CHM/MO-LITHOGRAPHY.
We remember to have expressed a very modest estimate of the capa- cities of the chromo-lithographic process as included in the term "print- ing in colours," when we gave a summary of a recent lecture at the So- ciety of Arta. But finality is a humbug, and we do not hesitate to con- fess that our views on the subject are developing themselves with the ad- vance of the art. Messrs. Day and Sons are at present engaged in the production of a coloured fac-aimile from Turner's picture of "The Blue Lights," painted some dozen years ago,—a work in his most glorious style, when the intense conception of generalization and characterizing idealism had not merged into trackless singularity. The print, 22 inches by 30 in size, is designed by Mr. Robert Carrick : it -reproduces, in a really surprising manner, the gorgeous colours, dashing rolling surf, and grand atmospheric effect of the original. Some (we think necessary) increase of definitiveness is perceptible ; but the Turneresque look remains complete. Indeed, prolonged inspection is requisite to convince the gazer that he has not before him a highly-worked water-colour design of the great painter. We understand, too, that the effect of similarity is to be still further increased, before the print is made public, by the removal of some lines of too decided and wiry a black,—almost the only indication, as it is, that this is other than authentic brush-work. The disuse of a primary black outline has contributed greatly to the rapidly improving excellence of the process.
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