The Engineer says:-A dry tannin plate, containing no free nitrate of silver, may have one half its surface exposed for a few seconds to diffused daylight. It is then washed in water, and the alkaline developer, which has a weak tendency to separate iodine from silver, is applied. the attraction of the silver the developer will absorb the iodine, Where the light has acted and forced the iodine further from leaving the dark silver, and the other part of the plate will remain unaltered. This fact may be used as a lecture experiment by letting light fall upon the plate, and showing the effect upon a screen by means of the electric or oxyhydrogen microscope. Provincial Gossip. EDINBURGH. BY SEL D'OR. THE Edinburgh Photographic Society, since I last wrote you, has held another of its grand seances, which was largely attended by the citizens, as well as by those who are more deeply interested in the art, both practically and as amateurs. The subjects for review were a series of transparencies, prepared for the occasion by Mr. George Washington Wilson, of Aberdeen, whose works, so well known, are now scattered broadcast over the whole world. They consisted of a series of views of the finest English cathedrals, exteriors and interiors; and a number of instantaneous views of water and shipping on the Thames, and other parts of the country; with a few of those magnificent land, water, and cloud-scapes, if such a term may be used, to which Turner, with all his genius and ability, never could approximate. Any artist of Turner's abilities, attempting such a picture as that reflected on the screen by Wilson's transparency, would have given only a fragment here, and a scrap there, of nature, mixed up with much of the imaginative which never had real existence, whereas Wilson's is a happy illustration of the grand old quotation," Speak every man truth to his neighbour." To be understood and appreciated they must be seen, as no description will suffice to convey to the minds of others such extreme magnificence and beauty, which consists in their perfect accuracy and truthfulness to nature, effected by pure photography. The cloud and water subjects, as they were pushed into the lantern and refracted on the screen, elicited repeated bursts of applause from the audience, not awarded to the ability of the lecturer, John Nicoll, Esq., although than whom there is none more competent; for he confessed himself quite overawed by his subject, and stated that the less the audience heard from him the better, the views being thoroughly competent to speak, in the language of silence, for themselves. The evening's amusement concluded by two views of Edinburgh- the Castle, from the Grassmarket, and the east end of Princes-street, from the Mound, embracing in the distance the Calton-hill, with its various monuments, and in the foreground numerous pedestrians, wheeled carriages, rapidly whirling along, omnibusses, carts, and other etceteras which are at all times to be seen in that busy popular place, which is the chief street of "mine own romantic town," at mid-day. The gentleman who moved a vote of thanks to Mr. Wilson for the even ing's entertainment, remarked that he had frequently heard photography abused as being merely mechanical, and that by those professing to be artists, and wondered when, if ever, it would approach art; but he begged to invert the query, and wondered when art would come up to such examples of photography as they had been privileged to gaze upon, which the eye never wearied of looking at, but rested, feasted, and was refreshed without satiety. I observe a correspondent, in a contemporary's last issue, bitterly complaining that the Edinburgh Photographic Society had the audacity to examine, and publicly report on, a picture which was their own property, purchased at the sum of two guineas, and produced by M. A. Salomon, who had a prize conferred upon him by the adjudicators of the French Exhibition, for the most excellent photographs exhibited there. This writer, "Non-Envious," avers, now that the fact is found out, and demonstrated beyond doubt, that M. Salomon never asserted that his portraits were untouched. But it was for untouched portraits that he took the medal, and was quite willing to take the credit too, • Artists will smile at our correspondent's enthusiasm, which surely carries him just a leetle too far.--ED. I. P. as long as it was possible for him to do so. We are quite ready to admit that M. Salomon is a perfect adept at accessories and addenda, and an excellent artist to boot; but in his works it is art, aud not photography, that we admire, although M. Salomon gave himself out as a photographer, and not an artist, at the French Exhibition. Non-Envious" need not feel so sore abcut his friend M. Salomon having been taken to task about this; he is not the first and only man so treated; truth can never take injury by examination, and it is only quacks that need to fear the switch of investigating committees. Photography is a sworn witness, and will not be suborned by any man, or for any man. It speaks the truth, the whole truth, and nothing but the truth, and will not take a bribe to serve an Emperor. The Edinburgh Photographic Society were perfectly entitled to make the investigation at their own expense. If pictures are exposed for sale, the purchaser is surely entitled by their being put into a cold bath, who has a right to veto it? Certainly not the producer of the article; and if he is fastidious about character, then he