires lessons and experimental practice4 ,there was a process patented1 and practiced for some years1 which was found1 after a year's time1 that the flowers grew dark1 spotted1 and were a distressing souvenir4 ,this was the ,hot ,water ,system4 ,all flowers of a fibrous1 woody nature1 are susceptible of preservation4 ,the fibrous nature of the wood enters into the composition of the flower4 ,roses1 camelias1 japonicas1 tube roses1 and azaleas1 also carnation pinks1 7white71 were preserved in boiling water1 as below3 ,take a few crystals of oxalic acid1 pour on them boiling water1 perhaps a pint to a half dozen crystals1 thoroughly dissolving the crystals2 after separating carefully with the sharp point of a fine moulding pin the flower petals1 drop them into the boiling water1 each flower separately--replace it over the fire and let it boil a few seconds1 watching and removing each petal as soon as the waxy substance of the flower is gone1 and the transparent fibre of the petals remain4 ,coat the back of the petal with sheet wax1 pressing it down until incorporated with the fibre1 and put back the flower precisely as it was taken apart1 using a wax bud for the foundation of the flower1 and using cotton covered wire for the stems4 ,at the ,centennial ,exposition held at ,philadelphia in #ahgf1 a white transparent camelia attracted my attention4 ,being possessed of every receipt in the known world1 and some of my formulas being combinations resulting from experiments under the instructions of the celebrated chemical professors at ,leipzig1 ,i requested permission to examine this flower closely1 and to do so1 was obliged to get special permission4 ,this camelia was transparent1 clear1 pure1 without flaw1 and close examination showed it to be a composite of several different flowers1 all of the same variety1 done by the hot water system1 and instead of wax on the back1 varnished with a fine transparent white spirit varnish4 ,these flowers look well for a while1 but ,i do not commend its general use4 ,it will do where the flowers are to be worn in the hair1 or on the breast1 for a few times only1 but after a year they grow discolored1 spotted1 and are unpleasant souvenirs4 ,the ,sandwich ,island ,process4 ,in the ,sandwich ,islands the ferns are preserved green and fresh for months by those who sell collections to visitors of the ,islands4 ,these are prepared carefully1 and picked in a dry atmosphere1 7remember1 that is indispensable to good preservation71 the fronds selected perfect in shape1 brilliant in tint1 and fully seeded4 ,the fern fully spored is in its prime4 ,the paper used for pressing should be an absorbent1 not letter paper1 or any satin surfaced or calendered papers4 ,the collector should carry the book to the ground1 and not depend on bringing them home in a botanist's case1 or heated by hand bringing4 ,you must pick them dry1 and place them directly in the book1 bringing them home only in that manner4 ,arrived home1 roll a small bit of cotton batting around the cut end of the stem1 and seal the end over with red sealing wax1 leaving as small a wad of cotton and wax as possible4 ,then transfer the ferns into another fresh book of papers1 changing them every morning and evening until dry4 ,the warmer the books are kept the greener and fresher the ferns after drying4 ,then ferns can be used ten years after pressing1 cutting off the waxed end and setting the ferns into water1 they will in twenty-four hours1 fill out again and look like freshly picked ferns4 ,a preserver of flowers said once to me that ferns could not be kept green by any known process4 ,this ,sandwich ,island process is splendid1 and a complete success4 ,by dissolving benzoic acid in alcohol one oz4 to a pint1 coloring with aniline green1 shaded up by mixing brown or black and yellow1 all anilines1 and dipping old ferns1 browned by time1 the ferns can be used for decoration1 in hanging baskets1 or on the window curtains1 but they do not bear close examination4 ,the coloring matter is perfectly perceptible on close inspection4 ,the ,sand ,drying ,method in preserving small flowers is good1 and no process is complete without the addition of this important part of the instruction4 ,it is within reach of every lady1 and the flowers so dried will retain their colors a long time4 ,to every #be lbs4 of fine glass blower's sand add #a oz4 of spermaceti and #a oz4 of calcined borax1 thoroughly mixed and incorporated with the sand4 ,the sand must be kept perfectly dry1 the flowers must be dry1 and from all flowers where the honey gathers at the bottom of the cup1 it must be removed before the sand bath is attempted4 ,this is a delicate operation1 and effected by the use of a crotchet hook1 with a little cotton batting twisted around the point4 ,introduce it delicately in the flower1 remove the honey1 dew-drop or water drop1 and your flower will preserve dry1 in shape4 ,sweet alyssum1 daisies1 candytuft1 can be beautifully preserved and keep their freshness for a long time1 under the sand drying process4 ,some flowers need a varnish before the sand bath1 some need to be varnished after removal from the bath4 ,all labiate corollas1 all flowers cup shaped1 should be first stuffed delicately and carefully with cotton batting before putting them into the sand4 ,this knowledge is obtained only by a regular course of instruction1 as the family of flowers1 or the floral kingdom is so extended4 ,after preparing the flowers1 7all flowers should stand after being plucked a short time1 their stems immersed in cold water1 so as to give full life and strength to the flower1 and if it is to be varnished it should be done while standing in the water71 have ready your sand in a box with a draw bottom4 ,this bottom is drawn out after the process is completed1 leaving the dried flowers intact in the box4 ,fill your box partly1 with sand perfectly dry1 without mixture1 clip off the stems to within an inch of the flower cluster1 and dip it into hot sealing wax1 sealing up the end of the stem carefully and thoroughly1 then immerse the stem in the sand up to the flower cluster1 taking care to space between the flowers--no two touching4 ,after filling your flowers in the box1 commence by pouring in softly and gradually the sand prepared for them4 ,cover them perfectly1 and set the box in a dry place1 where no dampness can get into the sand4 ,a single drop of water1 or a particle of sap1 will ruin the whole of the box of flowers4 ,in some white flowers a little chloride of lime mixed with the sand can be used once1 but as soon as the lime slacks it must be removed4 ,flowers require from two weeks to thirty days in an even heat of #hj degrees1 not more4 ,as soon as the process is complete1 pour off carefully the sand from the flowers1 and if found to be brittle1 expose them a few hours to a dry atmosphere4 ,the ordinary atmosphere of the room will be all that is required4 ,for the five methods combined1 regular lessons are required1 but it is not necessary for any excepting those who desire to make floral preservation a business4 ,the sand drying can be followed by any lady for winter bouquets1 and the usual flowers of the garden1 beautifully preserved in this method1 for winter decorations1 hanging baskets1 etc4 ,jardinieres are a lovely winter ornament1 with green ferns floating1 one could not tell but what these flowers had just been plucked from the garden4 ,the ,last ,process is3 ,clip from the bush1 without injuring the stem1 the buds just as they are opening1 allowing two or three inches of stem with each bud1 and immediately cover the ends with hot sealing wax4 ,when cold1 wrap them up in cotton batting1 separately1 and lay them away in a cool place in a box1 where nothing can rest upon or injure them4 ,at any time you wish to make use of them1 bring them forth from the place of concealment1 cut off the end containing the wax1 and place the stems in a vase of cool water1 containing a little salt4 ,allow them to remain in a moderately warm room for a few hours1 and you will perceive the buds commencing to expand and open1 and soon after you can have the opportunity of beholding a full-blown rose1 representing all those beautiful colors with which nature has so wisely endowed it1 and sending forth1 in all the sweetness and purity of its nature1 the most loving and fascinating odors1 which is so much desired and sought after by lovers of flowers4 ,these flowers in winter command exceedingly high prices1 so much so that some are making it a business of preparing them1 and are making money by the operation4 ,,paper-,,flower ,,making4 ,illustration ,,the ,,arrangement ,,of ,,bouquets1 ,,materials ,,used1 ,,etc4 ,much of the success in making paper flowers depends on the quality of the material1 and the form of the pins1 moulders1 pincers1 etc4 ,the paper should be carefully selected1 reference being had principally to its color and texture4 ,as a rule1 it cannot be too thin1 and must be soft and strong4 ,avoid highly glazed papers1 excepting when such a flower as the peony is to be copied4 ,in passion-flower and fuchsia there is a thickness of texture only to be imitated by placing a sheet of thin waxed muslin between two sheets of paper4 ,for many flowers1 especially roses1 a shaded paper is used1 so colored as to allow of its being doubled1 that a number of petals may be cut from it1 leaving the dark shade in the part required4 ,many flowers will need painting1 and for this purpose powder color is employed1 using it with a tinting brush1 a separate one being kept for each tint4 ,many flowers1 such as tulip1 geranium1 picotee1 etc41 require a second or third shade of color2 for these1 moist or transparent colors are to be used1 violet1 lake1 carmine and sepia being most useful1 but for a complete list of colors the reader is referred to page #adb4 ,the moist colors must be applied with a sable brush4 ,they should all be mixed with water1 in some cases adding a little gum1 for the purpose of more completely fixing the color on the paper4 ,avoid using the powdered color too wet2 it should resemble a thick paste on the palette4 ,sometimes use the color dry1 rubbing it on with the finger1 but this only on rare occasions4 ,several kinds of wire will be wanted1 some flowers having soft and some stiff stems4 ,in some--not many--a very light springing stem is necessary1 as for poppy2 fine soft wire for the stems of fuchsias1 etc4 ,i am led to insist on particular attention being paid to the stems being imitated carefully1 as so many otherwise good specimens have been spoiled by having stems hard looking and unlike the natural flower4 ,wire covered with cotton is generally used1 also fine steel wire for the tendrils of passion-flower1 or for the light and graceful stem of the common field poppy4 ,floss silk is useful2 this must be fine1 strong1 and soft4 ,it is used as a fastening to many of the petals1 to nearly all the leaves1 and when a joint of many stems is to be formed4 ,black tying wire1 for greater strength and larger work1 is sometimes necessary4 ,gum water is used for fastening the work together2 this must not be too thin4 ,the proper tools will be found at an art store1 both as regards size and form1 numbering from #a to #h1 but practice alone will enable the learner to judge which is best suited1 some finding a large1 some a small tool the more effective4 ,the pincers are required to arrange the petals of a flower1 as for a rose1 clove1 etc4 ,scissors adapted to cutting the paper1 having a nipper-like contrivance at the bottom of the blades for cutting the wire4 ,as nearly all the leaves will require some painting1 to give them a warmer or more natural tint than is to be found in those usually purchased1 mix a small quantity of the proper color1 use it with a tinting brush1 and having carefully painted over the surface of the leaf1 leave it to dry1 then hold it to the fire2 or should a glossy appearance be required1 as in a camellia leaf1 the polishing brush must be used4 ,to obtain the pattern of a natural flower1 proceed thus3 ,select one or more petals1 as the case may require4 ,take a geranium1 for example2 this has two sizes1 so that one of the large1 or painted petals1 and one of the smaller1 will be required4 ,place these on a sheet of thin cardboard1 trace round the edge with a pencil1 then cut out to drawing1 allowing a little additional length for fixing them4 ,mark on each the number necessary for the flower4 ,in some cases petals are cut in a circle or star1 as in clove1 rhododendron1 or passion-flower4 ,this is done by getting one petal traced on paper1 as above directed1 then cutting the required number for it1 and so arranging them on the cardboard as to represent1 as in the passion-flower1 a star of five4 ,take for example a ,,crimson ,,rhododendron4 ,this most effective flower should be made thus3 ,select about twelve petals1 gum the edge1 draw over edge1 let them dry1 then gum the small bulb at base of pistil and stamens 7called the 8heart107 pass the stem of this through the opening of petals1 draw down tightly1 and let remain for a few minutes to dry1 cover the stem with pale green paper1 slightly bend the pistil and stamens that they may incline towards the central petal of the flower4 ,a piece of strong wire about nine inches long is required on which to mount the flowers and leaves2 arrange three flowers on the top of this with their backs to each other1 leaving the flower stalk about two inches in length1 tie this with silk1 roll a little stem paper round and then place on three scales1 cut from palest brown stem paper2 other three flowers should be placed between those already fixed a little lower down4 ,this order of arranging the flowers to be observed until the truss of flowers is complete4 ,cover the stem with brown stem paper and arrange the leaves1 beginning with the small ones in the same manner as directed for the flowers1 only that each leaf should be a little lower down than the last2 they will require coloring1 and for this use burnt sienna and ,prussian blue1 applied with a tinting brush1 afterwards using the polishing brush2 this will give them the gloss observable in the natural leaf4 ,many of the rhododendrons are made of plain colored petals1 but their beauty is much enhanced by spotting them2 the process is simple1 and the direction for one will do for all1 only varying the color used4 ,select the crimson with dark spots4 ,take in the hand a stamped flower1 and having mixed some carmine1 take a tinting brush and apply to the three uppermost petals1 taking care that the color becomes lighter towards the edge and deepening towards the center4 ,now mix a little violet 7moist7 with carmine1 and mark the spots as desired2 this must be done with a small sable brush4 ,white rhododendrons spotted with yellow and brown1 or lilac with green spots1 make very striking varieties4 ,,white ,,camellia4 ,for this flower use white tissue paper of medium thickness2 no other paper will so nicely imitate the texture of this well known flower4 ,cut from a pattern1 to be obtained as before directed1 7which may be purchased when the flower is out of season71 the proper numbers of petals2 place each set or size separately on the hand1 deeply curl the edge with the same pin used for the rose1 and then press down the center with the steel stem1 so as to give the deeply indented vein seen in the center of each4 ,the larger petal will require turning on the fingers previous to using the stem of the pin1 so as to cause the edges to turn backwards4 ',tis well here to remark that while you use the head of the pin on the edge or other part of a petal placed on the palm of the hand1 always place the petal on the fingers when the stem of the instrument is to be used4 ,the stem of cotton wire ,no4 #b4 ,on this roll some pale-yellow wax2 make it about the size of a small plum stone1 the three smallest petals so placed that the edge turns inward and the points meet1 leaving the base of each petal just touching the wire stem2 three of the next size must now be placed on between the preceding1 slightly raised4 ,it is found that the most expeditious method of fixing the petals of this flower is to take a small piece of white wax1 as large as the head of pin ,no4 #b1 used as a wafer1 only without being wet4 ,place this at the bottom of each petal1 it will then only require carrying to its place and firmly pressing with the finger or point of the ivory pin to make it adhere2 this is both quicker and more easily performed than with gum water4 ,the three following sizes may be arranged in the same order1 and each set standing higher up and spreading open as the petals increase in size2 all the remaining petals placed on in rows1 gradually getting them to bend over1 so that the last stand at right angles with the stalk2 the calyx cut from pale green stem paper1 thickened by the use of wax1 this requires the edges to be curled1 so as to give a rounded appearance4 ,the edges should be shaded with brown1 which may be applied with a small sable brush2 a bud placed close to the flower1 and some good dark leaves being added1 we have one of the most perfect representations of nature to be obtained in paper4 ,,rose4 7,gloire de ,dijon47 ,cut from pale yellow shaded paper1 petals ,nos4 #a 7the outside petal7 and #b1 and from shaded paper of a lighter shade1 but having pink in the middle of the stripe1 so placing the pattern on the paper as to bring the pointed end of it to the darkest part of the paper1 and so fold it as to allow of eight petals being cut at once4 ,sixteen of each size will be required4 ,cut off a proper length of the medium cotton wire1 bend over the top of it several times1 so as to make a head to it about the size of a pea1 on this tie a few of the proper stamens1 and around it roll a small quantity of pale green wax4 ,all the petals should be treated as follows1 as a preparation for other moulding4 ,take eight petals of a size1 place them on the palm of the left hand1 so that they can be held in their place by one of the fingers of the same hand1 holding in the right hand pin ,no4 #a1 so that it may revolve easily round the edge of the petals1 held as described in the other hand4 ,the object of this rolling of the edge is to overcome the hard or unnatural look of the paper1 and is essential as a preparatory step to all other modeling4 ,this done1 turn the bunch of petals1 press them in the center with the finger1 after which roll over all parts of it excepting the edge1 with the head of pin ,no4 #b1 this will leave the edge of the petals turned backwards1 and this moulding must be continued until sufficient roundness has been obtained4 ,separate the petals4 ,this is best done from the points1 so as not to disarrange the form already given to them4 ,take five of the smallest petals1 place each on the hand as before described separately1 and with the head of pin ,no4 #b1 indent it deeply down its center1 beginning at the top1 so as to curve the petal1 that when placed on the foundation already prepared they will curl over and nearly conceal it4 ,these must be tied on with silk4 ,to form the groups of petals1 take two of the smallest1 and three of the next size2 the smallest place in front1 the larger behind1 and so arrange that each petal should be slightly elevated above the one in front of it2 hold them together by the points1 and then open the petals from the top1 so as to be able to insert the end of a fine gum brush2 a mere spot of gum is all that is required1 as much as possible in the center of the petal1 so as to leave the edges perfectly free4 ,place this bunch of petals on the hand1 as before directed1 and round it in the same manner1 only not to the same extent4 ,five or more of the bunches or nests of petals are required4 ,each should be placed in its proper position1 and tied with floss silk4 ,the two next sizes of petals must be treated in a similar manner1 and placed on behind the bunches already fixed1 so as1 in fact1 to give to the center of the flower the appearance of being divided into five or more divisions4 ,petals ,no4 #c1 require the same rounding as applied to the preceding1 two or three being placed together1 giving them a more open form2 fix these round the petals already on4 ,elevate them1 so as to produce the cup shape observable in nearly all good roses4 ,as the petals become larger1 the thumb is found more convenient than the finger1 it more quickly produces the roundness on which the beauty of a rose so much depends4 ,the larger petals must be treated in a similar manner1 only the edges require to turn back with more freedom and boldness1 and the petals gradually receding1 so that those placed on last will stand nearly at right angles with the stem1 in some cases being even more bent backwards4 ,two or three of the last may be slightly shaded with green at the base1 and carmine and burnt sienna at the edge1 so as to give the faded appearance of the outer petals4 ,frequent reference should be made to the illustration of the flower or its parts as the work proceeds2 the calyx should then be passed up the stem1 so as to fit close to the back of the flower1 and the stem covered with pale green stem paper4 ,add a bud or two4 ,these should appear close under the outer petals of the flower4 ,the leaves start from the junction of these stems1 being set round1 each a little lower than the preceding4 ,they should be colored and polished as directed in 8general observations10 to give them the bold and waxy appearance seen in this deservedly popular and beautiful rose4 ,,pink ,,fuchsia4 7,duchess of ,lancaster47 ,place a sheet of pale yellow waxed muslin between two sheets of pale pink shaded paper4 ,so arrange the pattern as to bring the points to the white1 and the darker shade of color to come to about the center4 ,cut the four petals from deep cherry paper1 made thick as before described4 ,the sepals1 to be placed on the hand1 and with the head of pin ,no4 #b1 gently roll from the points1 so as to produce a number of faint lines1 and also to unite the paper and wax firmly together1 giving at the same time the proper transparency and gloss4 ,the petals require considerable working with the large pin1 to give them the roundness necessary after they are formed4 ,they will require shading with a mixture of carmine and 8magenta10 put on with a large tinting brush1 the color being almost dry4 ,the pistil made of a large white seed1 which must be attached to a piece of fine cotton wire4 ,about two inches from the edge of pistil roll round some wax or cotton wool1 then add eight stamens4 ,these will not be as long as the pistil2 they must be shaded with pink2 top of pistil of a pale green color4 ,stamens may have a small quantity of white pollen on them2 and this being finished1 fasten on with a small quantity of wax the four petals1 and then tie them with silk4 ,the neck of the flower can be made either of wax or wool1 the former being the best4 ,the four sepals having been properly bent1 are now placed on1 great care being taken in forming them perfectly on the neck before mentioned1 which1 if it is made of wax1 can be done by rolling over each petal as it is placed on with stem of ivory pin2 but should wool be used1 the petals must be fastened on with gum4 ,,arrangement ,,or ,,grouping ,,of ,,flowers4 ,the lighter flowers1 both of form and color1 should be so placed as to be at the top1 excepting such flowers as passion flower1 fuchsia1 etc41 which are drooping or climbing plants4 ,aim at simplicity in coloring rather than too great a mixture1 which gives a confused look4 ,the foliage is used as a background2 there should be no stint of this4 ,the great fault observable in the arrangement of bouquets1 whether natural or artificial1 is that they rarely have the leaves brought as prominently forward as they should be1 consequently the bouquet loses both character and elegance4 ,ferns1 of which there is now so large and beautiful a collection1 add very much to the elegance of the bouquet4 ,,examples ,,in ,,grouping4 ,no4 #a1 ,roses4 ,gloire de ,dijon1 apricot2 ,geant de ,bataille1 scarlet and purple2 ,aimee ,vibert1 small white2 pink cabbage2 forget-me-not2 maiden hair fern4 ,no4 #b4 ,rhododendron1 crimson2 red spotted do42 deep pink do42 pale do42 white do4 ,some large ferns and orange azaleas of various shades4 ,no4 #c4 ,white camellias2 red camellias2 pale yellow azalea2 pink fuchsia2 deep blue cineraria2 ribbon grass4 ,no4 #d4 ,passion flower 7various72 fuchsias2 thunbergia2 hop2 ivy leaves4 ,,list ,,of ,,materials1 ,,tools1 c4 ,moulding pins1 moulders1 pincers1 tinting brushes1 scissors1 three sizes of cotton wire1 silk for tying1 fine wire for tying1 gum water4 ,,colors ,,in ,,powder4 ,carmine1 burnt sienna1 ,prussian blue1 ultramarine1 chrome #a1 #b and #c1 white1 magenta1 violet4 ,,moist ,,colors4 ,carmine1 lake1 violet4 ,the papers most used are3 ,white tissue1 carmine1 pinks 7various71 shaded for roses 7various71 stem paper 7green and brown71 violet1 #c shades1 yellows1 scarlet for poppies1 etc4 ,illustration ,,the ,,french ,,art4 ,illustration ,a ,,beautiful ,,and ,,practical ,,process ,,for ,,decorating ,,wood1 ,,leather1 ,,silk ,,and ,,other ,,fabrics4 ,it is simple to perform1 durable1 and very effective4 ,the designs are printed in colors1 upon paper so prepared that after they are cemented to the surface of the article intended to be decorated1 by simply dampening the back of the paper1 it may be at once and entirely removed1 and the finished work exactly resemble painting2 nothing but the colored designs remaining upon the work4 ,suppose that a white earthenware or porcelain plate is the object to decorate3 ,take the design1 and after having cut off the larger portion of the margin of the paper1 pass over the colored design1 fine brush1 a slight coat of ,fastening ,varnish1 being careful to cover the whole of the design and not go beyond the outlines4 ,when the varnish has partially dried1 or has become 8tacky10 which will happen in five or ten minutes1 place the varnished surface in the position you wish it to occupy upon the plate1 and then press it well down with the roller2 then take a damp piece of cloth or sponge and press well the back of the picture1 7if you were decorating a curved surface1 such as a vase1 the ivory knife may be used for the purpose71 and allow it to remain for a minute or two1 then thoroughly wet the back of the design and raise the paper with the hand evenly and carefully4 ,now wash the picture1 which is transferred as gently as possible with the water brush1 to remove any soil2 this done1 carefully press the work with a piece of fine linen slightly wetted1 so as to absorb the water and nearly dry the design1 this prevents it from blistering and causes the work to dry flat and evenly4 ,then after having left it at least one day1 apply a coat of retouching varnish1 and the work is complete4 ,to ,decorate ,silk and other ,delicate ,fabrics4 ,apply a coating of fastening varnish1 and allow it to dry1 then with the water brush1 wash the paper surrounding the design carefully2 this removes from the paper the preparation which would otherwise soil the silk2 now apply a second coat of the same varnish1 and when this has slightly dried1 place the design upon the silk or other fabric to be decorated1 and with the roller press it well down4 ,with the water brush wet the back of the paper covering the design and the paper may be at once lifted off4 ,another ,method4 ,cut out the design carefully and cover it with a thin coating of fastening varnish1 and allow it to dry1 then lay it upon the silk or other fabric1 and roll thoroughly2 dampen the back of the paper with the water brush1 and lift it off as previously directed4 ,to ,decorate ,articles of a ,dark ,color4 ,in decorating ,japanned goods1 or any dark material1 it is necessary to take the prepared pictures covered with white lead or gold back1 and follow the directions as before4 ,should there be any design you wish to remove1 or any spots of varnish accidentally dropped upon the article decorated1 you can easily remove it by applying the clarified spirits4 99 99 99 99 99 ,a few of the many articles which can be easily and advantageously decorated4 ,vases1 trinket stands1 and other ornaments in white china1 with or without a border of gold2 tea or coffee services in china1 earthenware1 or ,bohemian glass2 dessert services1 flower pots and boxes1 candlesticks1 urn and jug stands1 carriages1 sleighs1 wagons1 furniture1 tinware1 and many other china articles which have been made expressly for decoration by this art2 white wood articles1 straw dinner mats1 silk or cloth sofa cushions1 scent bags1 slippers1 hand screens1 fans1 ribbons1 articles in ivory1 book covers2 indeed it is difficult to say what ornamental article may not be thus decorated1 from the panels of a room to the tiny articles of the dressing table4 ,to the house decorator this art offers a complete substitute for the costly process of hand painting for panels of rooms1 and other portions of his work which require artistic embellishment4 ,as to the choice of subjects1 of course that must be left to individual taste4 ,the variety is large1 comprising flowers1 birds1 figures and landscapes1 of all dimensions and in every style1 the beautiful products of ,sevres1 the works of modern artists1 and inlaid woods4 ,the brushes may be easily cleaned with a little of the clarified spirits1 as well as any accidental spots of the varnishes upon the dress4 ,as all designs are covered with gold1 or plain1 the latter will show on a white ground only1 and are mostly used for ladies' work4 ,the covered designs will show on any ground1 dark or light1 and are principally used for manufacturing purposes1 such as tin1 woodenware1 etc4 ,,wax ,,art4 ,flowers and ,fruit ,,with ,,instructions ,,for ,,making ,,the ,,wax ,,and ,,molds1 ,,materials ,,used1 ,,etc4 ,wax ,art was supposed to have reached the height of perfection many years ago1 but since the invention of the various machines for cutting and molding designs into form from wax1 the rapidity with which the work is executed1 and the endless variety of artistic productions in wax art1 it is evident perfection has not yet been reached1 and we are led to believe it susceptible of attaining a still higher degree of excellence4 ,the reason of its being taught so little during the past few years is owing principally to the fact of its simplicity since the use of molds and cutters1 so artistically arranged that the form of any desired leaf or flower may be chiseled out at will1 from the varieties of colored wax before you4 ,nothing in fancy work excels the art of making ,wax ,flowers for interest1 amusement and fascination4 ,only a few tools are required4 ,a good eye for colors and a little taste in arranging them4 ,there are two distinct methods4 ,first1 ,by ,molding ,them4 ,all tubular flowers must be made by molds1 viz3 ,calla lily1 lily of the valley1 iris1 morning glory1 scarlet cypress vine1 stephanotis1 and all other flowers tubular or labiated4 ,a good set of wooden molds1 carved carefully1 is the best1 but any lady can prepare her own molds in the following manner4 ,get your flower fresh as possible1 and stand it in water to give it perfect strength4 ,fix a little pasteboard box1 or any small cup shaped box2 prepare these yourself with strips of pasteboard1 some larger or smaller1 just according to the size of leaf or flower you intend to mold from2 mix the finest dentists' plaster of paris1 7practice alone can perfect one in the proper consistency71 and pour it into the flower1 having enough mixed to fill it and cover every little part of the flower1 let it remain until hard1 tear off the flower1 and you have a perfect mold1 every little vein and impression perfectly taken4 ,with a sharp knife trim off all ragged edges and superabundant plaster1 leaving your mold small as possible1 and lighter to handle4 ,these leaf molds are much better for all uses1 even for sheeted wax flowers1 than those metal molds that cut the wax1 and never give the fibrous look needed for a natural looking leaf4 ,the lily of the valley needs a wooden mold1 the flower is so delicate a plaster mold cannot be made4 ,preparation of the ,wax for ,molded ,flowers4 ,these recipes are of the times of our great grandmothers1 who kept a few bees in their gardens1 making honey from the fields of sweet clover1 the apple and other fruit blossoms in the spring of the year1 and buckwheat patches in the summer4 ,the wax was brown1 and they bleached it by melting it1 clarifying it by selecting the whitest1 running it off in thin sheets1 and laying it in the hot sun to bleach4 ,all bleacheries do this on a larger or smaller scale4 ,after bleaching the wax white as muslin1 you can make your parlor mantel ornaments of it4 ,keep a set of tin cups for your different tints of wax1 your white cup being the largest4 ,to ,mold a ,calla ,lily4 ,have ready a basin of hot soap suds1 strong as possible of soap1 and hot1 so that your lily will be smooth1 not lumpy or bubbly4 ,melt your wax by setting the tin cup in boiling water1 as glue is melted4 ,to every pound of white wax add a tube of ,winsor ,newton's flake white paint1 dissolved and thoroughly mixed with one tablespoonful balsam fir1 or ,venetian turpentine1 and half table spoonful of dissolved gum mastic1 the whitest possible4 ,this is a good recipe for sheeting wax for your own use1 and will be given below in preparations for sheeted wax flowers4 ,your liquid being thoroughly mixed in two cups1 your white and yellow chrome cup1 the yellow prepared exactly like the white1 only yellow chrome paint substituted for the white tube paint2 your molds all prepared by standing soaked in the hot soap suds1 you commence with the yellow cup1 dipping your spadix mold1 or the center of the lily1 in the yellow cup1 making as many spadix as you wish to make lilies4 ,after finishing dipping spadix1 you take your white cup and large mold1 dipping once and letting it cool a moment1 and then immersing the second time1 to give a double thickness to the heavy portions of the flower4 ,a hundred lilies can be molded in an hour4 ,the stems of wire can be prepared next4 ,fasten the spadix to the stem1 and slip the stem through the hole at the bottom of the molded flower1 then with a brush dipped in the hot green cup solder the whole together1 spadix1 stem and flower4 ,all molded flowers are made exactly alike4 ,all tools dipped first in hot suds for every flower1 after in the hot wax4 ,it is well1 as a rule1 to make all white flowers first--afterward1 the colored flowers4 ,all variegated flowers are painted with a brush1 using ,winsor ,newton's moist water colors4 ,all yellow flowers1 like ,thunbergia1 spadix of lilies1 etc41 by dipping in the yellow cup4 ,a scarlet cup for scarlet flowers1 blue for blue flowers1 rose colored for roses1 ,naples yellow for sofrano and tea rose tints4 ,all roses and double flowers are made of separate petals molded and joined together afterward4 ,all large leaves should be molded1 and all small leaves1 all dipped in the green cup4 ,your green cup is made of all your refuse colors melted together1 and the tube green tint added4 ,never use any darker tubes than ,no4 #a chrome green4 ,your olive and other tints are made by the refuse tints thrown in from the drippings of red1 yellow1 purple1 and odd tints4 ,directions for ,sheeting ,wax4 ,to every pound of bleached wax1 after dissolving thoroughly in an outer crucible of hot water1 add #a oz4 balsam of fir1 or ,venetian turpentine1 in which dissolve a little resin1 white or mastic4 ,if white wax is desired1 one and one-half tube ,winsor ,newton's flake white paint should be added--yellow1 orange or rose1 and just what other tints are required4 ,all sheeted wax by machine is first molded into square blocks or bricks1 and the machine slices off the sheets4 ,but these machines are expensive1 and no lady cares to have one who only makes wax flowers for pleasure4 ,green wax is made from the drippings of all the other tints1 and from the yellow unbleached wax1 with green tube paint added4 ,after preparing your cup of melted wax1 have ready a plaster mold made on a tea saucer or tea plate4 ,dip your mold in hot soap suds1 for flower molding1 and with a small ladle pour over its wet surface the melted wax1 trimming off the sides and making even sheets1 remelting the clippings and resheeting it4 ,a wooden spaddle size of ordinary sheet wax is sometimes made1 and used instead of the plaster mold1 called paddle wax1 and a great many teachers use a bottle1 dipping the bottle1 and forming wax thin at one end1 thicker at the other4 ,either plaster1 wood or glass must be dipped in the hot suds between every dipping in hot melted wax4 ,wax ,fruit is made in molds1 and is always used with the paints in preparing the crude wax1 and painted afterwards with dry powder paint4 ,almost all molds for ,wax ,fruit should be made in halves--pears in three pieces--and some fruits require the mold in several pieces4 ,unless the molds are perfect the fruit will be defective1 and nothing can make it beautiful when it is once molded wrong4 ,your fruit should be perfect1 and in making your molds care should be taken that there are no open places or leaks in the molds4 ,grease your lemon1 apple1 