In England this may consist of a square of cloth painted with a mixture of whiting, glue, treacle, and water; to which is added ivory black, ultramarine and red ochro. But in some months here such a composition will turn to velvet of living mildew.
Té we get a piece of cloth, or get strips joined together 50 as to make a square of about 6 feat by 6, stretch it on a bamboo frame, and first coat it with whiting 3 oz, water 10 oz., and then brush it over with whiting 12' 0z., powdered glue 4 oz, treacle 6 oz., water gall. and then have it painted when dry with the oil grey commonly used for floors, we shall do better. The shadows of the venetians will graduate it somewhat. But if we aspire to more than this, a little wrinkle may be given, viz., to get stiff brush and dab ordinary paste blacking over parts of it in an artistic manner, with the brush as dry as possible, and working it about lightly when well Laid on so as to correct any abruptness. If it mildews, it can be washed off, and it may be an advantage to change the aspect of our background occasionally.
Leonardo da Vinci's rule for backgrounds was that they should be darker than the lightest part of the object and lighter than the darkest part. Which is a good rule for us. Millet's figures stand out brilliantly, as in the picture of The Gleaners by reason of neutral grey background, which unlike black gives a gentle and double contrast—to both light and dark.
A whi shaded sic evenness of facial lighting aimed at, as the feamera is sure to intensify any shades, and the part away from the outside light is sure to be darkest. To goto soft light, a sheet ought to be suspended against the venetians especially if the sun is shining outside.
In Western seldom taken popraltae, the sitter ix full faced, but generally turned a little away from the light. In attempting this latter be careful about the shadow of the nose, should the other eye seen, or your sitter will have a black, eye.
In photographing the Chinese, they much prefer a full face, and it is best as u rule, for their strong point is not profile. But with a full face there may still bea graceful pose. Murillo's well-known Flower Girt is very nearly full-faced, but the general effect is most graceful. ' And with a tea-poy ide the sitter's chair for one atm to rest upon, a not ungraceful effect may often be produced whether the tea-poy may have a vase of flowers or of dried grass upon it, s0 as to balance matters, With a man, a tea cup or water pipe or something of that sort.
Whatever the position of the head, the eyes should look in the direction toward which the face is turned. Her Majesty's latest portrait gives a rather sinister effect to her from the neglect of this precaution. It is true that in the well-kn arn portrait, Raphael Sanzio, by himself, the yves are slightly deviated from: the direction in which the face turns, and the portrait is none the worse. But we are not Rapheels, and by setting aside this rule we may. turn our countrymen into {something like one of those of whom Shakespeare makes a certain character of his say, "I would not believe such a Cataian' (Cathayan) though the priest of the town commended him for a true man."
Text read from the printed page and cleaned; old type leaves the occasional error.