A GUIDE 
 
 TO 
 
 C0LL0DI0 - ETCHING. 
 
 BY 
 
 BENJAMIN HARTLEY. 
 
 ILLUSTRATED BY THE AUTHOR. 
 
 NEW YORK: 
 
 THE INDUSTRIAL PUBLICATION COMPANY. 
 
 1881. 
 
 COPYRIGHT SECURED, 
 
INTRODUCTION. 
 
 For many years a want has been felt, especially among 
 amateurs, for some simple and inexpensive method of 
 duplicating their sketches and studies for the benefit of 
 their friends. Bringing home pictures from a summer's 
 vacation trip, or from a foreign land, many have desired 
 to share their pleasure with others, and yet could not give 
 away their original drawings. Thus they have had re- 
 course to various means for the copying of their pro- 
 ductions. Some have tried lithography, making the 
 drawings, and getting a lithographic printer to do the 
 presswork ; others have tried copper-plate etching, and of 
 course, have had to call in the printer's aid, until, a short 
 time ago, Mr. Hammerton invented a small press for home 
 use. Some have had their pictures photographed, while 
 others, of late years, have made pen and ink drawings, 
 and had them photo-engraved and printed on a common 
 letter press. Many more have adopted the portable 
 camera outfit and given up sketching altogether. 
 
 Nearly all these methods have been tried by the writer 
 and found inconvenient, expensive, and troublesome. 
 
 It was suggested, some years ago, that the glass plate, 
 as prepared by the photographer for the camera, might 
 
INTRODUCTION. 
 
 be drawn upon with a needle, and then printed like an 
 ordinary photograph. A volume of such drawings, by 
 some of our best artists, was published, and the method 
 was discontinued. 
 
 It is for the purpose of reviving this interesting process 
 that this hand-book is given to the public, in the hope 
 that many will be enabled by it to duplicate their studies 
 for the pleasure and benefit of others. 
 
 It is the design of the present work to give all the prac- 
 tical information necessary on the subject, so that those 
 who know nothing about photography will be able to 
 carry into effect all the details of this system. 
 
 Of course it is understood that with this method the 
 young student should combine the study of perspective, 
 and sketching from nature, in order to obtain the best 
 results, but even by those who have no knowledge of 
 drawing, very satisfactory sketches may be made by fol- 
 lowing the directions given in Part V. 
 
CONTENTS. 
 
 PAGE 
 
 Introduction, -------- iii 
 
 PAKT I. 
 
 The Materials, - - - - - - 7 
 
 * Classified List, --------8 
 
 PART II.— THE PLATE AND ITS PREPARATION . 
 
 1. The Cleaning, - - - - - 13 
 
 2. The Collodionizing, - - - - - - - 15 
 
 3. The Sensitizing, - - - - - 16 
 
 4. The Strengthening, - 20 
 
 PART III. -MAKING THE NEGATIVE. 
 
 1. Transferring the Picture, ----- 21 
 
 2. Drawing with the Needle, - - - - - *■ 23 
 
 3. The Varnishing, 29 
 
 4. Stopping Out, 29 
 
 PART IV. — PRINTING THE PICTURE. 
 
 1. The Paper, - 31 
 
 2. Salting the Paper, - - - - - - - 32 
 
 3. Silvering the Paper, - - 33 
 
 4. Fuming, - - - - - - -35 
 
 5. Printing, --------36 
 
 6. Toning, ----- 38 
 
 7. Fixing and Mounting, - - • - - - - 39 
 
 PART V. 
 
 Making a Picture Without Being Able to Draw, - - - 49 
 
 Appendix, - - - - - - 45 
 
 The Etchings, 47 
 
COLLODIO-ETCHING. 
 
 PART I. 
 
 ON THE MATERIALS. 
 
 As nearly every art can be practiced with few or many 
 materials, we will devote this chapter to the considera- 
 tion of those used in collodio etching, in two parts; first, 
 materials absolutely necessary, and second, those various 
 tools and appliances which assist and make more enjoyable 
 the practice. The price of each article can scarcely be 
 indicated, but an approximate idea of the expense con- 
 nected with the art can be given. By putting the lists 
 in tabulated form, the reader can see at a glance the 
 various articles required for each stage of the process, 
 viz,: Preparing the plate, etching the negative, and 
 printing the picture. 
 
8 
 
 COLLODIO-ETCHING. 
 
 Necessary. 
 
 Convenient. 
 
 Glass Plates. 
 
 Bath Holder and Dipper. 
 
 Alcohol. 
 
 Collodion Vial. 
 
 Camel-hair Brush, broad. 
 
 Vise for Plates. 
 
 Collodion. 
 
 Graduate. 
 
 Nitrate of Silver. 
 
 Scales. 
 
 Porcelain or Glass Tray. 
 
 Hydrometer. 
 
 Proto Sulphate of Iron. 
 
 Silver Bath, $2 per pint. 
 
 Acetic Acid, No. 8. 
 
 
 Glass Funnels. 
 
 
 Filter Paper and Blotting Paper. 
 
 
 Soft Pencil. 
 
 Betouching Frame. 
 
 Stumps. 
 
 Negative Box. 
 
 Magnifying Glass. 
 
 
 Needles. 
 