orange1 or whatever is to be molded1 well first in every part4 ,have ready your pasteboard cup1 made a trifle larger than your fruit1 nearly filling your cup with the plaster1 mixed with cold water to the consistency of pound cake unbaked4 ,your fruit being oiled1 be very careful to sink it down just half in the dissolved plaster4 ,if you do not get in half1 or if you sink it in more than half1 you will have an imperfect mold1 and your fruit will be defective4 ,a little care makes it perfect4 ,as soon as the plaster is a little hardened1 with a pen knife make four holes in the outer plaster rim1 not touching the fruit4 ,these holes1 half an inch deep1 are to hold the top of your mold2 lock it into the lower half1 blow off all loose pieces of plaster1 and when completely hardened1 oil the top of the fruit and the new half plaster mold1 and the holes for the locks2 then prepare the second half4 ,be sure and have your plaster fresh and strong1 when thoroughly mixed to the same consistency as the first1 pour over the fruit into the pasteboard cup1 and even it all over4 ,leave it standing a good half hour1 then remove the pasteboard cup1 and if the mold seems hardened1 carefully open it1 being careful not to break off the locks1 for upon the perfection of these consists the perfection of the fruit4 ,in a basket of fruit1 lady apples are beautiful1 crab apples1 ,seckle pears1 ,bartlett pears1 a lemon1 an orange or two1 ,california plums1 two peaches1 and grapes are desirable4 ,two pounds of wax will make this elegant variety4 ,none of the fruit should be large--all small1 high colors1 and perfect in painting4 ,after preparing your set of molds1 prepare your wax1 as before directed1 and there should be twelve gill1 or half-pint cups kept ready for this work1 with the different tints4 ,a small sharp pouring spout on each cup is a great help4 ,the half-pint cups being generally used for apples1 peaches1 pears1 oranges and lemons2 the plums1 cherries1 and little fruits are made with the gill cups4 ,all fruit makers1 masters1 will tell you to be very careful and not get too deep tints2 for a lemon use common lemon chrome paint1 dry2 orange1 orange chrome1 dry1 and after making those two fruits1 you make from the same cups your apples1 peaches and pears1 because the solid1 clear color is needed first1 and after1 you can paint them to their natural tint4 #ast1 ,lemon4 ,match the color of the wax to the lemon you imitate4 ,dry patent powdered yellow1 gives a splendid lemon tint4 ,after melting and tinting your wax1 two cakes for one lemon1 have ready your mold--remember that every mold must be soaked in hot1 strong soap suds--have the upper half ready to put on as soon as your lower half is filled with the hot wax4 ,pour in the even half of the mold with the melted wax first4 ,never allow any to slop over the edge4 ,place on the upper half immediately and lock closely together1 holding them clasped and turning them gently over and over1 keeping every part in a slow1 steady motion until the liquid sound has all ceased4 ,about ten minutes is needed to every piece of fruit the size of a lemon or an orange4 ,let them stand inside the mold for some time1 opening very carefully4 ,if your mold is perfect1 very little trimming will be required4 ,with a sharp penknife remove every trace of the rim where the fruit mold joined together1 and wash off with benzine1 rubbing a little dry powder over the lemon to give it a fresh picked appearance1 and painting the stem end with water colors4 ,orange is made precisely like the lemon1 only orange chrome is used instead of lemon4 ,apples are made from the lemon cup or the orange cup1 with a little green chrome added to vary the foundation tint1 and after molding1 trimming and washing off with benzine1 paint red with dry carmine1 producing a splendid effect4 ,peaches molded from the lemon cup1 or orange1 according to the tint required4 ,the fault with fruit-makers consists in getting too deep a color in the cup1 or melted tint1 and that always produces the coarse effect of the fruits usually displayed4 ,peaches should be molded of a very delicate foundation tint1 first trimmed while hot from the mold1 as little rubbing as possible on them1 painted hot1 and after the carmine cheeks are rubbed on1 7dry powdered carmine being used71 white flock should be rubbed all over them1 to give them the soft1 downy effect4 ,plums are painted with ultramarine or indigo blue added to the carmine4 ,grapes are made over glass globes1 blown for the purpose1 first stemmed1 then dipped in green or purple wax1 and bloomed over with corn meal 7sifted on them74 ,the ,california grapes are easy to imitate1 for the green wax1 after dipping1 simply needs a little carmine painting outside4 ,no cross1 piece of statuary1 or vase1 can ever be taken from the molds unless the molds are made in a number of pieces4 ,after running the body of a cross1 there must be a standard through the upright before it hardens1 to support it4 ,pour the lower part on afterward4 ,molds for ,leaves1 consisting of a great variety of beautiful formations1 from almost every tree or shrub in nature's garden4 ,among the number you have to select from are3 ,oak1 maple1 myrtle1 lily of the valley1 ivy1 willow1 currant1 cherry1 grape1 orange1 strawberry1 blackberry1 chestnut1 etc41 etc4 ,wet the molds before placing them in wax1 to prevent them from sticking4 ,it will require but a little time for you to become familiar with the method of cutting and molding the leaves and flowers1 and by the aid of your good judgment and exquisite taste you may soon be able to arrange in form almost any leaf or flower you may desire to see produced in wax4 ,wires4 ,the wire used for making the stems and branches is covered with silk or cotton1 and of different colors1 and can be had in coils or by the spool1 each spool containing from twenty to twenty-five yards4 ,paper wire comes in bunches4 ,silver wire on spools or in skeins4 ,steel ,molding ,pins4 ,the molding pins are used for molding and changing the wax leaves and flowers into form desired1 before placing them upon the stem4 ,they are made of steel with glass and porcelain heads4 ,sizes run from #a to #h4 ,moss can be had by the package1 or small sprig1 for moss roses4 ,miscellaneous ,articles4 ,glass shades1 glass balls for imitating currants1 grapes1 cherries1 and other fruit1 small sable brushes1 and dry or liquid colors for tinting4 ,the ,wax1 consisting of a great variety of colors1 you can purchase by the sheet4 ,the size of a sheet of wax is #ce inches4 ,having given those who desire to do wax work an outline of the art1 with the materials used1 and the method of applying them1 ,i leave the rest with the learner1 who requires taste for the art1 and perseverance to acquire excellence4 ,,the ,,new ,,sprinkle ,,work ,illustration ,,for ,,the ,,beautiful ,,decoration ,,of ,,wood ,,and ,,china ,,ornaments4 ,an idea of turning the standard accomplishments of the day into a remunerative1 as well as an agreeable occupation for one's leisure hours1 has in the past few years so asserted itself in the refined female world1 that the study of wood painting1 and etching with the pen1 as well as the production of sprinkle work1 are now all much sought after4 ,there is no other handiwork that offers such enjoyment1 to those possessed of a sense of the beautiful1 as the different methods of wood decoration4 ,while the study and practice requisite in difficult etching1 and the decorative embellishment of useful articles with stylish ornamentation1 makes one an acknowledged artist1 so through the medium of sprinkle work1 with the ever new and beautiful effects to be produced by the aid of pressed leaves and flowers1 or by the simple method of painting bouquets and landscapes upon wood1 there is endless scope for the taste of the amateur4 ,sprinkle work upon wood1 the subject of this article1 is easily acquired4 ,in the manipulation of the materials required1 good taste is all that is necessary1 although a knowledge of drawing is of great advantage4 ,besides the possession of the necessary utensils for the production of sprinkle work1 one should not fail to secure a rich assortment of leaves1 grasses and flowers1 adapted to the purpose4 ,a walk in the country in the early spring or autumn will provide one with a goodly quantity of lovely material2 or suitable specimens can be procured from some neighboring florist4 ,there are so many fancy articles prepared for this work1 upwards of a thousand1 that it is well to have a great variety of leaves1 grasses and other designs1 such as figures1 initials1 monograms1 mottoes1 arabesques1 butterflies1 etc41 cut from paper1 so that one can produce from the simplest to the most elaborate arrangement4 ,the pressing and drying of leaves is so well known that we need not refer to it here1 but it is well to select leaves of perfect form1 as the correcting of deficiencies sometimes destroys the entire work4 ,the leaves best adapted for this work are3 ,ivy1 oak1 clover1 geranium1 rose1 myrtle1 gentian1 maple1 edelweiss and ferns1 avoiding the thick1 fleshy foliage plants4 ,it is advisable for beginners to arrange their designs upon a piece of wood or paper beforehand1 to judge of the effect4 ,bouquets are appropriate for the smaller articles to be decorated1 wreaths for larger or round pieces4 ,for those more advanced1 ,konewka's silhouettes are recommended4 ,with these and the addition of a little painting1 highly artistic effects can be produced4 ,utensils4 ,the necessary utensils can be procured in complete outfits1 neatly arranged in cases of different sizes4 ,the contents are as follows3 ,one wire sieve1 with handle1 one coarse painting brush1 one fine painting brush1 three hundred pins1 one small pair of pincers1 several china saucers1 one tube prepared ,vandyke brown1 one drawing pen1 one ,herbarium with artificial leaves and space for the preservation of natural leaves and flowers1 one envelope containing initials1 six models of leaves4 ,in working with the sieve and brush1 an irregular distribution of color is made almost impossible4 ,the principal colors used in sprinkle work are the following3 ,prepared sepia1 ,vandyke brown1 black1 and dark green4 ,a mixture of black and brown will produce quite a number of shades4 ,the colors used are water colors1 specially prepared1 and come either in tubes in a moist state1 or in cakes which require moistening4 ,great care should be taken not to get the color too thick4 ,process of ,sprinkling on ,wood4 ,after the materials1 leaves1 etc41 requisite for the work have been selected1 take the article to be decorated and score it gently with a small quantity of powdered pumice stone1 applied with a flannel pad1 this frees it from any roughness or dust that may have come upon it through handling or transportation4 ,next take a clean cloth1 and wipe all the powder off4 ,now prepare the color to be used in a small porcelain saucer1 above all1 being careful it is sufficiently diluted to flow freely1 not muddy2 about the size of a pea taken from the tube is sufficient quantity of color to a teaspoonful of water4 ,the dried leaves or designs are then fastened to the wooden article1 by means of pins2 this proceeding must be carefully carried out1 the points1 sides and stems must be well secured1 and lie perfectly flat upon the object4 ,in wreaths1 the stems should be so arranged that they come together in the center1 in order to accomplish a pretty ensemble4 ,now take the sieve in one hand and the brush in the other1 dip the brush lightly into the diluted color1 that it may not be too heavily charged with the color1 press it gently upon a piece of paper1 and let it glide back and forth over the sieve1 holding the latter in a horizontal position above the object4 ,in this manner a fine shower is produced1 which is kept up until the proper shade is acquired4 ,blots1 and where the color has run together1 should be removed immediately with blotting paper4 ,the final arrangement of the wreath should be such that the leaves and grasses which extend out furthest1 and are to have the darkest shade1 should be fastened last1 over the others1 so that they can be first and more easily removed with the pincers4 ,after the top layer of leaves1 etc41 has been removed1 where spaces are now perfectly white1 the design should be examined1 whether any of the others have been displaced1 proceed with the sprinkle work as before1 and remove from time to time1 the leaves in such a manner that those which are to be left entirely white1 are left to be removed last of all2 the others are removed first1 according to the shade required4 ,the spaces of those removed last are also spattered1 but very lightly1 so that they may not be too glaring4 ,the beginner will no doubt content herself to produce only such work in one shade2 with more experience a variety of shades may be attempted4 ,those having more practice will not be satisfied with these alone1 but after the bouquet or garland is finished in different shades1 will by means of carefully spattering the separate leaves1 seek to bring out a fine shading and thereby produce a more perfect work2 in this case1 the entire design1 with the exception of the part of the leaf to be shaded1 must be covered with paper1 after it is perfectly dry1 so that the color is not distributed further than the part desired4 ,through this later and more difficult work the whole is brought out with a plastic effect from the surface1 while on the other hand the separate layers of the leaves removed would appear flat and monotonous in their extensions4 ,lastly1 the pen is taken1 and what the foregoing process does not supply1 is put in by hand1 to complete the work4 ,take the same color1 only thicker1 and draw in the veins1 and if necessary the entire outlines1 to bring out the work more boldly4 ,this being finished1 the cleaning of the utensils should not be overlooked4 ,the dried leaves place carefully in the herbarium1 the brush and sieve wash thoroughly in water1 the finished article allow to dry in a room 7not too warm71 and after a day or two the varnishing and polishing may take place1 in order to give it1 aside from durability and practical purpose1 a more brilliant finish and higher value to that which has been accomplished with such care4 ,varnishing and ,polishing4 ,procure a bottle of 8wood varnish10 prepared expressly for the purpose4 ,this should be applied to smaller articles1 as its peculiar properties make the polishing unnecessary4 ,this varnish is applied by means of a soft flat brush1 in a room entirely free from dust1 and of warm temperature2 the brush strokes should be made from the center of the article towards its edges1 and according to its shape4 ,repeat from six to eight times4 ,flat articles more readily take the polish than round ones4 ,before putting on the separate coats1 the previous one should be thoroughly dry4 ,after the last coat is dry1 apply a little powdered pumice stone1 by means of a moist pad1 and make the uneven places in the varnish smooth by rubbing4 ,when a perfectly smooth surface is obtained1 7this manipulation is omitted in varnishing articles that are turned1 because unnecessary71 then apply the varnish once more in the same manner1 for the last time1 and the article will thereby obtain a glossy wood polish4 ,this is left in a temperate room1 free from dust1 for two days1 when it will be thoroughly dry and hardened1 and ready to be turned over for the object it is intended4 ,as before mentioned1 we advise this method only for articles of small compass4 ,tables1 etc41 we advise to have finished by a regular furniture polisher1 for the smooth finish cannot be accomplished by an amateur4 ,it is easily conceived that by this process really wonderful effects may be produced1 when the artist has taste1 and devotes care and time to the work4 ,sprinkle ,work on ,china4 ,it may not be generally known that the same effects as produced on wood can also be produced on china ware1 the manipulation being slightly different4 ,instead of water-colors1 the ceramic or enamel colors are used1 7,dresden or ,la,croix74 ,they come in tubes1 in a moist state1 and are diluted with spirits of turpentine1 with a few drops of oil of anise or cloves4 ,those doing both wood and china sprinkle work will do well to secure an extra brush and sieve1 which are to be had separate from the outfit boxes1 and use these for the mineral colors only4 ,the leaves and grasses are fastened by means of dissolved gum arabic1 being careful to scrape off any particles of the gum that may adhere to the china after the leaves have been removed1 before sprinkling over the blank spaces4 ,when the leaves are placed upon the article singly1 and the desired shade is produced1 lay it in a warm place1 over a register if possible1 and the leaves will come off as the gum separates from the ware1 when the sprinkling may be resumed1 and the proper shading given to heighten the effect4 ,veins are drawn in with a crowquill pen1 but the color must be properly mixed to prevent it spreading4 ,really beautiful decorations can be made by using ferns and maiden hair to ornament tiles1 flower pots1 etc4 ,if the leaves1 such as the maple1 and others that grow bright with the first frosts of autumn1 are to have their natural tints1 the piece is taken to be 8fired10 which fastens the background1 so that their colors can be washed in without fear of injury to the groundwork4 ,the most useful colors for monochrome work in the ,lacroix colors1 are the following3 ,brown1 ,no4 #d or #ag1 sepia1 brown-green ,no4 #f1 dark green ,no4 #g1 ,victoria blue1 and violet of iron4 ,if the ,dresden colors 7,muller ,hennig's7 are used1 which are preferable on account of their rich and soft appearance1 the following are recommended3 ,dark brown ,no4 #cj1 chocolate-brown ,no4 #cf1 sepia ,no4 #bh1 olive green ,no4 #aa1 shading green ,no4 #aj1 and dark blue ,no4 #ac4 ,when the work is finished1 take it to the china decorator and have it 8fired40 ,it is not necessary to use the best ,french china for sprinkle work1 as it is almost entirely covered with color4 ,ladies who do not paint on china1 but desire something different from the ordinary stamped work1 that is all that can be had in decorated ware for common use1 will find this an easy and delightful way of ornamenting the white ware with some favorite flower or fern1 and so have something original1 and that can be readily duplicated1 should any piece be broken1 one of the objections to the stamped sets being the difficulty and expense in replacing odd pieces4 ,to those affected by the odor of turpentine1 we would recommend the use of ,hancock ,son's ,worcester moist and water-colors for china4 ,faience4 ,ivory white and other soft wares will answer1 and the result will always be a pleasing one if a little care is taken in the execution of this branch of decoration4 ,illustration ,,pearl ,,embroidery ,illustration ,illustration3 ,,on ,,velvet4 ,in the imitation of pearl1 nothing has yet presented itself so favorable to the writer as the beautiful and new method of preparing fish scales for embroidery4 ,you may take the scales from a large size fish1 the larger the scales the easier they are to handle4 ,lay them in salt water for a few hours1 until quite well cleansed1 after which wipe them clean1 and place them between two sheets of writing paper1 and lay a weight on them1 allowing it to remain a whole day1 until they are dry and hard1 when they are ready for further use4 ,now draw the pattern of any favored leaf1 or whatever you wish on the scale1 with pencil1 and cut it out with small scissors4 ,if you are conversant with the form of leaves1 you can save time by cutting out the leaf without first drawing the outlines4 ,draw in the veins of the leaves next with a needle4 ,stretch your dark velvet tightly to an embroidery frame1 place the pattern which you wish to copy before you1 and imitate it by sewing the leaves1 one at a time1 on the velvet with fine gold thread1 and the leaf stalks and tendrils embroidered with the same4 ,wet the thread before using1 to render it flexible4 ,,feather ,,flowers1 ,illustration ,whoever may be so fortunate as to have in their possession fine feathers can certainly make fine flowers4 ,have at hand gum in solution1 ,french paper for winding stems1 and wire of different sizes4 ,draw the under side of the feather gently over the edge of your penknife to bend it in the required direction2 make a lump of bookbinder's thick paste or wax on the end of a wire for a stalk1 and begin your flower by sticking the smallest size feathers into it for a center2 place other feathers of the same kind1 but larger in size1 around in order4 ,choose green feathers for leaves and calyx1 and pure white ones for japonicas and white roses4 ,twist the ends of the same on a wire1 and make fast with gum1 glue1 paste1 or other similar adhesive substance4 ,be careful to select feathers of the same kind for the same flower4 ,arrange in a vase1 and cover to keep free from dust4 ,in this1 as in all kinds of fancy work1 let taste and neatness govern the process4 ,it will often be found necessary to color the feathers to give the desired variety of hues2 this can easily be done by attending to the following directions3 ,put the feathers into hot water1 then drain them2 rinse two or three times in clear cold water2 place them on a tray1 over which a cloth has been spread1 before a good fire2 as they dry1 draw them gently into shape between the thumb and finger4 ,,to ,,dye ,,feathers ,,blue4 ,into about three cents' worth of oil of vitriol mix as much of the best indigo in powder2 let it stand one or two days4 ,when wanted for use1 shake it well1 and into a quart of boiling water put one tablespoonful of the liquid4 ,stir well1 put the feathers in1 and let them simmer a few minutes4 ,,yellow4 ,put a tablespoonful of the best turmeric into a quart of boiling water1 when well mixed1 put in the feathers4 ,more or less turmeric gives different shades4 ,,for ,,orange1 add a small quantity of soda to the preparation for yellow4 ,,pink4 ,three good pink saucers to a quart of boiling water1 with a small quantity of cream tartar4 ,if a deep color is required use four saucers4 ,let the feathers remain in this dye several hours4 ,,red4 ,dissolve a teaspoonful of cream tartar in a quart of boiling water2 put in one teaspoonful of prepared cochineal1 and then a few drops of muriate of tin4 ,this dye is expensive1 therefore use the plumage of the bird ibis4 ,,lilac4 ,about two teaspoonfuls of cudbear in a quart of boiling water1 let it simmer a few minutes before you put in the feathers4 ,a small quantity of cream tartar turns the color from lilac to amethyst4 ,bunches of orange blossoms can be made with good success of feathers2 the buds are to be made of starch and gum mixed2 the stamens of ground rice1 colored with turmeric1 into which the gummed ends of manilla grass have been dipped4 ,the inhabitants of the ,pacific ,islands make beautiful feather flowers1 rivaling the natural ones in delicacy and beauty4 ,pinks1 orange blossoms1 and roses of exquisite workmanship are often brought from these islands4 ,old ostrich feathers can be made to look as well as new by holding over hot steam1 then drawing each vane of the feather separately over a knife to curl it4 ,,lustral ,,bronze ,,painting4 ,illustration ,prepare your board for bronzing by first coating it over with a strong solution of size1 made by dissolving isinglass in hot water2 strain it1 and coat over with a flat camel's hair brush while the size is warm4 ,when dry1 coat it over thinly and evenly with gold size2 let it remain until sticky1 then apply the powder bronze1 with a soft dry brush4 ,you may use a variety of shades of bronze if you wish2 pale1 blush and white4 ,blend them together to suit your subject1 and allow two days for it to dry before commencing to paint4 ,make a drawing of your figure on thin white paper1 rub some white on the back of it1 fit it upon the picture and mark over with the sharp end of a stick1 pressing on very lightly2 after all is drawn in1 remove the sketch1 and mark over the outlines with a lead pencil1 lightly4 ,if you are copying from an engraving1 notice on which part of the building the light rests1 and select those parts for gold1 coating them over with gold size1 and putting on the leaf gold when sufficiently dry4 ,if there are any parts of your figure which you want rich colors1 do them with gold at the same time4 ,the painting must now be wiped with a silk handkerchief1 to remove all the particles of gold and dust1 and supposing the thimble palette ready1 with all the colors1 first mix a pale tint of purple1 made with ,prussian blue and a little crimson lake1 and pencil over the mountains of the landscape evenly1 then go over the water with a very pale shade of blue4 ,after coating the mountains and water once1 it is best not to touch them again until dry4 ,now paint in the foliage1 making the tints with yellow lake and ,prussian blue2 if you want them bright for the different shades1 add burnt sienna and ,vandyke brown1 or both1 as your tints require4 ,stems of trees are mostly done with ,vandyke brown1 and other tints added to suit2 faces of figures do with white and a little sienna1 mixed together2 white drapery coat over with white1 scarlet with scarlet1 and yellow with chrome yellow2 all other parts of the figures with white1 except the parts you have already gilded4 ,this will answer for the first painting4 ,the second shade upon the mountain is made with a neutral1 composed of three primative colors1 crimson lake1 yellow lake1 and ,prussian blue4 ,the tone you desire must predominate in making all your neutrals4 ,if you want a greenish neutral1 the yellow lake must predominate1 if you wish a bluish neutral1 the blue must predominate1 and if reddish neutral1 the crimson lake must predominate4 ,having selected your shade1 be sure to have it about the right strength before beginning1 as it is difficult to avoid a patched appearance on the mountains with varnish color1 especially on the second and third coating1 unless you are quick in your work4 ,if the water requires more color1 paint it in the darker places1 then repeat the shades on the foliage1 where it is required4 ,your figures now claim some attention4 ,any part you wish to have crimson1 paint over with crimson lake1 repeat it when a little dry if you wish it darker1 and for the shades add a little blue with your crimson lake4 ,blue dresses paint with a pale shade of ,prussian blue on white or pale gold1 for the shades1 paint in with a little stronger ,prussian blue1 and when you wish to make any of these colors paler add varnish1 and when you want to thin it use turpentine4 ,green dress1 with yellow lake and ,prussian blue on pale gold or white2 purple dresses1 with crimson lake and a little ,prussian blue1 on white or pale gold4 ,any part of the figure you do with scarlet1 shade it with crimson lake2 yellow1 shade with burnt sienna1 7pale shade74 ,in faces1 paint features in with ,vandyke brown1 and different tints with yellow lake1 crimson lake1 and sienna paled down1 and repeat to suit the eye4 ,parts of mountains may require a third and fourth wash1 if so1 do it with neutrals mentioned above4 ,sometimes we heighten the effects of the near foliage by touching the edges with a little opaque color1 made of chrome yellow1 white1 and a little blue4 ,it must be done very carefully1 as opaque colors are powerful1 compared with transparent ones4 ,if what you do shows too abruptly1 you have a remedy by putting on a little more of the transparent color4 ,parts of the figures may be heightened by touches of opaque color1 and the faces also may require retouching4 ,when the painting is completed1 a full week should pass before varnishing1 and great care should be taken not to touch the bronze1 as it will leave a stain1 bronze being so delicate4 ,varnishing4 ,in varnishing1 care must be taken to have a clean brush1 and the dust wiped from the painting with a silk handkerchief4 ,lay the painting flat1 and with a one inch camel hair brush coat over with copal varnish1 as evenly as possible1 being careful to cover every part4 ,leave it flat down1 as it is1 for a couple of hours1 or more1 before removing1 or the varnish is liable to run in streaks4 ,once varnishing is sufficient to preserve the painting1 but if you wish to polish it1 another coat of varnish must be given1 allowing a week between2 then after another week1 it should be rubbed with pumice sand and water1 in the following manner3 ,take a piece of woolen1 put it over cotton1 to make a rubber of it2 wet the rubber pretty thoroughly with water1 dip into some fine pumice sand1 and rub it backwards and forwards on your varnished picture1 carefully4 ,after you have rubbed for a short time1 wipe the sand from a part of it1 to see the progress4 ,if not sufficiently smooth1 rub again1 care being taken not to rub through the varnish4 ,when smooth1 wash all the sand off1 wipe perfectly dry1 and give another coat of varnish1 allowing the same time for it to dry1 then rub again with water and pumice sand4 ,when smooth1 wash off the sand and proceed to polish with very fine powdered rottenstone1 and rubber made of satin or silk4 ,saturate this with water1 and rub with the rottenstone for a short time1 until it shines1 then wash all off4 ,you can make it shine by rubbing with your hand1 using a little sweet oil and a little more rottenstone4 ,when wood is used for painting on1 choose that which is close grained1 and coat over several times with paint1 rubbing down with pumice sand and water4 ,after the third coat1 give plenty of time between each coat to get dry and hard4 ,,gilding4 ,the part you wish to have leaf gold1 cover evenly with gold size4 ,chrome yellow or white lead may be mixed in with the gold size to enable you to see the process4 ,allow it to dry until a little sticky4 ,it can remain much longer than for bronzing1 as leaf gold does not require so strong a sticking property as bronze4 ,when sufficiently dry1 put on the gold by means of the tip1 or your fingers1 from the gold book4 ,be careful to cover every part of the gold size with smooth leaf-gold4 ,when all covered1 press gently a piece of soft chamois skin1 on all the gilded parts1 and remove the superfluous gold4 ,,japanese ,,art4 ,illustration ,an elegant1 easy and profitable method of arranging autumn leaves to make beautiful household articles1 such as flower vases1 work boxes1 etc4 ,gather yellow withered leaves1 perfect in form1 press them between the leaves of a book4 ,rub the surface of the article to be ornamented with fine sand-paper1 then give it a coat of fine black paint4 ,when this is dry1 rub smooth with pumice stone1 then apply two other coats4 ,arrange the leaves according to taste1 gum them on the under side1 and press them on the piece to be ornamented4 ,now dissolve some isinglass in hot water1 and brush it over the work while the solution is warm4 ,when dry1 give it three coats of copal varnish1 allowing time for each coat to dry1 and the work is completed4 ,,the ,,art ,,of ,,painting --,,or-- ,,staining ,,glass4 ,illustration ,glass-painting is not only restored1 in our day1 to the perfect fullness of its ancient splendor1 but also has acquired1 through the giant strides of the science of chemistry1 and the great progress latterly made in the arts of design1 an amount of technical and sthetical power far exceeding whatever could formerly be called to its aid4 ,notwithstanding this advantage1 however1 the art has not yet reached that wide state of diffusion which1 from the exquisite effects it is capable of producing1 and deserves1 and which it attained in the olden time1 even with its then more limited capabilities4 ,the obstacles which1 on the revival of the art1 have interposed to check its further extension1 and therefore to diminish also the general demand for its productions1 are much rather to be attributed to those in whose hands it rests1 than to anything properly belonging to itself2 they originate in fact less in the art than with the artists4 ,one of the principal causes of the earlier decay of glass-painting was that its rules being based so entirely upon empirical principles1 those who practised it were accustomed to consider the knowledge they had acquired in the thorny path of tedious and long continued experiment as their most valuable personal property1 forming at once the means of their subsistence1 and the foundation of their future artistical fame4 ,they therefore not only kept the information they had gained profoundly secret during their lives1 but even carried it with them to their graves1 in preference to leaving it behind them to be made use of by their scholars4 ,glass-painting or staining may be defined to mean the art of painting on transparent glass1 7either colorless or already colored in the process of its manufacture71 with vitrescible metallic colors1 which are afterwards burnt into the surface of the glass on which they are laid1 leaving it more or less transparent4 ,all colors used in glass-painting are oxides of metals1 or other metallic combinations4 ,they may be divided into two principal classes3 #a4 ,those whose coloring base1 or the oxide1 is laid upon the glass simply in its original combination with an earthy vehicle4 #b4 ,those whose coloring base1 or the oxide1 must be made to adhere by the help of a glassy body1 namely1 the flux4 ,the colors which require a flux may be divided again into1 #a4 ,those in which the oxide unchanged1 but only mixed with the flux1 is attached to the glass4 #b4 ,those in which the oxide requires to be vitrified1 by previous fusion with the flux1 before it is laid on the glass4 ,the last may be called fused colors1 all others mixed colors4 ,the classification before given may be made clearer by the following explanatory remarks4 ,glass-painting is distinguished especially from other illuminating processes in that the colors and the foundation on which they are laid must1 in this art1 be fused together in the kiln4 ,now1 some few colors combine with the surface of the glass1 at the temperature of fusion1 without further previous preparation than the simple laying on1 wherefore these give to the glass only a coloring cementation or stain4 ,others1 on the contrary1 in consequence of their peculiar nature1 can only be made to combine with the glass by fusing them upon its surface1 into another thin sheet or layer of colored glass4 ,this is done by means of the flux1 a vitreous compound1 which fuses more easily 7i4 e4 at a lower temperature7 than the foundation1 the glass plate4 ,the ,process of ,laying the ,colors on the ,glass4 ,the manipulation and the process of laying the colors on the glass varies1 in some measure1 according to the different kinds of glass-painting1 which therefore call for the first explanation4 ,either the colors may be laid upon a single sheet of glass1 upon which the whole figure with all its principal colors and intermediate tints are burned in 7,peinture en apprt72 or1 ,the figure may be composed of various pieces of pot metal 7glass already colored in its manufacture71 and only the outlines and shadows painted on1 the glass pieces giving the colors for the peculiar places where they are inserted 7,mosaic glass-painting72 or1 both these methods may be combined in one and the same picture1 by composing it partly of pieces of colored pot metal and partly of white and painted glass1 fixed together1 ,peinture et ,apprt4 ,for painting on a single sheet of glass1 the following rules must be observed4 ,a pure white glass must be chosen for the purpose1 free from air specks or bubbles1 and especially difficult of fusion1 as the whole labor would be lost if it were attempted to burn in the colors upon a ground which fused as easily as themselves4 ,it is practicable1 as the examples of the ancients show1 to paint on what would appear the commonest glass with a good result1 provided that it does not contain too much lead1 and thereby become too easily fusible4 ,before the operation of painting1 the glass plate must be rubbed to a sufficient extent with pure lime1 slaked by exposure to the air1 in order to clean it perfectly4 ,the ground or foundation must then be laid over the whole surface of the plate1 which may be done in two different ways4 ,some artists simply dip a piece of clean linen cloth1 or a flat camel-hair pencil1 in oil of turpentine1 and brush the pane of glass with it equally over its surface1 while others give to the whole a thin clear ground of black glass-painting color1 in such manner as not to destroy its transparency1 but at most to give it the form of a dead ground glass4 ,both methods answer the purpose of covering the glass with a viscous surface1 which takes the design and the colors better than a polished ground2 the latter prepares the glass at the same time for the painting effects which are to be obtained upon it4 ,in both cases the ground which has been laid on must be most carefully leveled over1 and brought to as thin a coat as possible with a large hair pencil1 and must be dried quickly1 taking great care to preserve it from dust1 etc4 ,painting on one sheet requires only one pattern drawing or cartoon1 which1 however1 