BACKGROUNDS.
The choice of backgrounds for this work is rather limited, as, generally speaking, the subjects are light, and require a dark background to bring them into proper relief. The background, if on canvas, should be stretched on a frame or weighted so as to hang free from all folds or creases. As it usually has to be placed in all sorts of odd places, it is a decided advantage to have it as portable as possible. Fig. 794 shows a suitable arrangement, which may be readily put up or taken down and placed in various positions. It consists of a wooden frame, in the centre of which is stretched a sheet of red baize, or sheeting painted with distemper. The latter is the best, as the red baize, unless put well out of focus, will show a very ployed for portraiture. It should be borne in mind that considerable variation in the tone of the background may be made by turning it either towards or away from the light. The difference, however, will be very slight in the case of the dark back grounds. It frequently happens that the surrounding work will not allow of the irritating grain all over it, which will detract from the subject and, in some cases, even spoil the outline where it con tains any fine detail. Moreover, the rough
ness of the surface easily catches the dust, which is always much in evidence in a, sculptor's studio. A good-sized piece of sheeting painted deeply with a mixture of lampblack and size will be found best, since it may be painted again as soon as soiled, and will not so readily take the dust. The background should be kept rolled up painted side inwards. When photographing sketch models in clay the background may be much lighter, in pro portion to the tone of the clay used. With bronzes a light grey background is most suitable, such as is generally em erection of a background, and, as a con sequence, other objects come in and spoil the outline. In such cases these must be removed in the negative, either by cutting away the other portion of the picture, or else by blocking them out with opaque paint or varnish, the former giving a black background and the latter a white one. These same methods must always be em ployed when either an absolutely black or white background is desired.