From this last experiment I saw that something else besides the paper was in fault. In testing my correspondent's crystals of hypo with blue litmus paper, I fourd them decidedly acid. This was a new fact to me, as hitherto I have invariably found hyposulphite of soda to incline towards alkalinity. I cannot yet understand how these crystals have acquired their acid properties. They, of course, acted on the prints just as we should suppose acid hypo to act, by decomposing the hyposulphite of silver into sulphuric acid and sulphide of silver.

Apart from the properties of photographic paper, which may now, as a rule, be depended on as of at least moderately good quality, there are some chemical facts connected with the fixing solution which should not be lost sight of.

All the hyposulphites are unstable compounds and very prone to decomposition. Hyposulphite of silver is particu. larly so. Almost all the acids decompose them with facility; a fact which anyone can verify by the sense of smell alone, as they give off sulphurous fumes while undergoing decomposition.

This shows the importance of always keeping the fixing solution in a neutral or slightly alkaline condition. A few grains of carbonate of soda or ammonia dissolved in it will be found a useful adjunct, because, while exercising no bad effect on the fixing properties of the solution, it is an antidote against all tendency towards acidity.

Hyphosulphite of soda will dissolve chloride of silver to saturation without becoming acid spontaneously, the resulting compounds being hyposulphite of silver-an insoluble, white, gritty substance of extreme instability-and chloride of sodium; but it will not combine with nitrate, or any other acid salt of silver, without itself becoming acid. To prove this, try the experiment of adding a few drops of a neutral solution of nitrate of silver to a neutral solution of hy posulphite of soda. A white precipitate of hyposulphite of silver is immediately produced, which passes quickly through different stages of liver and brown colours into black. Now test the liquid with blue litmus paper; it will be found acid; and why? Simply because the hyposulphurous salt of silver has spontaneously split up into sulphide of silver and sulphuric acid. Thus AgO, SO, (hyposulphite of silver) AgS (sulphide of silver) SO, (sulphuric acid). The acetate, phosphate, sulphate, &c., of silver behave similarly, but none of the haloid silver salts exhibit any tendency to render the solution acid.

It is a fact of great practical significance to photogra phers, that when a soluble chloride, such as that of sodium or ammonium, is dissolved in the hypo fixing solution, the splitting up of the hyposulphurous silver salt into sulphuric acid and sulphide of silver, does not, or at least is much less likely to, take place. Were I asked the question why, I should say I know not, no more than I know why hyposulphite of silver formed by adding the nitrate to an alkaline hyposulphite spontaneously decomposes, while that produced by the addition of chloride of silver to a similar solution can be isolated, dried, and kept indefinitely in a dark and dry place.

Unfortunately, in our albumenised paper, we have more silver salts than the chloride. There is the indefinite albuminate, and besides that, there may be many others of unknown composition, which would probably influence the action of the fixing bath. I would therefore advise, in all circumstances of the fixation of paper prints, besides the precaution of having the bath slightly alkaline, to dissolve in it, say, about 15 grains of chloride of sodium or ammonium to each fluid ounce. Be our photographic paper ever so fine, and free from adulterations, I say it is simply impossible to fix it thoroughly in a neutral or alkaline solution of hyposulphite of soda, when an acid salt of silver has to be discharged from the picture, unless a soluble chloride be present in the solution; but even then, perfect fixation is doubtful. Had we only a haloid salt of silver, such as the chloride, iodide, or bromide, to deal with, the matter would be easy enough, because then the neutra

The

reaction

be

lity or alkalinity of the bath would be of less importance. Complete fixation would then resolve itself into a thorough after-washing. I have not made these remarks without having carefully studied, for years, the mutual action of the haloid and acid salts of silver with soluble hyposulphites. The various double salts described by Herschel, many years ago, in the Edinburgh Philosophical Journal, I am of opinion have no existence, at least as definite compounds. It appears to me to be a simple case of double decomposition, when freshly prepared chloride of silver is brought into contact with hyposulphite of soda. thus expressed in the old chemical notation: NaO, S,O, (hyposulphite of soda) + AgCl (chloride of silver) = AgO, SO, (hyposulphite of silver) + NaCl (chloride of sodium). I have in this way exhausted strong solutions of hyposulphite of soda with chloride of silver so completely that the solution could be used for salting paper for photographic work. About ten years ago I actually exhibited, at a meeting of the North London Photographic Association, several prints on paper so salted. These were quite as good as if the paper had been salted with the usual preparation.