may be used in two ways4 ,either the glass sheet1 grounded and dried as above directed1 may be laid upon the drawing1 and the outlines1 as seen through the glass1 traced lightly with a fine pencil1 and with black or other glass color corresponding to the ground4 ,or the drawing may be placed reversed on the sheet1 and all the outlines marked over with a steel or ivory style4 ,if this latter method is used upon a ground of simple turpentine1 the back of the drawing must previously be rubbed over with black lead1 so that the traced lines may appear dark on the light ground4 ,in both cases1 the drawing1 whether it is placed upon or under the glass1 must1 for the sake of convenience1 be fastened to it with pieces of wax at the four corners4 ,for properly carrying out the process of laying on the colors1 a desk or easel is necessary1 which should be capable of being placed in an inclined position by means of props1 and should be formed by fixing a glass plate in a wooden frame1 so that the light may pass through the painting4 ,sometimes during the progress of the work1 the glass which is being painted may be removed from the easel and laid upon a sheet of white paper1 in order better to show the effect of certain colors4 ,the vehicle with which the pigments are laid on is generally oil4 ,some artists use exclusively water1 but this alone is an insufficient medium for binding the metallic bodies to the glass1 particularly if1 as in the case of fused colors1 they are somewhat coarse in their nature1 and require to be laid on in thick layers4 ,they then easily loosen from the plate before the firing1 and render the process of laying on much more difficult4 ,it is an important advantage1 that with oil the edges are more sharply defined1 and the parts already painted may be again touched over when dry without danger of loosening the ground4 ,it must be understood that when it is wished to make use of water1 the plate must either not be grounded at all1 or only with a glass-painting color worked up with water4 ,the most suitable kind of oil for the purpose is rectified oil of turpentine1 somewhat thickened by standing1 and to which a little oil of lavender is added4 ,this preparation gives the mass the necessary degree of viscosity1 and also prevents the color on the palette from drying up and thickening too quickly4 ,the palette should be of thick sheet glass1 ground rough by rubbing with a glass muller and fine sand4 ,preparatory to mixing with oil for laying on1 those colors which require a flux must 7unless a different process is specially indicated7 be ground fine in water with the flux1 and again dried4 ,but the fused colors1 i4 e4 those in which the oxide has already been vitrified with the flux into the state of a transparent glass1 should for the purpose of laying on1 only be coarsely granulated2 for the finer these are ground the more likely is their transparency and perfection to be impaired when burnt in4 ,those pigments which are laid on in their simple combination with an earthy vehicle1 and without flux1 as for example the yellow and red colors prepared from silver1 form an absolute exception to the use of oil1 and must1 for laying on1 be stirred up with water to the consistency of a thick cream4 ,the first of these three kinds of pigments should1 as a general rule1 be laid on in a thin1 the latter two in a pasty1 state4 ,the depth of tone of the color depends1 with all three1 upon the degree of thickness in which the pigments are laid upon the glass4 ,the laying on of the fused colors is accompanied with more difficulty than that of the other kinds4 ,the latter are simply laid on with the pencil1 in the same manner as with other kinds of painting1 and the only care necessary is that the coat may be perfectly even and regular1 therefore for large surfaces a wide smooth pencil or driver is usually employed4 ,the colors prepared from silver must be treated differently1 and laid on the glass at least to the thickness of the back of a knife4 ,but the fused colors must be brought upon the surfaces to be covered in the state of a thick flowing mass1 moist enough to run1 but consistent enough to lie upon the glass4 ,for this purpose small portions must be laid on and spread out with a pencil or small spoon1 and made to flow to the circumscribing outlines1 by inclining the sheet in the proper directions4 ,if any part of the surface thus covered is required to take a darker tone of color1 the plate must be kept for some time at an inclination in the corresponding direction1 so that the color may thus accumulate thicker on that part4 ,by this process many gradations of tone may be obtained from one and the same pigment4 ,the remaining rules for the laying on of the pigments are those which principally result from the different methods of painting on one sheet1 of which there are principally three4 ,either the whole picture may be brought out in its outlines and shadows1 on one side of the sheet1 with black1 brown or gray color1 and illuminated with the proper colors in the proper places on the other side4 ,or simply the manner of ordinary oil painting may be adopted with the glass colors1 and the picture treated as by an artist in oil4 ,or1 as is now most customary1 both methods may be united1 the artist making use of each in certain places1 according to the requirements of the object he has in view4 ,for these three methods the following common rules will serve4 ,the shadows and dark colored outlines1 and that which is called in oil #8under painting1' should be drawn on the front side of the glass1 or that which is turned towards the spectator4 ,the illuminating colors1 especially the principal ones1 should be laid on the back or reversed side4 ,intermediate tints1 and gradations by shading1 should generally be placed on the front side1 but sometimes1 when they alternate with each other1 necessarily must lie on both2 as they cannot be put in contact on one and the same side without danger of running into each other1 and making a false color4 ,the silver yellow and red colors1 before alluded to1 must always be placed on the back or reversed side4 ,in some particular cases colors may be laid on corresponding places on both sides of the glass1 in order to produce certain effects by the light falling through the two together4 ,thus1 purple on one side and gold yellow on the other1 give a magnificent fiery scarlet2 blue and yellow1 according to their respective intensities1 give different shades of green2 the latter1 again1 with blue on the opposite side1 serve for excellent distance colors4 ,and finally1 by the mixture of several colors1 the most diversified intermediate tints may be obtained1 so that glass-painting in its present state may be brought to assimilate with oil painting in its power of producing varied effects4 ,in order to put a new tone of color on a surface already marked with outlines1 etc41 it must first be dried by a gentle and equal heat1 7to avoid the warping of the glass71 and again painted immediately after it has cooled4 ,or the black lines first laid on may be at once burnt in1 and where possible1 with these any yellow shades also which may be required1 after which the painting1 then fixed1 may be further worked upon without danger of damage4 ,the residuum of the unfluxed yellow color may be removed after burning1 and again used4 ,this color must never be put over any other1 nor over dark shadows1 unless these are previously burnt in1 but always require a carefully cleaned surface of glass to lie upon2 otherwise it would combine with the flux of the under color1 whereby the earthy residuum would be fixed1 and the transparency and beauty of the whole destroyed4 ,all pigments must be laid on somewhat darker than in other kinds of painting1 as they lose in depth by burning4 ,when a pigment has overrun its outline1 the superfluous quantity must be removed1 when dry1 with a knife4 ,by taking away the ground with a style of fine grained wood1 pointed in front and smooth at the back1 7a tool used in etching71 the most effective lights may be obtained4 ,should the colors not appear quite dull and dry1 but shining and greasy1 after the drying of the picture1 this is caused by the misuse of the oil1 which is always dangerous to the beauty of the pigments in firing4 ,it is neither necessary nor advisable to allow more than one day for the drying of the colors2 the burning in should be proceeded with at the expiration of the time named4 ,lastly1 during the work1 the greatest cleanliness must be observed throughout1 the pencil and palette must be kept perfectly clean1 and the painting preserved from dust1 etc41 for which reason it is not advisable to paint in a laboratory or melting room1 where the presence of vapor1 dust1 and impurities of many kinds cannot be avoided4 ,mosaic ,glass-,painting4 ,the before mentioned rules for laying on the colors will apply also to the method of forming designs with colored pieces of pot metal1 or partly with these and partly with painted white glass4 ,it remains to say something more in reference to the employment of the cartoons1 and the cutting and arrangement of the glasses in this branch of the art1 which1 however1 is but little practiced1 since the leaden bars in a picture calculated for a near view are detrimental to the effect4 ,illustration ,mosaic glass-painting requires two cartoons4 ,one of these1 a finished and colored one1 is used by the artist as a pattern1 and serves to determine the arrangement of the piece of glass according to their several colors1 and the manner of introducing the leaden ribs to fasten them together1 according to the outlines of figures4 ,each piece of glass proposed to make part of the picture1 must be distinguished by a separate number4 ,the other cartoon1 which consists only of the black outlines of the lead jointing1 and whose several parts are numbered to correspond with the first1 is to be cut up in pieces according to the outlines1 and the size of each piece diminished all round by one-half the thickness of the lead bar of the jointing1 so that the pieces of glass may be exactly cut to the proper dimensions4 ,the cutting of the glass may either be done by the diamond1 or by tracing the line of division with a red-hot iron1 after having made a small incision at its commencement1 or by cutting with scissors under water1 which1 however1 is not a safe process4 ,with overlaid glass1 i4 e4 pot metal1 several sheets or layers laid upon each other from the frit1 as for example1 red and white1 blue and white1 etc41 it is possible to produce many effects of shading by removing more or less of the colored glass sheet1 according to the outline1 by grinding with emery4 ,or the colored sheet may be ground through to the white glass1 and thus colored ornaments may be given on white ground1 especially for the representation of damasked materials4 ,also1 the white parts thus exposed may have a color given them at pleasure on the opposite side1 in order to produce many kinds of effects1 or to avoid the necessity of using many pieces when the introduction of another color in that of the pot metal is indispensable for the effect required4 ,the colored pot metal may be painted with intermediate tints of its own principal color1 or even in order to produce certain effects1 may be covered on one of its surfaces with another color4 ,thus1 a fiery red may be obtained by covering a red overlaid glass on its white surface with the yellow silver color1 and burning it in1 or a shade of green by a similar use of the same pigment on a blue overlaid glass4 ,in these operations the widest latitude is left to the talent and practice of the artist4 ,illustration ,,gilding ,,the ,,borders ,,of ,,glass1 ,illustration ,,in ,,transparency1 ,,antique1 ,,and ,,other ,,glass ,,painting4 ,the present art of gilding upon glass is an improvement on the method in fashion years ago4 ,it is chiefly used for decorating the borders of prints in executing show glasses1 and inscriptions for various purposes1 also for ornamental decorations in a variety of elegant forms1 upon different colored grounds2 but as black is the most general one in demand1 shall first treat on that1 there being two ways of performing it4 ,procure some fine isinglass4 ,you will find white and transparent is the best1 otherwise it will be unfit for this purpose4 ,dissolve it in very clean water1 and strain through linen cloth4 ,put a piece the size of a pea into a tea cup of luke warm water1 and let it remain until dissolved4 ,make the glass you wish to have gilded quite clean1 and free it of any dust or grease1 get some leaf gold1 put it on a gilding cushion1 and cut into pieces according to the breadth you wish to have your work gilt4 ,go over the parts to be gilt with a hair pencil1 dipped in the thin isinglass water1 and while moist lay on the leaf gold1 piece by piece1 until the parts are covered4 ,the leaf will instantly adhere to the glass4 ,then place it near the fire1 in a slanting position1 until it dries1 which will be in a few minutes4 ,while it is slightly warm1 take a piece of cotton or wool and rub the gold to the glass1 until you find the superfluous pieces of leaf gold gone1 and likewise the back of the part gilt receives a kind of polish4 ,proceed to lay on a second coat of gold1 in the same manner as the first1 drying it as before1 and polishing it1 and so a third coat1 which will be sufficient4 ,then take the size of the print or drawing which is to be framed1 and laying it on the gilt part of the glass1 mark where the edges come to1 with a hair pencil and some dark color1 after which1 being provided with a long ruler1 and a pointed piece of ivory1 draw two parallel lines out of your gold1 and with a mahogany or deal stick1 carefully pointed1 work away the superfluous part1 leaving the gold fillet which is to encompass the picture sharp and neat4 ,if you wish to ornament it by any other lines1 to appear black in the center1 lay on your ruler1 and with the ivory point scribe them1 and then varnish1 having some black ,japan1 to which a little lampblack has been added1 to deepen the color4 ,paint it all over the gilt part of the glass1 and the space between it and the edge1 then set it to dry1 which takes a few hours4 ,when you are to lay out the breadth of the black line that is to be inside your gilding1 scribe it with a sharp point1 and cut away the waste black with a graver1 or some sharp instrument4 ,to cut figures1 or any kind of ornament out of your gold1 after the glass is gilt1 have a drawing of the design on paper1 at the back of which rub some powdered red chalk1 and the smallest quantity of fresh butter2 lay the paper on the gold1 and with a bluntish ivory point go over the lines of the drawing1 and they will be nicely transferred on the gold1 when you can with an ivory point trace them out of the gold1 and shade them agreeable to your fancy1 or from the drawing you have by you4 ,you may1 by mixing any other color you choose with white copal varnish1 vary your ground as you think proper4 ,the most important secret in glass gilding is the following method3 ,in an instant after your glass is blacked1 taking away the parts where the gold is to appear1 and the remainder of the black to stand fast1 by which means the black gilding work is done in one-half the time1 and with half the gold leaf4 ,the process is simple1 and is performed as follows3 ,obtain the very best black ,japan carriage varnish1 to which add a very small portion of burned lampblack1 very finely ground in spirits of turpentine2 then with a large flat varnish brush give the glass one even thin coat1 holding it between you and the light1 and observing that it does not appear a thick dead black1 but exhibits a degree of transparency not so much so as to prevent its appearing a good black at the right side of the glass4 ,after this1 have the letters and ornaments drawn on paper1 as before mentioned1 and trace it in the same manner on the black varnish when it is perfectly dry4 ,the drawing will be thus very finely transferred to the black4 ,then take a needle pointed bodkin and finely mark the outlines of what black is to come out through the varnish2 take some thick brown paper1 dip it in water1 and squeeze it gently1 spread it over the parts of the varnish you want to detach from the glass1 and in a few minutes1 by raising one edge of the black1 it will instantly peel away clean from the glass4 ,when all the black you want is taken out1 lay the glass to the fire1 and the remaining part of the varnish will instantly become as hard as ever1 and ready to have the gold put on4 ,illustration ,,etching ,,on ,,copper4 ,illustration ,doing this kind of work upon copper1 in imitation of engraving1 at a much less expense1 is something worthy the attention of sketch-artists and draughtsmen1 who will find it very useful in getting duplicates of their work4 ,you first make a correct tracing with a black lead pencil of the drawing which is to be etched1 then screw the copper plate into a small hand vice4 ,it must be understood that the copper is perfectly free from scratches1 or other blemishes4 ,warm the plate from the back with a torch1 which must be kept moving over it in all directions1 until it becomes gradually heated4 ,it should be just hot enough to allow your hand upon it for a second or two4 ,take the etching ground--which is inclosed in a silk wrapper--and rub it as evenly over the surface of the copper as you can4 ,before the plate cools1 take the dabber and dab over the etching ground until it becomes perfectly flat1 and indeed assumes the appearance of a thin transparent wash1 through which the bright copper appears4 ,the etching ground must be equally spread over the copper1 not thick in one part and thin in another4 ,should the copper become too cold ere the dabbing has been finished1 you may warm it again2 be careful1 however1 not to make it so as it will burn the etching ground--this would be a great blunder1 because it would not then resist the action of the biting-in liquid1 which is aqua fortis of different degrees of strength4 ,now take a wax torch and smoke the whole surface of the copper thus prepared2 keep the torch at a fair distance from the copper1 and move in all directions1 until the whole plate becomes black with the smoke4 ,let the plate cool1 then slightly dampen the tracing1 and lay the penciled side upon the smoked plate1 and run both through a printing press4 ,upon removing the tracing paper1 you will find a perfect fac simile--reversed--of the drawing1 transferred to the copper by means of the smoke4 ,now place the copper on the table1 which must face the light1 and put up between the light and your plate a shade of tissue paper1 which will cause every scratch you make on the copper apparent4 ,the shade is simply a sheet of tissue paper stretched upon a common wooden strainer4 ,keep it constantly up during your work4 ,the plate may be laid flat upon the table1 or inclined a little1 just as you please4 ,now get a piece of thin mahogany1 or common deal1 longer than the copper1 and sufficiently broad for your hand to rest upon while working1 for the hand must not come in contact with the plate1 otherwise the tracing would be obliterated4 ,the rest for the hand must have two pieces of wood glued on each end1 so as to raise it off the plate an inch or so2 or you may place a book on each side of the copper--not on it--and lay a flat piece of wood across it1 and resting on the books2 all that is required being to keep the hand off the plate while etching in the outline4 ,have a looking-glass near1 and place the original drawing or tracing before it1 which will thus be rendered just as the reversed outline on the copper4 ,now take an etching point and slightly go over all the outline1 simply scratching the copper1 not digging deeply in it4 ,when all the etching is done1 put a border or wall1 about an inch high1 all around the plate1 to contain the biting-in fluid4 ,the composition for bordering must be warmed1 and laid down on the plate1 taking care that it adheres sufficiently1 or else the fluid will escape and burn whatever it touches4 ,the aqua fortis is now to be laid over all the etching1 and according to its strength so must its continuance be4 ,it may be kept in motion with the feathered end of a quill1 and when it bubbles up1 you may be sure it is in active operation4 ,when the distances and delicate lines have been etched in sufficiently1 pour off the liquid1 wash the plate with cold water1 and when dry1 cover up with the preparation--made for the purpose of resisting the action of the fluid--all the parts which1 according to your judgment1 are sufficiently bit in4 ,lay on the fluid again1 and rebite the next delicate parts1 then pour off as before1 and wash the plate with cold water4 ,stop out and rebite again1 and so continue to do until the whole work is accomplished4 ,the darkest parts of the etching always require more biting-in than the light parts4 ,clear off all the etching ground from the plate1 and the work is done4 ,many ladies do this work for amusement1 but they give the plate out to be bitten-in1 as the fumes from the aqua fortis are unhealthy4 ,the materials for the art of etching can be obtained in any village4 ,there are also professed biters-in1 who are employed by engravers4 ,etching on steel is done in precisely the same manner1 only the biting-in fluid is much weaker4 ,etching ,fluid for ,copper4 ,mix two ounces aqua fortis with five ounces water4 ,another is verdigris1 common salt1 and sal ammoniac1 each four ounces1 alum one ounce1 7all in powder71 strong vinegar1 eight ounces1 water1 one pound2 dissolve by boiling for a moment2 cool and decant4 ,,kensington ,,painting4 ,kensington art work probably1 at the present time1 is attracting more attention than the other methods of painting on silk and velvet4 ,kensington embroidery had its day1 and while it has not altogether passed out of use1 it is nevertheless1 like many other methods of art needle-work1 being improved upon1 and for the old method of doing the work with the thread1 paint is being substituted1 which far exceeds the more ancient work in splendor and simplicity4 ,the great progress lately made in this accomplishment1 the amount of mechanical and artistical power1 far excels whatever else has formerly been called into use4 ,notwithstanding all this1 however1 the art has not reached that wide state of perfection which1 from the exquisite effects1 it is capable of producing4 ,kensington painting1 in general appearance1 resembles ,kensington embroidery1 and as the latter seemed to pass away1 the former caught up the name1 the idea being to produce with paint and brush upon cloth1 a fac simile of the raised work of embroidery1 to answer a demand of artists in oil for something new4 ,materials ,used4 ,for doing the work procure the following materials3 ,the best probably for the purpose would be a brass pen1 one that is very elastic2 a goose quill would answer the purpose4 ,next is a round piece of steel1 or needle1 such as is used by milliners1 and set in a handle if you wish4 ,three sable brushes1 ,nos4 #c1 #e1 and #g4 ,cut from brush ,no4 #c all the bristles1 leaving nothing but the abrupt square end of the metal holder2 from ,no4 #g cut away nearly two-thirds of the hair1 leaving it with a round end1 and you have the required tools4 ,now arrange the velvet upon which the painting is to be laid1 by stretching it upon pasteboard1 and fasten with thumb tacks1 so as it may be kept in place for working upon3 after this is done1 stamp upon it the pattern you wish to have painted4 ,this can better be executed at a place where stamping for embroidery and other work is generally done1 and where designs can be found from which you can select just the pattern you wish4 ,if you have a picture you would like to paint1 that is not perforated1 you may make a transfer of it to velvet by pricking through with a fine needle1 following carefully and completely the full outlines of the copy before you1 after this is done1 and before the picture is moved1 press through the now perforated pattern white powder1 with a soft pad1 which will show up the outlines of what you seek1 on the velvet beneath1 or you can use the transfer process given on page #bh4 ,it is now ready to receive the painting4 ,the ,colors used are ,winsor ,newton's oil colors in tubes1 and the opaque mixture for thinning4 ,flake white1 rose madder1 cerulean blue1 vermilion1 chrome green ,nos4 #a and #b1 burnt sienna1 orange chrome1 emerald green1 mauve lake4 ,for ,poppies use ,chinese vermilion1 a little chrome yellow and green for the centers2 for ,pansies use mauve lake1 with green and yellow for the center2 for ,daisies 7white7 with yellow centers1 use flake white1 with chrome yellow for the center2 ,forget-me-nots1 use light blue1 by mixing white with permanent blue1 dot the centers with yellow2 for leaves1 use green1 with a little ,naples yellow and ,chinese vermilion for autumn leaves2 for stems of flowers1 use green1 and green heightened with white for grasses1 and where the leaves require it2 for ,wild ,rose1 use rose madder and white1 apply same as in poppy4 ,applying the ,colors4 ,after the piece has been fastened to the board1 and the flower is stamped thereon1 you may begin the painting4 ,take first a ,forget-me-not4 ,commence with pencil ,no4 #c4 ,take upon the brush all it will hold of cerulean blue1 mixed with white lake1 lay this upon the point which you are to place the flower1 and with the brush press it out by rolling the brush from the center to the outline of the petal of the flower1 in such quantities as to show a rolled edge1 7resembling the embroidery71 leaving the center with but little of the paint4 ,with the same brush1 or point of the pen1 7after cleaning with naphtha71 touch the center with a small particle of chrome yellow1 7about the size of a pin head74 ,now1 with the needle1 lay on the stems1 using green4 ,in doing this1 cover the whole of the needle with the color1 and lay on the velvet full length1 drawing it over the outline1 and rolling in the fingers as you move it4 ,this is also used in making flat grasses and leaves4 ,in painting the daisy a pen is used4 ,place the paint first upon a palette knife1 and then take it off from the knife with the pen1 which will be found much more convenient1 being particular to get the point full of the color by laying the pen sideways when taking it up1 7using flake white71 press to the outside of the flower1 and by bearing heavy enough you will find it carries the color to the outline of the petal in rolls1 leaving the center almost void of color4 ,the instrument used for this should be very elastic1 and one not easily broken by bending4 ,after you have gone over each petal1 dot the center1 by using ,no4 #c brush1 with chrome yellow and burnt sienna1 mixed1 using enough of the color to fit the space of pistil4 ,in painting the ,poppy1 use ,no4 #g brush for outside petals1 and ,no4 #e for inside1 or smaller ones4 ,press as before directed upon the brush1 and turning it at the same time toward the outline1 pressing the paint to the margin of the petal1 and leaving it there in a roll1 with the center of the petal as before mentioned4 ,this being done1 take brush ,no4 #c1 and with chrome yellow place in the pistil and stamens 7commonly called the 8heart074 ,for other flowers1 follow instructions as previously laid down4 ,the outlines of flowers are made with brush ,no4 #c1 and the pen4 ,the needle is again employed for drawing in the veins1 using for this light green1 and apply as heretofore directed1 by covering with the color1 and draw full length over the outlines endwise4 ,in making autumn leaves1 take ,no4 #e brush1 using for this vermilion1 chrome yellow and burnt sienna1 and sometimes a little green4 ,for durability1 this painting will compare favorably with any other method4 99 99 99 99 99 ,n4 ,b4--,when the opaque mixture is used no previous preparation or coating of any kind is necessary4 ,the colors will not spread1 run or stain silk or velvet of the most delicate shade or tint1 beyond the outline4 ,use the opaque mixer1 to thin the paint to its proper consistency before applying1 using no oils1 turpentine1 or dryer of any kind with the mixer1 as it is of itself a sufficient dryer4 ,if your silk or material painted shows a dampness beyond the line of color1 let it remain until the color dries1 and it will all evaporate dry1 leaving no stain whatever on the material1 placing the paint beautifully in rolls1 to imitate what it is intended to1 ,kensington embroidery4 ,illustration ,,arrasene ,,and ,,ribbon ,,embroidery4 ,illustration ,ladies are turning away from the more laborious kinds of work1 and seeking that which is artistic1 useful1 and beautiful4 ,many who have heretofore sat idle1 are making their leisure hours pleasant1 and their homes resplendent by aid of decorative art4 ,housekeeping may be classed among those necessities which1 to many1 is a 8life-long torment10 for which there is hardly a remedy1 although there are those who find charms therein2 they at the same time are almost lost amid the vast multitude of ordinary indifferent ones4 ,however1 nearly all are kept mindful of the purity of the art of home decoration1 and are showing sufficient interest to do something for its elevation4 ,arrasene embroidery is comparatively new1 yet its beauty has so fascinated the women of taste that teachers of the art are sought after everywhere1 and their scarcity has caused the publication of the following instructions4 ,there is a wool called wool arrasene1 and a silk called silk arrasene2 the arrasene embroidery is simply the working of these in tufts1 to form flowers and other ornaments1 such as mottoes1 cushions1 etc4 ,an owl worked in grey arrasene is beautiful4 ,inasmuch as the working of flowers seem to better satisfy the taste of arrasene art workers1 ,i will give the instruction4 ,how to ,make a ,wild ,rose4 ,for this you will need two shades of satin or velvet--either are very pretty4 ,have the pattern stamped or drawn on whatever you wish to embroider1 plush1 felt1 satin1 or other goods2 cut the satin in shape of the petal of the flower1 and be sure to have them long enough to turn in the edges4 ,now blindstitch it on the pattern1 being careful to leave fullness enough to form folds in the petals1 gathering them at the center1 using the ,french knot1 or seed stitch1 and embroidery silk1 yellow and brown for roses4 ,for double rose1 cut more pieces for petals1 and lay one over the other4 ,for daisies1 use narrow white ribbon1 plaiting the ribbon in the center1 filling in with the ,french knot stitch1 using two shades of yellow and brown4 ,in making a forget-me-not1 use very narrow blue ribbon1 for the centers one knot stitch of yellow and one of red4 ,for green leaves and stems1 and the green around the rose1 7calyx71 use arrasene wool or silk1 or a part of each4 ,it is much handsomer to use the silk for high lights2 for stems of roses use reddish brown4 ,many flowers can be very effectively represented by the ribbon embroidery1 such as dogwoods1 sunflowers1 pansies1 and other varieties4 ,,portraiture ,,in ,,black ,,crayon4 ,illustration ,crayon portraiture1 to one who knows nothing of the method1 seems not only very difficult1 but almost unattainable1 except after long years of study and practice4 ,even then many suppose artists are born1 not made4 ,the writer of this article has been employed in teaching the art for several years1 and could refer to many pupils who1 after comparatively few lessons1 were able to execute finished portraits of real merit4 ,any one who can learn to write can learn to draw1 but a special method is necessary to enable pupils to work intelligently4 ,most other branches of art have been elaborately treated by able pens1 but crayon drawing as a study1 has been hitherto neglected4 ,a careful preparation of written instructions cannot fail to enable one with ordinary ability and taste to master this most beautiful art4 ,one of the first requisites for successful work1 is to have proper material1 and of the best quality4 ,,paper4 ,the best and only paper that should be used is ,whatman's imperial1 or double elephant4 ,it should never be used by tacking to a drawing board1 but must be mounted on a stretcher4 ,all ,art ,stores have a ready supply of these1 but for the sake of economy they can be made in the following manner4 ,take a pine frame #bj #bd1 or any desired size1 lay a sheet of ,whatman's paper upon a table1 face side down1 dampen it with a sponge over the entire surface3 lay the frame upon it1 and trim the edges of the paper with a knife1 about one inch larger than the frame4 ,cut out the corners1 then with a small brush put a little flour paste upon the paper beyond the frame1 and also upon the edges of the frame2 turn this paper up on to the edges of the frame1 drawing it a little with the fingers to take out the larger wrinkles1 and make it adhere firmly4 ,put away in a cool room1 to allow the paper to dry1 and a stretcher is ready for use4 ,do not moisten the paper on the side upon which the drawing is to be made1 as this would occasion spots1 which would spoil the work4 ,in selecting materials1 buy the small paper stomps1 which come in packages of a dozen or more2 one soft rolled chamois stomp2 7avoid the hard stiff ones72 a stick of square ,conte crayon ,no4 #c1 a piece of ,conte rubber1 which can be sharpened with a knife when it becomes too blunt1 a few sticks of the round glossy ,conte crayons1 a crayon holder1 and a few sticks of soft charcoal4 ,take a small block of wood1 about #ce inches1 paste a piece of fine sand paper carefully over one or both sides1 and let it dry4 ,this block is useful to sharpen and clean the rubber and paper stomps4 ,upon another block of the same size1 or a little larger1 paste a piece of ,whatman's paper1 smoothing it down carefully1 allowing this to dry thoroughly4 ,take the stick of ,no4 #c square crayon1 rub it over this block hard1 to make the pulverized crayon to be used with stomps1 or use a fine file1 and allow the crayon thus pulverized to fall upon the block4 ,keep this free from dust when not in use4 ,these are all the materials necessary to execute a crayon portrait4 ,the next step will be to make the enlargement of the photograph from which a copy is to be made1 providing a solar print is not used4 ,there are several ways of doing this4 ,the best method is to have a good pentagraph1 unless one is able to draw the outline enlargement free hand4 ,in either or all cases make the outline upon a piece of manilla wrapping paper1 cut the size of the stretcher intended4 ,when this enlargement is made1 thoroughly blacken the back with a piece of charcoal by laying the paper upon a smooth drawing board or table2 turn it over and lay it upon the stretcher1 being careful to place it so the drawing will be in the center of the stretcher1 securing it with tacks or pins at the corners1 in order that it may not slip4 ,with a stylus1 or hard lead pencil1 trace over all these outlines again1 being careful to follow them accurately1 omitting none4 ,remove the paper with care1 and a definite outline of the picture will be seen upon the stretcher4 ,this will rub off with the slightest touch1 therefore take one of the paper stomps1 rub it on the block of pulverized crayon1 holding it in the hand as a pencil1 trace lightly over these outlines in order to prevent losing them while at work upon the picture4 ,be careful1 however1 to do this very lightly1 if not1 the lines will show when the picture is finished1 and spoil the effect of the work4 ,the first step to be taken is to put the crayon on the darkest part of the features4 ,rub the paper stomp on the block of pulverized crayon very hard1 turning it around between the fingers in order to get the crayon on the whole surface of the point and tapering end4 ,apply this lightly but firmly1 and with a broad stroke to the lines or lids above the eyes1 the nostrils1 the line through the center of the mouth1 the dark shades in the ears and the eyebrows1 following the outlines already upon the stretcher4 ,put in the pupils of the eyes very black and heavy4 ,the stomp has now cleaned itself somewhat4 ,next darken the iris of the eye1 put on the shadows under the eye1 the curves of the nose from the eyebrows to the end1 and the curves around the nostrils4 ,next the upper lip1 tinting it lightly4 ,now define the outlines of the cheeks1 working in light strokes inward1 and hatching them1 or crossing the strokes at an acute angle 7never at right angles74 ,work for the expression1 and hold it4 ,having gone thus far the stomp will be quite free of color4 ,the blending process comes next in order4 ,work slightly upward from the lines around the eyes1 borrowing from the color already there for the shadows desired4 ,the same from all the features above mentioned1 watching the photograph closely and leaving off such shadows gradually4 ,tint all the darker shades on the entire face in the same manner1 not as dark at first as they will be required4 ,leave all the strong high lights perfectly white until the picture is nearly finished4 ,in putting on these shadows the hatching process will be found the most effective1 not1 however1 by making strong lines1 