oth public and private art galleries, and their photographs
are the best to color. Therefore, to begin with, have a perfect picture
to color. Scholars in commencing to use the brush will not be able to
produce bold effects of color, and will only acquire that power by use
and practice. By bold effects I do not mean that one part is to be more
prominently rendered than any other portion of the work, but merely the
brilliancy of coloring which distinguishes professional from amateur
work. In any kind of painting it must be borne in mind, that there are
no decided lines forming the edges of any object. The point insisted on
is that the boundaries of objects must be of that color that will
harmonize and subdue the picture, producing a soft, delicate effect.

I would advise all who begin to paint to commence with water colors, as
they are the easiest to manipulate, the liquid water colors being
easier than the body colors, and their use the simplest of all kinds of
painting. The photograph being a fac-simile of a subject as it appears
to the eye in form and light and shade, furnishes a picture perfect
except in color, while the liquids supply the color in the form best
adapted to teaching the first steps in its use. It is hoped, though,
that after the student has thoroughly mastered this course of study, he
will attempt something higher and more difficult in the study of art.

French Crystals.

[Illustration]

FRENCH CRYSTALS.

These are photographs colored with liquid water colors and mounted on
glass. For several years a process has been taught by which a
photograph is rendered transparent by the use of paraffine oil, etc.,
then mounted on glass, and colored from the back with oil paints. While
by this method a picture pleasing at the time could be produced, yet
unless the process was perfectly executed the oils would decompose and
the picture become yellow and spotted. The use of water colors entirely
overcomes these objections, as it is so simple that any one can employ
them perfectly, and as there are no oils used in their production they
cannot change or turn yellow.

MATERIALS.

Convex glasses on which to mount photographs,
Bottle of Florentine, Egyptian, Grecian or other compound for
mounting on glass,
Best French picture glass,
Some gummed paper,
A dish in which to soak photographs,
Some dark, thin, fancy paper,
Sheet of blotting paper.

THE