In the possession of the Author.] A century before, Frances Chauveau engraved a picture by C. le Brunyn which shows the traces of a shadow portrait on the wall. The figures are in classical dress—the woman steadies her subject with one hand while she pencils the shadow with the other. A winged love superintends the process. The popularity of such pictures was easily accounted for. Those whose accuracy of vision and skill of hand were insufficient to achieve the fashionable freehand scissor-work, saw in this tracing method an easy way of making the black profile portraits. The tracing of shadow pictures was considered to be of Greek origin, and the enthusiasm for any art of Greek origin was assured, and the amateurs prospered. The inevitable book of instruction for amateurs appeared in 1779 in Germany, “Directions for silhouette drawing, and the art of reducing them, together with an introduction dealing with their physiognomical use.” It must be remembered, in its early days silhouetting was supposed to be the handmaid of scientific research, and it was very many years before the artists in black portraiture threw off this pose in connection with their work. This book is published by Römhild, Leipzig. Another little book of 258 pages, with eleven copper-plate illustrations, is now very rare, dated 1780; it was published by Philip Heinrich Perrenon, bookseller, of Münster. Rules are given, advice as to materials, the reduction of portraits, their finish, ornamentation, etc. Processes on glass, in relief, etc., are described. Pantographs and other mechanical processes were invented, the names of such things varying from the high-sounding _parallelogrammum delineatorium_ to the “monkey” indispensable for silhouette artists. Other books are described more fully in our chapters on the processes. The silhouette mania affected the engravers of the day; black portraits in copper-plate appeared, and were used to illustrate histories and biographies. Also domestic scenes, with elaborate backgrounds, such as the death of the Empress Marie Theresa, which occurred in 1780. This was to be had of Loeschen Köhl, of Vienna, in the High Market, No. 488. It appeared in “An Almanack for the year 1786,” with fifty-three silhouettes, published by Loeschen Köhl. Large engraved silhouette pictures also appeared, and were sold separately, such as the Festivity on the Prater. Another variety now in the Höhenzollern Museum in Berlin shows Friedrich Wilhelm II., with his wife, four sons, and three daughters, walking in a garden. This picture is painted on glass, and is mounted on a red ground. Later, August Edouart achieved elaborate pictures, such as a skirmish of cavalry or sports. His figures were entirely scissor-work—and extraordinarily clever. The black portraits were mounted on drawn or lithographed backgrounds.