but simply have the strokes of the stomp made in such direction1 very soft and indistinct4 ,if any large white spots seem to remain1 thus destroying the evenness of the tone1 touch them over lightly until the tone resembles in quality a wash with ,india ink or water color1 gradually growing lighter and lighter until lost in the high lights and half tones4 ,the beauty of the finished portrait will depend very largely upon this blending1 as there must be no abrupt ending to any shadow4 ,leave the face for the present1 and take the chamois stomp1 rubbing it on the block of crayon until the end is thoroughly covered4 ,lay it very flat and lightly on the parts of the hair which are the darkest1 commencing at the deepest part of such shades1 and ending toward the high light4 ,leave these high lights as in the face perfectly white for the present4 ,try and follow the direction in which the hair is combed1 but mass it4 ,no attempt should be made to show individual hairs4 ,it is simply light and shade in masses4 ,next take the clear end of the chamois stomp1 borrow from the darker shades to tint the high lights1 making broad strokes4 ,if this makes them too dark1 lighten with the rubber4 ,all rubber strokes in the hair should also be broad1 not fine lines4 ,the drapery comes next in order4 ,a black silk dress or a broadcloth coat should be worked in the same manner4 ,with the chamois stomp put in the darker places in the drapery first1 following the same general rule of hatching only in broad strokes1 not lines4 ,tint the higher lights in the drapery with the clean end of the same stomp1 borrowing from the darker places as before4 ,the same rule should be observed in ending the drapery as in the shadows of the face--let it become lighter and lighter1 until lost entirely4 ,note carefully the collar and shirt front4 ,generally there will be seen light shadows upon them4 ,if so1 tint lightly with a clean stomp1 borrowing the color necessary from the drapery1 not from the block4 ,if the drapery now appears spotty it must be cleaned up in the following manner4 ,fill up the lighter places with the paper stomp1 rubbing lightly in different directions1 while the spots that are too dark can be cleaned off with the rubber in light strokes4 ,in this manner the drapery can be worked up very smoothly1 and free from spots4 ,the background should be worked up in the same manner as the drapery1 only not as dark4 ,do not put a background around the entire head1 only from the shoulders up about half the distance to the forehead4 ,if the subject is a lady1 and lace work is desired1 make this with the paper stomp4 ,do not work for details1 but in an indistinct manner1 following the original design somewhat1 but in soft strokes1 taking out the high light with the rubber1 if necessary4 ,the drapery1 background and hair are now supposed to be finished1 the above directions having been followed carefully4 ,the finishing of the features must now be attended to4 ,with a paper stomp1 not too black1 strengthen all the darkest shades in the face1 borrowing color again1 working the shades off upon the high lights1 preserving the half tones and reflected lights4 ,unless the high lights are very strong in the original1 tint them over slightly with a stomp fairly clean4 ,it is hardly necessary to say the subject1 or original photograph1 must be studied very carefully4 ,if this is done1 and the outlines accurately made1 a perfect likeness will be the result4 ,if the pupils of the eyes1 or any very deep shadow1 need a little strengthening1 it can be done with the round ,conte crayon1 sharpened to a very fine point1 and hatched lightly over such shadows4 ,the finishing touches must be made by using a clean paper stomp1 going over the entire picture1 a little beyond all the outlines1 to soften them1 thus producing a soft and natural effect4 ,last of all1 take out the catch light in the eyes1 with a sharp pointed knife1 scratching it slightly until it is of the desired shape4 ,in closing these instructions1 the writer wishes to impress upon the pupil or reader the necessity of working at all times1 and upon all parts of the picture1 very lightly1 if not1 a muddy effect will be the result4 ,the hatching should be tolerably open1 but not too much so4 ,this produces the effect of transparency1 which is very desirable4 ,if the above instructions are carefully studied1 and patient labor put forth1 any one may reasonably expect to obtain excellence in representing life-like and natural portraits4 ,,analysis ,,of ,,colors ,illustration ,,their ,,nature ,,and ,,quality4 ,we will begin with gall-stone1 which is one of the finest and brightest in the world1 and it very lasting color1 although in face painting it should be sparingly used1 its wonderful brilliancy being apt to drown all the other colors1 and make the work it is used in too warm in its tints4 ,of ,terra ,sienna1 it is unburnt1 a bright yellow-brown earth1 and is used by some miniature painters as a warm yellow2 but burnt it is a beautiful color1 and partakes of three tints1 yellow1 red and brown4 ,yellow ,ochre is a bright yellow earth1 and comes from ,france1 is semi-opaque1 and works well4 ,much used by artists1 but must be used with caution4 ,it is a lasting color1 and of service in the fleshy face tints4 ,roman ,ochre is a reddish yellow earth of a very great body1 and used by some with success in miniature painting4 ,used with gum water it works well1 and being a warm color1 it communicates that quality to the tints it is worked on4 ,naples ,yellow is an earth found near ,naples1 and is a soft1 bright and durable color4 ,a great proportion of that used is composed of lead1 alum1 sal-ammonia and antimony4 ,this color is not very much used by artists1 as it does not stand well4 ,is a pale1 gritty yellow4 ,it absorbs all colors that are worked on it or mixed with it4 ,gamboge is the concrete juice of various trees in ,ceylon--is a transparent color1 and consequently useful as a glazing color4 ,yellows have their base in iron1 lead1 quicksilver and arsenic4 ,,blue4 ,of all blues in use none can equal ultra-marine--its wonderful brilliancy and permanency excelling all others4 ,but it is often adulterated after reaching this country1 and the genuine is not common4 ,put a small quantity on a case knife1 and hold it over a candle1 keep the smoke from touching it2 if adulterated it will appear in grey spots1 and if genuine it will remain brilliant as at first4 ,it was formerly made from lazulite1 the beautiful variegated blue mineral1 worth at one time in ,italy twenty-five dollars an ounce4 ,a greater part of that used now is composed of carbonate of soda1 sulphur and kaolin1 colored with cobalt4 ,prussian ,blue is a good color1 it is a ferrocyanuret of iron1 produced in different ways4 ,there is no substitute for ,prussian blue for miniature painting on account of its strength of effect and transparency4 ,the best and purest is that which is dark color4 ,indigo is beautiful on account of its extreme depth of color1 nearly approaching to black2 the best is called the rock indigo4 ,cobalt is another fine blue1 much used in sky grounds1 and in the delicate parts of faces and necks4 ,french ,ultra4 ,a beautiful bright blue2 it is adapted for ladies' drapery--rather too powerful for pearly tints or flesh4 ,permanent ,blue1 ,cerulean4 ,useful in draperies and backgrounds2 also in landscape and flower painting4 ,not good for flesh tints4 ,sap ,green is the juice of buckthorn berries1 and has proven to be a highly useful color when judiciously mixed with other colors1 producing warm fleshy tints which cannot be made without it4 ,copper is the base of most blues1 though some are formed from iron and cobalt4 ,,reds4 ,carmine is a fine bright crimson1 inclining to scarlet1 and rather an opaque color4 ,from it a variety of fine tints may be made1 but it being a very high red1 renders it unfit for delicate subjects2 in this case use rose madder4 ,there are various kinds of it prepared of other reds1 but the deep kind is the best1 the lighter being made so by adulteration1 commonly made of alum and cream tartar1 colored with cochineal1 but it fades rapidly by out door exposure4 ,the genuine is made from kaolin1 or ,china clay1 colored with cochineal1 prepared with much difficulty1 which makes it expensive4 ,crimson ,lake is a beautiful crimson color1 inclining toward the purple1 making it useful for the carnation tints in painting delicate subjects4 ,chinese ,vermilion is a bright red1 and useful in miniature pictures1 though too freely used1 its opacity renders it dangerous to mix much with other colors1 but by itself1 in touching the lips and other parts that require extreme brightness1 it is of good service4 ,it comes from ,china in small parcels1 fourteen ounces each4 ,the native1 or ,mineral ,cinnabar1 or vermilion1 is very fine in ,spain2 the ,french have mines of it in ,normandy4 ,light ,red4 ,useful in almost all flesh colors1 and the ground upon which all the finer tints are made4 ,venetian ,red4 ,nearly the same as light red1 and used almost for the same purpose4 ,it is an earth1 found in many parts of the world4 ,rose ,madder1 indispensable for carnation lips4 ,this1 with cobalt1 and almost any transparent yellow1 forms all sorts of pearly and grey tints4 ,indian ,red is of a deep purple cast1 and a most excellent color for touching the deep red parts1 and the fleshy tints4 ,also useful in bright backgrounds and draperies4 ,,browns4 ,umber is a yellowish brown1 and mixes well with water colors4 ,useful in backgrounds4 ,when properly burnt it is a charming reddish brown1 very useful in hair4 ,works extremely well4 ,terra de ,cassel1 or ,vandyke brown1 so called from the very great estimation the inimitable painter of that name held it in1 is the finest rich brown in the world1 in itself producing a more beautiful color than can be formed by the junction of any colors whatever4 ,it is in general use1 and is1 in its natural state1 rather coarse and sandy1 but when prepared1 it amply repays the artist for his labor2 good glazing color for hair shadows4 ,lampblack is the smoke of burning resin1 and is useful for marking the pupil of the eye1 and in painting draperies4 ,it is a good color when burnt1 stands and works remarkably well4 ,the smoke of a candle1 received on a plate1 is found the best1 being blacker than the common lampblack4 ,ivory black is preferred by some4 ,king's ,yellow is a fine bright opaque color1 and is admirably calculated for painting lace1 gilt buttons1 etc41 but should be cautiously used1 as it is a rank poison4 ,chinese ,white is permanent1 and works remarkably well2 it is freely used on every part of a picture in water colors4 ,flake ,white4 ,this is the only white adapted for oil colors4 ,chinese white is never used4 ,,mixing ,,compound ,,tints ,,for ,,the ,,face4 ,purple is formed of either ultra-marine1 ,prussian blue1 smalt or indigo1 mixed with either carmine or lake4 ,ultra-marine1 although the most beautiful and brilliant of colors by itself1 loses that perfection in any mixture1 but it still retains a sufficient share of brightness to render it a desirable tint in the purplish-grey tints of the face4 ,prussian blue1 mixed as before mentioned1 makes a bright or dark purple1 according to the quantity of either color4 ,indigo makes a still darker purple1 owing to its great natural depth of color4 ,french ultra and carmine1 or lake1 forms nearly the same tint as ultra-marine1 and may be used nearly for the same purpose4 ,olive ,tints4 ,a very fine olive tint is formed of gall-stone1 ,nottingham ochre and carmine1 or lake2 and another of sap green and lake only4 ,,tints ,,and ,,the ,,colors ,,which ,,produce ,,them4 ,grey is made by combining ,white and ,lampblack4 ,buff is made by combining ,white and ,yellow ,ochre1 ,red4 ,pearl is made by combining ,white1 ,black1 ,blue4 ,orange is made by combining ,yellow1 ,red4 ,violet is made by combining ,red1 ,blue1 ,white4 ,purple is made by combining ,violet1 ,red1 ,white4 ,gold is made by combining ,white1 ,stone1 ,ochre1 ,red4 ,olive is made by combining ,yellow1 ,blue1 ,black1 ,white4 ,chestnut is made by combining ,red1 ,black1 ,yellow4 ,flesh is made by combining ,white1 ,yellow ,ochre1 ,vermilion4 ,limestone is made by combining ,white1 ,yellow ,ochre1 ,red1 ,black4 ,sandstone is made by combining ,white1 ,yellow ,ochre1 ,red1 ,black4 ,freestone is made by combining ,red1 ,black1 ,yellow ,ochre1 ,white4 ,fawn is made by combining ,white1 ,yellow1 ,red4 ,chocolate is made by combining ,raw ,umber1 ,red1 ,black4 ,drab is made by combining ,white1 ,raw and ,burnt ,umber4 ,pea ,green is made by combining ,white and ,chrome ,green4 ,rose is made by combining ,white1 ,madder1 ,lake4 ,copper is made by combining ,red1 ,yellow1 ,black4 ,lemon is made by combining ,white1 ,yellow4 ,snuff is made by combining ,yellow1 ,vandyke ,brown4 ,claret is made by combining ,red1 ,umber1 ,black4 ,dove is made by combining ,white1 ,vermilion1 ,blue1 ,yellow4 ,pink is made by combining ,white1 ,vermilion1 ,lake4 ,cream is made by combining ,white1 ,yellow4 ,salmon is made by combining ,white1 ,yellow1 ,raw ,umber1 ,red4 ,straw is made by combining ,white1 ,chrome ,yellow4 ,lilac is made by combining ,white1 with ,violet4 ,changeable is made by combining ,red1 ,green1 lightened with ,white4 ,peach ,blossom is made by combining ,white1 ,red1 ,blue1 ,yellow4 ,bronze ,green is made by combining ,chrome ,green1 ,black1 ,yellow1 or ,black and ,yellow1 or ,black and ,green4 ,,transparent ,,colors4 ,burnt ,terre de ,sienna1 ,terre ,verte ,asphaltum1 ,dragon's blood1 ,carmine1 ,rose ,pink1 ,gamboge1 ,prussian ,blue1 all the ,lakes and all the ,gums4 ,,semi-,,transparent4 ,umber1 ,vandyke ,brown1 ,chrome ,red1 ,emerald ,green1 ,indigo1 ,verdigris1 ,brilliant ,ultra-,marine4 ,,contrast ,,and ,,harmony ,,of ,,colors4 ,one color will generally harmonize with another when both contain the same base in different proportions4 ,white contrasts with ,black1 ,brown1 and harmonizes with any other color4 ,yellow contrasts with ,purple1 ,white1 and harmonizes with ,orange and pale colors4 ,orange contrasts with ,blue1 and harmonizes with ,red1 ,pink4 ,red contrasts with ,green1 and harmonizes with ,crimson4 ,green contrasts with ,red1 and harmonizes with ,yellow4 ,purple contrasts with ,yellow1 ,white1 and harmonizes with ,crimson4 ,black contrasts with pale colors1 and harmonizes with deep colors4 ,gold contrasts with dark colors1 and harmonizes with light colors4 ,,taxidermy ,illustration ,,skinning1 ,,preparing ,,and ,,mounting ,,the ,,mammalia1 ,,or ,,quadrupeds4 ,,skinning4 ,when a quadruped is killed1 and its skin intended for stuffing1 the preparatory steps are to lay the animal on its back and plug up its nostrils1 mouth1 and any wounds it may have received1 with cotton or tow1 to prevent the blood from disfiguring the skin4 ,the fox will serve admirably our purpose as an example4 ,therefore1 ,reynard being procured1 we need not say how1 lay him on his back in the same position as before recommended1 and having first stuffed the mouth with cotton and tied it up1 and measured his neck and body with rule and calipers1 and noted them1 proceed4 ,make an incision from the last rib nearly to the vent1 but not quite up to it4 ,having done so1 proceed to raise the skin all round the incision as far as the thighs1 first skinning one side and then the other1 using the flat end of the knife in preference to the blade to raise the skin4 ,having reached the hind legs1 separate the latter at the femur or thigh-bone1 close to the backbone1 leaving the legs attached to the skin4 ,now skin the head quarters close up to the tail1 and separate it from the body at the last vertebr1 taking care not to injure the skin4 ,pull the skin over the heads of the hip-joints1 and now the carcase may be suspended by the hind-quarters1 while the skin is stripped by pulling it gently and cutting towards the fore-quarters4 ,the fore-legs are separated from the body1 as the hind ones had been1 close to the shoulder-bone1 and the skin fairly pulled over the head and close to the nose1 when the head is separated from the body by cutting through the last vertebr of the neck4 ,reynard is now skinned1 the head1 legs1 and tail being all attached to the skin1 from which the carcase is separated4 ,the flesh is now cut entirely away from the cheek-bones1 the eyes removed1 the brains taken out by enlarging the occipital opening behind the cranium1 the whole cleaned and supplied with a coating of arsenical paste and stuffed with tow or wool to the natural size4 ,the legs are now successively skinned by pushing out the bones and inverting the skin over them until the foot-joint is visible2 every portion of flesh and tendons must be cut away and the bone cleaned thoroughly1 and a coating of arsenical soap laid over it as well as the skin4 ,wrap tow1 or cotton1 or any other suitable material1 round the bone1 bringing it to its natural shape1 and draw the skin over it again4 ,do this to each leg in succession1 and the body itself is ready for stuffing and mounting4 ,the utmost care will not prevent accidents2 the fur and plumage will get sullied1 and before stuffing it is well to examine the skin1 for stains and spots are calculated to deteriorate its appearance4 ,grease or blood-spots may be removed by brushing over with oil of turpentine1 which is afterwards absorbed by dusting plaster of ,paris over4 ,macgillivray recommends that all skins1 whether they are to be put away in a cabinet or stuffed1 should receive a washing of spirits of turpentine sprinkled on1 and gently brushed in the direction of the feathers or fur4 ,not to trust too much to memory1 it is desirable to measure and note the proportions of the animal before skinning1 first taking the muzzle to the tail4 ,afterwards1 from the junction of the tail to the tip4 ,secondly1 from the middle of the shoulder-blade1 or scapula1 to the articulation of the femur1 or thigh-bone4 ,thirdly1 the animal being placed on its side1 measure from the upper part of the scapula to the middle of the sternum--that is1 to the spot where the two sides meet above1 and finally from the socket of the scapula to the socket of the articulation of the femur1 or thigh-bone4 ,in addition to these1 note1 by measurement with caliper compasses1 the size of the head1 the neck1 the tail1 and other points which affect the shape of the animal4 ,these measurements will serve as a guide in stuffing1 and for the size of the case and length of the mounting wires4 ,in the process of skinning1 it is important to avoid penetrating to the intestines1 or separating any of the abdominal muscles which lead to the intestines2 any such accident would be very disagreeable1 as well as injurious to the skin4 ,stuffing ,quadrupeds1 etc4 ,let us suppose the animal which we intend to stuff1 to be a cat4 ,wire of such a thickness is chosen as will support the animal by being introduced under the soles of the feet1 and running it through each of the four legs4 ,a piece of smaller dimensions is then taken1 measuring about two feet1 for the purpose of forming what is termed by stuffers1 a tail-bearer4 ,this piece of wire is bent at nearly a third of its length1 into an oval of about six inches in length2 the two ends are twisted together1 so as to leave one of them somewhat longer than the other2 the tail is then correctly measured1 and the wire is cut to the length of it1 besides the oval4 ,the wire is then wrapped round with flax in a spiral form1 which must be increased in thickness as it approaches the oval1 so as to be nearly equal to the dimensions of the largest vertebr1 or root of the tail4 ,when finished1 it should be rubbed thinly over with flour paste1 to preserve its smooth form1 which must be allowed to dry thoroughly1 and then the surface should receive a coating of the preservative4 ,the sheath of the tail must now be rubbed inside with the preservative4 ,this is applied with a small quantity of lint1 attached to the end of a wire1 long enough to reach the point of the tail-sheath4 ,the tail-bearer is then inserted into the sheath1 and the oval part of the wire placed within the skin of the belly1 and attached to the longitudinal wire1 which is substituted for the vertebr or backbone4 ,four pieces of wire1 about the thickness of a crow-quill1 are then taken1 which must be the length of the legs1 and another piece a foot or fifteen inches longer than the body4 ,one end of each of these is sharpened with a file1 in a triangular shape1 so that it may the more easily penetrate the parts4 ,at the blunt end of the longest piece a ring is formed1 large enough to admit of the point of a finger entering it2 this is done by bending the wire back on itself a turn and a-half1 by the assistance of the round pincers4 ,on the same wire another ring is formed in a similar manner1 consisting of one entire turn1 and so situated as to reach just between the animal's shoulders4 ,the remaining part of this wire should be perfectly straight1 and triangularly pointed at the extremity4 ,another method of forming the supporting wires1 as practiced by ,m4 ,nichols1 is to take a central wire1 which must be the length of the head1 neck1 body and tail of the cat2 two other pieces are then taken and twisted round the center piece1 these extremities being left for the leg wires4 ,after the wires are thus twisted together the central one is pulled out1 and the feet wires of one side are pushed through the legs of one side from the inside of the skin1 and the other two leg pieces are bent and also forced through the legs1 and afterward made straight by a pair of pincers2 the center piece1 having been previously sharpened at one end with a file1 is now forced through the forehead and down the neck1 till it enters the center of the twisted leg wires which it formerly occupied1 and pushed forward to the extremity of the tail1 leaving a small piece projecting out of the forehead1 after which the completion of the stuffing is proceeded with4 ,this mode is unnecessary for the smaller animals1 and it should only be adopted for quadrupeds the size of deer1 etc4 ,these wires are1 besides1 much more difficult to insert by this than by the other method4 ,all the wires being adjusted1 the operation of stuffing is next proceeded with4 ,the skin of the cat is now extended on a table2 and the end of the noose seized with the left hand1 and again pushed into the skin1 till it reaches the neck1 when we receive the bones of the head into the right hand4 ,the skull is now well rubbed over with the arsenical soap1 and all the cavities which the muscles before occupied are filled with chopped tow1 flax1 or cotton1 well mixed with preserving powder4 ,the long piece of wire is now passed into the middle of the skull1 and after it is well rubbed over with the preservative1 it is returned into the skin4 ,the inner surface of the neck-skin is now anointed1 and stuffed with chopped flax1 taking care not to distend it too much4 ,nothing like pressure should be applied1 as the fresh skin is susceptible of much expansion4 ,observe that it is always the inner surface which is anointed with the arsenical soap4 ,take care that the first ring of the wire1 which passes into the head is in the direction of the shoulders1 and the second corresponding with the pelvis1 or somewhat toward the posterior part4 ,one of the fore-leg wires is then inserted along the back of the bone1 and the point passed out under the highest ball of the paw4 ,when this is accomplished the bones of the leg are drawn up within the skin of the body1 and the wire fastened to the bones of the arm and fore-arm with strong thread or small twine4 ,brass wire1 used for piano forte strings1 makes it more secure1 and is not liable to rot4 ,these are well anointed1 and flax or tow slivers wrapped around them so as to supply the place of the muscles which have been removed4 ,to give the natural rise to the larger muscles1 a piece of silver should be cut off the length of the protuberance required and placed in the part1 and the silver wrapped over it4 ,this gives it a very natural appearance4 ,the mode of fixing the legs is by passing one of their pieces of wire into the small ring of the horizontal or middle supporting wire4 ,pursue the same plan with the other leg1 and then twist the two ends firmly together by the aid of a pair of flat pincers4 ,for an animal of the size of a cat1 the pieces left for twisting must be from five to six inches in length4 ,after being twisted1 they are bound on the under side of the body wire with strong thread2 the two legs are then replaced and put in the form in which we intend to fix them4 ,the skin of the belly and top of the shoulders is then anointed1 and a thick layer of flax placed under the middle wire4 ,the shape is now given to the scapula on both sides1 and all the muscles of the shoulders imitated4 ,these will be elevated or depressed1 according to the action intended to be expressed4 ,the anterior part of the opening is now sewed up1 to retain the stuffing1 and to enable us to complete the formation of the shoulders and junction of the neck4 ,this part of the animal is of great importance1 as regards the perfection of its form1 and much of its beauty will depend upon this being well executed4 ,if the animal has been recently skinned1 the best plan possible is to imitate1 as nearly as possible1 the muscles of the carcase1 by which many parts will be noticed which might otherwise have been neglected4 ,as a rule1 ,,copy ,,nature ,,whenever ,,you ,,have ,,it ,,in ,,your ,,power4 ,it must be observed as a general rule1 that the wires for the hind legs of quadrupeds should always be longer than those of the fore legs4 ,the next thing is to form the hind legs and thighs1 which must be done as above described for the fore legs2 but with this difference1 that they must be wound round with thread1 drawn through the stuffing at intervals1 to prevent it slipping up when returned into the skin of the leg4 ,they are then fixed by passing the leg wires into a second ring of the center body wire1 which is situated at or near the pelvis2 the two ends are then bent1 twisting them to the right and left around the ring2 and1 to make them still more secure1 they should be wound round with small brass wire or packthread2 the tail-bearer is then attached in the manner formerly described4 ,having completed this part of the iron work1 the skin of the thighs is coated inside with the preservative1 and the stuffing completed with chopped flax or tow4 ,the whole inner parts of the skin which can be reached are again anointed1 and the body stuffing completed with chopped flax4 ,care must be also paid not to stuff the belly too much1 as the skin very easily dilates4 ,the incision in the belly is now closed by bringing the skin together1 and then sewed within and without1 while attention is paid to divide the hairs1 and not to take any of them in along with the thread2 but should any of them be inadvertently fixed1 they can be picked out easily with a point4 ,when this is completed1 the hair will resume its natural order and completely conceal the seam4 ,the seam should now be well primed on both sides with the solution of corrosive sublimate1 to prevent the entrance of moths4 ,the articulations of the legs are then bent1 and the animal placed on its feet1 and pressure used at the natural flat places1 so as to make the other parts rise where the muscles are visible4 ,a board is now prepared1 on which to place the cat4 ,but before fixing it permanently the animal should be set in the attitude in which it is intended to be preserved1 and the operator1 having satisfied himself1 then pierces four holes for the admission of the feet wires1 which must be drawn through with a pair of pincers till the paws rest firmly on the board4 ,small grooves are then made for the reception of the pieces of wires which have been drawn through1 so that they may be folded back and pressed down in them1 and not be beyond the level of the back of the board2 wire nails are now driven half in1 and their heads bent down on the wires to prevent them from getting loose or becoming movable4 ,the stuffer next directs his attention to the position and final stuffing of the head and neck4 ,the muscles of the face must be imitated as correctly as possible by stuffing in cotton at the opening of the eyes1 as also at the mouth1 ears and nostrils4 ,to aid in this also the inner materials may be drawn forward by the assistance of instruments1 and also small pieces of wood formed like small knitting meshes4 ,our next care is the insertion of the eyes1 which must be done while the eyelids are yet fresh4 ,some dexterity and skill are required in this operation1 and on it will depend most of the beauty and character of the head4 ,the seats of the eyes are supplied with a little cement1 the eyes put in their place1 and the eyelids properly drawn over the eyeballs2 but if rage or fear are to be expressed1 a considerable portion of the eyeballs must be exposed4 ,the lips are afterwards disposed in their natural state and fastened with pins4 ,if the mouth is intended to be open1 it will be necessary to support the lips with cotton1 which can be removed when they are dry4 ,two small balls of cotton1 firmly pressed together and well tinctured with the arsenical soap1 must be thrust into the nostrils so as to completely plug them up to prevent the air from penetrating1 as also the intrusion of moths2 and1 besides1 it has the effect of preserving the natural shape of the nose after it has dried4 ,the same precaution should be adopted with the ears1 which1 in the cat1 require but little attention in setting4 ,we must again recommend the stuffer to see that he has sufficiently applied the preservative soap2 and the nose1 lips1 eyes and paws1 being very liable to decay1 must be well imbued with spirits of turpentine4 ,this is applied with a brush1 and must be repeated six or eight times1 at intervals of some days1 until we are certain of the parts being well primed with it2 and1 after all1 it will be advisable to give it a single coating of the solution of corrosive sublimate4 ,the methods of stuffing1 which we have pointed out in the preceding pages1 are applicable to all animals1 from a lion down to the smallest mouse4 ,animals of a large description require a frame-work suited to their dimensions2 these we will point out in their order4 ,there are also some animals whose peculiarity of structure requires treatment differing a little from the ordinary course4 ,apes and ,monkeys4 ,one of the chief difficulties to contend with in setting up monkeys and apes1 is the preservation of their hands and hind hands1 or what we commonly call their feet2 because we must not attempt to deprive these limbs of their flesh1 as we never could again supply its place anything like what is in nature4 ,the hands must therefore be dried1 and then well imbued with turpentine and the solution of corrosive sublimate1 repeated eight or ten times at least1 at intervals of four or five days4 ,the other parts of the stuffing should be exactly similar to that recommended for quadrupeds generally4 ,the paws of several will require to be colored with the different varnishes1 and1 when dry1 slightly polished with fine sand paper to remove the gloss4 ,the callosities1 on the hinder parts of many of them1 will also require to be colored1 and treated in the same way as the face4 ,bats4 ,the wing-membranes of this varied and numerous tribe do not require either wire or parchment to set them4 ,they are very easily dried by distension4 ,they are laid on a board of soft wood1 the wings extended and pinned equally at the articulations1 and1 when dry1 they are removed from the board4 ,hedgehogs4 ,when it is wished to preserve hedgehogs1 rolled into a ball1 which is a very common position with them in a state of nature1 there should be much less stuffing put into them than is usual with quadrupeds1 so that they may the more easily bend4 ,no wires are required in this case4 ,the head and feet are drawn close together under the belly2 then place the animal on its back in the middle of a large cloth1 and tie the four ends firmly together2 suspend it in the air till thoroughly dry1 which finishes the operation4 ,if hedgehogs are wished with the heads and limbs exposed1 the usual method of mounting is adopted4 ,the skins of mice1 moles1 etc41 having a very offensive smell1 it will be necessary to add a considerable portion of the tincture of musk to the solution of the corrosive sublimate with which the skins are imbued4 ,the same applies to badgers1 wolverenes1 polecats and skunks1 all of which are strong smelling animals4 ,bears4 ,the structure of the wires requires to be different in these larger animals from any we have before described4 ,procure a bar one inch thick1 two inches broad1 and as long as to reach horizontally from the shoulders to the connection of the thighs1 or os pubis4 ,a hole is bored four inches distant from one of its ends1 from which a connecting groove must be formed1 extending on both sides to the end of the plank next the hole2 this groove must be cut out with a hollow chisel deep enough to receive the wire4 ,the wire is then passed through it1 one end of which is just long enough to be twisted with the other at the end of the plank4 ,the wire on both sides is now pressed down into the grooves and twisted firmly together by the aid of a pair of strong pincers4 ,pierce some holes obliquely into the groove and insert some wire nails into them1 which must be firmly driven home1 and then bent over the wires to keep them firm4 ,the longest end of the wire should be at least eighteen inches beyond the bar so as to pass through the skull of the animal4 ,the use of this bar1 it will be observed1 is a substitute for the central or supporting wires of the body4 ,two other holes are now bored into it1 the one two1 and the other three inches from the end which we first pierced2 these are for the reception of the wires of the fore legs2 and two similar holes must be made at the other extremity of the bar for receiving the wires of the hind legs4 ,bears always support themselves on the full expansion of their dilated paws1 so that it is necessary to bring the leg-wires out at the claws4 ,the leg-wires are bent at right angles for a length of five inches from the upper end4 ,these are put through the holes in the bar1 and when they have passed through they are curved again4 ,two small gimlet-holes are then made for the reception of smaller wire1 by which the leg-wires must be bound together close to the bar4 ,the foreleg-wires are fixed in the same manner1 which completes the framework4 ,no other means are used for middle-sized animals1 such as the lion1 tiger1 leopard1 etc4 ,the stuffing is completed as in other quadrupeds4 ,the walrus1 seals1 and other amphibious animals of this order1 are treated in the manner of quadrupeds generally1 only that leg-wires are unnecessary1 except in the fore-feet2 the tail1 which represents the hind-feet1 has merely to be dried and kept properly stretched in during this process1 which precaution also applies to the fore-feet4 ,they are the easiest stuffed of all animals1 only the skins are very oily2 they should be well rubbed with the arsenical soap1 and also with the preserving powder4 ,the stuffing of the walrus1 and other large animals of this family1 should consist of well dried hay for the interior parts and tow for the surface next the skin4 ,beaver1 etc4 ,the beaver1 muskrat1 common rat1 and other animals whose skins have a strong smell4 ,these require to be plentifully supplied with the preservative4 ,the tail of the beaver should be cut underneath1 and all the flesh removed1 then stuffed with tow or chopped flax1 and afterwards thoroughly dried and well primed with the arsenical soap to prevent putrefaction1 to which it is very liable4 ,it should also have repeated washings with oil of turpentine4 ,the back should be round and short4 ,the ,porcupine4 ,in stuffing this animal considerable and varied expression may be given1 both from the attitude and disposition of the quills4 ,great attention is therefore required in giving these a proper set during the process of drying4 ,they will require to be looked at several times during the first and second day after they have been stuffed1 and any of them that may have fallen out of the position required1 to be adjusted4 ,hares and ,rabbits4 ,a very pretty attitude for the hare or rabbit1 is to have it seated in its form in an upright position1 as if alarmed at the noise of dogs1 etc4 ,an oval is formed of wire and attached to the interior framework1 after having passed one end of it through the anus1 which must be passed through a hole in the board on which the animal is to be fixed4 ,the wires of the hind legs must be forced through the posterior part of them1 and also fixed into holes formed for their reception in the board4 ,deer1 ,antelopes1 ,goats1 etc4 ,these animals should be mounted on the same principles as recommended for the bears4 ,a different mode must1 however1 be adopted in skinning the animals1 which the horns render necessary4 ,it is performed in the ordinary manner until the operator reaches the neck4 ,after cutting as near the