 
 Transfer Paper. 
 
 
 Camel-hair Pencil. 
 
 
 Negative Varnish. 
 
 
 Stand or Frame. 
 
 
 Shellac Varnish. 
 
 
 Plain Paper. 
 
 Printing Frames. 
 
 Nitrate of Silver. 
 
 Mounts and Mats. 
 
 Chloride of Gold. 
 
 
 Chlo. of Ammonium. 
 
 
 Dishes, Flat. 
 
 
 Acetate of Soda. 
 
 
 Hyposulphite of Soda. 
 
 
 Printing Board. 
 
 
 Wooden Pails. 
 
 
 Taking the column of necessary articles, we find that 
 those specified in the first section can be procured for 
 four dollars and fifty cents, those in the second section 
 
COLLODIO-ETCHING. 
 
 9 
 
 for one dollar and fifty cents, and those in the third 
 section for two dollars and fifty cents, making the entire 
 cost amount to eight dollars and fifty cents. The 
 articles mentioned in the other column can be added at 
 any future time for convenience. 
 
 Abou^ the chemicals we need not say anything, except 
 that the best are always the cheapest. We would state 
 that the porcelain trays are to be preferred to any 
 earthenware dishes you can procure, although flat stone- 
 china platters will answer, if you can find them without 
 a bulge in the middle of the bottom. They are very 
 difficult to pour out of, however, and we would recom- 
 mend the regular photographer's dishes, if you get only 
 two instead of four. The one used for coating the plate 
 with silver can also be made available for sensitizing the 
 paper; and the one for toning the prints can also be 
 used for the salting. Any earthenware dish will do for 
 fixing, but must not be used for any other part of the 
 process. The thing to be kept in mind from beginning 
 to end is to thoroughly cleanse all dishes after being used. 
 
 The needles, three in number, and of different sizes, 
 have to be set in handles. Those used for camel-hair 
 brushes are better than anything else for the purpose. 
 You must run a slight groove on one side for the needle, 
 and tie it firmly, leaving only a quarter of an inch pro- 
 jecting from the end of the holder. The largest needle 
 
10 
 
 COLLODIOETCHING. 
 
 you must file away at the point obliquely until it pre- 
 sents, under your magnifying glass, a long lozenge shape. 
 With such you can cut or scratch out the broad lines 
 without making the film ragged, as is frequently the 
 case with the common point. Keep your needles sharp. 
 
 The " printing board," indicated in the list of neces- 
 sary articles, is a simp'e, home-made affair, while the 
 " frame," in the second list, is the regular printing frame 
 of the photographers. Both w T ill be found described 
 and figured in the chapter on printing. The other 
 articles will also be explained in the various parts of this 
 work. 
 
 By the above arrangement of materials the reader can 
 decide at once which portion of the process he will 
 undertake first, and purchase his utensils accordingly. 
 The upper group contains the articles belonging to the 
 preparing of the plate; the middle group, those used in 
 producing the picture on the plate, and the third group, 
 the chemicals and apparatus necessary for printing the 
 pictures. 
 
 Now you can dispense with the preparation of the 
 plates and buy them ready to your hand from any pho- 
 tographer for ten cents each and upwards, while you can 
 give your exclusive attention to making the negative 
 and printing it. Or, you can prepare the plate and 
 draw the picture, and get a photographer to print it 
 
COLLODIO-ETCHING. 
 
 11 
 
 Or, again, you can confine your operations simp]y to 
 drawing the pictures, getting the plates prepared, and 
 afterwards printed by a photographic artist. In this 
 latter case the implements are few and by no means 
 costly, so that perhaps it is best to begin with making 
 the negatives, which is the only artistic part of the whole 
 system ; adding afterwards the various requisites for the 
 other portions of the process. We will, in this Manual, 
 however, give instructions for all parts of the work, be- 
 ginning with the cleaning of the plates. 
 
12 
 
 COLLODIO-ETCHING. 
 
 PART II. 
 
 THE PLATE AND ITS PREPARATION, 
 
 The glass plates used in this process must have the 
 same qualities as those used in photography. The con- 
 ditions for their employment are : 
 
 1. Transparency. — This must be as nearly perfect as 
 possible, so as to permit the light to pass through un- 
 checked in the printing of the picture. The white is 
 always to be preferred to the green glass, and bubbles 
 are always to be avoided. 
 
 2. Evenness of Surface. — Those plates which are not 
 smooth and even will not make perfect contact with the 
 paper in the printing frame, and are very apt to break. 
 
 3. Cleanliness of Surface. — There is some glass which 
 it seems impossible to get clean; there is an oiliness and 
 cloudiness about it which will not yield even to nitric 
 acid. 
 
 For small pictures, the ordinary glass is good enough 
 if flat and clean. There are regular sizes sold by 
 dealers in photographic goods, and the glass is generally 
 selected with some care. 
 
COLLODIO-ETCHTNG. 
 
 13 
 
 1. — THE CLEANING. 
 
 The greatest cleanliness in the treatment of the plates is a 
 condition of primary importance. Some operators use 
 nitric acid, others employ potash and sulphuric acid. 
 Some recommend cyanide of potassium, but for our pur- 
 pose, with care in the selection, good glass can be cleaned 
 very nicely with soap and water, and then polished with 
 alcohol and a piece of canton flannel, and a little rotten- 
 stone. 
 
