In the original process, which may here be termed plain lithography, two methods are employed in putting on stone the design to be reproduced. In one the subject or picture to be reproduced is drawn on the printing stone either with a lithographic crayon or with a pen dipped in lithographic ink or "tusche," which is oily or fatty, like the crayon. In the other method the drawing is made on transfer paper and transferred to the stone. In drawing on stone it is necessary to reverse the design, so that all lettering must be drawn backward. In doing this the artist often uses a mirror to aid him. If the drawing is made on transfer paper the design and the lettering are copied as in the original--not reversed. Before a drawing is made on stone a stone of the quality suited to the particular design in hand is selected. The stone is then ground and polished, and if the drawing is to be made with crayon it is "grained" according to the special requirements of the subject. If the drawing is to be made with a pen and is to consist of "line work" the stone is polished. The first step is to obtain on the stone an outline or "faint" of the design. There are several ways to do this. By one method a tracing of the design is made, a sheet of thin paper covered with red chalk is laid face downward on the stone, the tracing is laid face downward over it, and the design is again traced in red-chalk lines on the stone. The method described is simple, but there are others that are more complicated and that are particularly applicable to the reproduction of photographs and other illustrations. Crayon work is often used in combination with pen and ink, stipple, and brush work. This method of drawing on stone is used also for preparing color stones in the process of chromolithography, in which there are many added details of manipulation. After the drawing has been made on the stone or transferred to it the stone is "gummed"--that is, it is covered with a solution of gum arabic and nitric acid--and dried. The stone is then dampened with water and carefully rolled with lithographic ink, which adheres to the pen or crayon work and is repelled elsewhere. It is then "rubbed" over with powdered rosin and talcum, which adheres to the ink and further protects the drawing from the effects of the etching fluid, which is next to be applied to the stone. This fluid consists of a 10 per cent solution of gum arabic to which 2 to 7 per cent of nitric acid has been added, the degree of acidity being varied according to the subject and the hardness of the stone. The fluid is applied with a brush or sponge and is left on the stone just long enough to decompose slightly the carbonate of lime on its surface and, after washing, to leave the design or drawing in very slight relief. The stone is again gummed and dried, and the design is "washed out" or brought out by removing the surface gum with a wet sponge and applying to the stone a rag sprinkled with turpentine and