may

Hyposulphite of soda per se is very soluble in water, but when it has combined with salts of silver, the crystals left on evaporation are much less soluble than they were before. When, for instance, a solution of hyposulphite of soda is nearly saturated-that is, atom for atom-with chloride of silver and the solution evaporated, the foundation of the crystals are square tables, above which other smaller tables range themselves symmetrically like a similarly shaped block of steps. This salt is very insoluble in water, requiring about 50 times its weight of hot, and about 200 times its weight of cold, water for solution. Pure hyposulphite of silver is not soluble in cold water, but hot water decomposes it; therefore it will be readily seen why, as is dissolved in the fixing bath, the more insoluble, and the more and more chloride, iodide, or other haloid silver salt less easily removed by water, is the hy posulphurous solution from the prints.

To summarise:-The practical bearing of these facts on the fixing of photographic images on albumenised paper are-tolerably obvious.

1st. Before fixing, wash out, as far as possible, from the paper, all salts soluble in water.

2nd. Keep the fixing bath slightly alkaline.

3rd. Dissolve in it, say, 15 grains of a soluble chloride for each ounce of solution.

4th. Do not use the same fixing bath too frequently, else an insoluble silver salt may be made in the texture of the paper, which will eventually destroy the image.

5th. Mix the fixing solution to the strength of at least 4 ounces of hyposulphite crystals to the pint of water, and immerse the prints for fifteen minutes.

When the objective is aplanatic the image can be focussed with a large diaphragm. The image is then better observed, but we must, in this case, choose for focussing a welldefined object somewhere between the fore and back-grounds, and situated at the centre of the ground glass. For the large diaphragm there is then substituted a smaller one, which extends the sharpness to a surface of the ground glass so much the greater as the diaphragm is smaller. But with non-aplanatic objectives it is necessary for exact focussing to make use of one of the smallest diaphragms. This is easily conceived, if it be recollected that any point chosen in the object to be reproduced forms the summit of the luminous bundle of which the lens is the base, and the focal plane the point where the rays meet. The diameter of the aperture of the objective has no influence on this point if the objective is aplanatic, so that, with or without diaphragms, the objective must reproduce the object with the same degree of sharpness. The employment of the diaphragm only causes the sharpness of the image to be distributed over a greater surface by increasing the depth of focus.-Monckhoven's Optics.

Transactions of Societies.

THE PHOTOGRAPHIC SOCIETY OF LONDON. 9, Conduit-street, Regent-street, W. We have just returned from this meeting with quite a gleeful sense of satisfaction. The general arrangements were by no means of the best. In the hanging of the exhibited specimens there was a display of apparent favouritism and bad taste, although less than we expected to find, together with much slovenliness in the hanging, due, perhaps, to a want of sufficient time; but, as a whole, a finer exhibition of artistic photographs we were never privileged to examine. The collection is a large one, and we trust as many of our readers as can possibly visit it during the week it is to remain open will do so, for it is an opportunity which no photographer should neglect. Admittance, as we have already stated, will be free. Some specimens by M. Adam Salomon, on the centre screen, formed the great centre of attraction. The white paper round them was very damaging to their effects. Beautiful as they were, we did not think them so fine as other specimens of this talented gentleman's work exhibited at the societies some months back. A portrait of Salomon, by Locke and Whitfield, is an excellent photograph, well posed, and forcibly "rounded out," not in the Salomon style.

