d it thoroughly
unsatisfactory when looked at from a greater distance than that at
which I had worked.

You should choose a room with a north light if possible; if that is not
available then one with a south light, and the room should be as near
the top of the house as possible. Let the light be arranged so as to
strike the easel at an angle of 90 degrees, and if it is a side light
darken the lower half of the window. Do not have the side walls white,
they should be a neutral shade; reddish is the best. For work with
water colors or India ink you need a stand, and be sure and set it so
that the light will be at your left when you work. Keep the studio as
free from dust as possible, and when you have finished working for the
day wash your brushes and place the corks in the water color bottles,
so as to exclude the dust from them. For crayon work also set the easel
so that the light is at the left hand.

A word in regard to selecting materials. I have already spoken in
regard to the selection of photographs for coloring. As to
brushes--camel's hair will cost only about a third as much as sable,
and will answer every purpose for beginners; the fine sable should be
procured after the pupil has advanced sufficiently. In choosing a brush
for water colors, dip it in a cup of water and draw it over the edge of
the cup; if it has a little spring to it, and comes to a point readily
without any of the hair straggling, it is all right; if not, reject it.
Winsor and Newton's Chinese White is the best white paint. For mixing
the colors you can get a slant with eight divisions, or a nest of
saucers. In selecting glass for mounting pictures choose that which is
free from blisters.

FRAMING.

The following directions in regard to framing will, I hope, be found
advantageous. When framing with a passepartout mat, always use

For a 16x20 portrait an 18x22 frame,
" 18x22 " " 20x24 "
" 20x24 " " 22x26 "
" 24x29 " " 25x30 "

I make a life-size portrait 25x30 on a 24x29 strainer. The reason for
using a larger frame than strainer is this: that it invariably happens
that the head of the portrait will not come in exactly the proper place
in the opening of the passepartout, and by having the frame two inches
larger each way you will be able to bring the head wherever desired in
this opening. When placing the picture in the frame, lay the latter
face down on a table and put