Roman Catholic woman, whom she came across in the Infirmary.，
* This can be remedied, however, if it is immediately washed over with the same solution that is on the plate, so that the surface shall not become cool; continue for a short time to apply the lamp under, and agitate the plate slightly, and it will soon be free from all imperfections and give a fine clear tone.
It is not unfrequent that the surface assumes a dark, cloudy appearance. This is generally the best sign that the gilding will bring out the impression with the greatest degree of distinctness. Soon, the clouds gradually begin to disappear, and, "like a thing of life" stands forth the image, clothed with all the brilliancy and clearness that the combined efforts of nature and art can produce. When in the operator's judgment the operation has arrived at the highest state of perfection, rinse suddenly, with an abundance of clean water, and dry as before described.
When an impression is dark, the gilding process may be longer continued; but when light, it should be gilded quickly, as lengthening the time tends to bleach the impression and make it too white. The cause of this appears to be, that with a moderate heat the chlorine is merely set free from the gold, and remaining in the solution, instead of being driven off, with its powerful bleaching, properties, it immediately acts upon the shades of the picture. A dark impression can thus, by a low heat, long-continued, be made quite light. To procure the best effect, then, heat suddenly with a large blaze, and judging it to be at the maximum, cool as suddenly as possible.
When the hyposulphite of gold is used instead of the chloride, a less heat should be employed.
Coloring Daguerreotypes.--Of all the so-called improvements in the Daguerreotype, the coloring is the least worthy of notice. Yet the operator is often, in fact most generally, called upon to hide an excellent specimen under paint. I can conceive of nothing more perfect in a Daguerreotype than a finely-developed image, with clearness of lights and shadows, possessing the lively tone resulting from good gilding. Such pictures, however, are not always had, and then color may perform the part of hiding the imperfections. We present the following method as given in Willat's Manual:
"Daguerreotype portraits are now commonly met with beautifully colored; but the coloring is a process requiring great care and judgment, and many good pictures are spoiled in fruitless experiments. Several different methods of coloring have been proposed. The simplest mode appears to be that of using dry colors prepared in the following manner: A little of the color required, very finely ground, is thrown into a glass containing water, in which a few grains of gum arabic have been dissolved. After standing a few moments, the mixture may be passed through bibulous paper, and the residue perfectly dried for use. The principal colors used are Carmine, Chrome Yellow, Burnt Sienna, Ultramarine and White; boxes fitted with sets of colors properly prepared, may be obtained of the dealers, and include Carmine, White, Lilac, Sky Blue, Pink, Yellow, Flesh color, Orange, Brown, Purple, Light Green, Dark Green and Blue. With a few colors, however, all the rest may be made thus: Orange, by Yellow and Red; Purple, with Blue and Red; Green, Blue and Yellow; Brown, with Umber, Carmine and Lamp Black; Scarlet, Carmine and Light Red. While it is true that a little color may relieve the dark metallic look of some Daguerreotypes, it must not be concealed that the covering of the fine delicate outline and exquisite gradations of tone of a good picture with such a coating, is barbarous and unartistic.
"The prevaling taste is, however, decidedly for colored proofs, and the following directions will assist the amateur in ministering to this perverted taste, should he be so inclined. The coloring should commence with the face, and the flesh tint must be stippled on (not rubbed) with a small camel's-hair brush, beginning from the centre of the cheek, taking great care not to go over the outline of the face, and also not to have too much color in the brush; the eyes and eyebrows must not be touched with color. After the flesh color is applied, take a piece of very soft cotton and pass it very gently backwards and forwards over the face, so as to soften down the color, and then apply the carmine to give the required tint. For men, the darker tints should predominate, and for women the warmer. Very light hair may be improved by a slight tint of brown, or yellow and brown, according to the color. In coloring the drapery, the same care must be used. No rules can be laid down for all the different colors required, and the amateur had better obtain the assistance or advice of some one accustomed to the use of colors. A little white with a dash of blue or a little silver, will improve white linen, lace, etc. The jewelry may be touched with gold or silver from the shells, moistened with distilled water, and laid on with a fine-pointed sable-hair brush.
"Brilliants may be represented by picking the plate with the point of a pin or knife."
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