He describes his discovery of his talent for likeness cutting at some length. At the end of 1825 he was shown black shades which had been taken with a patent machine, and condemned them as unlike the originals. He was challenged to do them as well. “I replied that my finding a fault was not a reason that I could do better, and that I had never even dreamed of taking likenesses .... I then took a pair of scissors, I tore the cover off a letter that lay on the table; I took the old father by the arm and led him to a chair, that I placed in a proper manner, so as to see his profile, then in an instant I produced the likeness. The paper being white, I took the black snuffers and rubbed it on with my fingers; this likeness and preparation, made so quickly, as if by inspiration, was at once approved of, and found so like that the ladies changed their teasing and ironical tone to praises, and begged me to take their mothers’ likeness, which I did with the same facility and exactness.” There is much long-winded explanation in this egotistical and somewhat priggish style, but delightful sidelights are thrown on the adventures of a silhouettist in the performance of his craft, of the status of the artist, his contempt of all methods except his own, and the naïve devices used for gaining advertisement. As these have no place in the present chapter, they will be found elsewhere under “August Edouart and his Book.” Edouart nearly always cut the full-length figure. Amongst some thousands of his portraits which have been examined, only about fifty of bust size have been discovered. “The figure adds materially to the effect that produces a likeness, and combines with the outline of the face to render, as it were, a double likeness in the same subject. From this combination of face and figure arises the pleasing and not less surprising result of a striking resemblance. The many thousands I have taken of the full-length enable me confidently to make this assertion.” He argues that, in catching a likeness, attitude and demeanour are as important as the features of the face and contours of the head. The silhouette is the representation of a shade, he says, and if it be not critically exact, the principal part of its merit is lost. He considers that the grouping of several figures makes the emphasising of a likeness in any one of the figures more noticeable, the difference existing between individuals, whether in height, gesture, or attitude, being a great advantage to the artist in giving point to the likeness.