imes show in the photograph, and
then with a fresh piece of cotton and pumice stone clean off the edges
of the crayon all around.

Before regarding the picture as quite complete, examine it by holding
it at right angles to the light, to see if there are not some marks of
the crayon pencil that show too prominently. These can be subdued with
the ends of the fingers. Sometimes in finishing with the No. 0 crayon
the paper will seem to be gritty so that you can hardly work on it.
The difficulty is that some of the pumice stone has adhered to the
surface of the paper. This can be disposed of by rubbing it with the
fingers. It should be remembered that the pumice stone must be entirely
removed from the whole surface of the paper, as otherwise it will
settle in the crayon, and give a dirty gray effect. When, as sometimes
happens in commencing the portrait, dark or white spots or streaks show
themselves, do not pay any attention to them until you have entirely
finished the crayon, then if they are dark, make them the proper shade
with the eraser, and if light, with the crayon.

MONOCHROMES.[B]

These are portraits in one color on porcelain, glass or any hard
material that has first been coated with gelatin and then photographed
on. First treat the whole surface with pumice stone as directed for the
bromide paper, afterwards go over it with the crayon and cotton. Then
put in the cloud effect in the background, and clean off the lights in
the face, hair, and clothes with the eraser; next put in the
half-shadows with the peerless stump; then with a solution of India ink
darken the stronger shadows throughout the portrait--in the eyes, nose,
mouth and eyebrows, and finally in the hair. Finish the face with the
No. 0 crayon and the 4 H. Faber's lead pencil according to directions
given for finishing bromide enlargements. The Faber pencil is used
almost exclusively throughout the face. Very nice effects of strong
light can be made on porcelain by scraping through the gelatin surface
with the knife. This process is specially adapted to making pictures of
smaller size, say 10x12, or 11x14 inches, as it produces a very soft
and delicate effect.

FOOTNOTES:

[Footnote B: For photographic process, see the American Annual of
Photography and Photographic Times Almanac, 1888.]

VALUES.

The matter of values enters into the essential quality of every work of
art, and especially of a portrait. It is the truth of their