ribe it would be superfluous; particularly as it can now
be purchased at a very reasonable expense, at any of the opticians':
but as many persons who have a taste for drawing might not be pleased
with the designs to be had at the shops, or might wish to indulge
their fancy in a variety of objects, which to purchase would become
expensive, we here present our readers, in the first place, with the
method of drawing them, which will be succeeded by a plain
description of some very diverting experiments.

_Of Painting the Glasses._

You first draw on a paper, the size of the glass, the subject you mean
to paint; fasten this at each end of the glass with paste, or any
other cement, to prevent it from slipping. Then with some very black
paint mixed with varnish, draw with a fine camels'-hair pencil, very
lightly, the outlines sketched on the paper, which, of course, are
reflected through the glass. Some persons affirm that those outlines
can be more readily traced with japan writing ink, and a common pen
with a fine nib; but this, even if it succeeds in making a delicate
black outline, is sure to be effaced by damp or wet.

It would improve the natural resemblance, if the outlines were drawn
with a strong tint of each of the natural colours of the object; but
in this respect you may please your own fancy. When the outlines are
dry, colour and shade your figures; but observe, to temper your
colours with strong white varnish. A pleasing effect will be produced,
if you leave strong lights in some parts of the drapery, &c., without
any colours. The best colours for this purpose are transparent ones;
opaque or mineral colours will not do. The following are in most
repute.

For Pink and crimson Lake or carmine.
Blue Prussian blue.
Green Calcined verdigris, or distilled ditto.
Yellow Gamboge.

_To represent a Storm at Sea._

Provide two strips of glass, whose frames are thin enough to admit
both strips freely into the groove of the lantern. On one of these
glasses paint the appearance of the sea from a smooth calm to a
violent storm. Let these representations run gradually into each
other, as in Fig. 9, and you will of course observe, that the more
natural and picturesque the painting is, the more natural and pleasing
will be the reflection.

[Illustration: Fig. 9.]

[Illustration: Fig. 10.]

On the other glass, Fig. 10, paint various vesse