 Be sure and clean the edges of the plate as well as the 
 front and back, for if you do not you will soon find a 
 dirty bath that will give you much trouble. 
 
 In the list of articles convenient, there is mention made 
 of a plate vise. There are several patterns, the simplest 
 and cheapest being the wood screw vise, as seen in 
 Fig. 1. If you do not wish a vise, you can screw a small 
 strip of wood to a table, and while you hold the plate 
 firmly against it with one hand, you can clean it with the 
 other. In this case, put a piece of blotting paper under 
 the glass. In order to know when it is clean, you must 
 breathe upon it, and if the breath on the plate does not 
 look even, then the spots must be rubbed over again 
 until the whole of the surface takes the breath equally, 
 showing a bluish color. Remember, dirty fingers and 
 dirty rags or towels can never make clean plates. Both 
 
14 
 
 COLLODIO-ETCHING. 
 
COLLODIO-ETCHING. 
 
 15 
 
 sides must be clean, but only the one on which the col- 
 lodion is going to be poured need be polished with much 
 care. Be careful not to scratch the plate if you are 
 going to do simple outline work. 
 
 When the plate is thus cleaned you will find it attrac- 
 ing the dust by its becoming somewhat electrical ; you 
 will then have to use the duster (a camel-hair brush of 
 the large, flat kind). Do not keep the duster lying on 
 the table, but hang it up and it will always be clean and 
 ready for use. 
 
 2. — THE COLLODIONIZING. 
 
 This operation, like nearly every other, requires some 
 practice in order to be done evenly. The glass plate, 
 Fig. 2, should be held perfectly horizontal by one corner 
 (a), a pool of collodion is then to be poured on the centre 
 of the plate ; when a sufficient quantity has been poured 
 on, the plate is gently inclined so that the collodion may 
 flow first to corner, a, next to b, then to c, and finally to 
 d. Holding the collodion bottle or vial under corner, d, 
 you receive the excess of fluid ; then gently, and with a 
 rocking motion, turn the plate to a vertical position. 
 Keep up the motion until the collodion has, in a large 
 measure, drained off ; then, resting the corner on a piece 
 of blotting paper, close the collodion bottle^ so as to 
 stop evaporation. 
 
16 
 
 COLLODIO-ETCHING. 
 
 3. — THE SENSITIZING. 
 
 Before coating the plate with collodion, you must see 
 that your silver bath is ready and in good condition, for 
 the plate must be put in immediately after the collodion 
 has set and become sufficiently dry. This is told by 
 touching the film with the finger at the corner, d, and if 
 the collodion will tear then it is in the proper condition 
 to be put into the bath. 
 
 The silver bath can be made by simply dissolving the 
 crystallized nitrate of silver in distilled water, or filtered 
 rain water, in the proportion of 35 grains of silver to the 
 ounce of water. This you filter through the filter paper, 
 into the bath-holder, and iodize it by leaving a coated 
 plate in it for an hour or two. Removing this plate 
 gently, the bath is read}- for use. 
 
 The operation of sensitizing is done in a dark room, 
 so that no actinic rays can strike the plate. Yellow 
 light can be admitted, because it is non-actinic ; still, it 
 is advisable not to have too much of that. It is con- 
 venient to use an oil lamp in a dark closet. 
 
 There are porcelain, india-rubber, and glass bath- 
 holders, but the latter are to be preferred. There are 
 also boxes made to support these holders, which are 
 very convenient. Fig. 3 shows the glass bath holder and 
 dipper in it. Fig. 4 is the same in box and placed ready 
 for use. 
 
COLLODIOETCHING. 
 
 17 
 
 When the plate is in the proper state of dryness, it is 
 placed upon the ledge or hook of the clipper, and lowered 
 into the bath with a rapid, steady, and continuous 
 motion, otherwise lines will be produced on the film. 
 You must be sure to have a sufficient quantity of bath to 
 
 Fig. 3. 
 
 cover the plate entirely. The glass dippers, of course, 
 are easily broken, so the best are those made of silver 
 wire. 
 
 Sensitizing in a dish or tray (Fig. 5) has one great ad- 
 vantage, namely, a much smaller quantity of silver solu- 
 
18 
 
 COLLODIOETCHING. 
 
 Fig. 4. 
 
 tion will answer the purpose. A dish is also much 
 cheaper than a bath-holder. The dishes are made of 
 the same materials as the holders. The bath solution is 
 
 Fig. 5. 
 
COLLODIO-ETCHING. 
 
 19 
 
 filtered into the dish until it covers the bottom about 
 one quarter of an inch ; the scum is removed by drawing 
 strips of writing paper over the surface until they appear 
 free from dirt ; the coated plate is then placed vertically 
 in the dish ; the back of the plate touching the side or 
 end of the dish. It is then lowered with a very steady, 
 regular motion, until it becomes entirely submerged, the 
 coated side being downward and held from contact with 
 the bottom by means of the silver wire hook. 
 
