A treatise on this method exists in English, entitled “Papyro-Plastics; or the Art of Modelling in Paper, with Directions to cut, fold, join, and paint the same,” with eight plates, published in the first quarter of the nineteenth century. Mention is also made of silhouettes in enamel on copper for snuff-boxes, lockets, and rings, and the black profile portraits on porcelain in the German volume. Finally, the author praises a process by which, by means of a stencil, one can make one hundred copies a minute, and the reproduction of the silhouette portrait by woodcut and copper-plate impressions. A second book appeared simultaneously, if not immediately before the treatise. It was published by Römhild at Leipzig, and in the following year (1780) Philip Heinrich Perrenon brought out a third, which is called “Description of Bon Magic; or the Art of Reduplicating Silhouettes easily and surely.” The principal process is one which the author describes as “so simple that every woman who can make silhouettes can practise it as well as the best artist.” “Take a piece of flat tin, polish it on one side, put the drawing on it and cut out the tin accordingly, and the form is obtained. Rub this form on the side to be printed off on a flat stone with sand. Damp some paper, and make a black mixture out of linseed oil and pine-soot. Make a pair of balls of horsehair covered with sheepskin. Get a small piece of hat felt. Blacken the shape or form with the black mixture put on with the horsehair ball; place it on the table, and over it, on the blackened side, the damp paper, on this a few sheets of waste paper and then the felt. Now nothing but the press is required; this consists of a rolling-pin, which can be made by any turner. Roll it over, and when the paper is taken away the silhouette, _en Bon Magic_, appears printed off.” Illustrations of various implements are given, besides a simple pantograph for reducing the life-size shadow. Many pantographs are mentioned in connection with silhouette work. It is probable the earliest one was invented by Christopher Scheiner, a Jesuit, at the beginning of the seventeenth century, and was called the _parallelogrammum delineatorium_. We meet it again in England, where mercifully its name is shortened, and it is interesting to see that it is a woman who applies for protection of her invention. The abridgment of her specification runs thus:— _Patents for Inventions._ _Abridgments of Specifications._ _Artists’ Instruments and Materials._ 1618-1866. _A.D. 1775, June 24.—No. 1100._