Mr. Briggs, of Leamington, takes high rank as a most accomplished portraitist, and we liked some of his specimens of the Salomon school as well as Salomon's own. Mr. Hubbard exhibited some of the most artistic little pictures in the exhibition; one, a cottage interior, was full of fine pictorial qualities and broad picturesque effect. We have never seen greater artistic power displayed in a photograph. We shall have much to say about this on another occasion. The Salomon mania is evidently spreading fast, and narrow black frames, with a gold "hollow" inside, are likely to be in great demand. Intense blacks and staring whites are not, however, as one or two of the exhibitors appear to have imagined, the only things required to make a "Salomon" portrait, although we suppose some of the "hanging committee must have thought this was the case, for they have given some of the worst productions of such vulgar imitators prominent positions, and put other works conceived after the same model, but with more true and artistic taste and feeling, near the floor, and in one of the most obscure corners of the inner room. The visitor will readily discover the instances we allude to. Mr. Fry's "Salomoniac" photographs out-Salomon Salomon himself in the intensity of their blacks and the prominence of their whites. The top picture on the right is, however, a very excellent photograph, simple and effective, and less intensely hard. In the others the attempt at composition is childishly ineffective, because accessories are introduced without any purpose being apparent in their arrangement, which, we need hardly add, is not in imitation of Salomon.

Mr. Smith's decorative art examples, although not put in their place until late in the evening, proved very attractive. Mr. Bedford's specimens were certainly not the most artistic of this gentleman's landscapes, although excellent photographs. A large collection of Mr. Rejlander's beautiful photographs have been awarded a position by no means the most favourable for their examination-close to the entrance. Quiet, unobtrusive, and natural, the admirers of the intense blacks and violently contrasted whites of the Salomon school of portraiture, with its dramatic effects and sensational contrasts, will be very apt to overlook the deep thought and sweet poetical feeling of these charming pictures, and exclaim against them-as we heard many exclaim-that "they look tame and ineffective after Salomon's."

A small collection of photographs from Abyssinia, taken by the 10th Royal Engineers, display good photography and other excellent qualities; but our artistic teeth were set on edge by the miserable want of good taste exposed in the staring white labels, and the huge and very black letters-quite "poster" size -which were stuck upon these productions. As the 10th Royal Engineers can hardly be members of "the clique,' we hope this remark will not shut the doors of the exhibition against us, as denouncing a similar piece of bad taste on the part of "the clique's" optician shut the doors of the South London Society in our face.

Mr. Robert Gillo exhibited some heads showing daring effects of strong light and shade, picturesque conceptions, well wrought out, and very original. This artist's landscapes

puzzle us to decide in which branch of the art he most excels. Annan's large full-length portrait displays more real taste and feeling, more true artistic effect, than most of the Salomon imitators have evinced, although we suppose they will not believe us.

are very artistic and beautiful, and some are very weak. Some of Mr. Blanchard's portraits, in the Salomon style,

charming transcripts of living nature, in which air and light, Wardley's examples of the Taupenôt process are most and all those qualities which suggest the artist's genuine love of Nature and thorough appreciation of her beauties, appeal at once to your sympathies.

Vernon Heath's view from Drummond Castle could not be most delightful specimens of landscape photography we have surpassed for its expression of air and distance. It is one of the

ever seen.

A little picture called "Rest," by Mr. Slingsby, is very charming in its quiet simplicity and naturalness. Mr. H. P. Robinson's "Returning Home" is a beautiful photograph, full of cleverness and the most finished technical ability; but no artist critic could see it without at once detecting its tricky artificiality and untruthfulness.

and "Sunset," are the most picturesque landscapes in the exMr. Nelson K. Cherrill's cloud effects, called "Clearing up," hibition; we specially admire the former. In the latter, considering the position of the sun, the landscape has too much light. If Mr. Cherrill will, or can, take advice from one who staunchly opposes the "clique" he clings to, and tone down the landscape, giving it the obscure effect of gathering mist and darkness, he will find his sunset become much more luminous, and the sentiment or feeling of departing day will be more fully and truthfully realised.