 After the plate has been in the bath for three or four 
 minutes, it must be raised and examined ; if it looks 
 bluish and covered with oily-looking streaks or specks, 
 it is to be lowered again until it presents a yellowish, 
 white, creamy appearance. Then the plate is to be 
 seized by the corner and held above the bath to allow 
 the silver solution to be drained off thoroughly. Now, 
 if you have a camera and plate-holder, you can expose 
 the plate to a dead-white screen. But we are supposing 
 that you have no camera. In such case, holding the 
 plate by the corner, as before described, you open the 
 door of your dark room and let a stream of white light 
 fall upon the plate for a couple of seconds, then closing 
 the door again, you proceed to intensify the coating of 
 silver by means of a solution of sulphate of iron. 
 
20 
 
 COLLODIO-ETCHING. 
 
 4 — THE STRENGTHENING. 
 
 We use the term strengthening for the same portion of 
 the process that photographers call developing, because in 
 this system there is no image on the plate to be brought 
 out or developed. For the strengthening solution take 
 3 parts of sulphate of iron, 3 parts of acetic acid, I part 
 alcohol, 100 parts water. These you thoroughly mix 
 and filter. Then taking a small quantity in a wide- 
 mouthed bottle, you pour it on and off rapidly, covering 
 the plate every time, until the film becomes quite 
 opaque. This must be done much more rapidly than 
 the coating with collodion, and begin at the corner in- 
 stead of pouring in the centre. The flow must not stop 
 for an instant. If the iron is kept on too long it will 
 begin to eat off the silver and weaken the film. The 
 proper amount of strengthening can only be told by 
 practice. The action of the iron must be stopped by 
 pouring on water as soon as the film has reached the full 
 intensity of opaqueness. "Wash both back and face of 
 the plate ; in rubbing the back be careful not to touch 
 the film on the front. After this you put the plate in 
 the rack, or lean it against the wall to drain and dry ; or 
 you can hold it over a lamp or fire to dry it quickly. In 
 using a lamp, it is necessary to keep moving the plate 
 so as to heat it equally, or else it will break. When 
 quite dry it is ready for the picture. 
 
COLLODIO-ETCHING. 
 
 21 
 
 PAET III. 
 
 MAKING THE NEGATIVE. — 1. TRANSFERRING THE PICTURE. 
 
 It will be well, in beginning the practice, to varnish 
 one or two plates on which to experiment. The varnish 
 must be thin and the plate warmed to blood heat. You 
 can then pour on the varnish just as you did the col- 
 lodion, and let it drain off into the bottle. It will soon 
 become dry and hard. 
 
 Now you can take your sketch, which must be a little 
 less than the plate, say a quarter of an inch all round, 
 and drawn with a soft pencil, and turn it over on to 
 the varnish; then rub the back with your finger, being 
 sure not to let the drawing slip from its place. When 
 you lift the paper and raise the plate a little, you will 
 see the sketch transferred. 
 
 Should you wish to copy a large picture, you must 
 make a small outline of it the proper size for your plate, 
 and then follow the above instructions. 
 
 Of course the reader knows that, in order to have a 
 true print, the picture must be reversed on the plate, and 
 it will be seen from the above remarks that when the 
 
22 
 
 COLLODIO-ETCHING. 
 
 plate is varnished first it is a simple matter ; but when 
 you wish to do fine work the sketch has to be drawn di- 
 rectly on the unvarnished film, which is a very delicate 
 task. You may succeed in drawing finer lines with the 
 needle on a very thinly varnished surface ; the only 
 trouble is that frequently you have to go over a line two 
 or three times before you get it through the film, and 
 then find that it is thicker than you wished. 
 
 Do not think to save time and trouble by reversing 
 the picture as you draw it. That is very hazardous. 
 First, make a reversed outline. This, again, is very 
 simple, provided your picture is just the right size, for 
 then you can place a piece of transfer or carbon paper 
 on your table or drawing-board ; put on this a piece of 
 drawing paper, and on that lay your picture and go over 
 the complete outline with a very hard pencil or ivory 
 point, when you will find, on lifting the paper, a perfect 
 reversal of your subject. This you can copy on the 
 plate. 
 
 The film being very delicate and tender, great care 
 must be taken. A pencil, no matter how soft, is very 
 apt to catch on some particle of grit and make a line 
 through the film, instead of simply a tracing on the sur- 
 face. This " blocking in " of the subject you will find 
 more easily done with a small, sharp-pointed stump or 
 bleneler. One made of wash leather is to be preferred to 
 
C0LL0DIO-ETCHING. 
 
 23 
 
 a paper one, provided it has a good point. With this 
 you can sketch" on the film, and, if used gently, the false 
 strokes will not show in the print, because you remove 
 no more of the film than the varnish will absorb when 
 the picture is finished. Make only the outline in this 
 way, and when that is done you are ready to take the 
 needle. 
 
 2. DRAWING WITH THE NEEDLE. 
 
 The Easel For the purpose of drawing, and in order 
 to see the design as it progresses, you require to support 
 your plate in a slanting position, so that the light can be 
 thrown up from some reflecting object underneath. A 
 photographer's retouching frame is the most convenient, 
 
 Fig. 6. 
 
