Bauhaus-Universität Weimar

The Book of the Lantern. Being a Practical Guide to the Working of the Optical (or Magic) Lantern. With Full and Precise Directions for Making and Coloring Lantern Pictures.
Hepworth, T. C.
blend into one another, until they finally disappear, and we 
have before us a flat, even tint of colour. The knack of 
laying in a sky cannot be gained without a great deal of 
practice ; but the operator may feel assured that when he 
has once conquered this initial difficulty half his labour 
is over. 
If we merely want a plain blue sky,—and where the 
amount of sky is small it is often expedient that this should 
be the cage,—we can consider this portion of our picture 
finished with the dabbing ; but if we want to indicate 
clouds, this must be done before the colour has commenced 
to dry. Here comes in the work of the artist. From what 
I have seen exhibited in the shop windows, I conclude that 
many slide-painters classify clouds under two general 
heads, namely, large masses called “feather-bed clouds,” 
and small ones, called “ bolster clouds.” These are created 
by means of a leather stump, moved with a semicircular 
motion, by which clouds of either pattern can be wiped 
out to order. The student of nature will, however, aim 
at something higher than this ; for he will know that no 
two clouds, of the thousands he has gazed upon, have ever 
beén alike. For convenience sake, meteorologists write of 
cumulus, cirrus, stratus, and nimbus forms of clouds, but, 
in reality, although each term describes a typical form of 
vapour, they convey very little information to the mind’s 
pye. Each form so constantly blends with the other to delight 
the eye, that no words can sufficiently describe the vast 
variety of cloud beauties presented to us. In attempting 
to imitate some of these effects of nature in glass-painting, 
I find that a piece of kid wrapped round a pointed stick


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