is concerned to see that the base of it is truth and not fiction. I might have gone much further in this matter, but I assume I send as much as you have room for. to use them as he thinks best. And if truth is to be served MANCHESTER. BY A. BROTHERS, F.R.A.8. WE hear a great deal about the bath solution, used in preparing plates for the wet collodion process, getting out of order, and all sorts of dodges are proposed for setting it right again; but did it ever occur to any of your readers that one means always employed-that is, filtering-may be one of the causes of failure. It may interest some of your subscribers if I call their attention to a few facts which have recently come under my own observation. For some time past I have noticed that my bath solutions got out of order much more frequently than usual, and it appeared to make very little difference whether the bath were old or new, and as every lot of solution used got into the same state, it occurred to me that there must be some reason, other than the ordinary use of the bath, to account for the annoyance of its constantly disordered condition. The bath I use is made of glass, cast in one piece, and holds about 100 ounces; and as three times that quantity of solution had been used, and required to be rectified or thrown down, it became a matter of some importance to find out the cause of our failures. In About eight years ago I remembered that a bath-which had worked very well indeed until it required filtering— suddenly got out of order, and as I was at that time using fuzed nitrate of silver, I thought it possible that nitrate of silver might have been added to the bath; but it turned out that some new filtering paper had been used, and the cause of the fogging was clearly traced to the paper. the present instance also, a new kind of filtering paper was used; it looks harmless enough, and perhaps, from its appearance, would be selected in preference to the darkerlooking sample. I send you picces of both kinds, to enable you to test them in the way I now suggest. If you take a piece of the white paper, and place it in a weak solution of permanganate of potash, you will find that in a few minutes the pink colour will disappear, proving the presence of some deleterious substance in the paper, probably hyposulphite of soda. On treating a portion of the other kind in the same way, you will not find any change take place in the solution of permanganate of potash. That the annoyance complained of arose from the use of the very innocent-looking paper, is proved by the fact that, now that we have discarded its use, the silver solutions work all right. There are few cities or towns where water so pure as that supplied to Manchester can be obtained. It was at one time thought to be absolutely necessary to use distilled water for all photographic purposes, and for some years laboured under that delusion; but I found that the Manchester water is better than most of the water sold as distilled. The so-called distilled water deserves the name in one sense, but most of it is nothing more than condensed steam from steam-engines. When nitrate of silver is added to the Manchester water, there is very little milkiness, and a bath made with it only requires filtering through good paper to be at once fit for use. A friend of mine occasionally requires distilled water for the purpose of using with nitrate of silver, for silvering a glass speculum, and he sometimes fails, entirely through the difficulty as to the water. The recent prosecutions for copying engravings appear to have very little effect in checking the sale of such photographs. I have recently seen copies of two engravings which were sold in Manchester for a few shillings. They are far from being first-class copies, and I consider them dear at the price at which they were sold-about four shillings each, I believe. Surely if the publishers of the prints were to issue really good copies, of the same size, at about ten shillings and sixpence each, neatly mounted, they would have a large sale, without injury to the sale of the original engravings, and would ultimately exclude the pirated copies from the market. I cannot understand why the exquisite copies from the old masters, by Braun, have been so long finding their way into the market. I saw a collection of about 300 of them nearly twelve months since. A FEW JOTTINGS.-I. BY J. C. LEAKE. THE fine weather giving such promise of a brilliant season, has, of course, led photographers to inquire as to the best means of partially excluding their greatest friend and worse enemy, sunlight, from the top of their glass-rooms. Various methods have been suggested; most of them being the stippling of the glass with various substances, such as paint, starch, salts, &c. Before adopting any of these methods, photographers should well consider them, or they will often exclude far too much light. For instance, if oil be used in the paint it will soon become yellow, as oil (raw linseed) will form a yellow skin, when combined with "dryers" and lead, in a few days. Should paint, therefore, be used, it should be made of dry white lead and turpentine only, with, possibly, a trace of some transparent blue, as Prussian blue. In using salts, such as Epsom salts, which produce a very pretty effect by crystallisation, it would be well to test the effect, square by square, as I think it is quite possible that they may really shut out a great deal of the actinic power, without excluding much glare of light. This