24 
 
 COLLODIO-ETCHING. 
 
 but rather expensive. Fig. 6 shows a very nice easel, 
 which can be made for half the money that the regular 
 frame would cost ; while Fig. .7 exhibits a still simpler 
 form, which can be constructed by means of any old slate 
 frame. The only thing not shown in the drawing, is the 
 
 Fig. 7. 
 
 manner of holding the cross pieces in position. That is 
 done by screw-eyes, which pass through the small slats 
 into the back of the frame. 
 
COLLODIO-ETCHING. 
 
 25 
 
 THE MAGNIFYING- GLASS. 
 
 The next tiling to be considered is the glass for show- 
 ing the fine lines of the work. This is an indispensable 
 requisite, as nothing but the coarsest work can be done 
 without it. There is a very convenient stand made for 
 the eye-glass, which can be taken apart and packed in 
 small compass. It is sold by dealers in engravers' tools 
 for $2.00. There is an objection, however, to using a 
 single eye-glass, although so common with our engra- 
 vers, and that is the strain on the nerves of the eye that 
 is used. It can be obviated in part by changing the 
 eyes in working. But it is best to have either a large 
 glass that you can look through with both eyes at once, 
 or two magnifying glasses fitted in a frame, and sup- 
 ported by the stand. Do not have them Hke spectacles 
 to put on, for in such case you cannot as readily lift your 
 eyes from your work to rest them. 
 
 NEEDLES. 
 
 The tools used in this process are common sewing 
 needles put in handles. One very fine, one very coarse, 
 and a medium one. In addition to what has been said 
 in the chapter on the materials, it may be remarked that 
 the finest needle ought only to project from the handle 
 
26 
 
 COLLODIO-ETCHING. 
 
 one-eighth of an inch, because the point is easily bent 
 and then difficult to work with. 
 
 Having placed the prepared plate on the easel, and 
 arranged the reflector, which may simply be a piece of 
 white }3aper laid flat on the table behind the stand, you 
 adjust your magnifying glass, and with the finest point 
 trace the complete outline of the subject which you 
 sketched with the pencil or stump. Then, beginning 
 with the distance, you fill in the shadows with very fine 
 lines, not too close together. "We will suppose the re ader 
 is copying Plate II, or drawing a subject similar to it. 
 The tree with the fish-hawk's nest in this illustration 
 had better be left as sketched with the stump until the 
 last, as it would be difficult even to outline it without 
 injuring the lower part of the plate. The distant trees 
 are in simple outline, with a little shading put on over 
 the trunks and stems, and made darker near the ground. 
 The meadow land can be indicated by a few strokes, 
 while the river can either be left opaque or lined very 
 finely, as here shown. All this, together with the boats, 
 is done with the finest needle. The trees, ground, and 
 fence can be put in with a little more strength and 
 detail, using the medium-sized needle ; also the fore- 
 ground grasses and weeds can be done with the same 
 point. When this is accomplished, take a little negative 
 varnish and add an equal quantity of alcohol ; shake it 
 
COLLODIO-ETCHlNG. 
 
 27 
 
 well, and pour it over the plate, as described further on. 
 (This is if you are working on an unvarnished surface.) 
 When this is dry, you can draw the tree boldly with the 
 large needle, being careful to leave the white lines well 
 defined, also adding a few strong touches, to give more 
 character to the foreground. 
 
 PLATE III. — IN THE CATSKILLS. 
 
 We present another illustration, in order to call the 
 attention of the student to several details not treated of 
 in the preceding example, as well as to give some general 
 hints on each part of the picture. In this view we have 
 everything that goes to make up a landscape. Moun- 
 tains, trees, rocks, and water. 
 
 Look at the last mentioned element, which is in most 
 pictures of the first importance, water. Being in this 
 sketch almost as still as in a pond, the reflections are 
 strong and clear, and the nearer to the sunset the 
 stronger they appear. Under such conditions the lines 
 must be kept very straight, both horizontally and per- 
 pendicularly, in order to give the effect of flatness and 
 transparency. To represent the current of a stream, 
 lines are used which are sometimes curved, but more 
 frequently straight, although not horizontal, as they all 
 rnn towards some perspective distance or vanishing 
 
28 
 
 COLLODIO-ETCHING. 
 
 point. In broken water, such as rapids, cascades, etc., 
 the lines must follow the direction of the flow. 
 
 In regard to trees, it may be stated that each artist has 
 his own manner of representing them. Trees in the 
 distance are nicely represented by a series of small 
 curved lines, forming the outline of each group. Foliage 
 near the foreground is best treated by the angular or 
 zig-zag line, or by very short shade lines combined with 
 the curved. Foreground trunks must be marked with 
 their peculiar characteristics so as to be recognized, as 
 the smooth beech, the rough oak, etc. 
 
 In treating rocks, you will find that the rough texture 
 is obtained best by short, sharp cross-lines. 
 
 We must not omit speaking about the sky, which is 
 always a puzzle to beginners, and causes perhaps more 
 discouragement than any other part of the picture. It 
 is best to leave it blank until you have gained consider- 
 able delicacy as well as freedom of touch. The sky is 
 sometimes the most important part of the whole picture, 
 and so must be studied carefully. It is not advisable to 
 represent a clear sky as engravers do, by fine lining, 
 heavy at the top, and becoming lighter and wider apart 
 as they approach the horizon. In cloudy skies the top 
 is frequently the lighter part, and near the horizon the 
 darkest. You must always remember that no portion of 
 sky or cloud must be as dark as the shadows on the 
 
COLLODIO-ETCHING. 
 
