uch the same may be said of the prints toned by this bath as of those
toned by No. 7. The color is not very good, nor is the toning quite even.
This last remark applies to No. 7 batch as well as No. 8.

9.--Gold chloride...................... 1 gr.
Phosphate of soda.................. 20 gr.
Water.............................. 2 oz.

The results of this bath can best be described as purplish in color. They
are decidedly more pleasing than those of 7 or 8, but are not as good as
the best by the sulphocyanide bath.

10.--Gold chloride..................... 1 gr.
Hyposulphite of soda.............. 1/2 oz.
Water............................. 2 oz.

The result of this bath is a brilliant brown color, what might indeed,
perhaps, be best described as a red. Two out of the three prints are much
too dark, indicating, perhaps, that this toning bath did not have any
tendency to reduce the intensity of the image.

The general lesson taught by Clark's experiments is that the sulphocyanide
bath gives better results than any other. A certain proportion of the
ingredients--namely, that of bath No. 3--gives better results than any
other proportions tried, and about as good as any that could be hoped for.
Any of the ordinary alkaline toning baths may be used, but they all give
results inferior to those got by the sulphocyanide bath. The best of the
ordinary baths is, however, the phosphate of soda.

And now a word as to those parts of the prints which have been treated with
bichloride of mercury. The thing that strikes us as remarkable in
connection with them is that in them the image has scarcely suffered any
reduction of intensity at all. In most cases there has been a disagreeable
change of color, but it is almost entirely confined to the whites and
lighter tints, which are turned to a more or less dirty yellow. Even in the
case of the prints toned by bath No. 10, where the image is quite red, it
has suffered no appreciable reduction of intensity.

This would indicate that an unusually large proportion of the toned image
consists of gold, and this idea is confirmed by the fact that to tone a
sheet of gelatino-chloro-citrate paper requires several times as much gold
as to tone a sheet of albumenized paper. Indeed, we believe that, with the
emulsion paper, it is possible to replace the whole of the silver of the
image with gold, thereby producing a permanent print. We have already said
that the print may be le