is only a surmise; but it is worth an experiment or two to determine. Starch should not be used in London, as in a couple of days the glass becomes coated with a film of smoke quite thick enough to double the time of exposure; and any attempt to remove this will, of course, remove starch and all. This remark applies also to salts, or any material dissolved in water. The film of smoke is very hard to remove, and glass cannot be cleaned without warm water and good rubbing. I think that it is far better to use curtains of some light material, which can be removed and washed weekly. When these are used, we can adjust them as may be required, and, if we wish, remove them at a moment's notice-an advantage in our changeable climate, when the light is so constantly varying. Besides, this direct sunlight is sometimes required for copying, &c., and here a permanent coating on the glass would be a positive disadvantage. If a permanent coating be used, paint is the best, as it can, with care, be washed to remove the smoke and dirt. (See reply to correspondent at page 64). Dr. Hofmann announces the discovery of a new acid which bears the same relation to naphthaline that acetic acid bears to marsh gas. The weather during last week, although occasionally interrupted with showers, was generally fine, and, as will be seen by the above data, towards the latter end the temperature became more seasonable, and the barometer showed a gradual increase of pressure; the wind gradually veered from S.W., through W., to N., with comparatively a small amount of moisture present in the air. These facts, looked at collectively, are very reassuring, and although the weather for some time past has been somewhat unsettled, yet there is not much doubt about the next week being brighter and finer than has been experienced of late. Should, however, the wind be noticed to have a tendency to reassume its southerly or south-westerly position, and the temperature to increase, then rain will probably follow; but this looks at present an unlikely event to occur. Questions and Suggestions. (We are not always responsible for the opinions of our correspondents. - ED.) MARKINGS IN THE COLLODION FILM. I met with a rather curious cause of markings in SIR, the collodion film the other day, viz., the mode of washing. machine, if fixed on my tap, would be useful in spreading the I took a fancy that the rose-mouth of a garden watering Now, I happen to have a habit of setting my plate on a stand to water in nice sharp jets. I accordingly had one soldered on. wash, after giving it a round or two, while I prepare another plate, after which I return and intensify my plate, after giving it a few turns again under the tap, to insure thorough washing. Well, just fancy my astonishment, on finding my first, and many subsequent plates, all dotted over with semi-transparent spots of, say to inch diameter. After having tried a good many plans to discover the source of these new and strange enemies, I found at last that when I fixed without intensifying, my plates were quite clean. I then thought of my new acquaintance the rose-tap, and had it removed instantly. Then everything found that the spots corresponded exactly with the jets coming went well again. On examining the subject more minutely, I from the rose-tap. I do not write this on the supposition that it is of any great importance to your readers in general, but simply as suggestive, and as the mite of one much interested in the study of photographic pests.—Yours truly, J. C. [The same curious phenomenon was observed in the dark room of the Wortlytype Company exactly under the same circumstances. Perhaps Mr. Collings will kindly oblige us with some information on this subject?-ED.] HOW LONG MAY WET PLATES BE KEPT BEFORE DEVELOPMENT? MR. WALL respectfully asks our readers for a few opinions as to how long wet plates may be kept before development? Those whose practical experience has been of a very limited character, and that chiefly confined to portraiture, may have considered such an exposure as Mr. Warner is described as giving at page 65, viz., 90 minutes, as a mistake by the writer or printer, especially, if they happen to be altogether inex perienced in photographing by the wet process from foliage in shade. The editor of a contemporary, for instance, says, in his replies to correspondents (March 20th), "The exposure of 90 minutes with a wet plate, in landscape photography, to which you refer is, of course, absurd; the statement is doubtless an error of the writer, who has a very imperfect knowledge of such matters." [This amiable attempt to throw public discredit upon Mr. Wall as a writer, or upon Mr. Warner's truthfulness, we shall not stoop to notice; but as the above question is in itself an interesting one, and has not yet been fully considered, a comparison of varied experiences in this direction might prove both useful and interesting. Will Mr. Warner favour us with his opinion, and with some account of the circumstances under which the exposure in question was given ?