was to be printed would prove an important factor, as all photographic paper contained animal sizing, which was found to be antagonistic to platinum salts. The action of platinum salts upon a paper containing animal sizing gave it a tint which no amount of acid washing could remove. For the past nine years Mr. Willis has had manufactured for his special use a Steinbach paper, free from the animal sizing, and he also uses a cold developer, thereby causing the paper to retain its original elasticity.

The chief points of difference between bromide enlargements and silver or platinum enlargements are that, in the former, we have the sensitive compound of silver suspended in a vehicle of gelatin, and, in the latter, a thin coating of an aqueous solution of the sensitive salts. In the former process, the image is not shown until the paper has been developed in the bath, while in the latter, the image is shown upon the paper when it is exposed to the light; so that, in the latter, the image or picture has only to be fixed or made permanent, while in the former, it is developed, then fixed. The gelatin bromide paper is coated with a solution of gelatin, bromide of potassium and nitrate of silver, developed with a solution of oxalate of potash, protosulphate of iron, sulphuric acid and bromide of potassium and water, and fixed with hyposulphate of soda. It is manufactured in America by E. and H. T. Anthony & Co. and by the Eastman Dry Plate Company.

CRAYON MATERIALS.

The following materials will be found necessary for crayon work:

A good photographic enlargement,
Easel,
Mahl stick,
Three inch magnifying glass,
Square black Conte crayon, Nos. 1, 2 and 3,
Charcoal holder for the same,
Hardmuth's black chalk points, Nos. 1, 2, 3, 4 and 5,
Holder for the same,
Box Faber's crayon points, Nos. 1, 2 and 3,
Holder for the above crayons,
Conte crayon, in wood, Nos. 0 and 1,
6 B. Faber's holder for Siberian lead pencil points,
4 H. Faber's holder with Siberian lead pencil point,
Velour crayon,
Peerless crayon sauce,
Black Conte crayon sauce, in foil,
White crayon, in wood,
Bunch of tortillon stumps,
Large grey paper stumps,
Small grey paper stumps,
The Peerless stump,
Large rubber eraser, 4 inches by 3-4 inches square, bevelled end,
Two small nigrivorine erasers,
Holder for " "
Piece of chamois skin,
Cotton batting of the best quality,
A sheet of fine emery paper,
A sharp pen knife,
One pound of pulverized pumice stone,
Mortar and pestle,
A large black apron,
Paste-board box about ten inches square and two inches deep,
Back-boards for mounting crayon paper and photographic enlargements,
Pliers,
Paste brush, three inches wide, to be used for starch paste or for water.

Experience has taught me that we cannot be too particular in giving directions as to the materials for our work, and therefore I have carefully included in the above list everything necessary to thoroughly equip the student. While the magnifying glass mentioned above is not an actual necessity, still a good one will be found very useful, as it will often show details in the photograph which would not be discovered by the naked eye. My male readers may at first object to so feminine an article as an apron, but it will be found thoroughly useful, and I am sure they will never consent to abandon it after they have once become accustomed to wearing it.

THE SPECIFIC USE OF CRAYON MATERIALS.

I will now explain the specific use and nature of these materials, reserving the various kinds of photographic enlargements and their special qualities and advantages, for treatment under their different manipulations.

The easel should be set so that the light strikes the picture at an angle of 90 deg., and, when working from a side light, it will very often be necessary to darken the lower part of the window to accomplish this result.

The mahl stick is held in the left hand, and is used as a rest for the right arm in working. Though a trifle awkward and difficult at first, its use must, nevertheless, be learned, as the hand will not be steady without it, especially in portrait work.

The square black Conte crayons are for filling in where there are large dark places. The No. 1 is used with the black Conte crayon sauce in making the crayon sauce (to be applied with the ends of the fingers) to produce a broad effect and to make the stipple effect on the paper after it has been rubbed with pumice stone.

The crayon points, Nos. 1, 2 and 3, are used in making outlines and also in putting in the lines to produce the line effect. In general, they are to be used in free-hand crayons and on silver and platinum enlargements.

The Hardmuth black chalk points are similar to the crayon points, and, if preferred, should be used according to the directions given for the crayon points.

The Hardmuth points are made in five numbers and will, therefore, produce more shades of black than the crayon points. They are also twice as long as the latter, without costing any more.

The Conte crayons, in wood, are used for finishing the crayon, especially the No. 0, its hardness adapting it to that purpose.

The 6 B. Faber's holder, for lead pencil points, is for holding the Faber's Conte crayon No. 0 after it has become short, the wood being carefully removed before the crayon is placed in the holder.

The 4 H. holder, with Siberian lead pencil point, is used in the very finest work on bromide paper, for finishing in the light places. Care must be employed not to use too much lead on the paper, as, being of a different color from the crayon, it would show if too freely applied. It is also used in making monochromes.

Velour crayon is very black. It is only used to produce a velvet effect and whenever it is necessary to make a very strong dark—that is, a dark that is deeper than an ordinary shadow.

The Peerless crayon sauce is the same as the crayon sauce made from No. 1 Conte crayon and the black Conte crayon sauce in foil. It is made and put up in bottles by F. W. Devoe & Co., and can be bought of any dealer in artist's materials. It will be found more convenient to get it in this form than to prepare it in the studio; it costs no more and saves the expense of a mortar and pestle. As it is ground by machinery and passed through a very fine screen, there are no small hard particles in the preparation, and its use is recommended.

Black Conte crayon sauce, in foil, is used in making the crayon sauce to be applied with the fingers.

White crayon, in wood, is for touching up the high lights of white drapery, and especially for the high lights on white lace; it is to be used very sparingly.

Tortillon stumps are used in making the face, when it is desired to produce the stump effect, and also in making the hair.

The large grey paper stump serves to make the broad effect of shade in the stump effect in the hair and dress.

The Peerless stump is used to produce the same effect as the large grey paper stump. It will be found far better than the paper stump for work on the bromide paper, as it is made of softer material and causes the crayon to adhere to the paper more readily.

The large rubber eraser is to put in the broad effects of light in the background