The amateur is not to consider the selection of his studio or work-room of minor importance; the perspective, coloring, and the effect of the portrait will all depend, in a great measure, upon the situation and dimensions of the studio. It may be said in a general way that the larger the apartment the better. To secure the effect which it is essential to produce, there should be space enough left behind the artist to permit him to step back from six to ten or twelve feet to accurately view and see the effect of the portrait. I cannot urge too strongly upon the amateur the usefulness of frequently viewing his work from a distance. I would gladly save him the disappointment and chagrin which I have myself experienced, when having neglected this precaution, I have quite finished a portrait only to find it thoroughly unsatisfactory when looked at from a greater distance than that at which I had worked.

You should choose a room with a north light if possible; if that is not available then one with a south light, and the room should be as near the top of the house as possible. Let the light be arranged so as to strike the easel at an angle of 90 degrees, and if it is a side light darken the lower half of the window. Do not have the side walls white, they should be a neutral shade; reddish is the best. For work with water colors or India ink you need a stand, and be sure and set it so that the light will be at your left when you work. Keep the studio as free from dust as possible, and when you have finished working for the day wash your brushes and place the corks in the water color bottles, so as to exclude the dust from them. For crayon work also set the easel so that the light is at the left hand.

A word in regard to selecting materials. I have already spoken in regard to the selection of photographs for coloring. As to brushes—camel's hair will cost only about a third as much as sable, and will answer every purpose for beginners; the fine sable should be procured after the pupil has advanced sufficiently. In choosing a brush for water colors, dip it in a cup of water and draw it over the edge of the cup; if it has a little spring to it, and comes to a point readily without any of the hair straggling, it is all right; if not, reject it. Winsor and Newton's Chinese White is the best white paint. For mixing the colors you can get a slant with eight divisions, or a nest of saucers. In selecting glass for mounting pictures choose that which is free from blisters.