it out.

Take another piece of canvas of the same size as the first: this has now
to be pressed thoroughly, the roller being passed in every direction
over the surface. Continue rolling it for five minutes or more, so that
the canvas lines become indented in the paper and are distinctly
visible. Watch it constantly during the process, and if it does not
adhere quite firmly to the stretched canvas, put a little more adhesive
solution round the edges, and pass the presser quickly up and down over
the photo, still with the spare canvas between, to rid it of all
air-bubbles; then repeat the rolling.

Not until every part of the photo adheres, and all the canvas lines are
clearly marked, must the process of rolling be discontinued. After this,
the photo must be allowed to dry gradually, still stretched on the
board. No painting must be attempted until it is quite dry, which it
will be in about three hours. Some prefer to paint it when it is so far
prepared, and afterwards to fix it on the stretcher; others consider the
better plan is to fix it first on the wooden stretcher and then to paint
it; but this is a matter of choice, and workers may follow either plan
with equal chances of success.

To stretch it, we must proceed in the following manner. Lay the canvas
evenly on the frame and nail it over the back; when all four sides are
thus secured, take the wedges, and hammer them into the holes made
purposely for them until the canvas is sufficiently stretched. Be
careful to place the board in a good light for painting; it takes much
longer to do, and cannot be done half as well either, if the worker sits
so that the shadow of her hand falls on the picture. A piece of clean
writing-paper to place at times under the hand to prevent finger-marks
may be found useful.

Now for the painting. We will begin with the face. In colouring
photographs, the paints have to be constantly washed off, and it is a
well-known fact that nothing does this so well as the tongue, because it
acts on the photo so as to remove all grease better than anything else
will: but some people will perhaps be somewhat afraid thus to wet the
surface, on account of the nature of the paints. The tongue may,
however, be used at any rate for the flesh parts, and a small wet sponge
can be employed for the rest of the picture. Wet the complexion over
with the tongue, then wash in the shadows with some flesh shadow
mixture, to which a little canvasine medium and wat