head as possible1 another incision must be made1 commencing under the chin1 which is continued to the bottom of the neck1 or from eight to ten inches in length4 ,by this opening1 the remainder of the neck is separated from the head2 the tongue is cut out1 and the occipital orifice enlarged1 and the brain extracted thereby4 ,the lips are now cut as near as possible to the jaw bones1 and the operator must continue progressively ascending towards the forehead1 and in this manner all the skin will be separated from the head1 except at the nose1 or point of the muzzle4 ,all the muscles are next removed by the scalpel1 and the skull well anointed with arsenical soap4 ,the muscles which have been cut out are then imitated with chopped flax or cotton1 which may be attached to the bones with cement4 ,when this is done1 the head must be replaced within the skin4 ,the orifice under the neck must now be sewed up with fine stitches1 so that the hair may spread over them to conceal the seam4 ,the whole other parts of the mounting is completed as directed for the bear4 ,the ,dolphin1 ,porpoise1 etc4 ,the structure of these animals1 as well as of the other species of the first family of this order1 differs but little in general structure4 ,in skinning these1 an incision is made under the chin1 and continued to the extremity of the tail2 the skin is then detached right and left with the scalpel1 or a sharp knife4 ,when the skin has been cut back as far as possible1 disengage the vertebr at the tail1 and this will enable the operator to detach the skin from the back2 the vertebr are now cut close to the head1 and the whole carcase removed4 ,all this tribe have a thick layer of fat under their skin4 ,in the operation of skinning it requires considerable dexterity to leave this fat1 or blubber1 adhering to the carcase4 ,practice alone will obviate this4 ,when this has not been properly managed in the skinning1 the only thing to be done afterwards is to scrape it thoroughly with a knife4 ,the oil which flows from it during this operation must be soaked up with bran1 or plaster of ,paris4 ,there being no muscular projections in the skin of the porpoise1 there is no use for wires in mounting it4 ,a narrow piece of wood the length of the body is quite sufficient to keep the skin stretched1 and stuffed either with tow or hay4 ,some months are necessary to render it perfectly dry and stiff1 from its greasy nature4 ,the grease almost always leaves some disagreeable looking spots on the skin4 ,to remove these1 and prevent a recurrence of them1 powdered pumice-stone steeped in olive oil1 is rubbed thickly on the skin with a hand-brush4 ,it is then gone over a second time with emery and oil4 ,it is rubbed in this way till the skin has a glossy appearance1 when it may be rubbed dry with a woolen cloth2 and to complete the polish1 a clean woolen cloth may be applied with some force to complete the gloss1 which is natural to the skin in a living state4 ,where a very glossy appearance is wished1 varnishes become necessary1 but some difficulty has been experienced in getting these to remain attached to the skin in all weathers1 because the humidity of rainy seasons melts gum-arabic when it is used as a varnish1 and when white varnish is applied1 both it and the gum-arabic fall off in pieces4 ,to prevent the gum from falling off in this way1 by its contracting1 the solution should have about an eighth part of ox-gall mixed with it1 and the surface of any body to be varnished should be washed with ox-gall and water before the varnish is applied1 which will1 almost to a certainty1 prevent it from cracking and falling off4 ,it must1 however1 be thoroughly dried before the varnish is applied4 ,we may here state1 that an animal the size of a fox or a cat1 may be skinned1 prepared1 and finally set up1 in the space of four or five hours1 by a person who has had a little practice in the art of taxidermy1 and that from ten to fifteen minutes are all that will be required to skin an animal of the size just mentioned4 ,,skinning1 ,,preserving ,,and ,,mounting ,,birds4 ,,skinning4 ,immediately after a bird is killed the throat and nostrils should be stuffed with tow1 cotton or fine rags1 and a small quantity wound round the bill1 to prevent the blood from staining the plumage2 but should any get on the feathers1 notwithstanding this precaution1 the sooner it is removed the better1 which should be effected by a sponge which has been merely moistened in water4 ,too much dispatch cannot be used in removing the skin1 if the bird is shot in a warm climate2 but1 in temperate regions1 the bird may be allowed to cool4 ,in proceeding to skin the bird it should be laid on its back and the feathers of the breast separated to the right and left1 when a broad interval will be discovered1 reaching from the top to the bottom of the breast-bone4 ,a sharp penknife1 or scalpel1 must be inserted at the point of the bone1 and cut the outer skin from thence to the vent1 taking care not to penetrate so deep as the flesh1 or upon the inner skin which covers the intestines4 ,the skin will then easily be separated from the flesh1 in larger specimens by the fingers1 or in smaller ones by passing a small blunt instrument betwixt the skin and body1 such as the end of the scalpel handle2 with this you may reach the back4 ,the thighs should now be pressed inwards1 as in the common method of skinning a rabbit1 and the skin turned back1 so far as to enable you to separate the legs from the body at the knee-joint4 ,the skin is then pulled downwards as low as the rump1 which is cut close by1 the insertion of the tail1 but in such a manner as not to injure its feathers4 ,the skin is now drawn upwards the length of the wings1 the bones of which must also be cut at the shoulder-joints2 it is then pulled up till all the back part of the skull is laid bare1 when the vertebr of the neck are separated from the head1 and the whole body is now separated from the skin4 ,you next proceed to remove the brain1 through the opening of the skull1 for which purpose it may be enlarged by a hollow chisel1 or other iron instrument4 ,the eyes must then be taken out1 by breaking the slender bones which separate the orbits from the top of the mouth1 in which you may be assisted by pressing the eyes gently inwards1 so as not to break them4 ,in skinning the neck1 great care must be taken not to enlarge the opening of the ears1 and not to injure the eyelids4 ,the whole of the flesh is next to be removed from the under mandible4 ,several species will not admit of the skin being thus pulled over their heads1 from the smallness of their necks2 some woodpeckers1 ducks1 etc41 fall under this description2 in which case a longitudinal incision is made under the throat1 so as to admit of the head being turned out1 which must be neatly sewed up before stuffing4 ,the flesh from the head1 wings1 legs and rump1 must then be carefully removed with a knife1 and the cavities of the skull filled with cotton or tow4 ,the whole inside of the skin1 head1 etc41 must be well rubbed with arsenical soap1 or preserving powder1 or spirits of turpentine1 or the solution of corrosive sublimate4 ,when it is wished to stuff the bird1 it may now be immediately done1 as it will easily dry if in a warm climate2 but in low1 damp countries1 it will require artificial heat to do it effectually4 ,when the skins are merely wished preserved1 the bones of the legs and wings should be wrapped round with cotton or tow1 so as to supply the place of the flesh2 the skin is then inverted and hung up to dry1 after using the arsenical soap1 as above directed2 before doing which1 in larger birds1 a thread or small string may be drawn through the rump1 and passed up the inside of the neck and drawn through the bill1 to prevent the head from stretching too much by its own weight4 ,in larger specimens1 where cotton or tow is not easily to be met with1 well dried hay may be used4 ,the incision for removing the skin is frequently made under the wings4 ,this may be done with marine birds to advantage4 ,the penguins and divers may be skinned by making the incision in the back4 ,the tongue should either be kept in the mouth1 or sent home separately with the birds4 ,the greatest care must be taken to prevent the fat and oily matter1 so common to sea-birds1 from getting on the feathers3 pounded chalk will be found an excellent absorbent for applying to these birds4 ,in sending home specimens of birds1 they should be each wrapped in paper and closely packed in a box2 and camphor1 preserving powder1 and strong aromatics1 strewed amongst them1 to prevent them from being attacked by insects2 and they ought to be kept in a very dry part of the vessel4 ,it is of the utmost consequence to know the color of the eyes and legs of birds1 and these things should be carefully noted the moment they are killed2 and it should also be mentioned whether they are male or female2 such a memorandum ought to be attached to the birds by a ticket4 ,the season of the year in which the bird is killed1 must also be mentioned4 ,it is also of much consequence to have good skeletons1 and1 for this purpose1 the carcases may be sent home in a barrel1 either in spirits or a strong solution of salt and water4 ,mr4 ,salt1 while in ,abyssinia1 packed his bird-skins between sheets of paper1 in the same manner as a hortus siccus1 or herbarium1 and they reached ,england in perfect safety1 and made excellent specimens when set up4 ,in warm climates1 the boxes should be well closed1 and the seams filled with warm pitch on the outside1 to prevent the intrusion of insects2 and the inside should be supplied with camphor1 musk1 or tobacco-dust1 which will prevent the attacks of the smaller insects4 ,till practice has given facility to the operator1 it will assist in keeping the feathers clean1 if1 as he opens the skin of the breast1 he pins pieces of paper or linen cloth on the outside2 but1 after a few trials1 this will be unnecessary4 ,some of the marine fowls are so fat that there is much trouble in separating it from the skin1 and1 in warm weather1 great attention will be required to prevent it from running on the feathers4 ,as much as possible should be scraped off1 in the first place1 with a blunt table-knife or palate-knife1 and a quantity of powdered chalk applied1 to absorb what remains1 which1 when saturated with the oily matter1 should be scraped off1 and a fresh supply used2 after which a much larger proportion of the preserving powder should be applied than in other birds which are not fat4 ,when shooting on the sea coast1 if the ornithologist is not provided with these requisites for absorbing the oil1 which flows quickly from any wounds of the skin1 he will find dry sand a tolerable substitute4 ,if1 however1 after every precaution1 the oily matter should get on the feathers1 the sooner it is removed the better1 as1 in birds where the plumage is white1 if it is allowed to become hardened it will produce a very disagreeable appearance2 and1 besides1 render that part particularly liable to the attack of insects4 ,there are several effectual methods of removing the greasy stains2 the first1 safest1 and best is1 by taking a quantity of diluted ox-gall--or1 where it cannot be commanded1 sheep's-gall1 or that of any other animal--mix it with about double the quantity of water1 and apply it with a sponge to the place which the fatty matter has touched1 when it will immediately remove it4 ,the next is by using a solution of salts of tartar1 or potash1 or soda4 ,this must be made very weak1 not exceeding half a teaspoonful to a cup of water1 which will have the same effect as the gall4 ,whichever of these are used1 the place must be immediately afterwards washed in pure water1 so as to leave none of the gall or alkaline substance remaining4 ,the gall has a gummy tendency1 and will glue together the fibers of the feathers1 and1 besides1 it has a great attraction for moisture1 and1 in humid weather1 will become damp1 and therefore produce mould2 the other alkaline substances must also be used with much caution and quickness1 because they have the power of changing the colors of the plumage1 so that they are most useful in white plumage1 and therefore should only be used on colored feathers1 where gall cannot be procured4 ,one general observation applies to the preservation of all animal skins1 which is1 they must be made perfectly dry1 so that the sooner they are exposed to a free current of air the better2 and unless they are speedily and thoroughly dried1 the skin will become putrid and rotten1 and the hair or feathers will consequently fall off4 ,if a skin is properly dried1 soon after it is killed1 it will keep a considerable time without any preservative whatever1 only it will be the more liable to be attacked by insects afterwards4 ,the following excellent general directions for skinning are given by ,mr4 ,waterton3--8,while dissecting1 it will be of use to keep in mind1 that in taking off the skin from the body1 by means of your fingers and little knife1 you must try to shove it1 in lieu of pulling it1 lest you stretch it4 8,that you must press as lightly as possible on the bird1 and every now and then take a view of it1 to see that the feathers1 etc41 are all right4 8,that when you come to the head1 you must take care that the body of the skin rest on your knee1 for if you allow it to dangle from your hand1 its own weight will stretch it too much4 8,that1 throughout the whole operation1 as fast as you detach the skin from the body1 you must put cotton immediately betwixt the body and it1 and this will effectually prevent any fat1 blood1 or moisture1 from coming in contact with the plumage4 8,as you can seldom get a bird without shooting it1 a line or two on this head will be necessary4 ,if the bird be still alive1 press it hard with your finger and thumb1 just behind the wings1 and it will soon expire4 ,carry it by the legs1 and then1 the body being reversed1 the blood cannot escape down the plumage and through the shot-holes4 ,as blood will have often issued out1 before you have laid hold of the bird1 find out the shot-holes1 by dividing the feathers with your fingers1 and blowing on them2 and then1 with your pen-knife1 or the leaf of a tree1 carefully remove the clotted blood1 and put a little cotton on the hole4 ,if1 after all1 the plumage has not escaped the marks of blood1 or if it has imbibed slime from the ground1 wash the part in water1 without soap1 and keep gently agitating the feathers with your fingers1 till they are quite dry4 ,were you to wash them1 and leave them dry by themselves1 they would have a very mean and shriveled appearance4 8,in the act of skinning a bird1 you must either have it upon a table1 or upon your knee2 probably you will prefer your knee1 because1 when you cross one knee over the other1 and have the bird upon the uppermost1 you can raise it to your eye1 or lower it1 at pleasure1 by means of the foot on the ground2 and then your knee will always move in unison with your body1 by which much stooping will be avoided1 and lassitude prevented40 ,stuffing ,birds4 ,the first thing to be done in stuffing is to replace the skull1 after it has been well anointed with the arsenical soap1 and washed with the solution of corrosive sublimate inside4 ,the thread1 with which the beak is tied1 is taken hold of by the left hand1 and the head is repassed into the neck with the forefinger of the right hand1 while the thread is pulled on the opposite side2 and we are careful that the feathers1 at the margin of the opening1 do not enter with the edges of the skin4 ,the bird is now laid on the table with the head turned towards the left hand1 and the legs and wings adjusted to their proper situation4 ,a flat piece of lead1 about a pound in weight1 is laid on the tail1 while the feathers of the margins of the opening are raised by the forefinger and thumb of the left hand1 to prevent their being soiled4 ,the inside of the neck is now coated with the arsenical soap2 flax is stuffed into it1 but not too tightly4 ,the back and rump are anointed1 and the body should then be stuffed with tow1 to about a third of the thickness required1 so that the wire may have a sort of cushion to rest on4 ,four pieces of wire are then prepared1 of the thickness proportionate to the size of the bird to be stuffed4 ,the centerpiece should be somewhat longer than the body of the bird4 ,at about a fourth of its length a small ring is formed1 by the assistance of the round pincers or plyers1 and the other end is pointed with a file4 ,this wire is oiled and introduced across the skull1 and passed into the neck1 through the center of the flax or tow with which it is stuffed1 the ring being situated toward the anterior part of the skull1 for the purpose of receiving the points of each of the wires that are passed through the feet and thighs4 ,the following is the mode in which this perforation is effected3 ,a hole is bored with a bradawl the caliber of the wire which it is intended to use4 ,the wire1 which is to continue in the leg1 is passed across the knee and brought out interiorly1 and1 placing it into the ring above mentioned1 the same operation is performed on the other side4 ,the extremities of the wires of the legs1 and the end of the central wire beyond the ring1 are all twisted together with flat pincers1 and then bent towards the tail4 ,the tail-bearer is next formed1 which consists of the fourth piece of wire1 with which an oval is formed1 by twisting the two ends two or three turns1 so that they may form a kind of fork1 with the oval nearly the length of the body of the bird2 the two points of the fork must be sharpened with a file1 and near enough to enable them to enter the rump1 through which they must pass1 and their points will be concealed by the rectrices1 or large straight tail feathers1 while the oval is within the body of the bird4 ,if the bird is large1 the tail-bearer must be firmly attached to the interior wires1 by twisting a small wire several times round both4 ,but unless the bird be very large1 it may remain quite free4 ,all the parts of the skin at which we can come must be thoroughly rubbed with preserving soap1 the rump in particular1 which should besides be soaked with the solution of corrosive sublimate4 ,the stuffing is now proceeded with1 by inserting chopped flax or tow1 till it has attained its proper dimensions4 ,the skin is brought together and sewed up1 while we take the greatest care to separate the feathers at every stitch4 ,the orbits of the eyes are next finished1 by inserting1 with small forceps and a short stuffing stick1 a small quantity of chopped cotton1 while attention is paid to round the eyelids properly4 ,the glass eyes are now inserted1 taking care to place them properly under the eyelids4 ,but1 before fixing the eye1 a little calcareous cement must be used1 to prevent them from coming out4 ,if any part of the nictitating membrane is visible below1 it must be pushed up with the steel point4 ,the stuffing of the bird being now completed1 the next thing is to place it either on a branch1 or1 if a bird which does not sit on trees1 on a piece of plank2 whichever of these it is1 two holes are bored for the reception of the wires1 which have been allowed to protrude from the soles of the feet1 for fixing the bird4 7,see fig4 #h47 ,these1 of course1 are pierced in such situations as are necessary for the attitude or position of the legs4 ,the wires are put through these holes1 and twisted so as to secure the bird in its position4 ,the attitude of the bird will1 of course1 depend upon the fancy and taste of the operator1 and ought to be in conformity with the manners of the bird in a living state4 ,the wire frame-work1 above described1 is the most simple of any in its construction1 and is better adapted for small than large birds4 ,indeed1 it will hardly suit those of the larger species4 ,the following is another method of constructing the framework1 which may be used either in large or small birds3 ,like the former it is constructed of four pieces of wire4 ,the center piece should be double the length of the bird2 it is bent at a third of its length in an oval form1 and twisted two turns1 the shortest end being passed into the oval1 and then raised against the longer end1 so as to produce a ring at the end1 outside of the oval1 large enough to admit the two wires which pass from the feet to the inside of the bird4 ,it is now twisted a second time1 and firmly united to the longer end1 which ought to be straight1 with a sharp point1 effected by means of a file4 ,as before directed1 it is rubbed with oil1 and forced through the stuffing of the neck4 ,it ought to be so constructed1 by measurement1 that the oval part of the wire shall be in the center of the body inside4 ,the wires of the feet and legs1 as before directed1 ought to be straight and pointed1 and passed through the soles of the feet as before4 ,when the point is penetrated1 the other end of the wire may be bent1 so that by means of it we may be able to assist in forcing up the remainder of the wire4 ,the two internal ends of the foot-wires are twisted together1 and curved within1 so as to pass through the small circle or ring of the middle branch above the oval1 to each side of which they are now attached with a piece of small string4 ,the tail-bearer is constructed on the same principles1 and attached in the same manner1 as before described1 and the latter apparatus is introduced after the neck and back are finished in the stuffing4 ,this practice of introducing the neck-wire1 after the neck is stuffed1 was first adopted at the ,jardin des ,plantes at ,paris1 and is now invariably adopted in that establishment in preference to introducing it before the neck is stuffed4 ,the neck of a swan or other long-necked and large birds1 are even done so4 ,it is unquestionably the best plan which has hitherto been discovered1 as it preserves the cylindrical shape of the neck4 ,mr4 ,bullock's ,method of ,stuffing ,birds4 ,mr4 ,bullock1 of the ,london ,museum1 ,egyptian ,hall1 had another method of arranging the wires which1 after what we have already said1 will be easily comprehended by a reference to ,fig4 #h1 where we have given a figure of his mode4 ,after the skin is taken off and prepared1 different sized nealed iron wires are procured1 according to the size of the bird they are to support4 ,the skin is laid on its back without stretching it2 cut two pieces of wire1 the one rather longer than the bird1 and the other shorter1 so as not to reach to the head of the bird1 twist them together1 sharpen the ends of the longer by means of a file1 and pass one end through the rump and the other through the crown of the head1 near the base of the bill4 ,care must be taken not to extend the neck beyond its ordinary length--a very common fault in most preservers4 ,lay a little tow along the back of the skin for the wire to rest on1 then take two other pieces of strong wire and file them to a point at one end2 these are passed through the soles of the feet and up the center of the leg-bone1 or tarsus4 ,when within the body1 they are to be fastened to the first wires by twisting them together1 which1 when accomplished1 may be supposed to represent the back bone4 ,the wire should be left two or three inches out of the soles of the feet1 to fasten them in a standing position1 as before directed4 ,two smaller wires are then passed through the wings1 as in the legs1 and afterwards fastened to the back wires a little higher up than the leg wires1 taking care that no part of the skin is to be extended beyond its natural position4 ,a ,new and ,easier ,method of ,bird ,skinning and ,stuffing4 ,a fair specimen being obtained1 take common cotton wadding1 and with an ordinary paint-brush stick plug the throat1 nostrils1 and1 in large birds1 the ears1 with it1 so that when the skin is turned no juices may flow and spoil the feathers2 you must then provide yourself with the following articles3 ,a knife of this kind1 which is very common2 a pair of cutting plyers1 a pair of strong scissors1 of a moderate size2 a button-hook1 a marrow spoon1 and a hand-vice4 ,with these1 a needle and thread1 and a sharpener of some kind1 to give your knife an occasional touch1 you are prepared1 so far as implements go4 ,then provide yourself with annealed iron wire of various sizes2 some you may buy ready for use1 some not2 but you can anneal it yourself by making it red hot in the fire1 and letting it cool in the air4 ,common hemp is the next article1 cotton wadding1 pounded whitening1 and pounded alum1 or chloride of lime2 as to the poisons which are used1 they will be spoken of by and by4 ,you should also have a common bradawl or two1 and some pieces of quarter-inch pine whereon to stand the specimens when preserved1 if to be placed as walking on a plane2 if not1 some small pieces of twigs or small branches of trees should be kept ready for use1 of various sizes1 according to the size of the bird4 ,cedar1 or common laurel cut in ,december1 will be found to answer best1 but this must be regulated by fancy and the requirements of the case2 oak boughs are sometimes of good shape4 ,the best time for preserving specimens is in spring1 because then the cock birds are in the best feather1 and the weather is not too warm4 ,in mild weather three days is a good time to keep a bird1 as then the skin will part from the flesh easily4 ,if a specimen has bled much over the feathers1 so as to damage them1 wash them carefully but thoroughly with warm water and a sponge1 and immediately cover them with pounded whitening1 which will adhere to them4 ,dry it as it hangs upon them slowly before the fire1 and then triturating the hardened lumps gently between the fingers1 the feathers will come out almost as clean as ever4 ,to test whether the specimen is too decomposed to skin1 try the feathers about the auriculars1 and just above the tail1 and if they do not move you may safely proceed4 ,lay the bird on his back1 and1 parting the feathers from the insertion of the neck to the tail1 you will find in most birds a spare space4 ,cut the skin the whole length of this1 and1 passing the finger under it on either side1 by laying hold of one leg and bending it forward1 you will be able to bring the bare knee through the opening you have made2 with your scissors cut it through at the joint2 pull the shank still adhering to the leg till the skin is turned back as far as it will go2 denude the bone of flesh and sinew1 wrap a piece of hemp round it1 steep in a strong solution of the pounded alum1 and then pull the leg by the claw1 by which means the skin will be brought again to its place4 ,after having served both legs alike1 skin carefully round the back1 cutting off and leaving in the tail with that into which the feathers grow1 that is1 the 8,pope's nose40 ,serve the wing bones the same as the leg1 cutting them off close to the body1 and turn the skin inside out down to the head4 ,the back of the skull will then appear1 and you will now find it of advantage1 as soon as you have got the legs and tail free1 to tie a piece of string round the body1 and hang it up as a butcher skins a sheep4 ,make in the back of the skull a cut with your knife1 which you can turn back like a trap-door1 and with the marrow-spoon entirely clear out the brains2 ,having done this1 wash the interior of the skull thoroughly with the alum1 and fill it with cotton wadding4 ,the next operation requires care and practice--namely1 to get out the eyes4 ,this is done by cutting cautiously until the lids appear1 being careful not to cut the eye itself1 and you can then1 with a forceps1 which you will likewise find useful1 pull each from its socket2 wipe the orifice carefully1 wash it with the alum solution1 and fill it with cotton wadding4 ,cut off the neck close to the skull1 wash the stump1 and the whole of the interior of the skin with the alum1 and the skinning is done4 ,now comes the stuffing4 ,the ordinary mode used by bird-preservers is a simple one1 and answers very well2 there is a ,french method1 however1 which has its advantages1 and will be adverted to hereafter4 ,take a piece of the wire suitable to the size of the bird 7,fig4 #aa7--that is1 as large as the legs will carry--and bend it into the following form1 a1 representing the neck1 b1 the body1 and c1 the junction of the tail1 allowing sufficient length of neck for the wire to pass some distance beyond the head1 and being sharpened at each end1 which may be done by obliquely cutting it with the plyers4 ,wind upon this wire hemp to the size of the bird's body1 which you should have lying by you to judge from1 and it will present something of the appearance of ,fig4 #ab4 ,you can shape it with the hand1 but be careful not to make it the least too large2 and1 after you have finished it to your satisfaction1 you may singe it1 as the poulterer would singe a fowl1 which will make all neat2 but be particular to wind the hemp very tight4 ,then take the skin1 lay it on the table on its back1 and pass the wire at the head into the marrow where the neck is cut off1 through above the roof of the mouth1 and out at one nostril1 and draw it up close to the skull2 turn the skin back1 and draw it down over the hemp body1 and pass the wire spike1 protruding at the lower end1 through the flesh upon which the tail grows1 about the centre1 and rather below than above4 ,the skin may now be adjusted to the hemp body1 and sewn up1 beginning from the top of the breast1 and being particularly careful always to take the stitch from inside1 otherwise you will draw in the feathers at every pull4 ,at first sew it very loose1 and then1 with the button-hook1 draw it together by degrees4 ,with the plyers cut two lengths of wire1 long enough to pass up the legs and into the neck1 and leave something over to fasten the bird by to the board or spray upon which it is to be placed4 ,the next operation requires some address and great practice1 namely1 the passing the wire up the legs4 ,this is done by forcing it into the center of the foot1 and up the back of the legs1 into the hemp body1 through it obliquely1 and into the neck1 until it is pretty firm4 ,in doing this1 you must remember the ordinary position of a bird when alive1 and1 therefore1 instead of passing the wire the whole way within the skin of the leg1 when you get to the part where you have cut off the bone1 that is1 the knee-joint1 pass it through the skin to the outside1 and in again1 through the skin1 from the outside1 where the knee would come naturally in the attitude of standing or perching--it makes little difference which4 ,this is essential1 because1 if the wire be passed the whole way inside the skin1 it produces a wrong placing of the legs4 ,fig4 #ac will illustrate this1 a representing the line in which the wire should run4 ,the bird is now stuffed1 and you may at once place it upon a spray or board1 as the case may be4 ,in placing a bird upon a spray1 the first joint should be bent almost on a level with the foot2 and1 in placing a bird on a board1 one leg should be placed somewhat behind the other4 ,if the wings are intended to be closed1 as is usually the case1 bring them into their place1 which may be done by putting the fingers under them1 and pressing them together over the back2 you may then pass a needle1 or large pin1 of which you should have a good supply by you1 through the thick part of the upper wing into the body1 and so by the lower wing1 and if you allow these to protrude1 you may fasten to one of them a piece of thread1 and wind it carefully and lightly round the body1 which will keep the feathers in their places1 and this thread should be kept on for a fortnight or three weeks1 until the bird is dry4 ,the tail should be kept in its place1 also1 for the same time1 by a piece of thin wire bent over it4 ,the only thing now to do is to put in the eyes4 ,the color1 of course1 depends on the bird1 and these you may buy at any fishing-tackle store4 ,if you do not use eyes too large1 you will find little difficulty2 the juice of the lids will act as a sufficient cement4 ,as to the mounting1 ,i shall say nothing about that now1 but shall only advert shortly to a ,french method of preserving1 which is more difficult1 but has the advantage of superior firmness4 ,it is this3 ,measuring from the insertion of the neck to the tail1 make a wire frame4 ,upon this wind hemp for the neck only1 and place in the skin in the same way as before directed1 only that1 instead of one wire being passed through that in which the tail grows1 it is a fork that is passed through it4 ,having formed this frame1 fit on to it two legs1 and after the frame itself is in the skin1 pass these from the inside down each leg1 instead of from the outside1 and fasten them on to the frame with the plyers1 by twisting the ends round the frame4 ,this will make all firm1 and you can then fill the body with cut hemp1 and sew up4 ,one word as to the other preparations used by bird preservers4 ,these are either corrosive sublimate or regulus of arsenic1 which is yellow and of a consistence like butter4 ,as ,i have said before1 in cold weather1 when there are no flies about1 alum will do perfectly well2 in warm weather either of the two others may be used4 ,i should prefer the former--corrosive sublimate--as the other is 8messy10 and the chief object is to dry up anything which can be attacked by flesh-seeking insects4 ,when you have finished your bird1 you can lay the feathers with a large needle--it is as well to have one fixed in a handle and kept for this purpose--and1 tying the two mandibles of the bill together with a piece of thread until the whole specimen has hardened and dried1 the work is done4 ,,the ,,art ,,of ,,mounting ,,birds1 ,,dried ,,skins1 ,,feathers1 ,,etc4 ,,mounting ,,in ,,general4 ,we will suppose that a proficiency1 from practice1 has been attained in the art of bird-preserving1 according to the instructions given4 ,the proficiency in preserving may apply only to the preservation and the form1 great and necessary things1 no doubt1 as preliminaries2 but1 like matter without manner1 of little avail alone4 ,for attitude1 ,i would say1 as has been said to many a young artist1 go to ,nature1 and there you will find an original in perfection4 ,would you make a willow-wren look like a willow-wren1 watch him as he there hangs upon the weeping birch1 or stands on a bough peering in quest of food8 ,each bird has its own manner1 and if you cannot hit the manner1 or make your stuffed skin so far amenable as to assume the attitude1 it is either ill-stuffed1 or you want the requisite knowledge of that which you should copy4 ,bird ,pinned ,up4 ,having fixed on the attitude1 it now only remains to put the feathers into their natural order as smoothly and regularly as possible2 and to keep them in this state they should be bound around with small fillets of muslin fastened with pins4 ,the bird should then be thoroughly dried1 by placing it in an airy situation1 if in summer2 or if in winter1 near the fire1 but not so close as to affect the natural oil contained in the feathers4 ,the want of proper attention in drying ruins many a fine specimen2 if long kept damp putridity ensues despite all preservatives1 when the skin will become rotten1 and the feathers will soon fall off2 besides1 the mold and long-continued damp change the chemical properties of the preservatives used4 ,after the bird has been thoroughly dried1 the fillets are removed2 the wire which protruded from the head is cut off as close to the skull as possible1 with the wire-cutting pincers elsewhere shown4 ,it must then be attached to a circular1 or other shaped piece of wood1 with the generic and specific name and sex1 as well as its country and locality attached to it1 on a small ticket1 when it may be placed in a museum4 ,young hands commonly suppose that a bird should stand bolt upright1 with the legs almost perpendicular1 or at right angles to the perch4 ,this is a great mistake1 and never to be found in nature4 ,do we stand rigid1 like a foot-soldier on drill8 ,does not a bird1 as well as ourselves1 accommodate itself to the thing on which it rests8 ,assuredly it does2 for birds do not1 as a young bird-stuffer endeavors to do1 find always a perch to rest upon in the plane of the horizon4 ,it therefore follows that1 as he keeps himself upright1 his legs must accommodate themselves to his perch4 ,so in the ground-birds there is a gentle slope backwards from the hind toe1 the balance being preserved in both cases by throwing the body forward in proportion4 ,it is not uncommon to see birds preserved with wings and tail spread4 ,now1 ordinarily speaking1 this is very objectionable1 because very unnatural4 ,a bird preserved is supposed to represent a bird in a state of repose1 that is1 not in flight2 the only modification allowable being with regard to those birds whose manner it may be to have the wings more or less open on occasions2 thus the falcon tribe1 supposing they are represented as devouring a quarry1 or two birds toying with each other4 ,it may be that a bird essentially arial1 like the swift1 or perhaps some of the terns or the frigate bird1 may be represented as actually on the wing4 ,in this case1 of course1 the wings must be spread2 and