STUDIO AND WORKROOM 3 
second being applied with the brush strokes in opposite direc- 
tion to the first. 
PHOTOGRAPHING MacHiInery.— Bright parts may be 
dulled by painting over with a thin cream of white lead and 
turpentine, darkened by the admixture of lampblack to give 
a grey. Frequently, dabbing the surfaces with a lump of 
putty will be sufficient. | 
MEMORIAL STONES AND BrassEes.—These often present 
considerable trouble, but if the surfaces of the stones are 
swept clean and strong side lighting used, the lettering and 
carvings will be thrown up into better relief. Wetting the 
stone frequently brings out indistinct lettering. In the case 
of brasses, rubbing with whiting, avoiding any deposit in the 
letters, is useful, as is also side lighting. Rubbings, obtained 
by placing a sheet of paper over the brasses and rubbing with 
a soft pencil or charcoal, may also be used. | 
SILVERWARE.—Hollow ware may be filled with ice or very 
cold water; then in a warm damp room the outer surface 
will become dewed. Dabbing the surface with putty will 
also kill all reflections. Or the object may be placed inside 
a tunnel of tissue paper, so that the only light reaching it has 
to pass through the paper. 
GLASSWARE.—This may be treated like silver, or hollow 
vessels may be filled with a non-actinic solution. 
Cotns.—These may be smoked with burning magnesium 
ribbon, which leaves a delicate white film on their surfaces. 
Side lighting is preferable, so as to throw the figures, etc., 
into relief. An impression may be taken in fine plaster of 
Paris, and this photographed. Or the coins may be placed 
on a fine white calendered card, slightly dampened, with a 
backing of blotting or other soft paper, and passed through 
a copying or other press. This gives an intaglio of the coin, 
which, if lighted with a strong light from the bottom of the 