There are some very playfully-conceived and pretty little portraits of a child in the fashionable sailor costume, which we also admired. These were by Mr. Heath. The pleasant little fiction of the costume is in perfect keeping with the funny little fiction of the ship's rigging.

It is not our intention, however, to review the exhibition on this occasion that business is to be carried out on a far more systematic and studious plan; and as all we could now say would simply embody the impressions made in the bustle of a crowded meeting, with all the genial interruptions of chatting with coming-and-going friends and acquaintances, we shall for the present conclude.*

ROM a variety of sources I have collected a dozen suojec. S for this week's jottings.

Fig. 1 is from Sir Joshua Reynolds's character portrait of the once celebrated Nelly O'Brien. An art critic, writing

A critical review of the works exhibited will be commenced in our next : and the exhibition will also be visited by Mr. R. A. Seymour, who intends to collect his next week or two's " Pencil Jottings" from the numerous exce.lent examples of posing to be found in the exhibition. Our critic, who uses the pencil, will also probably illustrate his remarks on the photographs with a

sketch or two calculated to add to the practical value of his art-criticism. -ED.

on this subject, says, "Looking at it as a mere picture, what a charming specimen of life-study it is! what a bewitching smile! what a joyous roundness in the outline of the face! what an easy nonchalant air in the pose! and then what a tale of idle luxury in the general costume, in the satin and lace in which her elegant form is enveloped! Altogether it is a study of female portraiture worthy of Titian himself." I should have given this jot before, only I had some trouble in getting a print of the picture. You may study the pose from my slight little sketch, nothing more.

Fig. 2 is from a photograph by "our" kind friend Mr. B. Wyles. It is a good pose, although not an uncommon one, but it is usually spoilt by allowing the sitter's arm to project too far over the back of the chair, so as to form a very ugly, prominent angle, and beget a want of balance in the composition.

Fig. 3 is from W. E. Frost's (A.R.A.) picture called "The Sea Cave." Sometimes-especially in picnic or outdoor groups-sitters are taken in recumbent positions, but the idea might be advantageously adopted more frequently, particularly when the figures are numerous. In most cases where it is adopted the sitters squat down without much reference to gracefulness, or to the expression of any particular action and the inartistic photographer neither suggests nor dictates any better course of proceeding. Hence we often see women sitting as if their lower halves had been let into a hole in the ground, and men huddled together like a parcel of street Arabs under a dry arch on a cold winter night. The pretty figure of Frost's sea-nymph, toying with a shell, is the kind of thing which should be sought, so far as regards pose, of course not nudity.

Fig. 4 is a jotting from a picture by Murillo, now in the Dulwich Gallery. Without affectation or artificiality, this pretty peasant girl's pose is full of graceful ease and life-like action. Fig. 5 is from a statue, "Highland Mary," by Spence.

Fig. 6 is from a painting by the eminent French master, Jean Baptiste Greuze. It struck me while sketching the pose, that it would be an excellent one, being not only very natural and pretty, but one in which the dog could not very easily move, no mean advantage from a photographic view-point.

Fig. 7 is from a drawing on wood by Mr. A. H. Wall. Fig. 8 is from a charming little photograph of a very charming little person by Mr. J. P. Gibson, of Hexham. Fig. 9 is from an excellent carte portrait by Mr. Bennett, of Sloane-square.

Fig. 10 is from a photograph by Mr. T. H. McAllan, of Hexham.

Fig. 11 is from a photograph by Mr. Archer Clarke, of Stourbridge, and

Fig. 12 is from a painting by Sir Benjamin West, P.R.A., and I give it as a good example of grouping. The arrangement of the figures is simple; they are united by the actions of speaking and listening, and the general composition is compact and good. It is a phototyre

Fig 3

UNCOVERING THE LENS.

BY EDWARD B. FENNESSY.

