Page viii

viii                                    C 0 N T E N T S.
ers. - 26. Scrapers. - 27. Dry Pointed Lines. - 29.
To Set the Etching-Point. - 30. The Graver. - 31.
To Temper Gravers, etc. - 32. Artists' Etchings. - Of
Tools and Facilities for Etching. - 33. Of Photograph-
ic Etching or Drawing. - 34. The Process of Etch-
ing on Copper applicable to all Metals. - 35. To the
Ornamental Arts. - 36. Soft Ground Etching.- 37.
Etching and Drawing on Stone. - 38. ENGRAVING
IN AQUATINT. - 39. Z*fezzotint Engraving. - 40. Its
Character.- 41. Process. - 42. Roulettes and Sha-
ding Tools. - 43. To Lay a Ground.-44. Relative Ad-
vantages of Steel and Copper Plates. - 45. Engraving
in Line and Stipple. -46. ENGRAVING ON WOOD.
- Character of Drawing Requisite. - 47. Tools em-
ployed. - 48. To take a Proof~ - 49. Working by
Lamp-Light. - 50. Conclusion.............PAGE 253
             CHAPTER            X.
               OF MODELLING.
Modelling.-2. In all its Applications to Design similar
Principles to those o~Drawing and Painting involved.
- 3. Requirement of General Education by Artists.
- Means of its Attainment. - 4. Modelling in Clay-
Tools, etc. - 5. Wax. -6. Terra-Cotta. - 7. Of " the
Round" and "Reliefs."- 8. Requisites in Modelling.-
9. Process of a Model for Sculpture. - 10. Of Braces
and Supports.- 11. The Naked Figure.- 12. Reliefs.
- 13. Moulding and Casting. - 14. Value and Ap-
plication of the Galvano-Plastic Process. - 15. Of
Medals. - 16. Architectural Models. - 17. Import-
ance of Modelling to Mechanics as well as Artists. -
 18. The Elementary Instruction in Design requisite
 for Mechanics similar to that necessary for Artists . . 279
                  CHAPTER        XI.
                   OF COMPOSITION.
I. Composition. - 2. Its General Application. - 3, 4, 5.
 General Principles. - 6. Exemplification.-Both Ap-
 plicable and Requisite in all Subjects. - 8. Of Por-
 traiture. - 9. Landscape. - 10. Compositions should
 be Consistent with Nature. - 11.  Classification of
 Styles. - 12. Their Application. -13. Of the Shapes
 of Pictures. -14.   Difficulty of Classifying many
 Compositions. - 15. Stu~dy of Approved Works recom-
 mended. - 16. Of Books and Theories - Self-Reli-
 ance. - 17. Practical Methods and Expedients usually
 employed in the Execution of Original Compositions.-
 18. Of the Sketch. - 19. Changes and Experiments.
 - 20. Of Method, etc. - 21. The Model and Appro-
 priation  of Study of Nature - Expedients. - 22.
 Pragtical Difficulties in working from a Model. - 23.
 Means of Obviating them. - 24. Misleading Tenden-
 cies experienced by Beginners -particularly in Regard
 to Color. - 25.  Of Cartoons for Oil-Pictures. - 26.
 Of Artificial Models. - 27. No one Method available
 in all Cases. - 28. Of Style and Manner. --29. The
 Practices of the Masters in Art. - Their Appropria-
 tion of the Excellence of Others. - Importance of a
 good Beginning.-Their Biographies afford useful Sug-
 gestions to the Student. - 30. Advice to the American
 Art-Student. - 31. To Teachers. - Conclusion. . . . 287