THE BOOK OF THE LANTERN. 153 



chloride plates especially a very wide range of tones can be 

 obtained, and practically the experienced worker can pro- 

 duce a picture in any colour, from black, ranging through 

 different changes of brown, to red ; and even a blue picture 

 can be produced on that type of plate. It is often prac 

 ticable to suit the tint to the class of subject. A woodland 

 scene may be toned a rich brown, for example ; and this 

 tone, which the picture possesses at the outset, will prove 

 of great help to the colourist. Many water-colour painters 

 commence their work by giving the surface upon which 

 they work a yellow-brown tint, and, when that is dry, they 

 commence the picture proper. It will be readily seen that, 

 with a photographic picture toned in the way described, the 

 slide-colourist will work under much the same conditions. 

 The object in both cases is to give a general warm tone to 

 the picture, which cannot be blotted out even by the most 

 careless and ignorant worker. 



It is a good practice to examine the slide in the lantern 

 as the various stages of the painting progress, taking care 

 to protect it from dust. For this reason it should, before 

 being placed on the lantern -stage, be furnished with a 

 paper mask and a cover-glass ; it may then be slipped in 

 a mahogany frame kept for the purpose. By this exami- 

 nation under the light by which it is ultimately to be 

 shown can we alone judge of its defects. It is now that 

 the dust, previously invisible, becomes painfully evident. 

 The beginner will, indeed, be forced to acknowledge that 

 this is an example of matter in a very wrong place. He 

 sees up in the sky of his landscape, which he just now 

 thought would look so very beautiful, what is apparently a 