PROMINENT amongst the causes which produce bad portraits is the usual objectionable manner of uncapping the lens, and I have contrived the arrangement shown below in the hope that this or some other efficient design may be adopted for opening and shutting the lens quickly, noiselessly, and unperceived by the sitter; thus in some measure insuring better work, for if the chemicals are sufficiently pure, as they may easily be, then, with a short exposure, a soft, pleasing, characteristic, natural expression may, if expressed, be caught and secured, and those stiff, staring, graceless, unsentimental cartes become curiosities of the memento mori kind. From the acknowledged instability of silver-printed portraits, we may receive a lesson on the mutability of all earthly beauty, and their usual soulless, rigid, expressionless appearance is a melancholy remembrancer of the cheerless, cold, undignified, meaningless, ghastly semblance which our corpse may present. I intended saying more on this subject, but on turning to page 468 of THE ILLUSTRATED PHOTOGRAPHER, I find an article on this subject which advocates, in a manner more practical and eloquent than I could describe it, the necessities of portraiture, and I recommend it to the attention of the reader.

S shows a stud or handle projecting through the side of the camera, and fixed into the arm of which is the lever, L, or, more simply, the wire which forms the arm is bent,

so as to form this lever. This is connected with two wires, NN, communicating with the shutters, A A, so that a short turn of the stud, S, immediately opens or shuts those doors. The box, B, into which the shutters are hinged, is made just long enough for the motion of the lens-tube, T.

I would recommend to the notice of operators a small convex mirror and stand, sold by Mr. Solomons, of Red Lion-square, and, probably, by other opticians. This is intended to be placed behind the camera, so that the artist may tell by looking at the reflection of his subject in it the best expression and time to expose; his back being towards the sitter, timidity and nervousness will be happily lessened. Let me also wain the reader against the use of headrests-the very name is a misnomer-a contradiction. Did you ever feel your head at rest when embraced in one of them? At least, I regard them as indicative of bad light, bad chemicals, bad lenses, bad artists; a gibbet to scare me away; a sign to show me where dead photographs are manufactured. Let others record their experience, but I lately saw a group, in which the standing figures had been tortured with the rest, and they looked like a batch of genteel pickpockets dolefully awaiting sentence in the dock. One gentleman, whom sprightly conviviality calls a "jolly dog," lcoked miserably like a trapped rat.

MR. QUICK'S CONTRIVANCE FOR SENSITISING THE CARBON TISSUE.

C

has a contrivance for sensitising the tissue, which will be MR. QUICK, who has made some very beautiful carbon prints, readily understood by examining the appended diagram. Instead of a dish he uses the light frame, A A, which is rabbeted inside, about half-way down, the rabbet fitting an ordinary-sized sheet of tissue. The tissue is laid in the rabbet, face up,

and forms the bottom of a shallow tray, as it were, in comthe rabbet. The inside of the frame, B, is bevelled, C, outbination with a second frame, B, fitted over the sheet into wards all around from the top to the lower edge, in order to hold the solution; and it is also supplied with a lip at one corner, by means of which the solution may be poured off. This frame, B, not only serves to form a tray to hold the solution, but fitting, as it does, the rabbet in the frame, A A, presses down upon, and holds in place, the sheet of tissue, stretching it out straight and even.

These frames may be made of walnut, or other hard wood, and should be varnished with shellac varnish or paraffin. Mr. Waldack writes:-" Those I use I dipped in hot paraffin, and trate well into the wood." When in use, the dish is held in an left them in about a minute, so as to allow the paraffin to peneinclined position, the bichromate solution poured in at the lower part, and, by tilting, it is made to flow over the whole sheet of tissue. The great advantages of this method are obvious. prevents the irregular drying of the solution on the back of the paper, and, leaving the ends quite dry, allows it to be hung up by means of clips, or pins, without sticking to them or the fingers.

It

A similar frame is used to coat the sheets of white paper with the caoutchouc solution, or hydrocarbon varnish, as it is called in commerce. This frame, however, need not be coated with paraffin.

We are certainly greatly indebted to Mr. Quick for this contrivance. It works like a charm, and is eminently preferable to the old plan.-Philadelphia Photographer.

THE ASSOCIATED ARTS INSTITUTE.

BY G. H.

