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ness and placed in proper position, the picture being on the easel he must begin with the sky, which wc will suppose to be that of a fine day near sunset. Let him take a very little of the prussian blue on the tip of the second finger of the right hand, and dab the sky over about half way down, not caring for trees, buildings, or anything that may run into it but working all over it. Having by dabbing with the finger obtained a fine and even layer of colour, wipe the finger dry on the rag, and soften the blue upwardssothat the top part is the colour wanted, but fading from that to tan glass : take then (the finger being wiped clean), some madder carmine and dab it on so as to blend it with the blue producing a gradation from blue to faint rose. Wipe the finger clean and with a little indian yellow blend into the rose so as produce a golden horizon. When all is done satisfactorily, with a paper stump wipe off the colour where not wanted ; proceed to tint the other parts of the picture with sable pencils, never putting more colour than will appear clean and even, but strengthen thecolours again and again if required, letting the picture dry between each coat, being very careful not to move the colour already laid, finish by scraping the highest lights out with the point of a penknife, then varnish. Be very careful to avoid dust, as every speck will show. When exhibited, there arc many tricks of mani pulation, but to enter into the whole process from beginning to end, would be subject sufficient for more than one article; the information now given, will I am sure enable Mr. Jones with a little perseverance, to paint a landscape respectably. Beautiful dioramic effects may be obtained by various appliances with a little ingenuity.—I am dear sir, yours truly, T. P. E. [We have a letter on this subject from Mr. Gulliver, which will appear in our next. Another correspondent states that Cox’s “ Photographic Tourist ” contains some infor mation on the subject; and we may add, that an excellent work, giving detailed instructions for painting glass, is pub lished by the Messrs. Rowney at a shilling.—Ed.] SALTS OF MORPHIA FOR DRY PLATES. Sir,—I hope you will permit me to extricate myself from the voluminous correspondence I have received, and still re ceive, by stating in the next number of the News that I must decline answering letters privately, for it involves the use of so much time. To dry plate photographers the best formula for the morphined plates is this, add the muriate of morphine to the bath, this precipitates muriate or chloride of silver, which is then filtered out, and nitrate of morphine remains in solution, excite the plates in it, using a bromo iodized dry collodion, expose when fresh from the bath, or wash away all nitrate of silver, and then expose before dry ing, or dry first and then expose, there is not very great variation in the sensitiveness either way. The acetate of morphine I have used in the collodion only, it may be excited in the bath containing the nitrate of morphine, or the usual solution, and if there is to be any accelerating power the plates should be exposed fresh from the bath. For the dry plates, plain pyrogallic acid and water deve lopment is productive of results, afterwards intensify with pyro, citric acid, and silver, these remarks hold good for the same plates washed and exposed before drying. The keeping qualities of the plate must be good, there being nothing but iodide and bromide of silver, and the pyroxyline to decompose.—I am, sir, yours respectfully, Wm. Bartholomew. The Fine Art Copyright Bill. — The Bill for amend ing the law of copyright, as relating to works of fine art, was read a third time and passed the House of Commons on Monday evening last. 862. and hi 1,iss । belon§ graphi usually iinently valuable mmouth, id nest April 4,1862.] THE PHOTOGRAPHIC NEWS. dabbed with the end of the finger covered with a piece of kid glove. This requires practice to do well; its object is to give that grain which will be noticed in well painted views. Clouds must be wiped out with a piece of cork. With respect to the balsam, it is sold of qualities so differ ent at different places, that I can only leave it to the judg ment of your readers as to how thin' it is to be made. I may remark, by the way, that success is only to be obtained by patience and careful working. If I resided near your correspondent I should be happy to give verbal instructions and a little practical aid, but that cannot be. Now for the easel:—it should be either a thin board or P’ass 4 well s ones If of thel nembef gatives e abot ITERS ty fre, s soon ‘ t must" es abotl 5 magi’ Hei balsa : sien* metiwi us tin” preps'*' nd b ing 4 olve • bout t to as off • war®, alcobo .b with' ique. ' 1 work 11 resu ency ; . be a ri 1 ’ ■ olved i 1 uor m‛ ’he otl blue. 8 the bl ie colot/ 1 a lit, round V re goil lsam a will to : a must ” sed, a piece of millboard with a hole cut in it the shape of the picture, just leaving a margin all round ; pieces of wood should be glued on to keep the glass in its place, as it will be better sloped. To the sides of the board, two pieces of wood, by way of legs, arc to bo fastened on with pins, as in the diagram, turn this to the light, and place a piece of white paper on the table to reflect the light through the view. • The colours are best kept in little pots that have covers, such as I have seen used for lip-salve. A little water should be put over to keep them from drying when not in use. As much as wanted to be taken out for use on to a piece of glass with white paper under. Should your readers require further information i will do my best to reply.—I am yours truly, R. A. L. PAINTING MAGIC LANTERN SLIDES. Dear Mr. Editor,—Having practised painting magic lantern slides, both for sale and exhibition, and frequently given lessons in the art, allow me to offer Mr. B. Jones the information he requires, I must premise that Mr. Jones must not hope to succeed to any degree of perfection, unless be has had some artistic practice, and thereby gained some knowledge of colour; if he has followed the department of miniature painting so much the better, as slide painting requires very neat handling, highly effective colouring, and Sxceedingly correct outline, as they have to bear being highly magnified, when every blemish becomes exaggerated and faults in outline appear extremely ridiculous. Mr. Jones 15 Wrong jn his conclusions, as regards the use of water colours ; many of the best painters of slides use none other. As Mr. Jones merely wishes to colour photographs, he will find his task mere play compared with painting a slide from the outline to completion. Supposing, then, he has a transparent positive on glass from a fully exposed negative—a landscape will be the most likely for him to succeed with—it must be varnished with a Very hard varnish, such as turpentine will not easily act Upon. He must contrive for himself a glass easel, under which, and lying flat on the table (while the easel with its glass plate stands in the usual position), must be placed a sheet of white paper, so that while he works he can see what progress he is making; he must also sit facing the light, which, if matters are properly arranged, will strike on the white paper, and be reflected through the picture he is painting. . He must use colours ground very fine. Tube colours will do if not mixed too thin; they must be re-ground with mastic varnish just before use ; those colours only which are transparent are of service; highly rectified turpentine,or Camphine, is used as a vehicle. A clean rag must eat or wiping the fingers. Having everything in readi 167