lustrations in literary and commercial
publications.

The lesser rapidity of production and the greater cost is balanced by
the quality, where this item comes into consideration; and where only
small editions are required, even the cost compares favorably with
other methods, as the initial cost of preparing the printing plate is
small compared with the cost of photogravure or the better class of
half-tone plate. It is only in cases of large editions of many
thousands that the advantage of rapid printing reduces the cost of the
initial expense. But fine art publications and illustrations will
never be used in very large quantities, and, therefore, there is a
large field for the photo-gelatine process in this country, where it
is as yet so little used. In France, Germany, and Austria there are
dozens of establishments which employ ten or more power presses for
photo-gelatine work, while here only within the last few years has the
process been sufficiently appreciated to warrant the introduction of a
few steam presses; and these have to be imported from abroad at a high
rate of duty, as the present demand for the presses does not make it
advisable for our domestic press builders to invest in their
construction, especially after an isolated attempt in that line,
misguided by inexperienced and unpractical men, which turned out to be
a total failure.

Notwithstanding all these difficulties and obstacles, it is a fact
that the photo-gelatine process has gained ground sufficiently to
indicate a prosperous future, as its products are becoming more widely
known and appreciated.

LITHOGRAPHY

By Charles Wilhelms.

As an embellishment to the modern book, chromo-lithographed
illustrations are quite popular and in some cases absolutely
necessary, being not only attractive, but conveying an accurate idea
of the color as well as the form of the object illustrated. Although
the illustration is nothing more than a colored print, it may be a
revelation to some when they learn of the numerous details incidental
to its production.

It may not be generally known, and yet of sufficient interest to the
reader to state that the art of lithography, or surface printing, was
invented accidentally. The inventor, Aloys Senefelder, had been
engaged for years endeavoring to find some process for etching copper
plates as a substitute for typographic printing plates; and the piece
of stone (of a kind now known as Solenhofen lithographic