LANDSCAPE PAINTING
nating of the three is also technically considered the most dangerous. It has, indeed, so many drawbacks on the material side that only the most thoroughly trained technician is able to avoid them all, and thus assure to his picture the permanence which is a first essential in any work of art. To begin with, it is the most fragile of materials. If a fixative is used it must be applied with a sure knowledge of the results to be obtained; for any carelessness or ignorance of manipulation during this delicate process will result in a certain loss of the surface bloom—the quality which more than anything else gives to pastels their exquisite charm. This statement applies more particularly to the painting in which the pastel is applied as a heavy coat over the whole surface of the canvas, and in which, therefore, fixing is an absolute necessity. When the pastel is used meagrely, and the sur-
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