Many English books of a biographical nature were entirely illustrated with portraits in silhouette, notably, “The Warrington Worthies,” by James Kendrick, M.D., published in 1854 by Longman Brown, London; “Hints, designed to promote Beneficence, Temperance, and Medical Science,” by J. C. Lettsom, published in 1801, by J. Mawman. In the second volume of this work there are nine fine silhouette portraits. In the memoir of Hannah Kilham, by her daughter-in-law, published by Darton Harvey, London, 1837, there is a beautiful silhouette portrait. Field, of the firm of Miers & Field, notifies on his trade label that he cuts silhouettes suitable for “frontispieces in literary work.” In the porcelain factories of England and Germany silhouette pictures were used for the ornamentation of gift-pieces, and also for souvenir examples. In connection with such factories we may mention that a cup was made on which Dr. Wall, of Worcester fame, is painted in silhouette, and at the museum belonging to the Meissen factory, sixteen miles from Dresden, there is a portrait of Johannis Joachim Kändler, born 1706, King’s Court Commissioner and model master at the Royal porcelain factory. Rare and interesting specimens of silhouette porcelain are dealt with in a separate chapter. In glass, too, silhouette portraits were etched in gold leaf and in black on glass, which was then enclosed in another transparent layer of glass for protection. The taste for the silhouette spread its glamour over many arts; it became vitiated on account of unskilled and inartistic work, and may be said to have fallen into disrepute in the early days of Queen Victoria. It was then that the art of Miers and Field, Gibb and Charles, fell into the hands of unworthy exponents, whose works partake of the ineptitude of so much of the early Victorian art. There are silhouette portraits of the second quarter of the nineteenth century and later, which are amusing because of their vitality, interesting because of the people whom they portray, or because of a quaint bygone fashion; but with the exception of the work of Edouart, which stands alone on account of its superb technique, they are as a rule no longer examples which connoisseurs sincerely admire for their beauty. On the production of the real treasures of black portraiture the curtain was rung down about 1850. At that date the pageant of shadow pictures since the days of black outline on Etruscan vases ceased to be hauntingly beautiful, mystic, alluring; its subtle appeal was over. CHAPTER III. PROCESSES. (1) _Brushwork._