this is best done by passing a wire1 not too thick1 from the base of the quill-feathers on the under side1 alongside the bone into the body1 where it should be carefully and coaxingly inserted towards the tail until you feel that you have a pretty good hold4 ,you may then pass it carefully under the longest quill-feather1 and through the back of the case1 and fasten it by bringing it back again through and clinching it1 concealing it so by the oblique position of the bird that it is not detectable4 ,it is obvious that by passing the wire alongside the bone1 you may bend the wings to any angle you please4 ,with regard to the case there are two methods3 one a bell-glass1 which1 glass being now so reasonable1 is certainly a very pretty and reasonable way of mounting1 but inapplicable to birds which are to be placed on a wall1 or to be represented flying2 although this may be managed by attaching one wire from the point of the wing to a twig sufficiently firm1 which it will scarcely appear to touch1 if managed adroitly4 ,it is likewise indispensable that a bird for a shade should be stuffed so well as to look nicely in all positions4 ,one thing must always be remembered1 do not have your case a shade too large1 just clear the object so as not to stint it for room2 and in flat cases this applies chiefly to depth1 for it should have sufficient light1 or it will not look well4 ,wooden cases should be made as slight 7in thickness7 as is consistent with firmness2 well-seasoned white deal is best2 and the case should be formed of back1 top and bottom1 open at the front and sides1 and at each corner of the front two slight deal supports1 rabbited on their inner edges1 and presenting on the whole a good appearance4 ,having the case prepared1 it should be papered with ordinary demy paper on the top and back within1 and1 when the paste is dry1 washed over carefully with size and whitening1 tinted with a little stone-blue2 some add some touches of white subsequently to represent clouds1 the ground representing the air2 some also paste a landscape on the back1 but this must be good1 or you had better have plain color4 ,the bird to be placed in this case is either perching1 standing1 or flying4 ,for the latter1 directions have been given4 ,as to the two former1 the perch must be firmly fixed in the small piece of flat wood upon which it previously stood1 and put in upon it1 the wood being fastened to the bottom of the case1 either by screwing from below1 from above1 or gluing with stout glue1 or by passing wire through two holes in the bottom of the case and the wood1 and clinching above4 ,in this case1 or in screwing from below1 let the wire or the screw into the wood1 and putty over1 and so if the bird is represented standing4 ,the bird being fixed1 the next thing is the decorating or 8weeding10 as it is technically called1 and here we enter upon a subject so entirely of taste and fancy1 that no fixed rules as to the disposition can in all cases be given4 ,one rule applies equally to this as to landscape painting1 viz41 that there should always be a compensation of objects4 ,that is1 if you have a tuft of grass on one side which rises towards the top of the case1 there should be something in the lower opposite corner to strike the eye1 but not to rise above midway up at the furthest1 and the ground1 or floor1 should not be overfurnished with mosses1 etc4 ,after the bird is fixed1 the whole bottom should be carefully glued over with thin glue1 taking care1 where the bird's feet are on the bottom1 not to touch the toes with the glue4 ,some fine-sifted sand or gravel should then be sifted over it1 and it will adhere wherever the glue has touched2 for this purpose a small tin shovel is best1 about two inches wide by four long1 with a handle in proportion1 which can be made to order at any tinman's for a trifle4 ,everything used in 8weeding0 should be baked in a slow oven1 otherwise spider's eggs and minute creatures1 which are pretty sure to be contained in it1 will make their appearance after the case is closed in the disagreeable form of destroying your specimen4 ,moss1 etc41 by being slowly dried1 will also keep its color better4 ,yellow moss1 found on the roofs of old barns1 and dark gray of the same species1 are very generally useful2 and where yellow moss cannot be had1 the white or gray may be colored with chrome1 and looks as well4 ,water plants fade1 being more or less succulent1 and hence a little common water-color with gum will be used with advantage and look less artificial than oil plant1 which is often used4 ,fern looks very pretty as an adjunct for heath-birds1 but it should be dried gradually and carefully1 when quite full grown1 and a small touch of light green1 permanent white forming a portion of it1 will give it a freshness and more natural appearance4 ,grass in seed 7not in flower7 of various kinds is also a very pretty addition2 but bird preservers have a habit of using dyed grass1 and yellow and red ,xeranthymum1 or ,everlasting1 which is certainly to be avoided1 and indeed anything which is unnatural4 ,if it is wished to introduce a lump of earth1 or an apparent bank1 a piece of thick brown paper1 bent to the requisite shape1 and glued over and covered with sifted sand or gravel1 has a very good effect2 but insects and butterflies1 or artificial flowers1 unless they are extremely natural1 should certainly be avoided4 ,regard should also be had to the season at which the bird is usually seen4 ,for instance1 summer birds are1 of course1 surrounded by green and living objects1 but autumn or winter visitants by decaying or dead herbage4 ,it has often been made an experiment to represent snow1 but it is difficult to obtain anything white enough1 and at the same time of a crystalline character1 which1 of course1 it should be4 ,potato farina nicely dried1 mixed with ,epsom salts pounded very fine1 does not make a bad substitute2 but the real difficulty lies behind1 namely1 in fixing it1 and1 more than all1 the least damp takes very much from its appearance1 if it does not destroy the effect1 and hence we must have recourse to mineral aid1 and any very white mineral powder mingled with pounded glass is perhaps best4 ,it is unnecessary to say that the herbage upon which it is meant to rest should be touched all over with paste1 not glue1 and the white mixture shaken over and left to dry4 ,what will heighten the effect very much1 if prettily executed1 is a black landscape with a dark leaden sky and nearly black earth mingled with moss4 ,to represent water1 a piece of looking-glass1 surrounded by moss1 etc41 answers very well4 ,the bills and legs of birds should be always varnished1 and where the natural color fades after death it should be restored by a thin coat of oil-color of the required shade4 ,the bird being fixed and the case garnished1 nothing remains but to put in the glass2 this is in three pieces1 one for the front and a piece at each end4 ,this can be pasted in with very strong paper round the edge1 advancing sufficiently over the glass to hold it4 ,in doing this it is not necessary to be very particular to avoid pasting the glass1 as after it is dried it can be wiped clean with a damp cloth4 ,the last operation is a very simple one1 and done in a few minutes4 ,you must procure some black spirit-varnish1 which you can make yourself by dissolving the best black sealing-wax in spirits of wine1 and should be kept corked2 when this is good it acts as paint and varnish at the same time1 and dries as fast as it is put on4 ,one or two brass rings screwed on at the top of the back of the case will finish the bird1 and if the case be nicely and closely made1 there is no limit of time to which the preservation of the specimen may not extend4 ,method of ,mounting ,dried ,skins4 ,we must now say something respecting the setting up of skins which have been preserved by travelers1 and sent home from distant parts4 ,the general method is exactly the same as in stuffing recent specimens4 ,there are1 however1 some preliminary steps1 which it is necessary to know4 ,if the specimen sent home has been partially stuffed1 our first business is to undo the stitches1 if it has been sewed--which was an unnecessary process4 ,we then remove the whole cotton or tow from the inside1 by the assistance of forceps1 and from the neck with a small piece of wire1 twisted or hooked at the end4 ,having finished this1 small balls of wet cotton are placed in the orbits of the eyes1 and the legs and feet are wrapped round with wet cotton or linen rags4 ,a damp cloth is then thrown over the bird1 and it is allowed to remain in this state till next day4 ,the neck and body are then filled with wet linen or cotton1 and it will be ready for commencing setting up in four or five hours4 ,the eyes are now put in1 as directed in the recent subjects1 and then stuffed in exactly the same manner4 ,some difficulty will1 however1 be experienced with respect to the leg-wires1 and it will require more time and care1 from the dryness of the legs1 to get the wire to penetrate4 ,having proceeded so far as to get the bird generally formed1 the wings are next adjusted2 this also is frequently difficult1 owing to the stiffness of the tendons1 and want of proper attention in skinning and drying them at first4 ,indeed1 with some of the ,south ,american birds1 a proper adjustment of the wings is found impracticable1 owing to the attempts of the native ,indians of ,guyana1 who seldom dispose them properly4 ,when these skins--frequently exceedingly valuable from their rarity--are undone1 to be remounted1 it is oftentimes found utterly impossible to get the wings to take a natural set1 in which case there is no other remedy but cutting them off close to the body1 and fixing them anew4 ,the scapulars are separated1 they are softened with damp cloths1 and then wrapped up with bands of sheet lead1 to give them a proper set4 ,when we have got them in their natural shape1 they must be fixed to the sides by cement and cotton1 and a long pin through each1 with the head concealed amongst the feathers4 ,the scapulars1 which we have cut off1 must then be cemented on1 and they will effectually cover the joining of the wings4 ,the bird being now arranged1 and all the feathers adjusted1 it is wrapped round with small bands of fine linen or muslin1 and set aside till thoroughly dry4 ,should any feathers be disengaged during the mounting1 they must be kept1 and1 when the bird is dry1 we can replace them in their proper situations with a pair of forceps1 after they have been touched on their shafts with the cement2 the feathers around the place in which we intend to insert them1 must be held up with the probing-needle4 ,if any of the feathers are deranged in mounting1 and have got a wrong set1 the only way to remedy the defect is to pull them out with forceps1 and re-insert them with cement4 ,of ,mounting ,birds1 ,feather by ,feather4 ,rare birds are frequently received from foreign countries1 the skins of which are in such a state of decay1 that it is impossible to mount them by the ordinary processes above described4 ,the only way in which they can be preserved1 is to mount them feather by feather1 which1 however1 is a very tedious method4 ,it is as follows3 ,procure a piece of soft pliable wire1 such as is used by bell-hangers2 or take some of the ordinary wire used1 and make it red-hot in the fire1 and allow it to cool gradually1 when it will become quite pliable4 ,take five pieces of this1 of different lengths1 and form them into the skeleton of a body2 namely1 two for the back1 one on each side1 and one to represent the breast bone4 ,imitate the shape of the bird's body1 as nearly as possible4 ,the wires must be roughened with a file1 at the place where all the wires meet1 at the neck and rump2 and first wrap the place next the neck round with strong thread or fine brass wire4 ,two pieces intended for the back must bend gently downwards1 and be gradually separated from each other towards the center1 and brought together again at the place intended for the rump1 where they must intersect each other1 and be twisted two or three times1 to keep them in their place2 they are then spread out as supports for the tail2 the side pieces are next formed1 so as to represent the natural bulge of a bird's body1 and attached to the rump2 the piece representing the breast is then formed1 joined at the rump1 and afterwards continued as long as the other tail-pieces1 to support the center of the tail2 while at the front extremity a piece is left1 for the purpose of forming a neck to which to attach the head4 ,the leg-wires are attached to the side-wires1 being rolled round them for several turns1 making a framework the shape of the bird4 ,after this body has been properly formed1 it must be wrapped round with tow-sliver1 and the neck thickened to its required dimensions4 ,when this is accomplished1 the head1 legs1 wings and tail are softened in the usual manner2 the eyes are then fixed in with some cotton introduced into the orbits1 with a little of the cement4 ,the wings and tail are now placed on a table1 with a flat leaden weight above each1 to restore them to their natural shape4 ,the leg-wires are then passed through the legs1 commencing at the top1 and bringing them out at the soles of the feet1 and left with a piece extending beyond the claws4 ,the tail is now fixed on1 by first attaching to it a quantity of cotton with the cement1 and1 when dry1 it is fixed to the part intended as the rump4 ,the feet of the bird must be fixed into a piece of wood1 as a perch1 the ends of which must be left some inches beyond the body4 ,the end next the tail is fixed into a table-vice1 with the belly upwards1 and the head pointing towards the operator4 ,the feathers are now put on1 commencing1 under the tail1 or crissum1 with what are termed the under-tail coverts2 a coating of cement must be previously laid on1 to attach the feathers with4 ,it is proceeded with upwards to the breast1 and finally the length of the neck1 taking care to put the proper feathers on their respective sides1 as the side-feathers have all an inclination to one side4 ,the bird is now turned with the back up1 still keeping the head towards the stuffer2 and the wings are fixed on with cement1 and pins forced through the beards of the feathers to conceal the heads4 ,when this is done1 put on the feathers of the rump1 and proceed upwards1 as has been done with the belly4 ,after reaching the top of the neck1 the head is then fixed on with some cotton immersed in the cement1 and allowed to dry before attempting to put on the feathers4 ,in this mode of mounting a bird there are several things which must be attentively adhered to2 these are--first1 not to put the feathers too thick1 for there is a danger of running short2 secondly1 all the shafts of the feathers must have a small bit cut off the tip1 so as to admit the cement and to give them a firmer hold2 and thirdly1 that the feathers should all occupy their respective parts2 and fourthly1 that they should be arranged as they are in nature on these parts1 as the disposition of every part of the body is peculiar to itself4 ,at first1 this mode of setting up birds will be found a difficult task1 but1 by a little practice and experience1 it will become familiar and comparatively easy1 although it will always be found a tedious process4 ,we have seen some specimens set up in this way1 which we could hardly detect from those mounted in the ordinary manner4 ,besides what we have already said concerning the stuffing and preparing of birds1 there are many details connected with particular species which demand our attention1 and which can only be described as regarding that species4 ,it will1 however1 be impossible for us to enter into all these minutely1 but only give a few examples as general guides4 ,we shall take these in systematic succession4 ,preservation of ,colors4 ,in the preservation of the feathers of birds1 little else is required to prevent the dissipation of their colors than to keep them as much as possible from air and light4 ,these two agents1 which were indispensable to their beauty and perfection in a living state1 now exercise their influence as destroyers1 and that influence will sooner or later work its ends according to the quality1 texture1 or color of the object with which it is contending4 ,the feathers are now deprived of two agents1 which in a living state contributed to their vigor and their beauty1 namely1 the internal circulating juices which they received from the body of the animal1 and the external application of oil by the bill of the bird1 supplied from a gland which is placed over the rump of all birds4 ,the colors of the rapacious tribes are not so evanescent as those of many others1 as they1 for the most part1 are composed of intense browns and blacks1 which are not so easily absorbed by light or air1 so that they continue for a very long period without any sensible difference4 ,there are1 however1 certain other points which are liable to almost immediate change of color after the death of the animals1 and these are the cere and skin of the legs and feet1 and the naked skin on the heads and necks of vultures and their congeners4 ,we shall treat of these individually4 ,now1 as all these colors which we have described are liable to change immediately after death1 it is evident that considerable nicety will be required to give the preserved specimen the appearance of nature4 ,these must1 therefore1 be supplied artificially with the varnish colors1 which we have particularly described in their proper place1 as also the combinations for the formation of compound colors4 ,the reddish-brown color mentioned1 of which the fold is composed1 must be touched by a mixture of the scarlet varnish1 with a little powdered burnt umber1 and the blue streaks with which it is traversed1 colored above with cobalt blue4 ,all the varnish colors have a tendency to shine1 which1 it will be evident1 is not the character of any part of the skin or caruncle of the bird described4 ,as soon1 therefore1 as it is thoroughly dry1 which will be in about an hour1 the whole surface must be gently rubbed with very fine sand-paper1 which will completely remove the gloss and give the appearance of nature4 ,some nicety will be required in painting betwixt the hairs1 but it can be easily managed with a little caution4 ,sometimes these hairs are liable to become brown1 in which case they can be touched with the black varnish4 ,as these birds are inhabitants of warm climates1 some care is requisite after killing them1 to prevent decay2 the tendons of the legs should be extracted to prevent their being attacked by moths1 and their place supplied by some cotton and preservatives4 ,the tendons are extracted by means of a longitudinal incision made behind the tarsus4 ,the edges of this incision can easily be brought together when the bird is under the process of preparation4 ,,collecting ,,and ,,preserving ,,birds' ,,eggs ,,and ,,nests4 ,few objects of natural history are more interesting than the nests of birds4 ,to the reflecting naturalist they open up a wide field for inquiry4 ,speaking of the examination of birds1 in the exercise of their mechanical arts of constructing nests1 ,professor ,rennie says3 8,this work is the business of their lives--the duty which calls forth that wonderful ingenuity which no experience can teach1 and which no human skill can rival4 ,the infinite variety of modes in which the nests of birds are constructed1 and the exquisite adaptation of the nest to the peculiar habits of the individual1 offer a subject of almost exhaustless interest40 ,the number and variety of the eggs of birds are curious subjects of contemplation1 and should be carefully noted whenever opportunity offers4 ,they are as essential to the personal history of the species1 as any other part of our inquiries4 ,the eggs are emptied of their contents by making a very small hole at each end with a point4 ,by blowing at one of the ends1 the contents will escape by the other1 unless the young has been already formed2 in which case a larger hole must be made in the side of the egg1 and the contents removed with a small hook4 ,the hole should then be stopped up by pasting a little goldbeater's leaf over it4 ,the eggs are then either returned to their nest1 in which they ought to be cemented1 or should be fixed down by one side to cards1 with the name and locality attached4 ,the best manner of conveying loose eggs to a distance1 is to put some cotton at the bottom of the nest1 and then another layer above them4 ,the nests should all be put in separate boxes if possible1 and so packed that the pressure of the lid may not injure the eggs1 or a box with several compartments should be used1 taking care that each is carefully marked4 ,it would also be of consequence to have the nests attached to the branches1 with those species which build on trees1 which will enable us to trace the ingenious means employed by those little animals in constructing their habitations4 ,in sending home specimens from a foreign country1 the seams of the box should be covered by pitched cloth to protect them from the influence of moisture4 ,to preserve the shells of eggs1 first take care to clear them of their contents2 get a small1 fine-pointed common syringe1 such as is sold in toy-shops for a penny or twopence1 and inject the specimen with water until it comes out quite clean4 ,when an egg has been partly hatched or addled1 the removal of the contents generally includes that of the internal membrane or pellicle2 this makes the shell weaker4 ,when the specimens are quite clean internally1 and have become dry 7which will be in a day or two71 take the syringe and inject them with a strong solution of isinglass 7with a little sugar-candy added to prevent its cracking72 blow this out again whilst warm4 ,let the shell get dry1 and then wash the outside with a soft wet cloth to remove saline particles1 dirt from the nest1 etc4 ,this method varnishes the inside1 and the first specimen on which it has been tried was the before-mentioned hedge-accentor's egg1 which is to this day as bright in color as a fresh specimen4 ,also in a pair of nightjar's eggs1 of which species the delicate gray tint is particularly evanescent1 one was injected in the manner described1 and the other was not2 in the first the gray is still perfectly defined1 in the other it has entirely disappeared4 ,eggs which have lost their internal pellicle become strengthened by this process1 and those which have not lost their color greatly improved4 ,,skinning1 ,,preserving1 ,,and ,,setting ,,up ,,reptiles1 ,,and ,,molluscous ,,animals1 ,,etc4 ,,tortoises ,,and ,,turtles4 ,skinning4 ,the first operation is to separate the back and breast shells with a strong short knife1 or chisel4 ,if the force of the hand is inadequate1 a mallet may be used1 taking care not to strike so hard as to crack the shell4 ,these two bony plates being covered by the skin1 or by scales1 the scapula1 and all the muscles of the arm and neck1 in place of being attached to the ribs and spine1 are placed below1 from which cause the tortoise has been termed a retroverted animal4 ,the vertebral extremity of the scapula is articulated with the shield1 and the opposite extremity of the clavicle with the breast-plate in such a manner that the shoulders form a ring for the passage of the windpipe and gullet4 ,after the turtle is opened1 all the flesh which adheres to the breast-plate1 and also to the upper shell1 is removed1 while attention is paid to the parts as above described4 ,the head1 fore-feet1 and tail are skinned as in quadrupeds2 but none of these must be removed from the upper shell1 but left attached4 ,all the fleshy parts being removed1 the shells are washed out with a sponge1 and carefully dried4 ,they are then slightly rubbed with the arsenical soap4 ,stuffing4 ,wires are now passed through the middle of the legs1 after the skin has been rubbed with the preservative4 ,the skull is returned to its place1 and the whole of the head1 neck1 and legs stuffed with chopped flax or tow4 ,the parts of the skin which have been cut are then sewed together4 ,the back and breast-plates are then united by four small holes1 being bored at their edges1 and united by strings or small wires4 ,the junction of the bones may then be attached with the cement1 colored so as to correspond with the shell4 ,if the calipash is dirty1 it may be cleaned with a slight solution of nitric-acid and water2 afterwards clean washed1 oiled1 and then rubbed hard with a woolen rag1 to give it a polish4 ,,crocodiles ,,and ,,lizards ,,in ,,general4 ,skinning4 ,all this tribe are skinned in the same manner as quadrupeds4 ,care is1 however1 required in skinning the tails of the smaller species1 as they are very liable to break4 ,the skins being of a dry nature1 require but little of the preservative4 ,after they are thoroughly dried they will keep a very long time without decay4 ,stuffing4 ,stuff them as directed for quadrupeds4 ,they admit of but little variety of attitude4 ,the small species are exceedingly apt to change color in drying1 which must be imitated with the colored varnishes1 and afterwards dimmed with sand-paper4 ,to keep them in their natural colors1 they should be preserved in spirits4 ,the skins of such as are glossy should be varnished after they are perfectly dry4 ,,serpents ,,in ,,general4 ,skinning4 ,in skinning serpents there is some nicety required1 to cut them so as not to disfigure the scales2 the opening should be made in the side1 commencing at the termination of the scales2 and they should on no account be divided1 as upon their number the species is mostly determined4 ,it is a very frequent practice to send home serpents without the head1 which renders them quite unfit for any scientific purpose4 ,this proceeds from the fear of receiving poison from the fangs4 ,but there is not the slightest danger of being affected1 as these can easily be cut out by means of pincers4 ,the head should be cleaned and the brain removed1 in the same manner as recommended for birds and quadrupeds1 the skull anointed and then returned into the skin4 ,when the skin is removed1 it may be rolled up and packed in small space4 ,the simplest way to preserve small species is to put them in spirits1 which must not be too strong1 as it will destroy the colors4 ,mr4 ,burchell1 in his four years' journey through ,africa1 glued the skins of the smaller serpents perfectly flat on paper1 which preserved the size of the animal1 and the skin retained all the beauty of life4 ,stuffing4 ,the skin1 if not recent1 must be first softened in the manner recommended for birds4 ,a piece of wire is taken1 the length of the animal1 which must be wrapped round with tow till it is of a proper thickness1 and above the whole a spiral band of sliver should be carefully wrapped4 ,it is then placed inside of the skin1 and sewed up4 ,the eyes are placed in1 as directed for quadrupeds and birds4 ,when dry1 give the serpent a coat of varnish1 and then twist it into any attitude wished4 ,a favorite and striking one is to have it wound round some animal1 and in the act of killing it4 ,,frogs ,,and ,,toads4 ,skinning4 ,the mouth is opened1 and the first vertebr of the neck is cut4 ,the whole inside of the mouth is cut out with scissors4 ,the two jaws are next raised up and the skin is pushed back with the fingers of the right hand1 while the body is drawn back in a contrary direction with the other hand1 and the whole body is then drawn out at the mouth4 ,the legs are then returned to their proper place4 ,stuffing4 ,the simplest method of stuffing these animals1 is with sand4 ,a small funnel is placed into the mouth1 and pour in well dried sand4 ,when full1 a small piece of cotton is pushed into the throat1 with some of the cement1 to keep the sand from escaping on moving the animal4 ,the frog is then placed on a board1 and in an attitude4 ,when quite dry1 give it a coat of varnish4 ,when this has perfectly dried1 very small perforations are made under the belly with the point of a needle1 and the sand allowed to escape1 leaving the body in its natural form4 ,these animals are liable to change of color from drying1 and should1 therefore1 be painted with the varnish to their natural hues4 ,there is less difficulty with toads in this respect1 as they are usually of a brown color1 and not liable to much change4 ,they may be perfectly preserved in spirits4 ,illustration ,,preserving ,,spiders1 ,,gally-,,worms1 ,,and ,,insects4 ,,spiders4 ,the general directions which we shall give respecting insects1 hold good as to spiders1 only we must mention there is considerable difficulty in preserving the bodies of spiders1 which generally1 in a very short time1 shrink into a shapeless mass4 ,to prevent this1 the body should be pricked with the triangular awl and the contents pressed out2 it should then be stuffed with very fine carded cotton or down1 which can be pushed in by a pricker1 blunted a little at the point4 ,when properly distended1 the small aperture should be filled up with a little cement1 or a solution of gum-arabic4 ,the legs of the larger species1 such as the bird-catching ,mygale and the ,scorpions1 are also liable to shrink1 and should be stuffed in the same manner as that of the body4 ,in those species of spiders which we have thus prepared1 and whose colors are rich and likely to be affected by the action of the atmosphere1 we must endeavor to arrest its progress by immediately imbuing the animal1 after it is set up1 with the solution of corrosive sublimate1 and in an hour after with a thin coating of a very weak white-spirit varnish2 for this purpose1 take a teaspoonful of the ordinary white-spirit or elastic varnish1 and add to it two teaspoonfuls of spirit of wine2 apply this wash with a fine camel hair brush1 which will quickly dry1 and have a strong tendency to preserve the color4 ,the varnish1 being thus reduced in strength1 will not leave any gloss on the insect1 nor will it be at all perceptible4 ,mr4 ,samouelle1 author of 8,the ,entomologist's ,useful ,compendium10 in speaking of preserving spiders1 says3 8,the best preserved specimens that ,i have seen are those where the contents of the abdomen have been taken out and filled with fine sand4 ,i have preserved several in this way1 and find it answer the purpose40 ,mr4 ,donovan makes the following observations on the preservation of spiders3 8,to determine whether some species of spiders could be preserved with their natural colors1 ,i put several into spirits of wine2 those with gibbous bodies soon after discharged a very considerable quantity of viscid matter1 and therewith all their beautiful colors2 the smallest retained their form1 and only appeared rather paler in the other colors than when they were living4 8,during the course of last summer1 among other spiders1 ,i met with a rare species2 it was of a bright yellow color1 elegantly marked with black1 red1 green1 and purple2 by some accident it was unfortunately crushed to pieces in the chip-box wherein it was confined1 and was1 therefore1 thrown aside as useless2 a month or more after that time ,i observed that such parts of the skin as had dried against the inside of the box1 retained the original brightness of color in a considerable degree4 ,to further the experiment1 ,i made a similar attempt1 with some caution1 on the body of another spider1 and1 though the colors were not perfectly preserved1 they appeared distinct4 8,from further observations ,i find1 that if you kill the spider and immediately after extract the entrails1 then inflate them by means of a blow-pipe1 you may preserve them tolerably well2 you must clean them on the inside no more than is sufficient to prevent mouldiness1 lest you injure the colors1 which certainly1 in many kinds1 depend on substance that lies beneath the skin40 ,scorpions1 and all the spider tribe1 may be sent home in spirits1 which will preserve them perfectly1 and when taken out and dried1 they will be found to have suffered nothing from their immersion4 ,we have seen some specimens set up1 after being sent home in spirits1 which rivaled any which have been preserved in a recent state4 ,the animals of this class are particularly liable to the attacks of insects1 particularly in warm countries1 on which account the mode of transporting them and keeping them in spirits is1 perhaps1 superior to all others4 ,if1 however1 they are set up in a warm climate1 they should be well soaked with the solution of corrosive sublimate1 made according to the recipe of ,mr4 ,waterton4 ,for the setting up of this class1 see the directions for preserving insects4 ,,insects4 ,every country of the world is replete with this extensive and interesting class of beings1 whose forms are infinitely diversified1 and whose species are the most numerous of any class in the animal kingdom4 ,before any attempt is made to collect insects1 certain apparatus must be provided1 not only to enable us to secure them1 but also to preserve them after they are caught4 ,first1 then1 we must be provided with a quantity of wooden boxes1 from #ah to #bj inches long1 #ae to #ag inches wide1 and two inches deep4 ,these should have well-filled lids1 with hinges1 and fastened by a wire catch1 or small bolt4 ,the bottom should have a layer of cork1 about the sixth of an inch in thickness1 which should be fixed down with very strong paste1 made according to our recipe2 and also some wire nails1 to prevent it from springing4 ,over the cork should be pasted white paper4 ,the box should be anointed inside with oil of petroleum4 ,if that cannot be procured1 make an infusion of strong aromatic plants1 such as cinnamon1 aloes1 thyme1 laurel1 sage1 rosemary1 or cloves1 and wash the inside with it4 ,a small packet of camphor should be wrapped in a piece of rag1 and deposited in a corner of the box4 ,we must also be provided with a quantity of insect pins of different sizes1 corresponding with the size of the insect4 ,the pins used for setting should be longer than those which are taken to the field4 ,bottles1 with mouths from an inch and a quarter to two inches in diameter1 must also be procured1 and these must be three-fourths full of spirits1 such as weak brandy1 rum1 gin1 or whisky4 ,hunting-,box4 ,we must1 besides1 have what is termed a hunting-box1 for carrying in our pocket1 when seeking after insects4 ,this should be made of strong pasteboard or chip1 for lightness1 or1 if this is no consideration1 of tin4 ,it must be of an oblong-oval shape1 rounded at the ends1 for the convenience of the pocket4 ,it should be from eight to ten inches long1 four to five inches wide1 and two-and-a-half to three inches deep4 ,it must have a layer of cork both in the bottom and top of the lid1 inside for attaching insects to1 when caught during the day4 ,the larger insects are placed at the bottom1 and the smaller ones on the lid4 ,the ,entomological4 ,we next procure a net1 as in figure #bf1 constructed similar to a bat-fowling net4 ,this is either made of fine gauze or coarse muslin2 it may either be green or white--the latter is the best for observing small insects which may be caught2 the green1 however1 is better adapted for catching moths4 ,the net-rods should be made of hickory1 beech1 hazel1 or holly2 they ought to be five feet in length1 quite round1 smooth1 and tapering to an obtuse point1 as at figure #bd2 the oblique cross-piece at the point should be of cane1 and fitted into the angular ferrule2 the rod must be divided into three or four pieces1 so that it may be taken asunder and carried in the pocket2 the upper part of each joint must have a ferrule affixed to it1 for the purpose of articulating the other pieces4 ,each joint should have a notch or check to prevent the rod from twisting4 ,the net itself1 figure #ca1 must have a welting all around it1 doubled so as to form a groove for the reception of the rods4 ,in the center of the upper part or point it must have a small piece of chamois leather1 so as to form a kind of hinge2 this must be bound round the welting and divided in the middle1 so as to prevent the cross pieces from slipping over each other2 it shows about four inches of the gauze turned up1 so as to form a bag2 there are strings for the purpose of passing through the staple1 to which the net is firmly drawn on each side4 ,when the net is used a handle is to be held in each hand4 ,if it is intended to take insects on the wing1 by means of this net1 for which it is admirably adapted1 it may be folded together in an instant4 ,if the gauze is fine enough1 and preserved whole1 even the smallest insect cannot escape4 ,it may be also applied in catching coleopterous insects1 which are never on the wing1 as well as caterpillars4 ,when used for this purpose the entomologist must hold it expanded under trees1 while another must beat the branches with a stick4 ,great numbers of both insects and larv will fall in the gauze1 and by this means many hundreds may be captured in a day4 ,another method is to spread a large table-cloth under trees and bushes1 and then beat them with a stick4 ,an umbrella reversed has frequently been used for the same purpose4 ,bose1 the celebrated naturalist1 used this last method--he held the umbrella in