Sometimes Mrs. Beetham cut black paper, and used a little brushwork in the more delicate hair outlines, softening the hard paper line. This artist excels not only in the delicacy of her profile portraits, but also in the way in which she depicts, with the very limited materials at her command, the texture of hair, gauze, and ribbon ornaments. A third process employed by Mrs. Beetham was the painting on glass of flat or convex shape. The painting was done on the back of the glass, and usually a backing of wax or plaster was placed to preserve the portrait. As a consequence of this filling of wax, many of these old pictures have suffered severely from extremes of temperature, cold shrinking the wax and causing disfiguring cracks, and heat, when the portraits were hung on the chimney wall, as they so frequently were, being no less disastrous. Occasionally a shade painted on convex glass is found with a flat composition card or plaster background, upon which, standing away behind the rounded glass on which the portrait is painted, a beautiful shadow is cast by the painting. This is perhaps one of the loveliest embodiments of the miniature shadow portrait, created independently of all shadow tracing, for the portrait is simply painted on the inside of a convex glass; yet the shade is there, dainty, alluring, created through the workings of one of nature’s laws; the brushwork becomes of secondary importance, and nature’s shadow the likeness. Rosenberg of Bath (1825-69), whose son was an associate of the Old Water-Colour Society, was a proficient in this process. His advertisement is quaintly worded in the small card found pasted on the back of his framed specimens:— “Begs leave to inform the Nobility And Gentry that he takes most striking Likenesses in Profile, which he Paints On Glass in imitation of Stone. Prices from 7s. 6d. Family pieces, Whole Lengths in different Attitudes. N.B. Likenesses for Rings, Lockets, Trinkets, and Snuff-boxes.” This unusual allusion to imitation on stone is doubtless written to attract those who, cognisant of the recent discoveries in Pæstum and Herculaneum, were on the alert for portraiture in profile and ready to patronise an art which was well in accordance with the return to Greek feeling in matters artistic.