WE are not about to make any odious comparisons, but we think the managers of our photographic societies might advantageously take a lesson from the book of the officers managing the above society; and to give them every facility for so doing we append the following facts:

The Associated Arts Institute originated in the ateliers of some students of the Royal Academy. In the very earliest stages of its existence it was representative of the associated arts. The sculptor, the painter, the architect, the engraver, the photographer, and the designer, were each represented in the person of one member at least. These gentlemen-feeling the wholesome good to be derived from their debates, the new ideas originated by the variety of new points from which the subjects discussed were viewed, and the pleasure derived from their intercourse and consequent friendships formed with fellow-students-were enthusiastic promoters of the idea, their attendance was regular, their interest unflagging, and they took up the good work with real earnestness and energy. Nothing but the success they have achieved could be expected to follow such a course. They then numbered about fourteen members, they are now between one and two hundred, with new adherents springing up at every meeting. Their transactions and papers are for the future to be printed and distributed amongst the members gratuitously, a conversazione of high-class character, with, usually, a valuablefineart collection representative of the associated arts, and a good concert of choice vocal and instrumental music, refreshments, &c., to which several hundreds of visitors, ladies and gentlemen, the press included, are regularly invited, is given twice in each session; the meetings are

held, not monthly but fortnightly; and prize sketches-a sketching club forming another of its features-are photographed. All these advantages the members obtain, yet the subscription is but half that of the Photographic Society.

But the committee meet regularly and work. The governing body is not a mere clique of selfish men usurping power to serve their own paltry purposes, or a mere myth existing on paper only, but a living, active, compact, genial-hearted body, influenced by a real love of art, and a strong desire for its advancement, and aiming, individually or collectively, at no other end. It is genuine honour to read a paper before such a society, because no papers are read without the sanction of the committee, and the most eminent artists do not consider it beneath their dignity, or injurious to their self-respect, to join it as members, attend its meetings, or take prominent parts in the business There are some other features to which we wish specially to call attention. A programme for each session is got up in advance. Once a month a paper is read, and once a month some controversial subjects are introduced for discussion, for which speakers on the negative and affirmative side are chosen to open and reply, the said speakers being selected from their having previously evinced interest in the particular subject chosen for debate. We think this a much better plan than that of "The Question-box," recently adopted at some of our photographic societies, because the question is not a mere hap-hazard affair, but one which has been duly selected with due regard to the possibility of its being well and ably discussed. Moreover, the gentlemen entrusted with the negative and affirmative leaderships are found to be very active in beating up for followers and supporters, so that the evening of a debate becomes quite a sensational affair, and generally draws a large attendance. The programme for the session 1868-9 we append in illustration of our remarks:

MEETINGS.

1868October 31st-Opening Meeting and Conversazione. Address by the President, Richard Westmacott, Esq., R.A., F.R.S. November 14th-Paper by R. H. Soden Smith, Esq., M.A., F.S.A., on Some phases of Ornamental Art considered in relation to Ethnology." November 28th-Exhibition of Sketches-Subjects, "The Tempest," Act I., and "A Meeting." Discussion-Question, "Does the Literature of a Nation, to any great extent, influence its Art?"

December 12th-Paper by Richard Redgrave, Esq., R.A., on "Treatment of Subject in Pictorial Art.”

1869

vation of Artistic Feeling."

January 9th-Paper by H. Ellis Wooldridge, Esq., on "The CultiJanuary 23rd-Exhibition of Sketches-Subjects, "The Tempest," Act II., and "Lost." Discussion-Question, "Does General Mental Training tend to develop February 6th-Paper by Robert Bateman, Esq., on "The Beautiful."

Art Power?"

February 20th-Conversazione. March 6th-Paper by Solomon A. Hart, Esq., R.A., on "Criticism."

March 20th-Exhibition of Sketches-Subjects, "The Tempest," Act III., and "Found." Discussion-Question, "Has the Street Architecture of London derived

benefit from the introduction of Coloured Material?"

April 3rd-Paper by W. Cave Thomas, Esq., on "Metronomy, or the Laws of Proportion."