the left hand1 while he beat the bushes with the other4 ,the ,hoop or ,aquatic ,net1 ,figure #bf4 ,this net is used for capturing aquatic insects1 which are either lurking at the bottom1 swimming through the liquid element1 or adhering to plants4 ,it may also be successfully used in sweeping amongst grass and low herbage for coleopterous insects and others which are generally to be found in such situations4 ,the socket1 for the handle1 may be made of such dimensions as will answer the second joint of the entomological net-rod1 which will save carrying another handle2 or a walking-stick may be made to fit it4 ,a ,phial1 ,figure #cc4 ,this may either be made of tin or crystal1 and used for collecting coleopterous and other creeping insects4 ,the mouth should be nearly an inch wide1 and a cork exactly fitted to it1 in the center of which must be inserted a small quill1 to afford air1 and inserted about an inch beyond the cork1 to prevent the insects from escaping4 ,if the bottle is made of tin1 and of a larger size1 a tin tube must be introduced into its side1 and terminating externally at the surface4 ,a ,digger1 ,figure #bh4 ,the instrument is either made of iron or steel1 and is about six or seven inches in length1 fixed into a turned wooden handle4 ,it is used for collecting the pup of lepidopterous insects1 at the roots and in the clefts of the bark of trees2 and also for pulling off the bark1 particularly from decayed trees1 under which many curious and rare insects are frequently found4 ,it is most useful with an arrow-headed point4 ,setting ,needles1 ,figure #bi4 ,fitted into a small wooden handle1 the needle itself should be about three inches long1 and about the thickness of a small darning-needle1 slightly bent from about the middle4 ,figure #cj is a straight needle which is used for extending the parts of insects2 at one end of the handle is the needle1 and at the other a camel-hair pencil1 which is used for removing any dirt or dust which may be on the insects4 ,the pencil may be occasionally drawn through the lips1 brought to a fine point1 and used for disposing the antenn and palpi of insects of the minute kinds4 ,brass ,pliers1 ,figure #be4 ,these are used for picking up small insects from the roots of grass1 etc4 ,they may also be used for laying hold of small insects1 while they are yet free and not set up4 ,fan ,forceps4 ,this very useful instrument to the entomologist1 must be made of steel or iron1 and about eight or ten inches in length2 its general construction is like that of a pair of scissors1 and it is held and used in the same manner4 ,towards the points are formed a pair of fans1 which may either be square1 oval1 hexagonal1 or octagonal in the edges1 and the centers covered with fine gauze4 ,the general size of the fans is from four to six inches4 ,these are used for capturing bees1 wasps1 and musc4 ,they are also used for catching butterflies1 moths1 and sphinges4 ,if an insect is on a leaf1 both leaf and insect may be inclosed within the fans2 or if they are on a wall or the trunk of a tree1 they may be very easily secured by them4 ,if a butterfly1 sphinx1 or moth1 are captured by the forceps1 while yet between the fans1 they should be pressed pretty smoothly with the thumb-nail1 on the thorax or body1 taking care1 however1 not to crush it4 ,it may then be taken into the hand1 and a pin passed through the thorax1 and then stuck into the bottom of your hunting-box4 ,quills4 ,these are of great use in carrying minute insects4 ,they should be neatly stopped with cork and cement at one end1 the other end should be provided with a small movable cork for a stopper4 ,each end should be wrapped carefully round with a silk thread waxed1 to prevent them from splitting4 ,pocket ,larv-,box4 ,for collecting caterpillars1 this box is very essential3 it consists merely of a chip-box1 with a hole pierced in the center of the top and bottom1 and covered with gauze1 for the admission of air4 ,it will be necessary to put into the box some of the leaves on which the larv feed1 as they are very voracious1 and cannot long exist without food4 ,pill-,boxes4 ,no entomologist should be without five or six dozen of these useful articles4 ,they are of great value in collecting the smaller species of lepidopterous insects1 such as the tinea1 etc41 and only one specimen should be put in each box1 as1 if more than one1 they are apt to injure each other's wings by beating against each other4 ,setting ,boards4 ,these must be made of deal board1 from a foot to fifteen inches long1 and eight or ten inches broad1 with a piece of wood run across the ends1 to prevent them from warping4 ,they are covered with cork1 which must be perfectly smooth on the surface1 with white paper pasted over it4 ,several boards will be required1 by persons who are making collections1 as some of the insects take a considerable time to dry1 so that they may be fit for introducing into a cabinet4 ,the boards should be kept in a frame made for the purpose4 ,it should consist of a top1 bottom1 and two sides2 the back and front should have the frames of doors attached by small hinges1 and their centers covered with fine gauze1 for the free passage of air2 the sides should have small pieces of wood projecting from them1 for the boards to rest on2 which should be at such a distance from each other that the pins may not be displaced in pushing the boards in or drawing them out4 ,the frame should be placed in a dry1 airy situation4 ,braces4 ,these are merely small pieces of card1 cut in the form exhibited1 ,fig4 #cf1 attached to the butterfly and other insects2 and also at ,fig4 #ci4 ,they are pinned down on the insects1 to keep their wings1 etc41 in a proper state1 till they acquire a set4 ,,setting ,,and ,,preserving ,,insects4 ,of the orders ,coleoptera1 ,orthoptera1 and ,hemiptera4 ,these are easily preserved4 ,they are killed by immersing in scalding water1 and then laid upon blossom or blotting paper1 for the purpose of absorbing as much of the moisture as possible2 or they may be placed in a tin box1 with a little camphor in it1 near the fire1 which soon kills them4 ,this is1 besides1 of considerable effect in their preservation4 ,insects of the genera ,gryllus 7,cricket71 ,locusta 7,locusts71 etc41 have tender bodies1 and are sure to shrivel in drying4 ,the intestines should therefore be extracted1 while they are yet moist1 and skin filled with cotton1 as directed with some of the spiders4 ,when ,coleopterous insects are set with the wings displayed1 the elytra should be separated1 and the pin passed through their body near the middle of the thorax1 as in ,fig4 #ce4 ,the wings are exhibited as in the act of flying1 and are retained in this situation until they are quite dry1 by the cord braces4 ,the insects of this order should always have the pin passed through the right elytra on the right side1 as shown at ,fig4 #cg1 that is1 it should pass underneath1 between the first pair of feet and the intermediate ones4 ,the legs1 palpi and antenn should be displayed in a natural order on the setting board1 and retained in the position by means of pins and braces1 as shown in ,figs4 #ce1 #cg4 ,these must be kept in that state1 either longer or shorter1 according to the insect and the state of the weather1 as1 if placed in a cabinet before they are quite dry1 they are sure to get mouldy1 and will ultimately rot4 ,minute insects should be attached to cards with gum1 as shown1 ,figs4 #cd and #ci1 with the legs and other organs displayed4 ,entomologists generally adapt triangular cards as at ,fig4 #ch1 as less liable to hide the parts of the insects4 ,order ,lepidoptera4 ,mr4 ,haworth1 in mentioning the tenacity of life in the ,goat ,moth1 states that 8the usual way of compressing the thorax is not sufficient to kill this insect4 ,they will live several days after the most severe pressure has been given there1 to the great uneasiness of any humane entomologists4 ,the methods of suffocation by tobacco or sulphur are equally inefficacious1 unless continued for a greater number of hours1 than is proper for the preservation of the specimens4 ,another method now in practice is better1 and however fraught with cruelty it may appear to the inexperienced collector1 is the greatest piece of comparative mercy that can1 in this case1 be administered4 ,when the larger ,moths must be killed1 destroy them at once by the insertion of a strong1 red-hot needle into their thickest part1 beginning at the front of the thorax4 ,if this be properly done1 instead of lingering through several days1 they are dead in a moment4 ,it appears to me1 however1 that insects being animals of cold and sluggish juices1 are not so susceptible of the sensations we call pain1 as those which enjoy a warmer temperature of body1 and a swifter circulation of the fluids4 ,to the philosophic mind it is self-evident that they have not such acute organs of feeling pain as other animals of a similar size1 whose juices are endowed with a quicker motion1 and possess a constant1 regular and genial warmth40 ,butterflies are soon killed by passing a pin through the thorax4 ,the pin passed through the thorax of small moths generally proves almost instantly fatal to them4 ,the best manner of preserving the minute species of moths is by pill-boxes1 as above stated1 each moth being kept in a separate box4 ,we have found the following the best mode of destroying them3 ,a piece of flat hardwood is taken1 and a circular groove cut in it1 sufficiently deep to admit the mouth of a tumbler being placed within it4 ,in the center of the wood1 pierce a hole about a third of an inch in diameter in its center3 place the pill box under this tumbler1 with the lid off1 and the insect will soon creep out2 but whether it does so or not1 a match well primed with sulphur is lighted and placed into the hole under the center of the tumbler1 which will suffocate the insect in a few seconds4 ,i have also found this an effectual method of killing the larger species of butterflies1 and moths4 ,in piercing them1 the pin should be quite perpendicular1 that no part of their minute frame should be hidden by its oblique position4 ,the larger insects of this order are set by braces chiefly4 ,a single one should in the first place be introduced under the wing1 near the thorax1 as shown in ,fig4 #cf1 and a longer brace extending over the wings4 ,these should not bear upon the wings1 but be ready to rest gently on them1 when required4 ,the wings are now elevated to their proper position by the setting needle1 and other braces are used as necessity dictates4 ,the feet and antenn are extended and kept in their places by means of pins1 in which operation small braces are also occasionally used4 ,the ,french entomologists set butterflies1 moths1 and sphinges1 on a piece of soft wood1 in which they have excavated a groove for the reception of the body1 as deep as the insertion of the wings4 ,they are otherwise preserved as above directed4 ,in the larger butterflies1 moths1 and sphinges1 the abdomen should be perforated1 its contents extracted1 and then stuffed with fine cotton1 after having been washed internally with the solution of corrosive sublimate4 ,indeed1 the cotton should also be rubbed with arsenical soap before being introduced1 as these insects are particularly liable to the attack of smaller insects1 such as the mite4 ,several of the moth tribe are extremely liable to change their color some time after they have been placed in a cabinet4 ,this change is frequently occasioned by an oily matter which is common to many of them4 ,this first makes its appearance in small spots on the body1 but soon spreads itself over the abdomen1 thorax1 and wings2 and ends in a total obliteration of all the beautiful markings4 ,a method which has been sometimes successfully adopted is to sprinkle all the wings with powdered chalk1 and holding a heated iron over it2 the chalk absorbs the grease1 and may then be blown off by means of a pair of small bellows4 ,another way of applying the chalk1 and perhaps the better of the two1 is to throw some powdered chalk on the face of a heated iron1 and then put it into a piece of linen cloth1 and apply it to the body of the insect2 the heat of the iron will soften the grease1 and the chalk will absorb it4 ,another method is to hold a heated iron over the insects for a few minutes1 and then to wash the spotted or greasy places with ox-gall and water1 applied with a camel-hair pencil1 and afterwards wash it with pure water1 and dry it by an application of blotting paper1 and when perfectly dry imbue it with the solution of corrosive sublimate4 ,but grease seldom appears where the contents of the abdomen have been removed4 ,orders ,neuroptera1 ,hymenoptera and ,diptera4 ,the ,dragon ,flies 7,libellul7 are frequently very difficult to kill1 being powerful and nervous animals4 ,when caught they should be transfixed through the sides1 and it sometimes becomes necessary to put braces on their wings to prevent them from fluttering while in the hunting box4 ,they may also be killed sometimes by placing them under a tumbler and suffocating them4 ,some entomologists put them in scalding water for an instant4 ,the contents of the abdomen should always be removed from ,dragon ,flies1 otherwise it will become black and shining through the skin1 and destroy the beautiful bands with which they are ornamented4 ,they can be stuffed with cotton or a small roll of paper introduced4 ,if these precautions are attended to1 the insect will preserve the perfect beauty of its living state4 ,the other species of these orders soon die after being transfixed4 ,they may be set by braces and pins1 as represented in ,figs4 #ce and #cg4 ,some of the ,dipterous insects are very perishable in point of color after death1 particularly in the abdomen1 the skin of which is very thin4 ,the only way of remedying this is to pierce the abdomen1 and after taking out the contents the cavity should be filled with a powdered paint the same color as the living subjects1 which will shine through and give it all the appearance of nature4 ,,method ,,of ,,relaxing ,,dried ,,insects4 ,insects frequently get stiffened before the entomologist has leisure to get them set2 and it usually happens that those sent home from foreign countries have been ill set1 and require to be placed in more appropriate attitudes after they have fallen into the hands of the scientific collector4 ,they may be relaxed and made as flexible as recently killed specimens by the following simple process1 from which they can receive no injury3 ,pin them on a piece of cork1 and place the cork in a large basin or pan of tepid water1 and cover the top tight with a damp cloth1 taking care that it is sufficiently high not to injure the insects4 ,in most cases a few hours is sufficient to restore them to their original flexibility1 so that they may be easily put in their proper positions4 ,in some instances1 three or four days are necessary to relax them thoroughly1 so as to set the wings without the risk of breaking them2 no force whatever must be used with any of the members4 ,when set up1 after being relaxed1 they must be treated in exactly the same manner as recent specimens4 ,we must again caution the entomologist to be careful that he applies the solution of corrosive sublimate to all his species1 otherwise there is little chance of their continuing long without being attacked by the mite2 they ought to be frequently imbued4 ,mr4 ,waterton1 who has studied deeply the subject of preserving animal substances1 and applied them not only in our own country1 but also under the influence of a tropical climate1 makes the following observations on the preservation of ,insects3 8,i only know of two methods10 says he1 8to guard preserved insects from the depredations of living ones4 ,the first is1 by poisoning the atmosphere--the second is1 by poisoning the prepared specimens themselves1 so effectually that they are no longer food for the depredators4 ,but there are some objections to both these modes2 a poisoned atmosphere will evaporate in time if not attended to1 or if neglected to be renewed2 and there is great difficulty in poisoning some specimens on account of their delicacy and minuteness4 ,if you keep spirits of turpentine in the boxes which contain your preserved specimens1 ,i am of opinion that those specimens will be safe as long as the odor of the turpentine remains in the box1 for it is said to be the most pernicious of all scents to insects4 ,but it requires attention to keep up an atmosphere of spirits of turpentine2 if it be allowed to evaporate entirely1 then there is a clear and undisputed path open to the inroads of the enemy2 he will take advantage of your absence or neglect1 and when you return to view your treasure you will find it in ruins4 ,spirits of turpentine poured into a common glass inkstand1 in which there is a piece of sponge1 and placed in a corner of your box1 will create a poisoned atmosphere and kill every insect there4 ,the poisoning of your specimens by means of corrosive sublimate in alcohol1 is a most effective method4 ,as soon as the operation is properly performed1 the depredating insect perceives that the prepared specimen is no longer food for it1 and will forever cease to attack it2 but then every part must have received the poison1 otherwise those parts where the poison has not reached will still be exposed to the enemy1 and he will pass unhurt over the poisoned parts till he arrives at that part of your specimen which is still wholesome food for him4 ,now1 the difficulty lies in applying the solution to very minute specimens without injuring their appearance2 and all that can be said is1 to recommend unwearied exertion1 which is sure to be attended with great skill1 and great skill will insure surprising success40 ,i am convinced that there is no absolute and lasting safety for prepared specimens in zology from the depredations of insects1 except by poisoning every part of them with a solution of corrosive sublimate in alcohol4 ,mr4 ,waterton is of opinion that tight boxes with aromatic atmospheres are not to be depended upon in the preservation of insects4 ,he says3 8,the tight boxes and aromatic atmospheres will certainly do a great deal1 but they are liable to fail1 for this obvious reason1 viz43 ,that they do not render forever absolutely baneful and abhorrent to the depredator that which in itself is nutritious and grateful to him4 ,in an evil hour1 through neglect in keeping up a poisoned atmosphere1 the specimens collected by industry and prepared by art1 and which ought to live1 as it were1 for the admiration of future ages1 may fall a prey to an intruding and almost invisible enemy1 so that1 unless the solution of corrosive sublimate in alcohol is applied1 you are never perfectly safe from surprise4 ,i have tried a decoction of aloes1 wormwood and walnut leaves1 thinking they would be of service on account of their bitterness4 ,the trial completely failed40 ,many entomologists are satisfied with possessing the insect in its perfect or image condition4 ,but it is exceedingly interesting to be able to trace these through their different states of existence from the egg to the perfect insect4 ,besides1 we are certain to produce the insects in the highest state of preservation when we breed them ourselves1 and it is besides very interesting to have the eggs of the different species as well as the caterpillar and pupa4 ,the ,eggs of ,insects4 ,the eggs of insects preserve their form and color in a cabinet1 in general1 without much trouble4 ,swammerdam had a method of preserving them when they appeared to be giving way4 ,he made a perforation within them with a fine needle1 pressed out their contents1 afterwards inflated them with a glass blow-pipe1 and filled them with a mixture of resin and oil of spike4 ,the ,larv1 or ,caterpillars4 ,the easiest way of destroying the ,caterpillar is by immersion in spirits of wine4 ,they may be retained for a long time in this spirit without destroying their color4 ,mr4 ,william ,weatherhead had an ingenious mode of preserving larv4 ,he killed the caterpillar1 as above directed1 and having made a small puncture in the tail1 gently pressed out the contents of the abdomen1 and then filled the skin with fine dry sand1 and brought the animal to its natural circumference4 ,it is then exposed to the air to dry1 and it will have become quite hard in the course of a few hours1 after which the sand may be shaken out at the small aperture and the caterpillar then gummed to a piece of card4 ,another method is1 after the entrails are squeezed out1 to insert into the aperture a glass tube which has been drawn to a very fine point4 ,the operator must blow through this pipe while he keeps turning the skin slowly round over a charcoal fire2 the skin soon becomes hardened1 and1 after being anointed with oil of spike and resin1 it may be placed in a cabinet when dry4 ,a small straw or pipe of grass may be substituted for the glass pipe4 ,some persons inject them with colored wax after they are dry4 ,the ,pupa4 ,when the insects have escaped from their pupa skin1 the skin usually retains the shape and general appearance it did while it contained the insect4 ,it is therefore ready for the cabinet1 without any preparation whatever4 ,but if the animal has not quitted its envelope1 it will be necessary either to drop the pupa into warm water1 or to heat it in a tin case before the fire2 the former mode1 however1 is the best1 and least liable to change the colors of the pupa4 ,,method ,,of ,,breeding ,,insects4 ,breeding ,cages4 ,these must be made of oak1 or other hard wood1 as pine is apt to kill the caterpillars from its strong smell of turpentine4 ,the best form for these is represented in ,fig4 #cb4 ,the sides and front are covered with gauze2 a is a small square box1 for the reception of a phial of water1 for placing the stalks of plants in1 on which it is intended the caterpillars are to feed4 ,the most convenient size for a breeding cage is eight inches in breadth1 four deep1 and one foot in height4 ,it is not proper to place within a cage more than one species of caterpillar1 as many of them prey upon each other4 ,indeed1 animals of the same species will devour each other if left without food4 ,the caterpillars of insects1 for the most part1 will only eat one particular kind of food1 so that it is better to have no more than one sort in a cage4 ,there must be at the bottom of the cage earth to the depth of two inches2 this should be mixed with some fine sand and vegetable earth1 if possible1 to prevent it from drying4 ,the cages should be kept in a cool cellar or damp place1 because many insects change into the pupa condition under the earth2 so that it would require to be somewhat moist1 to prevent the destruction of the animal4 ,the shell or case of the pupa also becomes hard1 if the earth is not kept moist2 and1 in that event1 the animal will not have sufficient strength to break its case at the time it ought to emerge from its confinement1 and must consequently die1 which but too frequently happens from mismanagement4 ,some seasons are more favorable than others for the production of caterpillars1 and to keep each kind by themselves would require an immense number of cages1 as well as occupy much time in changing the food1 and paying due attention to them4 ,to obviate this1 some persons have large breeding cages1 with a variety of food in them1 which must be cleaned out every two days1 and fresh leaves given to the caterpillars2 as1 on due attention to feeding1 the beauty and vigor of the coming insects will much depend4 ,the larv of insects1 which feed beneath the surface of the earth1 may be bred in the following manner3 ,let any box that is about three or four feet square1 and two or three feet deep1 be lined internally with tin1 and a number of very minute holes be bored through the sides and bottom4 ,put into this box a quantity of earth1 replete with such vegetables as the caterpillars subsist on1 and sink it into a bed of earth1 so that the surface may be exposed to the different changes of the weather4 ,the lid should be covered with brass or iron network1 to prevent their escape1 and for the free admission of air4 ,the young entomologist should obtain a cabinet of about thirty drawers1 arranged in two tiers1 and covered in with folding doors4 ,there is a great convenience in this size1 as the cabinet is rendered more portable1 and at the same time admits of having another of the same size1 being placed above the top of it1 as the collection increases1 without injuring the uniformity1 and thus the drawers may be augmented to any extent4 ,it is immaterial whether the cabinet is made of mahogany or oak2 sometimes they are constructed of cedar1 but seldom of pine1 or any other soft wood4 ,small cells must be made in the inside of the fronts for camphor4 ,corking of ,drawers4 ,the simplest way to get the cork is to purchase it of a cork-cutter1 ready prepared1 but it will be much cheaper for the entomologist to prepare it himself4 ,in this case1 it should be cut into strips of about three inches wide1 with a cork-cutter's knife1 to smooth the surface and to divide it4 ,the strips should be fixed in a vice1 and cut to the thickness required with a fine saw2 but grease must not be used in the operation1 as it will not only prevent the cork from adhering to the bottom of the drawer1 but will also grease the paper which should be pasted on its surface4 ,the black surface of the cork should be rasped down to a smooth surface4 ,after having reduced the slips to about three quarters of an inch in thickness1 the darkest1 or worst side of the slip should be glued down to a sheet of brown1 or cartridge paper2 this should be laid on a deal board1 about three feet in length1 and the width required for a drawer or box2 a few fine nails1 or brads1 must be driven through each piece of cork to keep it firm and in its place until the glue is dried2 by this means1 sheets of cork may be formed the size of the drawer4 ,all the irregularities are filed or rasped down quite to a level surface1 and then polished smooth with pumice-stone4 ,the sheet1 thus formed and finished1 is glued into the drawers4 ,to prevent its warping1 some weights must be equally distributed over the cork1 that it may adhere firmly to the bottom of the drawer4 ,when quite dry1 the weights are removed1 and the cork covered with fine white paper1 but not very thick4 ,the paper is allowed to be quite damp with the paste before it is placed on the cork1 and when dry it will become perfectly tight4 ,insect cabinets should be kept in a very dry situation1 otherwise the antenn1 legs1 etc41 will become quite mouldy4 ,the same evil will ensue if the insect is not perfectly dry before it is placed in the cabinet4--,should an insect be covered with mold it can be washed off with a camel's hair pencil1 dipped in camphorated spirits of wine2 in which case1 the insect must be dried in a warm airy situation1 before being placed in the cabinet4 ,there should always be plenty of camphor kept in the drawers1 otherwise there is great danger to be apprehended from mites2 where these exist1 they are easily discovered by the dust which is under the insects by which they are infested4 ,in which case1 they must be immediately taken out1 and rubbed clean with a fine camel's hair pencil1 and well imbued with the solution of corrosive sublimate1 and then placed near a fire1 taking care1 however1 that too great a heat is not applied1 as it will utterly destroy the specimen4 ,the butterfly1 sphinx and moth tribes are extremely liable to the attack of mites1 and should1 therefore1 be frequently examined4 ,,shell ,,fish1 ,,to ,,preserve--,,and ,,the ,,art ,,of ,,polishing ,,shells4 ,cuttle fish1 and all other molluscous animals1 can only be preserved in spirits4 ,the same observation applies to the animals which inhabit that numerous tribe called ,testaceous ,shells4 ,they must be detached from the shells1 and put into spirits1 while the shells themselves must be preserved1 independent of the animal4 ,shells naturally arrange themselves under three distinct heads3 ,marine1 ,land1 and ,fluviatile1 or ,fresh ,water4 ,marine shells are only to be expected perfect1 when procured in a living state4 ,the way to extract the animal is to pour some warm water on it2 but1 if too hot1 it is liable to crack the shells4 ,when the animals are dead1 they can easily be pulled out with any hooked instrument1 or fork1 or if the animal is small1 by a common pin4 ,this applies to all marine shells2 whether univalve1 bivalve or tubular4 ,it is of great consequence to preserve the ligament of bivalve shells entire1 so that the valves may not be separated4 ,the animals of land and fresh water shells are killed by the same means1 only that the water requires to be very hot4 ,unless the shells are covered with extraneous matter1 it is not necessary to clean them4 ,marine shells are1 however1 very liable to be incrusted with other marine bodies1 particularly with serpula and balani1 etc4 ,these must be started off by means of a sharp instrument2 an engraving tool is well adapted for this purpose4 ,this must be done with great caution1 in species which have spines1 and other excrescences1 as they are very liable to be broken4 ,should any of the calcareous matter still adhere1 this must be removed1 by applying to it a very weak mixture of muriatic acid and water1 applied with the point of a quill1 and then plunged into water1 and allowed to remain till the acid is quite extracted4 ,but on no account whatever attempt to eradicate these parasitic bodies by means of acid1 or acid and water alone1 as the chances are that the shell will be completely destroyed by their application4 ,we have seen many fine and valuable shells destroyed by an injudicious application of acids--they should never be used when it can possibly be avoided4 ,we have1 on the other hand1 seen shells which were so completely enveloped in calcareous crust1 that it was impossible to trace their external surface1 most thoroughly cleared of all this1 without being touched at all by acids1 the whole being removed by a small knife or other sharp instrument2 and these1 in many cases1 having long and tender spines externally4 ,nothing can be more monstrous than the application of pumice-stone1 which some recommend1 for polishing shells2 as is also the use of tripoli1 rotten-stone1 and emery4 ,neither do we approve the application of varnishes1 as such shells never have their natural luster4 ,if a shell is found dead upon the beach it is probable that it will have undergone a certain degree of decomposition1 that is1 it will have parted with part of its animal matter1 and consequently the colors will have faded and the surface present a chalky appearance4 ,to remove this take a small proportion of ,florence oil and apply it to the surface1 when the colors which were invisible will appear4 ,when completely saturated with oil let the shell be rubbed dry and placed in a cabinet4 ,oil may also be applied after acid has been used1 and it will be found extremely useful when applied to dry the epidermis1 which it will prevent from cracking or quitting the shell entirely1 which it frequently does4 ,whether marine shells are procured in a living or dead state1 a very necessary precaution is to immerse them in pure tepid water after the animal has been extracted1 and allow them to continue in it for an hour or two so as completely to extract any salt or acid which may be in them4 ,fresh water shells are liable to a calcareous or earthy incrustation1 which must be removed by immersing them in warm water1 and afterwards scraping and brushing them with a nail or toothbrush4 ,much nicety is necessary in cleaning these1 as their great thinness renders them1 in general1 liable to be broken4 ,a little ,florence oil will improve the appearance of the epidermis and render it less liable to crack4 ,land shells seldom require any cleaning except washing in water1 as they are not liable to incrustations of any kind4 ,when shells are perforated by marine animals1 or otherwise broken1 if the specimen is rare1 it is desirable to remedy these defects as far as possible2 they may therefore be filled up1 or pieces added to them with the cement1 which may be colored when dry to its original state4 ,of ,polishing ,shells4 ,many species of marine and fresh water shells are composed of mother-of-pearl1 generally covered with a strong epidermis4 ,when it is wished to exhibit the external structure of shells1 the epidermis is removed and the outer testaceous coatings polished down till the pearlaceous structure becomes visible4 ,it has been a common practice to remove the strong epidermis of shells by means of strong acids1 but this is a hazardous and tedious mode of operating4 ,the best method is to put the shells into a pan of cold water with a quantity of quicklime and boil it for two to four hours1 according to the thickness of the epidermis4 ,the shells afterwards must be gradually cooled1 and some strong acid applied to the epidermis1 when it will easily peel off4 ,two hours are sufficient for the common muscle being boiled4 ,the shells are afterwards polished with rotten-stone and oil1 put on a piece of chamois leather4 ,the epidermis of the uno margaritifera is so thick that it requires from four to five hours boiling4 ,after the epidermis has been removed1 there is beneath it a thick layer of dull1 calcareous matter1 which must be started off with a knife or other sharp instrument2 this requires great labor1 but1 when accomplished1 a fine mother-of-pearl is exhibited which adds an agreeable variety as a specimen4 ,various turbos and trochuses are also deprived of their epidermis and polished with files1 sand-paper1 pumice-stone1 etc41 till the pearly appearance is obtained2 but all these modes are invented for disfiguring rather than improving the shells in the eye of the naturalist1 and should never be resorted to except where the species is very common1 in which case it is well enough to do so with one or two specimens to show the structure of the shells4 ,after the operation of polishing and washing with acids1 a little ,florence oil should be rubbed over to bring out the colors and destroy the influence of the acid4 ,,the ,,chase ,,and ,,manner ,,of ,,collecting ,,animals4 ,,quadrupeds ,,and ,,birds4 ,it is hardly necessary to recommend a double-barrelled gun4 ,one of the barrels should be loaded with small shot or dross of lead for small birds and the other with large shot4 ,these should have much less powder than an ordinary charge1 so as not to tear and injure the animals4 ,paper1 cotton or flax and powdered dry earthen ashes should form part of the naturalist's stores4 ,when a bird is killed1 a small quantity of dry dust is to be put on the wound4 ,for this purpose the feathers must be raised with a pin1 or a gun-picker1 close to the wound4 ,the bill of the bird should have a small quantity of cotton or flax introduced into it to prevent the blood from flowing and spoiling the plumage4 ,the feathers must be all adjusted1 and the bird then placed on the ground to allow the blood to coagulate4 ,every specimen should be placed in a piece of paper of the form of a hollow cone1 like the thumb bags used by grocers4 ,the head should be introduced into this1 the paper should then be closed around the bird1 and packed in a box filled with moss1 dried grass or leaves4 ,birds taken alive in nets and traps are to be preferred to others for stuffing1 and also those caught by birdlime1 which must be removed by spirits of wine4 ,birds should always be skinned the same day they are killed1 or next day at farthest1 particularly in summer2 as there is a danger of putrefaction ensuing1 by which the feathers will fall off4 ,however1 in winter there is no danger for some days2 but in tropical climates they must be prepared soon after they are killed4 ,the same observations apply generally to quadrupeds4 ,bats and owls are caught during the day1 in the hollows of aged trees1 in the crevices of walls1 and ruins of buildings4 ,these are animals which1 it may be presumed1 are still little known in consequence of their nocturnal habits4 ,those who prepare for the chase1 with the intention of preserving animals1 should take care to provide themselves with implements necessary for fulfilling the objects advantageously4 ,the articles most needed are one or two pairs of large pincers1 scissors1 forceps1 scalpels1 knives1 needles1 thread and a small hatchet1 as well as one or more canisters of preserving powder1 some pots of arsenical soap1 or arsenical composition1 and some bottles of spirits of turpentine4 ,cotton may be employed in stuffing the skins1 and therefore a considerable quantity should always be taken along with the naturalist4 ,in parts of ,asia and ,africa1 where this cannot be procured1 tow must be employed1 or old ropes teazed down2 and where even this cannot be found1 dried grass and moss may be used4 ,m4 ,le ,vaillant used a species of dog-grass while in ,africa1 which is very abundant in that country2 and it answered the purpose remarkably well4 ,it being supposed that a traveler has an ample caravan1 provided with all the necessaries which we have pointed out1 