The Optical Magic Lantern Journal (July 1892)

78 tubes 6 and cc. The tube 4 is about 6in. long and three-eighths inches in diameter, and is best made of copper, which bends more easily than brass. This should first be bent into the shape represented, and two of the discs soldered upon the ends. These discs are then soldered, each into one end of the large tubes, taking care to get the several parts true to each other. In soldering the discs in, I found it best to level the edge of the disc, and also the inner edge of the tube, so as to form,a channel round the circumference into which the solder is run. Otherwise the disc may be fixed about onesixteenth inch below the extreme end of the tube, and the solder run into the angle so formed. But the other is the neater plan. The large tubes should now be secured by soldering on the three ties d and e e, the former of stout brass with a hole through the centre to receive a thumb-screw; and the latter e e on the under side, as near the ends as possible. These may be of thinner material. Next comes the packing of the tubes. Make two rolls of flannel—old blanket will do well— just enough to fillthe main tubes, rolling it round a spiral wire so as to leave a free passage through the middle. When these are put in, the other ends may be made and fixed, and the working part of the apparatus is complete. The tubes ¢ ¢ are about three inches long and ‘some threeeighths diameter. The free ends have a screwthread cut upon them, and caps f f are made to screw over them. These screws I cut in thelathe with screw-tools. They may, of course, be cut with a tap and die. If, however, the amateur has no means of cutting them, two sound corks, well fitted into the tubes, will serve the purpose. The stand, Fig. 2, is a very simple matter. A piece of half-inch mahogany is all that is needed, with cross pieces at the ends to keep it from warping, and to serve as feet. A strip is fastened down the middle, long enough to fit between the lower ties, and tapered so as to fit closely between the large tubes. A thumb-screw passes through the upper-tie, and working in a nut or bush in the strip, will secure the brass part to the stand. Sometimes it will be quite as convenient to dispense with the stand altogether. The question of polishing, &c., I may leave to the individual taste. The saturator is charged by pouring into it about a pint of methylated ether—both caps being off—and allowing the free fluid to drain out into a funnel. The ends are then tightly closed, and it is ready for use, In another paper I purpose to describe the jet, and give a few hints as to the working of the apparatus. Tha Optical Magis Lantern Journal and Photographio Enlarger. Artistic Lantern Slides. By H. M. J. Unperuit (Oxrorp). No, 2.—PAINTING. (Continued from page 68.) WE now come to fazting. Ordinary moist water-colours are used, but only the transparent kinds. Of these I have a great deal to say presently. You will need two kinds of brushes, one sort for painting, the other for softening, or stippling. I have tried three makers, and Winsor and Newton are the only makers who make really good brushes adapted for slide painting, and of theirs only about one in four is really perfect. My way of choosing them is to make friends with the local artist’s colourman. He then gets down a couple of dozen new No. 1 size yellow sables (No. o are too small). Helets me try these—a few minutes’ painting does them no harm—and I choose say six that seem to have perfect points, the rest I return. I keep three brushes going, one for rough work, one for ordinary work, and a perfect one, new, for fine work, such as finishing faces. When the best one loses its perfect point I take a new one, No. 3 is thrown away, and the others move one place down. The stippling brushes are three of the smallest size flat, short-hatred, yellow-sable oil-painting brushes, and one or two of larger size. No precise directions can be given for painting, as the method must vary a little according to the subject. Always begin at the top of the picture, and be sure and finish the background before the principal objects of the picture have any paint put on them. Let us suppose we are painting a landscape with figures in the foreground. The first thing is the sky. Paint it in very thin with No.3 brush. You will find it impossible to lay on a smooth wash of colour, as you do on paper, for brush-marks will show themselves. Never mind. Let the paint dry. When dry, breathe on it to make it damp, and dab all over it with a dry stippling brush, until all the brush-marks have been smoothed away. When the paint is thin, as it will be in a sky, this can be done perfectly. High lights on clouds can be picked out with the moistened point of ink-eraser aforesaid, and a damp brush, but it is best to leave them, if | you can. The thicker the coat of paint the more difficult it is to get it smooth, and I have not yet succeeded in removing all “grain” where the paint is at all thick. Now paint in the landscape on the horizon and all round the figures. The ground coat of paint should be done lightly; then stipple this