While it is thought that all essential instructions on the topics treated of have been given in the foregoing pages, and that if faithfully followed they will lead the pupil to attain satisfactory results, it is hoped that my readers who have accompanied me thus far will not be content to continue to use a photograph as the basis of their work, but will advance to the pursuit of art in a broader and more scientific manner. As a step in this direction the study of form, and light and shade, by drawing from the cast should be taken up; and to this work the directions as to light and shade given in the foregoing pages fully apply, that requiring the object to be placed in such a position that the light will strike it at an angle of ninety degrees being always borne in mind.

The student will do well to gain all he can from the published works of the leaders in the profession, whose writings, both theoretical and practical, are invaluable. Three essays by John Burnet I can very heartily recommend. They are "Practical Hints on Light and Shade," "Practical Hints on Composition," and "The Education of the Eye." These are published in a single volume, which is illustrated with examples from the great masters of the Italian, Flemish and Dutch schools, and should be in the hands of every amateur. They will all repay perusal and study until their principles are mastered. An English edition of these books is published by James Carpenter, London, and in this country they have been reproduced by Edward L. Wilson, editor of the Philadelphia Photographer. Another book which abounds in valuable and practical information for the amateur and can be highly commended, is "Art Recreations, a Guide to Decorative Art," by Marion Kemble, published by S. W. Tilton & Co., Boston; also J. Bacon's "Theory of Coloring," issued by Geo. Rowney & Co., England.

Those who are disposed to treat disdainfully the work of finishing photographs in crayon and color as not demanding truly artistic qualities, should not forget that success here has still a real value in awakening in many who undertake it a feeling for art of a higher kind, and in developing a natural talent which otherwise might have been undiscovered. Many an artist now looks back with pleasure and gratitude to this sort of work, in which he received the first impetus toward higher effort.

In answer to the assertion which is sometimes made that transparent water colors are not permanent, I claim that in the sense in which the word is ordinarily used in connection with photography they may properly be called so. In this sense the lasting qualities which characterize the materials used by the old masters are not looked for, but where photographs have been thus colored, finished in the form of French crystals, and properly sealed from the atmosphere, they are practically permanent. I have some in my possession that were made years ago, and they are as bright and fresh to-day as when first colored. It can be truly said that photographs colored in this way make very beautiful and pleasing pictures, obtainable with but little work and expense, and having practical permanency of color.

As a final word to those who intend to follow art as a profession, I urge the earnest study and mastery of drawing at the outset as the foundation of all art; then take up work in body water colors, and when the theory of coloring is fully understood, do not neglect the careful reading of books of acknowledged merit bearing on your work. The more notes you take in the course of your reading the more fully you will assimilate the author's thought, while, at the same time, you furnish the easiest means of rapid review. After all, your soundest basis for work will be your deep and continuing love for it, and your willingness to labor long and conscientiously to attain excellence. Do not imagine that the profession of an artist is that of an idler. On the contrary, of all occupations it is perhaps the most active, for one is constantly engaged, if not with art itself, at least with its materials.

Every artist will confess that were it not for the charm with which it rewards the votaries who follow it from love, the pursuit would be a painful one, such vigilant precaution does it require, such constant foresight, such calculation and preparation against possible difficulty on every hand; but the true artist, happy in the daily gain of knowledge which his experience brings him, and delighted with the gradual mastery of his work, as a rule lives along enjoyably, retaining more than most men the freshness of youth while he gains in power as he advances in years. So pleasant a fate as this for each of his readers is the closing wish of the author.

Transcriber's Notes

Moved some illustrations to avoid breaking up paragraphs of text. The page references in the List of Illustrations refer to the original book, but link to the illustrations.

Corrected minor punctuation errors and hyphenation inconsistencies, and made the following changes:

Page 50: Changed necesssary to necessary:
(all the details necesssary).
Page 67: Changed Appelton to Appleton:
(From the Annual Encyclopedia. Copyrighted, 1891, by D. Appelton).
Page 74: Changed where-ever to wherever:
(using the latter where-ever a lighter effect is required).
Page 90: Changed picrure to picture:
(And when a picrure is composed chiefly of middle tint).