April 17th-Exhibition of Sketches-Subjects, "The Tempest," Act IV., and "Desolation." DiscussionQuestion, "Is Competition a desirable feature in Art Training?"

The society consists of members and honorary members, no one being eligible for membership who is not professionally engaged in the fine arts. Amongst the members there are at present only four photographers, viz., Messrs. Blanchard, Gauntlett, Holyoake, and Rejlander, but there are many others who, as painters, architects, and sculptors, are also photographers.

We regret to find that in our report of the opening meeting of the present session we accidentally omitted mentioning several photographic contributions to the collection, of very high merit. Amongst them a collection of very beautiful portrait photographs from touched negatives by Mr. J. C. Leake, which were very highly spoken of by eminent artists present, and elicited expressions of wonder and commendation from all who examined them. These honestly pretended to be what they are, viz., prints from touched negatives; there was no attempt to conceal this fact by so working on the negative as to destroy the effect of the touches, and we think this the better plan, because, while softness and perfect modelling are thereby secured, the character of flesh is not destroyed, and converted into the wax-like or marble-like effect otherwise obtained when the texture of flesh is lost in the too great smoothness and polish which are the faults of Adam Salomon's otherwise exquisitely beautiful and perfect portrait photographs.

Before closing this article we would strongly advise such of our readers as can attend, to hear Mr. Soden Smith's paper to-morrow evening. Mr. A. H. Wall, one of the early and most active members of this society, and now one of its vice-presidents, will, we are authorised to state, be happy to introduce any gentleman who may visit the society; or the secretary will forward admission cards on receipt of a stamped and addressed envelope, which should be sent to Mr. Scarlet F. Potter, 12A, Grove-place, St. John's-wood.

W. M. KOHL'S NEW STEREOSCOPE. (From the "Philadelphia Photographer.") THE objections to the arrangement of ordinary stereoscopes are, that the machinery is very apt to get out of order, the lenses are fixed and cannot be changed to suit the eyes of different parties, and the number of slides which can be used in it is limited. The greatest of these objections is, that the combined focal and angular relation of the lenses is impossible. The distance between the eyes of persons varies very much, and pictures vary in width. For these reasons many fine views are pronounced imperfect by some, while considered superior by others. Until we can get the photographers of the country and the world to adopt some regulation size for cutting out their prints, and get all the eyes alike, in order to make everybody enjoy every good picture, we must have some plan of overcoming the objection alluded to. This is elegantly done by the ingenious arrangement of the new instrument we are about to describe, which is the invention of one of our subscribers, Mr. W. M. Kohl, of Cincinnati, Ohio.

It consists of a quadrilateral box, with lids lined with silver ́ leaf, in outward appearance, at first sight, the same as the ordinary revolving instrument. Underneath the lids is fitted a and adds much to the enjoyment of the pictures. Instead of the cover of ground glass, which mellows and distributes the light, revolving arrangement, the slides are put, back to back, in a series of frames made to hold them, and placed in a tin box holding thirty-six slides. This tin box is made to slide back and forth on a wire track inside the stereoscope box, by means of an ingenious arrangement which we will try to describe. Over the tin box is placed a diaphragm. By raising the knobs at the sides of the box, which are connected with a shaft inside, one of the slides is raised from the tin box up into the dia

sance Influence as traced in the Elizabethan Dramatists."

May 15th-Exhibition of Sketches-Subjects, "The Tempest," Act V., and Too Late." Discussion-Question, "Was the Renaissance Movement productive of any real benefit to Art?"

May 29th-Paper by Lemon H. Michael, Esq.. on "True Nobleness in Art," and Annual Meeting.

the slide in the diaphragm, replaces it in the tin box, moves the box towards the lenses, and puts another slide in position to be views are inspected, back and forth. The tin box is now raised to the diaphragm as before, and so on until all the removed and another one substituted, and the views examined, and so on, ad infinitum, making one stereoscope answer for any number of views, it only being necessary to have enough of the tin boxes of frames. But the most useful