rom on paper run from the reel
without any handling, a revolution will be brought about not only in
artistic printing, but even in the conditions of studio work upon
which the artist depends for success.

First, the pictorial notes of the year will be brought out in colour;
and as competition for the right of reproduction increases, the
artists who have painted the most suitable and most popular pictures
will find that they can get more remuneration for copyright than they
can for the pictures themselves. This has already been the case in
regard to a very limited number of pictures; but the exception of the
past will be the rule of the future, at least as regards those
pictures which possess any special merits at all.

More thought will therefore be required as the motive or basis of each
subject; and historical pictures will come more into favour, the
affected simplicity and mental emptiness of the _plein air_ school
being discarded in favour of a style which shall speak more directly
to the people, and stir more deeply both their mental and their
emotional natures.

The artist and the printer must then confer. They can no longer afford
to work in the future with such disregard of each other's ideas and
methods as they have done in the past. It was at one time the custom
among painters almost to despise the "black-and-white man" who drew
for the Press in any shape or form; but that piece of affectation has
nearly been destroyed by the general ridicule with which it is now
received, and by the knowledge that there are already, at the end of
the nineteenth century, just as many men of talent working by methods
suitable for reproduction, as there are painters who confine their
attention to palette, canvas and brush.

The printer will now advance a step further, and will invoke the
services of the painter himself, even prescribing certain methods by
which the Press may be enabled to reproduce the work of the artist
more faithfully than would otherwise be possible.

Transparency painting will no doubt be one of these methods. The
artist will paint on a set of sheets of transparent celluloid or
glass, mounted in frames of wood and hinged so that they can, for
purposes of observation, be put aside and yet brought back to their
original positions quite accurately. Each different transparent sheet
will be intended for one pure colour, the only pigments used being of
the most transparent description obtainable.

The pict