 29 
 
 ground. The drawing finished, the next operation is 
 the varnishing, unless that has been done before. 
 
 4. VARNISHING. 
 
 Any good negative varnish will do for this purpose, 
 but I will add a formula for those who wish to make 
 their own : Balsam fir, f oz.; oil of lavender, 3 oz.; 
 gam sandarac, 1\ oz.; alcohol, 48 oz. If you wish it 
 very thin, add more alcohol. Warming the plate to 
 blood heat, you hold it by the corner, as for coating with 
 collodion, and pour on the varnish so as to cover it, and 
 then drain back into the bottle as previously stated. 
 
 5. STOPPING OUT. 
 
 If, now, you were to print from the negative just 
 made, you would find that all the lines in the picture 
 would be of the same strength of color ; those repre- 
 senting the distance would be just as brown or black as 
 those in the foreground, only they would be fine, more 
 delicate, and further apart. 
 
 Now we not only desire fine lines, but light lines. In 
 the several bitings of a copper plate there are, of course, 
 differences of intensity in the printing, and the blackest 
 lilies are made so by having more ink heaped upon 
 them, while in the photo printing the degrees of power 
 are rendered by the difference of tone. This difference 
 
30 
 
 COLLODIO-ETCHING. 
 
 is produced by the sky and distance being painted over 
 with a colored varnish prepared for the purpose. 
 
 By taking a little of the negative varnish and evapora- 
 ting a great deal of the alcohol, then adding a quantity of 
 pulverized gamboge, you can make the necessary article. 
 Shellac varnish is better than the other. The color will 
 sink as a sediment, and will require to be shaken up 
 a number of times. A very good way is to pour out a 
 little before you shake it, to use on the parts you wish 
 to throw back but little, then with the thicker varnish 
 you go over the sky and distance, and any points of high 
 light in the foreground. This you can do with a camel- 
 hair brush. The only difficulty is in the varnish drying 
 so rapidly that you have very little time to consider. 
 Your mind must be made up beforehand. Unless it is 
 done quickly there will be lines and ridges that will mar 
 the print. If, when you put a little varnish on the nega- 
 tive, it spreads, and the color runs to the edges, leaving 
 a transparent place in the centre, it shows that there is 
 too much alcohol, and you must let the bottle stand 
 open for a day or two. Perhaps you will have to go 
 over the sky or the distance two or even three times to 
 get it into its proper position. When all this is accom- 
 plished your negative is finished and ready to be printed. 
 
COLLODIO-ETCHING. 
 
 31 
 
 PART IV. 
 
 PRINTING THE PICTURE. — 1. THE PAPER. 
 
 The first thing to be considered in this part is the 
 paper. At the present day there is no use of thinking 
 about preparing one's own paper ; it can be bought 
 much cheaper and better than it can be made at home. 
 There are the two kinds ; plain and albumenized. There 
 is comparatively little use made of the plain paper nowa- 
 days for the ordinary photographs, but it is much better 
 for our purpose than the other. It is not glazed, and so, 
 when printed on, the picture looks, much more like an 
 . etching or an engraving, being flat or dead in color. If, 
 however, any one prefers the appearance of the regular 
 photographic print, the albumenized paper can be treated 
 in exactly the same way as the plain, only with stronger 
 solutions. 
 
 There are many works published on the subject of 
 photographic manipulation, and if the reader desires a 
 very excellent and thorough treatise on the process of 
 printing, he cannot do better than obtain a copy of the 
 "Practical Printer," by C. W. Hearn. Of course it con- 
 tains a great deal more than we require to know. 
 
 For this hand-book I take the liberty of culling from 
 
32 
 
 COLLODIO-ETCHING. 
 
 various sources, European as well as American, ideas, 
 which, I think, will assist in giving the reader a good 
 foundation on which to build as high and as great as he 
 pleases. 
 
 Of plain papers, Anthonys' Tapioca and demon's 
 Arrowroot are excellent. 
 
 2. SALTING THE PAPEK. 
 
 Getting paper unsalted, or wishing to re-salt what is on 
 hand, you proceed in the following manner : In a large 
 wide-mouthed bottle put 30 ounces of pure rain water, 
 and to this add 180 grains of the chloride of ammonium. 
 Shake well, and when the chloride is dissolved, which 
 can be hastened by warm water, filter it into a clean 
 porcelain dish. If any bubbles form on the surface, 
 break them with the glass rod you use for stirring the 
 solutions. The paper can now either be floated on the 
 top of the liquid, or be drawn through it. If floated, 
 you must look sharp to find the side of the paper that 
 has the finest grain, then taking hold of the paper by the 
 opposite diagonal corners, you lay it on the solution as 
 described for silvering further on. (See Fig. 9.) Float 
 10 seconds. The mode of salting which is preferred, 
 however, is to draw the paper through the solution, 
 which is done in this way, Fig. 8. Place the dish where 
 you can have plenty of room. Take the paper by the 
 
COLLODIO-ETCHING. 
 