-ED.] 66 STOP THIEF!" G. RICHMOND writes to suggest the advisability of people who own portable property of great value having it) photographed, so as to assist in its recovery in case of loss, and thinks any enterprising professional photographers who made this a feature of their business, and duly advertised it in the public papers, would meet with a very large share of patronage, especially if the operation were not rendered too costly. PHOTOGRAPHING COLOURS. A. B. asks Mr. Cave Thomas, if we "have the honour of numbering that talented artist amongst our readers," if he can clearly demonstrate his statement that colour exists only in connection with vision, because, "if this can be proved, there is at once an end of all probabilities of any mode of producing photography in natural colours ever being discovered." Bits of Chat. On the occasion of the visit of the Prince of Wales to Dunrobin Castle, along with other tramps and hunters after office appeared three photographers, anxiously competing for the honour of handing down to posterity some memento of that "ever-to-be-remembered occasion." With a right royal patience, the whole party submitted to be photographed in no end of positions, groups, &c., the three photographers being tried in turn, and found themselves successful, or unsuccessful rather, for, after eight or ten days' dabbling, all that could he produced were a few quarter-plates of more than doubtful quality. Be that as it may, one day the Prince shot a stag, which was photographed by one of the three, who, after he went home, was asked by a friend how he succeeded with it. He replied, " Ou man, I wad hae gotten on verra weel gin it hadna been for a fallow they ca' Landseer, that some o' them pat to help me. He made a clean mess o't." On his friend informing him that Landseer was one of the greatest living artists, he replied, " Ou man, I didna ken he was i' the line! De mortuis nil nisi bonum is an excellent motto, as a rule, but when an injudicious son of the mortuus claims for the latter a credit which is due to another, then these considerations must be laid aside. Who designed the " Westminster Palace" throne? Mr. Barry says it was his father, the late Sir Charles Barry; Mr. Herbert says it was Mr. Pugin. The question has been decided by a photograph from the original design, in which the initials A. W. P. can be read with a magnifying glass. M. Victor Fouqué has just published a valuable and interesting historical work on the invention of photography, in which he claims the honour of the invention for Nicéphore Niépce, giving facts to show that twenty years before the invention of the Daguerrotpye was made known, Niépce succeeded in obtaining images by the camera-obscura, and rendering them permanent. We have received for review from Mr. B. Woodcroft, of the Patent Office, a volume which he has compiled, entitled "Abridgments of Specifications relating to Photography, Part II., A.D.1860-1865." Printed by order of the Commissioners of Patents. The work consists of about 150 pages, crown octavo. It is one which should be in the hands of every photographer of an experimental and inventive turn of mind. He will find in it a regret is that it is not brought forward to the present time. mine of useful suggestions and valuable instruction. The only 25 Southampton-buildings, Holborn. The price is twenty-pence. It is published at the Patent Office, The specifications in cluded relate to the processes of photography, the chemical, optical, and mechanical apparatus used in the art, the various applications of photography, the camera obscura, and the stereoscope. PREPARATIONS FOR THE SOLAR ECLIPSE. MAJOR TENNANT and three non-commissioned officers of the Royal Engineers have spent some days at the observatory of Mr. Warren De La Rue, at Cranford, practising to perfect themselves in astronomical photography, before they attempt the work before them in connection with the total eclipse of the sun, next August, in India, which the Indian Government desire to record, and to which we have already called attention. The telescope to be employed upon the occasion, now in course of construction by Mr. Browning, F.R.A.S., is almost an exact copy of the one used at Cranford by Mr. Warren De La Rue. The silvered glass mirror is 5ft. 9in. in focus. The image of the sun will be thrown out at the side of the tube, because of the interposition of a plane mirror, as in the Newtonian telescope, and will be a little more than 1 inch in diameter. This gives an enormous concentration of light, but when the pictures are taken, the dark body of the moon will obscure all but the prominences upon the sun, thereby reducing the over-action which might otherwise be expected. The process to be adopted is that used by Mr. De La Rue. The collodion will be salted with iodine of cadmium only, excited in a 30gr. or 35gr. bath, developed with pyrogallic and acetic acids, and fixed with hyposulphite of soda. The totality will last nearly five minutes, in which time it is expected that six negatives may be obtained. Each plate will be enclosed in a metallic dark slide, and rest against ledges of chemically pure silver, to give security against stains. Micrometer wires and other devices will be adopted to secure the accurate “regis-lively competition, and was finally secured by the Government ter" of each plate, and to make the pictures comparable one with the other in the matter of measurements. No attempt will be made to magnify the image of the sun by the interposition of lenses between the mirror and the photographic plate, because this plan would diminish the intensity of the light, lengthen the exposures, and interpose possible sources of imperfection in the focussing. The instruments will be set up at Guntoor or Masulipatam. Thus, with the party under Lieut. Herschel, there will be two bodies of trained observers on watch for phenomena. The more the better; and it would be a great advantage to science