and having killed a quadruped1 he will skin it immediately1 according to the method which we have pointed out4 ,he will then sew up the skin after receiving a partial stuffing1 and having been anointed with the arsenical soap or composition4 ,all the extremities must then be imbued with spirits of turpentine1 and the skin should be placed in some convenient place to dry1 so that it may have the advantage of complete exposure to the air4 ,the turpentine must be again applied at the end of three or four days1 more especially around the mouth of the quadruped4 ,it will be of the utmost advantage to remain a week or ten days at one place2 by which means the naturalist will have had time to render himself somewhat acquainted with the animals which localize in that neighborhood4 ,and as some species frequently confine themselves to a very limited spot1 by leaving the place too hurriedly he is apt to overlook them4 ,after the traveler has determined on leaving his cantonment1 he must see that all the objects he has collected are in a condition to be removed4 ,he must examine carefully each specimen1 and see that they have not been attacked by the destructive insects1 so abundant in warm climates4 ,should flies have deposited their eggs in the lips of the quadrupeds or birds1 these must be destroyed by spirits of turpentine4 ,when a set of animals or birds are thoroughly dry1 they should be packed in a box or case1 which has been well joined4 ,a journal ought to be kept detailing all the circumstances connected with the animals1 the places in which they were killed1 and the color of their eyes1 together with any information that can be procured of their habits from the natives4 ,people are too apt to forget particulars when engaged in such varied pursuits1 and the sooner they are committed to paper the better4 ,when the traveler arrives in ,africa1 he will meet with animals of the largest size1 such as the elephant1 the rhinoceros1 hippopotamus1 giraffe1 quagga1 urus1 bubulus1 condoma1 as well as large antelope and deer4 ,he will unquestionably find some difficulty in his endeavors to bring with him the skins of these animals1 as in that country it is even troublesome1 in many cases1 to transport the necessaries of life4 ,but the ardor of the zealous naturalist will here be increased by beholding such splendid specimens as he can never meet with elsewhere4 ,all his energies will be strengthened and every sacrifice made to enable him to transport the fruits of his toils4 ,we need only to recur to the zeal manifested by ,le ,vaillant in his travels1 and the rapturous delight experienced by him when he first beheld and killed the giraffe4 ,he brought this large skin from ,caffraria1 where he killed the animal1 a distance of two hundred leagues from the ,cape of ,good ,hope4 ,should the traveler1 accidentally1 or in pursuit of natural objects1 find himself possessed of the carcase of one of these large and fine animals1 he would deeply regret not being able to fetch away the skin from want of a knowledge how to separate it from the body4 ,we shall1 therefore1 suppose that he has killed an animal the size of a bull4 ,he must first make an incision under the belly1 in the form of a double cross4 ,the central line must reach from the chin to the anus2 the two other transverse cuts must reach from one foot to the other4 ,these are always made inside1 so that the seams may be less conspicuous when the animal is mounted4 ,when the skin is stuffed1 the hoofs are detached by laying them on a stone1 and striking them with a hatchet or mallet4 ,the nails or hoofs must be left attached to the skin4 ,after this1 the skin is removed from the feet1 legs1 and thighs1 and treated in other respects as pointed out in skinning other large animals4 ,the bones of the head must be preserved if possible1 leaving it attached at the muzzle only4 ,all the muscles must be removed from the head1 and the bones rendered as clean as possible4 ,as it is probable that an animal of this magnitude has been killed at a great distance from any habitation1 there will not be an opportunity of macerating the hide in alum and water4 ,the skin will also be too thick for the arsenical soap to penetrate with effect4 ,under these circumstances1 the next best thing to preserve it is to take the ashes of a wood fire1 and rub it well inside4 ,the skin should then be stretched along the boughs of a tree1 and allowed to dry4 ,the skull1 after it has been dried1 must be returned into the skin1 and the lips1 ears1 and feet imbued plentifully with turpentine1 which operation must be several times repeated at intervals4 ,nothing is more effectual in preventing the attacks of insects than this spirit1 and no larv will exist in places which it has touched4 ,the skin will be sufficiently dried within two or three days1 so that the hair may be turned inwards4 ,if some common salt can be procured1 a solution of it should be made1 and the hair rubbed with it4 ,both sides of the skin must be rubbed with this two or three times1 at intervals of a day4 ,when sufficiently dry1 the skin may be rolled up and packed4 ,the hair ought to be inwards1 with a layer of dried grass intervening1 to prevent friction during conveyance4 ,the operation of rolling up the skin must be begun at the head4 ,if the journey is long1 the skin should be unrolled1 and placed in the sun for a few hours1 and the places liable to the attack of moths should be again rubbed with turpentine4 ,when a skin thus prepared has reached the place where it is to be put up1 it must undergo a preparation previous to its being mounted4 ,in the first place1 it must be extended along the ground with the hair undermost1 so that it may acquire fresh pliability1 and those parts which remain stiff must be moistened with tepid water4 ,the skin must then be placed in a large vessel of water saturated with alum1 there to remain eight or ten days2 after which1 it must be extended on half rounded pieces of wood1 and thinned with a sharp knife1 which is facilitated by the projections of the wood1 enabling the operator the more easily to cut it1 while it is gradually shifted1 till the whole has been pretty equally thinned4 ,when this operation is completed1 it is allowed to soak in water with an equal quantity of that saturated with the alum4 ,twenty-four hours will be sufficient4 ,in hunting for snakes1 great caution must be exercised1 as it is well known that the bite of some of these proves fatal within a quarter of an hour1 particularly that of the rattlesnake and some others4 ,indeed1 it would be more prudent to allow the natives to hunt for these poisonous reptiles1 as they are better acquainted with their haunts1 and the means of defense to be employed in this dangerous pursuit4 ,they are also better acquainted with those which are poisonous4 ,we may1 however1 remark1 that the poisonous snakes have1 in general1 much larger heads than those which are harmless1 and their necks are also narrow4 ,shells4 ,shells1 on account of the elegance and variety of their forms1 and beauty of their colors1 are objects much sought after1 not only by naturalists but also by most persons who are unacquainted with science4 ,there is no species1 particularly in remote climes1 which does not deserve to be brought home1 the things most common in those countries being frequently the most rare in ours4 ,shells are found on every part of the surface of the globe4 ,some are inhabitants of the land1 while others only frequent rivers1 lakes1 ponds1 and ditches2 and another and more numerous class live in the ocean4 ,land-shells are spread over the whole surface of the earth1 and although more accessible1 are perhaps less known than those which inhabit the 8mighty deep40 ,land-,shells1 for the most part1 are to be found creeping abroad either in the evening or after a gentle shower of rain4 ,during the heat of the day they retire to shaded retreats1 under thick bushes1 the crevices of rocks1 the hollows of decayed trees1 or under their bark2 beneath stones1 amongst moss1 or in holes in the ground4 ,a little experience will teach the naturalist readily to find their retreats4 ,fresh ,water ,shells must be sought for1 if in deep lakes1 with a dredge1 or if in shallow places1 with a tin spoon fixed on the end of a stick4 ,this is made of a circular piece of tin four inches and a half in diameter1 beat concave1 and then perforated with numerous small holes1 not exceeding the sixteenth part of an inch in diameter2 around this must be soldered a perpendicular rim three-quarters of an inch broad1 and also perforated with holes4 ,to this must be attached a hollow tubular handle three inches long1 for the insertion of a walking-stick4 ,it must have a few holes towards its outer end for passing a string through to tie it firmly and prevent it being lost4 ,with this spoon the collector must rake along the mud at the bottom of ditches or ponds1 and after bringing a quantity to the surface1 he must wash the mud entirely away by shaking the spoon on the top of the water1 and it will pass through the holes and leave the shells4 ,the sharp edge of the spoon is also useful for detaching aquatic shells from the under surface of the leaves of water-plants4 ,the large swan-muscle 7,anadonta ,cygnea71 and other ana-dons1 generally lie deep in the mud1 so that they cannot be procured by dredging4 ,i found it necessary to invent a net to fish for these4 ,this consisted of an iron triangle of twelve inches1 with a hollow handle fixed on its base1 and in this is inserted a pole of sufficient length to reach the bottom4 ,it is firmly screwed to the handle4 ,a net is attached to the triangle either of twine or hair-cloth4 ,the point of the triangle should be sharp so that it may the more easily penetrate the mud1 and it is drawn through it in situations where shells are supposed to exist4 ,marine ,shells4 ,these are to be found in all seas2 some of them inhabit rocks on the shore within high-water mark2 others reside in deep water1 and can only be taken by dredging1 or by the use of a kind of net called in ,france the gangui1 and an instrument called the rake has also been successfully used4 ,different species of sea-weed are frequently covered by minute shells--weeds should always be carefully examined4 ,many of the smaller and microscopic shells are found at high-water mark among the fine dross and drifted fragments of shells2 this sand should be brought home and examined at leisure4 ,to facilitate the process a small wire-cloth sieve should be made of about six or seven inches square and all the sand sifted through it and the shells left4 ,molluscous ,animals4 ,many species of worms and other soft1 invertebrate animals are to be caught also by the dredge4 ,there is no way of preserving these animals except by putting them in spirits4 ,animals of this kind are still very imperfectly known1 notwithstanding the researches of ,lamarck1 ,poli1 and other celebrated naturalists4 ,every opportunity should1 therefore1 be embraced of bringing them home2 indeed1 we are still little acquainted with those which inhabit our own seas4 ,when animals of this kind are procured in foreign parts a careful noting of the latitude should be taken2 and it should be stated whether they live singly or are congregated1 if they are phosphorescent1 and if they were taken in deep water4 ,and as these animals are very liable to lose their colors by being put in spirits1 a careful noting of these should be taken whenever they are caught1 as the colors are very evanescent2 or1 what would be still better1 a drawing of the animal should be made4 ,intestinal ,worms4 ,whenever we have killed either a quadruped1 bird1 or fish1 we should carefully examine the stomach and intestinal canal of the animal to see if there are any worms2 indeed1 there are few animals without them2 they must also be preserved in spirits4 ,besides the stomach and intestines1 worms are also found in the livers and other parts of the body2 also in the back of ,skates and various fishes4 ,,insects4 ,this class is subject to infinite variety1 according to climate and soil4 ,the entomologist1 or the mere collector1 must not confine himself to those whose beauty of coloring renders them attractive1 but collect all that come in the way4 ,those species which have wings1 and fly around plants1 we take by means of gauze nets1 and also those which swim in the water4 ,those which live on putrid substances1 and such as are disagreeable to the touch1 are seized with pincers2 they are first put into camphorated spirits to render them clean4 ,trees are the habitations of innumerable insects2 many of them skulk under the old rotten bark1 and others attach themselves to the foliage4 ,a cloth should be spread under the trees1 or an umbrella1 and the branches shaken with considerable force1 when they will fall down1 and may then be caught4 ,insects are killed by making a crow-quill into a long point and dipping it into prussic acid2 an incision with it may be made immediately below the head of the insect betwixt the shoulders1 which usually produces instant death4 ,but this acid must be used with much caution1 because its effects are almost as instantaneous and fatal in the human subject as in the lower animals4 ,when cork cannot be had for lining the bottoms of the boxes1 a layer of beeswax may be used in its stead4 ,the pin should be deeply sunk in this substance1 as it is more liable to loosen than when in cork4 ,it is of much importance to procure the caterpillar as well as the insect1 and1 in this case1 some of the leaves on which it feeds should be placed in a box beside it1 so that it may reach maturity4 ,a small perforation should be made in the box for the admission of air4 ,every kind of insect1 except butterflies1 sphinges1 and moths1 may be preserved in bottles of spirits1 which will not injure them2 when they are taken out they are immediately placed in the position in which it is wished to preserve them1 and they are then allowed to dry4 ,another mode of preserving coleopterous insects1 such as beetles1 etc41 is to put them in a dry box amongst fine sand4 ,a row of insects is placed in a layer of sand1 and then a new layer of about an inch in depth laid on the top1 and so on till the box is filled4 ,this mode of packing will not1 however1 do with soft insects and those having fine wings4 ,it is extremely desirable that all the different kinds of ,spiders should be caught1 particularly those said to be venomous2 also termites1 or white ants1 the different scolopendra1 and gaily worms1 etc4 ,the nests of spiders and other insects should also be sent home2 in short1 every insect which is remarkable1 in any way1 either for its history or properties4 ,it is also of much importance to bring specimens of the plants on which they feed2 these should be dried1 and their localities marked1 the kind of soil on which they grow1 and the situations1 whether moist or dry1 should be noted4 ,,british ,,insects4 ,woods1 ,hedges1 and ,lanes4 ,by far the greatest portion of insects are found in these situations4 ,in woods1 the entomologist must beat the branches of the trees into his folding net1 and must select for this purpose the open paths1 skirts1 etc4 ,the trunks of trees1 gates1 and timber which is cut down1 should be carefully examined1 and a great many lepidopterous and coleopterous insects are found in these situations1 and in no other4 ,in hedges and lanes1 many of the most valuable and beautiful insects are found1 as also in nettles and other plants which grow under them2 these should be well beat1 but more especially when the white thorn blossoms in the months of ,may and ,june4 ,hedges where the roads are dusty are very seldom productive4 ,heaths and ,commons4 ,many insects are peculiar to these situations from the plants which grow on them1 as well as from the dung of cattle1 by which many of them are frequented1 in the latter of which many thousands of insects may be found in a single day1 in the months of ,april and ,may4 ,these are principally of the ,order ,coleoptera4 ,sand ,pits4 ,these are favorable for the propagation of ,capris lunarius1 ,noloxus monoceros1 ,lixus sulcirostris and other rare insects4 ,minute species are found abundantly at the roots of grass4 ,meadows1 ,marshes and ,ponds4 ,in meadows1 when the ranunculi or buttercups are in blossom1 many ,musc and dipterous insects generally abound4 ,the flag-rushes are the habitations of ,cassida1 ,donacina and others4 ,drills in marshes should be examined1 as many species of insects are found on long grass4 ,the larv of various lepidoptera and neuroptera are confined to these situations1 more especially if hedges and trees are near the spot4 ,ponds are rich in microscopic insects4 ,these are obtained by means of the landing net1 which1 for this purpose1 need not be so long as represented in ,fig4 #bf1 and should be made of pretty thick cotton cloth1 but sufficiently thin to allow the water to escape4 ,the mud1 which is brought up from the bottom of ponds and ditches1 should be examined1 and what small insects are found may be put in a small phial filled with water1 which will not only clean them but keep them alive2 and in many instances the naturalist will be surprised1 upon the examination of these1 the most wonderful productions of nature4 ,moss1 ,decayed ,trees1 ,roots of ,grass1 ,etc4 ,many insects will be found in moss and under it2 the roots and wood of decayed trees afford nourishment and a habitation to a number of insects2 many of the larv of ,lepidoptera penetrate the trunks of trees in all directions2 most of the cerambyces feed on wood1 as well as some species of ,carabid ,elaterid1 etc4 ,in seeking for these it is necessary to use the digger4 ,it is sometimes requisite to dig six or seven inches into the wood before they are found4 ,banks of ,ponds and ,roots of ,grass4 ,these are a never-failing source of collecting1 which may be followed at all seasons of the year1 and in general with great success2 those banks are to be preferred which have the morning or noon-day sun4 ,banks of ,rivers1 ,sandy ,sea ,shore1 ,etc4 ,these situations afford a great variety of ,coleoptera1 ,crustac1 etc4 ,the dead carcases of animals thrown on the shore should be examined1 as they are the receptacles and food of ,silphiod1 ,staphilinid1 etc4 ,may and ,june are the best seasons for collecting these insects4 ,dead ,animals and ,dried ,bones should be constantly examined1 for these are the natural habitats of several insects4 ,it is not uncommon for country people to hang dead moles on bushes2 under these the entomologist should place his net1 and shake the boughs on which they are hung1 as many of the coleoptera generally inhabit these4 ,fungi and ,flowers4 ,these are the constant abode of insects1 and many curious species will be found on them4 ,it is a mistaken idea that insects are only to be found in summer1 as they are to be met with1 either in a living or pupa state1 at all seasons4 ,dried moss1 beneath the bark of trees and under stones are extremely likely places to find insects in winter2 and even then the entomologist is more likely to procure some of the rare species than in summer1 as these are ranging in search of food and in situations hidden from view4 ,at this season1 if the weather is mild1 the pup of ,lepidoptera will be found at the roots of trees1 more especially those of the elm1 oak1 lime1 etc41 or beneath the underwood1 close to the trees1 and these frequently at the depth of some inches under the ground4 ,in the months of ,june1 ,july and ,august the woods are the best places to search for insects4 ,most of the butterflies are taken in those months1 flying about in the daytime only4 ,moths are either found at break of day or at twilight in the evening4 ,the following method of taking moths is pointed out by ,haworth1 in speaking of the ,oak ,moth 7,bombyx ,quercus74 8,it is a frequent practice with the ,london ,aurelians10 says he1 8when they breed a female of this and some other day-flying species1 to take her1 whilst yet a virgin1 into the vicinity of woods1 where1 if the weather is favorable1 she never fails to attract a numerous train of males1 whose only business seems to be an incessant1 rapid and undulating flight in search of their unimpregnated females1 one of which is no sooner perceived than they become so much enamored of their fair and chaste relation as absolutely to lose all kinds of fear for their own personal safety1 which1 at other times1 is effectually secured by the reiterated evolutions of their strong and rapid wings4 ,so fearless1 indeed1 have ,i beheld them on these occasions as to climb up and down the sides of a cage which contained the dear object of their eager pursuit in exactly the same hurrying manner as honeybees1 which have lost themselves1 climb up and down the glasses of a window40 ,illustration ,,recipes ,illustration ,,for ,,various ,,articles ,,used ,,in ,,the ,,preservation ,,and ,,setting ,,up ,,of ,,animals4 ,,solution ,,of ,,corrosive ,,sublimate4 ,mr4 ,waterton's ,method4 ,put a good large teaspoonful of well-pounded corrosive sublimate into a wine bottle full of alcohol 7spirits of wine74 ,let it stand over night1 and the next morning draw it off into a clean bottle4 ,when the solution is applied to black substances1 and little white particles are perceived on them1 it will be necessary to make it weaker1 by the addition of some alcohol4 ,a black feather dipped in the solution1 and then dried1 will be a good test of the state of the solution2 if it be too strong it will leave a whiteness upon the feather4 ,,arsenical ,,soap4 ,invented by ,bcur1 ,apothecary1 ,metz4 ,arsenic1 in powder1 #b pounds4 ,camphor1 #e ounces4 ,white ,soap1 #b pounds4 ,salt of ,tartar1 #ab ounces4 ,powdered ,lime1 #d ounces4 ,the soap must be cut in small and very thin slices1 put into a crucible with a small quantity of water1 held over a gentle fire1 and frequently stirred with a wooden spatula1 or a piece of wood of any kind4 ,when it is properly melted1 the powdered lime and salt of tartar must then be added and thoroughly mixed4 ,it must now be taken off the fire1 the arsenic added gently1 and stirred4 ,the camphor must be reduced into a powder by beating it in a mortar1 with the addition of a little spirits of wine4 ,the camphor must then be added and the composition well mixed with a spatula while off the fire4 ,it may be again placed on the fire to assist in making the ingredients incorporate properly1 but not much heated1 as the camphor will very rapidly escape4 ,it may now be poured into glazed earthen pots and allowed to cool1 after which a piece of paper should be placed over the top1 and afterward some sheep leather1 and then set aside for use4 ,the composition is about the thickness of ordinary flour paste4 ,when it is necessary to use the soap1 put as much as will answer the purpose into a preserve pot and add to it about an equal proportion of water4 ,this is applied to the skin or feathers with a bristle brush4 ,n4 ,b4 ,it should be kept as close as possible and used with caution1 as it is a deadly poison4 ,the above is the recipe made use of at the ,jardin des ,plantes1 ,paris4 ,mr4 ,laurent's ,recipe4 ,a distinguished ,french naturalist1 ,laurent1 recommends the following composition1 after ten years' experience1 for preserving the skins of stuffed animals4 ,he observes at the same time that it penetrates them with greater readiness1 and preserves them much better than any preparation which has hitherto been in use4 ,arseniate of ,potash1 #b drachms4 ,sulphate of ,alumine1 #b drachms4 ,powdered ,camphor1 #b drachms4 ,white ,soap1 powdered1 ounce4 ,spirits of ,wine1 #f ounces4 ,essence of ,thyme1 #c drops4 ,the arseniate of potash1 sulphate of alumine1 and soap1 are to be placed in a phial with a large mouth1 and the spirits of wine to be poured on them at a heat of twenty-five degrees1 and they will be perfectly combined in twenty-four hours4 ,the essence of thyme is then added1 when the phial must be carefully corked4 ,this composition is to be shaken together before it is made use of1 and it must be spread over the skin of the animal or bird with a brush4 ,,solution ,,of ,,pearl-,,ashes4 ,two ounces of pearlash to one gallon of water4 ,,annealed ,,iron ,,wire4 ,take common iron wire1 make it red hot1 and suffer it to cool gradually2 this renders it soft and pliable1 so that it may be easily bent in any direction4 ,,cement4 ,fine ,whitening1 #b ounces4 ,gum-,arabic1 #b ounces4 ,finest ,flour1 ounce4 ,ox-,gall1 a teaspoonful4 ,the whole to be dissolved1 and mixed well with water into thick paste4 ,this is well adapted for attaching different objects1 and especially for fixing shells to pasteboard1 etc4 ,,gum ,,paste4 ,white ,sugar ,candy1 #b ounces4 ,common ,gum-,arabic1 #d ounces4 ,let these be melted in a pot of hot water1 and then strained through a linen or horse-hair sieve4 ,when properly dissolved1 add to it two tablespoonfuls of starch1 or hair-powder1 and mix the whole well together4 ,this paste may be used for many purposes1 and it never spoils4 ,it may be dried1 and by pouring a little warm water on it1 it will soon be ready for use4 ,if it is wished to be all melted1 and hurriedly1 the pot containing it should be placed in warm water1 or sand4 ,,flour ,,paste4 ,make flour paste in the ordinary way1 and add to it a small portion of the solution of corrosive sublimate1 or powdered corrosive sublimate4 ,this will prevent the attack of mites1 to which paste is very liable when dried4 ,this paste may be dried into a cake1 and moistened when required4 ,,solution ,,of ,,gum-,,arabic4 ,the solution of gum-arabic is made by simply adding water to it4 ,when used as a varnish1 or for attaching objects1 it is extremely apt to get too brittle1 in very warm weather1 and to crack1 or split off in scales2 to prevent this1 a quarter of an ounce of white or brown sugar-candy must be added to two ounces of gum-arabic1 ,,paper ,,paste1 ,,gummed4 ,take a coffee-pot1 filled with water1 and add to it a quantity of paper1 which has been slightly sized1 like that used for printing engravings4 ,let it boil three hours1 and1 when the water has evaporated1 boil it again for a similar length of time4 ,take out the paper1 and squeeze it well in a colander1 and then pound it in a mortar1 until it is reduced to a very fine paste4 ,it must then be dried4 ,when it is required for use1 add to it some of the solution of gum-arabic1 and keep it in a pot for use4 ,,pollen ,,powder4 ,the paper made as above directed1 when well dried1 is pounded in a mortar till it becomes a very fine powder2 it is then put into a tin pepper-box1 and when any of the parts of parrot's bills1 etc41 are wished to have this powdered appearance1 a little of the solution of gum-arabic is washed over the part with a camel-hair pencil1 and the powder dusted on it and allowed to dry4 ,,red ,,varnish4 ,take a stick of red sealing wax1 beat it down with a hammer1 and then put it into a phial1 with an ounce of strong spirits of wine1 which will dissolve it within four or five hours4 ,it may be applied to any part with a camel-hair pencil1 and it will dry in less than five minutes4 ,black1 yellow1 and green1 or indeed any color of varnish1 may be made from sealing-wax of these various colors4 ,to those unacquainted with the combination of colors1 we may mention1 that a mixture of blue and yellow produces green2 pink and blue makes purple2 red and yellow1 orange2 black1 red1 and yellow1 brown2 black and blue1 gray4 ,these may be varied1 in an infinity of shades1 by either color predominating1 and by the addition of other colors4 ,,luting ,,for ,,rendering ,,bottles ,,air ,,tight4 ,common ,resin4 ,red ,ochre reduced into a fine powder4 ,yellow ,wax4 ,oil of ,turpentine4 ,these must be melted over a fire in the following manner1 and the vessel in which it is made should be capable of holding three times the quantity required1 to allow room for boiling up4 ,an earthenware pipkin with a handle is the best thing for the purpose1 and a lid must be made of tin to fit it4 ,the luting will be rendered more or less brittle1 or elastic1 as the red ochre prevails3 ,the wax is first melted1 and then the resin2 the ochre is then added in small quantities1 and stirred quickly with a spatula each time4 ,when all the ochre has been added1 it must be allowed to boil six or eight minutes2 the turpentine is then added1 and briskly stirred with the spatula1 and continue to boil it4 ,there is considerable risk of the mixture taking fire1 and should it do so1 the lid must immediately be put on the vessel to extinguish it4 ,to ascertain the consistence of the luting1 a little must be1 from time to time1 dropped on a cool plate1 or flat piece of iron4 ,if it is too soft1 more of the ochre must be added to it2 and if too hard1 additional wax and turpentine4 ,,tow ,,and ,,flax ,,slivers4 ,these are fillets of prepared tow and flax1 of from one to three inches in breadth4 ,they are extremely uniform in their thickness1 being made to weight1 and can easily be procured from any flax-spinning mill1 at a moderate price per pound weight4 ,,method ,,of ,,making ,,enamel-,,eyes ,,for ,,animals4 ,much of the character and expression of animals depends upon their eyes2 it will1 therefore1 be evident that great attention is necessary in the artificial imitation of these4 ,in this operation1 a pipe of baked earth is used1 or a tube of glass six or seven inches in length1 at the end of which a little white enamel is placed4 ,this is placed to the flame1 so that it may be blown4 ,this enamel forms a globe1 whose dimensions depend upon the quantity of air introduced4 ,when this globe is of the size wished1 we place in the middle1 and perpendicularly to the point of the pipe1 the quantity of enamel necessary to form the enamel4 ,the second enamel is then incorporated with the first by presenting it to the flame1 while attention is paid to turn the pipe gradually round1 so that the enamel may diffuse itself equally1 and the iris be exactly circular4 ,if it is required that this iris should be of various colors1 like that of man1 for example1 small filaments of enamel are distributed in diverging rays of the suitable color2 the eye is then placed in the flame1 until these have incorporated with the iris1 after which the pupil is placed as before directed1 and the glass applied as before directed4 ,during this operation1 the globe is almost certain of sinking down1 partly from the air escaping1 partly from the heat1 and from the pressure which is used in applying the different substances2 air must again be supplied from time to time to prevent it from losing its form4 ,this becomes particularly necessary when glass is applied1 and when it is extended over the whole surface of the iris4 ,the eye having got its form and size1 the pipe is taken away4 ,to effect this1 after the air has been introduced1 the entrance of the pipe is stopped with the finger1 and the back part of the eye exposed to the flame2 when the air contained in the globe1 and rarefied by the pipe1 comes through at the place where the flame has most action4 ,this opening is prolonged by turning the point of the flat pincers1 or an iron-wire1 all round the pipe2 one point only is left by which the eye remains fixed4 ,it is then warmed equally all over1 after which it is exposed to a gentle heat1 and when it again cools1 it is separated from the pipe4 ,,articles ,,required ,,for ,,skinning ,,and ,,mounting ,,quadrupeds1 ,,birds1 ,,reptiles1 ,,and ,,fishes4 #a4 ,a box containing scalpels of different shapes2 a pair of scissors with pointed blades1 and two or three pointed forceps of different sizes1 the extremities of one of which ought to be indented4 #b4 ,two flat pincers1 or pliers1 large and small4 #c4 ,a round pincer for turning wire4 #d4 ,a cutting pincer for wire4 #e4 ,a hammer4 #f4 ,two files4 #g4 ,a triangular4 #h4 ,points for perforating holes4 #i4 ,a saddler's awl for drilling holes2 also various shoemakers' awls1 which will be found useful4 #aj4 ,brushes of different sizes for putting the preservative on the animals' and birds' skins1 and for smoothing and dusting the feathers4 #aa4 ,an assortment of iron-wire of all sizes4 #ab4 ,flax and tow1 coarse cotton4 ,when these cannot be had1 untwisted ropes or cords4 ,a quantity of tow and flax slivers for twisting round the leg-bones of small quadrupeds and birds4 #ac4 ,some small hardwood meshes for assisting in stuffing4 ,instructions to ,travelers4 ,the best means of procuring living animals1 is by applying to the natives of the different countries1 who are accustomed to their habits1 and the situation in which they are likely to be found1 and to take them in traps and snares4 ,they are also more likely to be able to find their retreats1 so that they may take these animals in a young state1 and also birds in their nests4 ,by thus securing animals while young1 they are much more likely to reach home in a living state4 ,every exertion should be used to render them familiar1 when1 being habituated to the appearance of man1 they will be more able to resist the effects of a tedious sea voyage than those which have been taken when wild1 and are under a continued degree of excitement4 ,every care should be taken to soothe and caress them2 and there is no animal whose manners cannot be softened by gentle treatment4 ,during fine weather1 they should be allowed to take exercise on the deck1 as nothing is so injurious to their health and growth as being long pent up in a small cage4 ,while thus confined1 it will be obvious that they require a much smaller portion of food than when they can have sufficient room to exercise themselves4 ,many of these animals are lost from over-feeding4 ,their diet should be given with great regularity1 but always in such quantity as they can easily digest4 ,next to food1 cleanliness is of the utmost importance1 and of this requires too much of the attention of those who are bringing them home1 it will be easy to procure the assistance of some of the crew4 ,and unless this is strictly attended to1 there is little chance of preserving their health4 ,when animals' skins are imported1 it is also necessary to bring the head and feet4 ,those of the mammalia1 which can be put into a barrel or bottle1 should be preserved entire in spirits4 ,in the event of not being able to transport the carcase1 the next best thing is to bring the skeleton along with the skin4 ,it will not be necessary to mount these4 ,all that is required is to boil the bones1 take off the flesh1 and dry them4 ,afterwards all the bones belonging to the same skeleton should be put in a bag by themselves1 taking care to fill up the bag with dried moss1 or any other substance which will prevent friction4 ,the more effectually to secure this1 the small and tender bones ought to be wrapped in paper4 ,it is of the utmost consequence that not a bone should be lost4 ,in shooting birds1 it is of much importance not to use the shot too large2 indeed1 it ought to be proportioned1 as nearly as possible1 to the size of the bird to be shot at4 ,when the bird is killed1 the blood must be carefully wiped away1 and a little cotton must be put into the bill to prevent the blood flowing from it to injure the feathers4 ,the wound should also be stuffed with cotton4 ,birds should be skinned as soon as possible1 as the feathers are apt to fall off if kept too long4 ,the os coccygis must be kept attached to the skin4 ,if several individuals of the same species be killed1 one should1 if possible1 be preserved entire in spirits1 with the whole muscles of the body4 ,if the bird has a fleshy crest1 it ought to be preserved in spirits4 ,it is of the utmost consequence to procure the male1 female and young1 and these at different ages besides1 as many species are subject to great variety1 in their progress from the young to the adult state4 ,this is more particularly the case with ,eagles and ,hawks1 many of which have been described as different species in their immature state4 ,the eggs and nest should also be procured4 ,reptiles4 ,the chief thing to be attended to in skinning reptiles is not to injure the scales2 and in the lizard kind1 care must be taken not to break the tail4 ,but for all the smaller and middle sized species1 the best mode is to preserve them in spirits2 and of the larger kind which are skinned1 the skeletons ought to be kept4 ,the flesh should be taken away with knives and scalpels as well as possible1 and the bones thoroughly dried1 and packed in a box with cotton or grass1 and they can be articulated after they are brought home4 ,when the skeletons are too large1 they may be separated into convenient parts for packing4 ,illustration ---------------------------------------- -------------------------------- ,,transcriber',s ,,notes #a4 ,changed 8materials needed for this work1 is0 to 8materials needed for this work are0 on p4 #cg4 #b4 ,changed 8spirits turpentine0 to 8spirits of turpentine0 on p4 #hh4 #c4 ,added missing 8,china ,painting0 headings on p4 #aae and #aah4 #d4 ,changed 8plaster paris0 to 8plaster of paris0 on p4 #adg4 #e4 ,silently corrected typographical errors4 #f4 ,retained anachronistic and non-standard spellings as printed4 #g4 ,enclosed italics font in underscores4 #h4 ,enclosed bold font in equals4