 33 
 
 two opposite corners, let it fall behind the further side 
 of the dish, then dipping the nearest side into the liquid, 
 slowly and steadily, without pausing, draw the whole 
 paper through, taking care that every part of the sheet 
 
 Fig. 8. 
 
 is wet ; then raising it, allow the liquid to drain into the 
 dish. The principal thing to be thought of is to have 
 enough solution to get the paper under it at first. Hang 
 the paper up to dry in a place free from dust. The so- 
 lution can be used repeatedly, so pour it back into the 
 bottle and filter it when required. Glean the dish 
 thoroughly, and put it bottom side up. 
 
 3. SILVERING THE PAPER. 
 
 For this purpose you make a bath as follows : Nitrate 
 of silver, 240 grs.; pure rain water, 8 oz. This, as you 
 see, makes the bath 30 grains of silver to the ounce of 
 water. Now there are two ways of silvering or sensitiz- 
 ing the paper ; one is by floating, as in the case of sattr 
 ing, and the other is by swabbing ; that is, spreading the 
 solution over the paper with a piece of canton flannel, 
 
34 
 
 COLLODIO-ETCHING. 
 
 the sheet being tacked to a flat board. The floating, 
 however, is by far the better method. This operation 
 need not be performed in a dark room ; still the light 
 should not be very strong. 
 
 Having filtered the silver solution into the tray (and 
 you must filter it every time you use it), you fold down 
 a small corner of the paper, then taking hold of the 
 sheet by the two diagonal corners, and letting it curve 
 down in the centre, you place it in that way on the bath, 
 ihe finest-grained side to the silver, and gradually lower 
 the corners that you have hold of until the paper lies 
 flat. If it curls up, just breathe on it and it will go 
 down immediately. The position of the paper as it 
 comes in contact with the solution is shown in Fig. 9. 
 
 Fig. 9. 
 
 Let the paper remain on the bath for 35 or 40 seconds, 
 then raise it, and holding it by the corner you turned 
 down, let the superfluous solution drain off into the dish, 
 and hang it up to dry in a dark room. This will keep 
 for two or three days before it will get too yellow to 
 
COLLODIO-ETCHING. 
 
 35 
 
 use. It is, perhaps, the best plan to sensitize in the 
 evening what you intend printing the next day, and no 
 more. When the paper is quite dry it is ready for 
 
 4. THE FUMING. 
 
 This is done by hanging the paper in a box in which 
 a little aqua ammonia is exposed in a saucer. Different 
 kinds of boxes have been made in order to get the paper 
 fumed evenly. Mr. Hearn describes his box thus : 
 " Take any common wooden box large enough for the 
 purpose, and make a door of suitable size for it, which, 
 when shut, will totally exclude all light. Make a false 
 bottom in this about six inches from the real one, and 
 perforate it with holes of about the size a large gimlet 
 w T ould make. These holes should be very numerous, 
 and at the centre of the board there should be, if any- 
 thing, a smaller number of them, because the saucer 
 containing the liquor ammonia is generally placed at the 
 centre of the real bottom of the box." The sheets of 
 paper can be pinned to the sides of the box, or they can 
 be hung by means of spring clips from strips of wood 
 fastened at the top of the box, and in order to keep the 
 paper from curling up when drying, a piece of lath with 
 a clip nailed to each end can be attached to the bottom 
 of the sheet. About half an ounce of aqua ammonia is 
 sufficient ; put it in a saucer, place it on the bottom of 
 
36 
 
 COLLODIO - ETCHING. 
 
 the box, and shut the door. The time of fuming varies 
 from ten minutes to half an hour. Short time in sum- 
 mer, and longer time in winter ; less time on a dark day 
 than on a bright day. 
 
 5. PRINTING. 
 
 For this purpose you require one or more boards 
 made in a particular way, or else frames such as are used 
 by the photographers. Fig. .10 will show you at once 
 
 Fig. 10.— BACK VIEW. 
 
 the construction of the board (back view). It is very 
 simple, being only a piece of hard wood nicely cut in 
 two, either through the middle or so as to have one 
 piece one-third larger than the other. These pieces are 
 hinged together, and a small block screwed to one so as 
 to turn over upon the other and hold it. Fig. 11 gives 
 you a view of the front with the two brass springs hold- 
 ing the plate in contact with the paper. This front is 
 covered with canton flannel, a piece of which is glued to 
 
COLLODIO-ETCHING. 
 
 37 
 
 each half board, making a soft cushion for the paper. 
 The frame in common use is presented in Fig. 12. 
 Sometimes the board is made thin at the corners, and 
 
 Fig. 11. — FRONT VIEW. 
 
 spring clips are used to hold the plate. With the board 
 you first lay on the paper, silvered side up, and on it 
 place the plate with the etched side next the paper. In 
 using the frame, the plate is put in first and the paper 
 
 Fig 12. — BACK VIEW. 
 
 laid on it, the back put in and fastened down. This 
 being done, you place the board or frame so that the 
 light will fall directly upon it, without any shadows being 
 
38 
 
 COLLODIO-ETCHING. 
 
 cast from any object upon the plate. In a very short 
 time, if the light is strong, the picture will be printed. 
 It is then removed from the frame, when it has a strong 
 purplish-black hue, and is put in a box or drawer where 
 no light can reach it. After you have printed as many 
 copies as you desire, you next proceed to 
 
 6. THE TONING. 
 
 In the evening, when the light is feeble, and away 
 from the window, take a bucket half full of lukewarm 
 water, and plunge the prints into it one by one, taking 
 care that they do not stick to each other, and that each 
 one is entirely submerged. Next put 10 to 15 drops of 
 acetic acid (No. 8) in a gallon of water in another bucket 
 or earthenware dish ; put the prints rapidly into this 
 and keep them in motion for three minutes ; then they 
 are ready for the toning bath. 
 