if, along the whole line of the eclipse, from Gondar to the New Hebrides, where the totality begins at sunset, parties were stationed to observe the eclipse hour by hour, from its commencement to its close. Such a series of observations would perhaps settle, once for all, the question as to the real nature of the red protuberances seen around the sun. The following extract from the Chronique des Arts, illustrates the absurdities into which over-enthusiastic virtuosi may sometimes be led :-"In 1864 M. de Nolivos, a French art collector, bought at Florence a bust of Girolamo Benivieni, the friend of Pico della Mirandola and Savonarola. It was exhibited in the following year in Paris, where it was pronounced by connoisseurs to be the work of either Mino da Fiesole or Benedetto da Majano (1490-1510). M. de Nolivos' collection was sold by auction in Paris last year, when the bust excited a at a large price for the Louvre. It now appears that the bust was the work of a living artist, Giovanni Freppa, residing at Florence. This statement is supported by certificates from Freppa himself, from a sculptor of Florence who saw him model the bust, and from a workman in a tobacco manufactory, who declares the bust to be an excellent likeness of a comrade who sat to the sculptor as his model." The most amusing part of the affair is that the Gazette des Beaux Arts, to which the Chronique is a sort of appendix, itself published an article on this bust in 1865, speaking in enthusiastic terms of its merits, and indulging in much fanciful speculation as to its author. M. Paul Mantz, the writer of this article, sees in the likeness of the cigar-maker that of " a person who has grown old through much study and sweet intimacy with the Muses," and adds that, although he could never have known Benivieni, he is ready to swear that the bust is like him." We have received from Mr. Tully, of Glastonbury, a bottle containing a preparation, to add as a restrainer to the developer instead of acetic, citric, formic, or other acid. We need only say, after giving his preparation a fair trial, that it answers the purpose admirably, and gives quite sufficient intensity of negative by the first application of the iron solution indeed too much, if the development is not carefully watched. An excessively small quantity added to the plain iron solution answers the purpose. M. Braun, of Dornach, in a letter to the Philadelphia Photographer, says: "I use steam for several purposes in making carbon prints. 1st. To drive a large fan revolving twelve hundred times a minute, for dissipating the emanations of the transferring solution and varnishes used. 2nd. For keeping in motion fourteen steel-mills, used to reduce the colours to impalpable powder. 3rd. To give power to a machine used for sensitising the tissue. 4th. To work the cylinders or rollers needed for transferring the prints, or rather for rolling them previous to the transfer. These four machines, although they do not require much motive power, nevertheless require a six-horse power engine to drive them. Then, I have steamtanks for washing the prints in water, heated by steam-pipes; plates to gelatinise the prints, other plates adhering to recipients which serve to prepare the colours, and machines to cook the gelatine and cut the paper. All these, with the mounting of the prints, give employment to forty persons, and require a great deal of room. Then, I have several photographers to make the negatives. This is done by myself, my brother, and my sons, with the aid of assistants. In addition, I employ twenty persons for touching-out spots in the prints, six others for mounting my stereographs, and several travellers. My establishment covers about fifty acres of ground, and is one of the largest in Europe." On the 22nd ult., Professor Roscoe, F.R.S., in the course of a lecture delivered at the Royal Institution, exhibited the process of photographic development to a deeply interested audience. With a magic lantern having an oxy-calcium burner, a disc of light was thrown upon the screen, and was made red by the insertion of a sheet of red glass placed immediately in front of the condenser of the lantern. The gas-lights of the institution having been carefully turned down, the eminent professor coated a glass plate, by yellow light, with collodion, and excited it in the nitrate bath. Then a negative was placed in front of this plate, and kept from touching it, by means of a few folds of blotting-paper at each side, between the two plates, which were thus separated to the extent of a small fraction of an inch. The negative was next exposed for five seconds to the light of a flame of common gas, placed about twelve inches off. A developer was next applied to the prepared plate, which, with great speed, was at once placed in the lantern, in front of the red glass. At first nothing appeared, but in a few seconds the picture was seen gradually growing and intensifying upon the screen. Professor Roscoe was not the first to adopt this pretty experiment, inasmuch as it was performed, if we are not mistaken, some time since, at a public lecture delivered by our respected contributor, Mr. J. C. Leake. At any rate, we remember that he mentioned the experiment as one he intended to use in his lecture illustrations. We cut the following paragraph from a contemporary: -Photography had long before done all, or nearly all, that was to be done in transcribing faithfully, but beyond that nobody trusted the salts of silver, which, protean as