We doubt whether it is a good plan to praise one's friends too highly before an introduction; it is calculated to produce a reaction. At least, we felt just the least shade of disappointment on being ushered into the presence of the subject of our companion's eulogy. Four plainly-dressed, oval-faced, soft-eyed ladies, seated round a large centre-table, on which were strewn water-colors, albums, scissors, and scraps of paper.
"Mr. Nix has told us all so much about you," said the eldest, "that I feel as though we were old friends. My daughters are now enthusiastic on the subject of transparencies, and I've no doubt your ingenuity will enable them to solve many knotty points beyond their amateur capacity."
We soon found, however, that we were the one to learn, for the work on which the white fingers were engaged was something entirely new to us. There were beautiful transparencies, mostly representing landscapes, and cut out of writing-paper. We immediately became a devoted student of the art of transparent picture-making, with a single eye, of course, to the amusement of our readers. The soft, brown eyes, the taper fingers, and the gentle manners, had nothings to do with our assiduity, upon which we pledge our sacred honor, as a Calmuc Tartar.
[Illustration: PAPER TRANSPARENCIES.--_See page 143._]
We will now proceed to explain, if those white fingers do not get in the way, how these pictures are produced; and first, according to our custom, we refer the reader to the annexed diagram (No. 1)--a diagram is a good basis to start upon. Before you look at the diagram, it would be well to collect the necessary materials, which are as follows:
One piece, say four inches square, of thick paper or card.
A small piece of charcoal. Burnt grape-vine or cedar makes the best.
A piece of transparent tracing-paper. A black lead-pencil.
A thick pasteboard, or thin pine board, about the thickness of an ordinary book-cover, and at least two inches longer and wider than the picture you are about to make. A sheet of glass will answer as well, perhaps better.
A small quantity of thin, fine paste, free from lumps, made of flour and water boiled. Mind that it is boiled and free from lumps.
Now see the diagram No. 1. This is the picture you wish to produce in the transparency. Take your tracing-paper, and with a pen and ink make an outline of this picture, having done which, rub the charcoal over the back of the tracing, then lay the tracing-paper on a sheet of letter-paper, take your lead-pencil in your hand; now, every mark you make on the tracing-paper with the pencil will leave a corresponding charcoal mark on the paper beneath it. Bearing this in mind, you will draw your pencil carefully round the outline of the moon, the window of the old castle, and the bright light in the water. Now carefully remove the tracing-paper, and you will find the forms of these objects faintly marked in charcoal lines on the writing-paper. Now, with the fine point (it must have a fine point) of your lead-pencil, travel over the charcoal lines, so as to make them distinct and permanent. You do so because the charcoal easily brushes off. You will then proceed to brush off the charcoal with a soft rag as soon as you have made your pencil outline. You will now, with the scissors or penknife, whichever is most convenient for the purpose, cut out the parts you have traced--that is to say, a round hole for the moon, a small square patch for the castle window, and a few irregular slits for the water. Then you will have a piece of paper like diagram No. 2 (page 152).