lmost equal to an opal. To make sure of the picture adhering
to the glass, however, and at the same time to give greater brilliancy,
it is better to flow the glass with a 10 or 15 grain solution of clear
gelatine before squeezing it down. The one fault or shortcoming of the
plain argentic paper is the dullness of the surface when dry, and this
certainly makes it unsuitable for small work, such as the rapid
production of cartes or proofs from negatives wanted in a hurry; the
tone of an argentic print is also spoken of sometimes as being
objectionable; but my impression is, that it is not so much the tone as
the want of brilliancy that is the fault there, and if once the public
were accustomed to the tones of argentine paper, they might possibly
like them twice as well as the purples and browns with which they are
familiar, provided they had the depth and gloss of a silver print; and
some time ago, acting on a suggestion made by the editor of the
_Photographic News_, I set about trying to produce this result by
enameling the paper with a barium emulsion previous to coating it with
the gelatinous bromide of silver. My experiments were successful, and we
now prepare an enamel argentic paper on which the prints stand out with
brilliancy equal to those on albumenized paper. I here show you
specimens of boudoirs and panels--pictures enlarged from
C.D.V.--negatives on this enamel argentic.

[Mr. Goodall then passed round several enlargements from landscape and
portrait negatives, which it would have been difficult to distinguish
from prints on double albumenized paper.]

I have already spoken of the great ease and facility with which an
argentic enlargement may be made as compared with a collodion transfer,
for instance; but there is another and more important point to be
considered between the two, and that is, their durability and
permanence. Now with regard to a collodion transfer, unless most
particular care be taken in the washing of it (and those who have made
them will well know what a delicate, not to say difficult, job it is to
get them thoroughly freed from the hypo, and at the same time preserve
the film intact), there is no permanence in a collodion transfer, and
that practically in nine cases out of ten they have the elements of
decay in them from the first day of their existence. I know, at least in
Glasgow, where an enormous business has been done within the last few
years by certain firms in the club picture tr