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 by printing solids over solids, half-tone lines over half-tone lines, and tint lines over tint lines. Bach of the nine colors on the right side of the plate were produced by printing half-tone lines in two colors over one another on solid gold. The five pairs of colors at the bottom of the plate were produced by printing colors in half-tone lines over gold solids, and in solids over half-tone gold lines. A score or more of fine metallic colors are produced by printing one or more colors over solid gold. Some of the colors on this plate look very much like fine cloth goods with golden threads interwoven. The reason for this is because the lines in no two of the cuts run in the same direction. In the first cut they are perpendicular; in the second, horizontal; in the third they run diagonally from the right, down to the left; and in the fourth they run diagonally from the left, down to the right, so that when the four cuts are printed over one another, each color is plainly visible; especially so if the reader will examine any one of the figures on Plate 62 with a small magnifying glass. We believe that a greater number of fine effects in color printing has never been produced by six impressions.

Plate 63.—The card on this plate is a good illustration of the use of the effects shown on Plate 62. The same colors were used, printed in the order named. In this card we aimed to produce, with a few impressions, a great variety of colors arranged in harmonious groups; some of the most effective are the dull metal colors, produced by printing colors over gold bronze. For example, the reader will refer to the numbers 3, 6, 12, 9, 17, 29, and 35 in the key-form on Plate 64. 3 represents a reddish copper produced by printing red over gold. 6 represents a steel bine produced by printing blue over gold. This card is a fine example of the harmony of distant colors.

Plate 64.—This plate represents the key-form of the card on the preceding plate. It was set up altogether in type and brass