In making such subjects suitable for present-day printing in the machine, the paper will require to be of a good "rag" quality, free from size and damped before printing. To secure accuracy of register the paper must be kept in a damp cloth to prevent the edges drying, and other machines should be kept available for each of the tints so that all work printed in black in the morning may be completed the same night. In this way large editions might be printed of either original or retransferred work at prices rendering the prints suitable for high-class magazines. _Preparing a Chromo Lithograph._--For this purpose the proceedings will be much the same as those suggested for the black and tint work, but the preliminary tracing will be done in lithographic ink on tracing transfer paper or scratched on gelatine, the lines being subsequently filled in with transfer ink, and will be used as a "key," a guide stone that will not be printed; and the number of stones necessary will probably be much more numerous. The initial point will be to consider if the work is to have the edition printed from it, or whether it has to be transferred after proving and before printing; generally speaking, large subjects such as diagrams or posters will be worked direct, while Christmas cards, postcards, handbills or labels, will be repeated many times on larger stones. For the former class a much wider range of methods is possible, but many of these are difficult to transfer, and the deterioration that arises makes it desirable to limit their use when transferring is contemplated. Therefore, chalk-rubbed tints, varnish tints, stumping, wash, air brush, are the methods for original work, while work that has to be transferred is limited to ink work in line or stipple on a polished stone with the aid of "mediums" as before described, and ink "spluttered" on to the stone from a tooth brush. It should be mentioned that work done on grained paper is more suitable for retransfer than ordinary chalk work, and so is often very useful when a chalk effect is desired from a polished stone. In proving, opaque colours will be got on first, and it will often be found a good plan to put the black on early, for it gives a good idea of how the work is proceeding, and the strength of the touches (for the black should generally be used sparingly) is often pleasantly softened by the semi-opaque colours which should come on next. It is desirable to pull impressions of each colour on thoroughly white paper, and beyond this in important work there should be a progressive colour pattern that will show how the work looked when two, three or more colours were on, for this may at the finish be invaluable to show where error has crept in, and is in any event an immense aid to the machine minder.