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THE BOOK OP THE LANTERN. 147" of any kind of colours, and has some knowledge of the way in which they can be combined to form different tints, will paint a slide very much better than one who is without that knowledge. Should he be quite unused to working in colour, he had best begin by procuring some book upon the general theory of colouring, so that he may understand the • difference between a primary, secondary, and tertiary tint,. and may learn how to combine them together. There are plenty of such books to be had, and very often the infor- mation is comprised in some of those useful little manuals on water-colour painting which can be had of most artists' colourmen. I say water-colour painting advisedly, for the art of slide-painting partakes more of that kind of art than any other; for the reason that it deals with transparent pig- ments. But do not let it be imagined that I recommend vvater colours for the work in hand. I know that some writers have advised their use, and there is more than one nanual which describes how slides can be painted in water colours. The process may possibly have answered under the old conditions, when the majority of lantern slides Were made by the wet process, and when the artist had a layer of collodion to paint upon. But most of my readers will wish to colour their own productions; and as these will probably consist of gelatine pictures, which any application of water will blister, I will at once reject that method of painting as being inadmissible. First, I will make a few remarks with regard to the apparatus required, which is of the simplest description. A retouching desk will make a good easel (see fig. 44), or, failing this, one can readily be made by using a sheet of glass- L 2