the eye seemed to penetrate it, quite different
from the opaque, almost dirty backgrounds, resulting from the use of
other methods.

I will treat each of these methods in separate chapters further on.

FREE-HAND CRAYONS AND THOSE MADE FROM PHOTOGRAPHIC ENLARGEMENTS.

The principal difference between the appearance of free-hand crayons
and those that are made over a photographic enlargement, is that in the
former the shadows are lighter and more transparent. In the matter of
feeling, however, the free-hand crayon is much more satisfactory to the
artist for he knows it is all his own work, and that he has not
depended on the photographic enlargement to help him make the portrait.

After the outline has been drawn, in making a free-hand crayon, the
portrait is still not yet in the same state of advancement as a silver,
platinum or bromide enlargement; for the reason that the latter not
only has the outline, but also the faint impression in light and shade
of the rest of the portrait. I will, therefore, in the next chapter,
give instructions for filling in the free-hand crayon up to such a
degree of light and shade as shall put it in the same condition as the
enlargement. From that point on the same directions (to be subsequently
given) for finishing the portrait will apply equally to both the
free-hand crayons and the enlargements, except that the bromide is
understood to require special treatment.

The frontispiece was made from a free-hand crayon which was executed on
Steinbach crayon paper with a magic lantern outline. This shows the
stipple effect in the face and drapery, and a broken line effect in the
background. The student will notice the difference between this
illustration and that facing page 81, which was made from a bromide
crayon. In the bromide crayon the shadows are dark and strong, while in
this they are lighter and more transparent.

FILLING IN THE FREE-HAND CRAYON.

Having your crayon outline already made on the mounted strainer, lay
the latter down on the table face up, and proceed to put in a pumice
stone background with the crayon sauce according to instructions
hereafter given on page 70 for producing that kind of background,
making sure that you go entirely over the outline. Then place the
strainer on the easel, and after putting in the cloud effect take the
chamois block in your left hand, and, with a tortillon stump in your
right, put in the shadows in a strong, clear and de