they are before the light, and affected by time, too often left of a costly and exquisite reproduction nothing better than a sere and spotty waste of paper. Folks wondered why Braun's unfading transcripts of photographic copies-improved upon ordinary photography as they are were not brought to England in larger numbers than private hands could bear. Here at last they are, to be deeply enjoyable and purchaseably cheap, with wealth and amplitude of choice from half the famous cabinets of Europe. Messrs. Colnaghi, of Pall-mall East, and Messrs. Hayward and Leggatt, of Cornhill, have hung the walls of large rooms with copies so exact that it would be next to impossible to decide between them and the originals; and in such numbers that almost all the great masters are displayed, as it were, by their first thoughts and swiftest workings at home, before the models supplied the bare and crude materials for art in the grandest pictures. In a recent discussion on art-education, at the Society of Arts, Mr. Digby Wyatt remarked:-" Only a small portion of mankind were able to see with their minds; there were many who saw with the eyes, but they did not enjoy the true faculty of vision, because no corresponding chord was awakened in their brains. The true visual power was when they saw with the intellect as well as with the eyes." The full meaning of this fact should not be lost upon those who desire to see the beautiful in art and nature, in order that they may reproduce it in their photographs. An Exhibition of Arts and Manufactures will be opened at Aberdeen next year, in which, we are informed, photography is expected to play a prominent part. It is intended that the collection shall represent exclusively the art and manufactures of the Northern counties of Scotland, or of exhibitors native to those parts. The Queen is patron, the Prince of Wales president, and the idea has been taken up with great spirit by all classes in the North of Scotland. It will take place in the months of July, August, and September. Lux Graphicus justly says, in the pages of a contemporary, "How often do we see a photographic portrait stuck against a sky spotty, flickering, and unsuitable! How serious ly are the importance and brilliancy of the head interfered with by the introduction of such an unsuitable background! How often is the interest of the spectator divided between the portrait and the "overdone" sky, so elaborately got up by the injudicious background painter! Such backgrounds are all out of place, and ought to be abandoned." photographic piracy, complains that the spy system has been The Stationer, commenting upon the recent cases of established to bring the pirates to justice, and has originated connection with the business of informers. "Persons who are those cowardly abuses which have usually been found to exist in willing to try to entrap others into committing an offence are themselves morally guilty. Indeed, they are a nuisance to society, and cannot be styled respectable members of it. We do not assert that Mr. Graves has ordered his myrmidons to resort to underhand ways to detect offenders against the law of copyright; but we opine that any man who will permit himself to follow the occupation of a hired informer is an individual who will not be over-scrupulous as to the means he employs to attain his end. Apropos of this, we know instances where quasi customers have called upon vendors of photographic scraps, and urgently asked them to procure certain copyright pictures. A few days after their proposal has been made, a stranger has opportunely called upon the dealer, and offered some of the precise photographs that were required. He has asserted that he is in pecuniary difficulties, and must realise his stock at any sacrifice. Tempted by the favourable terms of purchase, and feeling compassion for the assumed wretchedness of the traveller, hawker, or whatever he may be, the shopkeeper makes a random bid, which in the end is accepted. Again the customer calls, and expresses his great desire to possess the copies previously asked for. In an unguarded moment the dealer exhibits his illegal purchase, makes an illegal sale, and so brings himself within the meshes of the law. This is no isolated case; and though we cannot assume that there has been collusion or conspiracy between the impecunious man and the lavish customer, it is not without the range of probability. It is therefore possible that some of the prosecutions instituted may have had their origin from such circumstances as are above indicated, though we acquit Mr. Graves from being a party to such proceedings.' The Stationer states, moreover, that "the number whole of the proceedings that are instituted, inasmuch as many of prosecutions reported in the papers do not represent the actions have been privately settled." A correspondent last week forwarded the following paragraph, but as he did not furnish us with his name, we therefore considered its publication in our last issue undesirable. But having received other communications touching the same particulars, we have resolved to give it a place. Under such circumstances our readers will accept or reject it, as they please. We cannot hold ourselves responsible for its complete accuracy, although we believe it to be true:-"During the hour previous to the last meeting of the London Photographic Society, the council was occupied in a discussion which excited unusual interest, and in which the Clique' had strong further evidence; hat their |