 To make this bath, have on hand Solution 1, made by 
 dissolving a quarter of a drachm of chloride of gold in 
 fifteen ounces of water. Keep this in a dark place. 
 
 Solution 2. — A quarter of a pound of acetate of soda in 
 forty-eight ounces of water. Now take water, 30 oz.; 
 solution 1, 3 oz. ; solution 2, 3 oz. Mix and let stand in 
 the dark for a week before using ; or, if wanted sooner, 
 make it with hot water. 
 
 When the prints are washed, pour into a porcelain 
 
COLLODIO-ETCHING. 
 
 39 
 
 dish a sufficient quantity to make it one-third full. 
 Then put in the prints, one at a time, and immerse them 
 at once, so that all parts of the picture will be toning at 
 the same time. Do not have more than three or four 
 prints in the bath at once. Remove them as soon as 
 they arrive at a purplish-brown or black color (the 
 action of the water and acid having made them red), and 
 keep them away from any strong light. "When all are 
 toned pour the bath into a jug or bottle, and keep for the 
 next time. The prints have again to be washed and 
 then fixed. 
 
 7. — THE FIXING. 
 
 In order to remove every trace of silver, and keep the 
 prints from fading out, a fixing agent is necessary. This 
 solution is made as follows : Take a one gallon bottle 
 and place in it half a pound of the crystals of hyposul- 
 phite of soda, and fill up with water ; shake well, and 
 let stand for two days. When about to fix the prints, 
 take hypo, solution, 1 oz. ; water, 8 oz. ; saturated sol. of 
 bicarb, of soda, \ oz., in a dish kept for this and nothing- 
 else. Now plunge the prints into this rapidly, and keep 
 them in motion, not allowing them to stick together for 
 a moment. After they have been in this bath for eight 
 or ten minutes, hold one up between yourself and the 
 light ; if the clear spaces, such as the sky, look spotty, 
 
40 
 
 COLLODIO-ETCHING. 
 
 the fixing is not done, and you must keep moving the 
 prints and looking through them until the spaces not 
 printed upon look clear and bright. A. little practice 
 will soon enable you to judge at once. "When sufficiently 
 fixed, remove them into clean water, and wash three or 
 four times, until every trace of soda is gone. Dry and 
 mount on paper or cardboard, and all is finished. 
 
 PART V. 
 
 MAKING A PICTURE WITHOUT BEING ABLE TO DRAW. 
 
 There are many young persons who have not had the 
 advantage of instructions in drawing, who yet have a 
 taste for artistic pursuits, and would enjoy making pic- 
 tures if only they con Id find some way to assist their un- 
 cultured eyes and hands. For the benefit of such we 
 add this chapter to our manual, in the hope that some 
 will be encouraged to try, and with the assurance that 
 if the advice given in this little book is followed, they 
 will meet with considerable success. 
 
 Various means have been devised to overcome diffi- 
 culties in the way of the youthful artist. The best 
 assistant, we think, is a camera obscura, or sketching 
 camera, as it is called. With such an instrument, used 
 
COLLODIO-ETCHING. 
 
 41 
 
 as we propose, almost any person might succeed in reap- 
 ing very much of the. pleasure to be derived from col- 
 lodio-etching without knowing the principles of draw- 
 ing. 
 
 Like nearly everything else, the camera obscura may 
 be a very pla r n, simple, inexpensive affair, or a very 
 handsome and costly instrument. A boy, scarcely twelve 
 years old, made one out of a thick pasteboard box and a 
 common magnifying glass set in a pasteboard tube, 
 which answered the purpose very well. We constructed 
 one, some years ago, out of a starch box. This box was 
 six by nine inches, and six inches deep. Making a 
 round hole in one end, a common single landscape lens, 
 with tube, from a small photographic camera, was 
 inserted. The lid was taken out, and a piece of looking- 
 glass, cut to fit, was placed inside, slanting downwards 
 from back to front, so that the rays from the lens are re- 
 flected upwards. Now, in order, to see the picture, we 
 fitted a piece of ground glass in place of the lid. A 
 light frame was next made and hinged to the top of the 
 front, so as to fall backwards and cover the ground glass, 
 and to this was tacked a large piece of black velvet, 
 which was thrown over the head to exclude the light. 
 This frame is supported on the left side by a stick 
 screwed to the side of the box. A square box is better 
 than an oblong one. All this can be easily understood 
 
42 
 
 COLLODIO ETCHING. 
 
 by looking at the accompanying sketch, Fig. 13* The 
 clotted lines represent the mirror inside the box. 
 
 Suppose you have such instrument, all you need to do 
 is to put a prepared plate, thinly varnished, on the top 
 
 Fig. 13.— SKETCHING CAMERA. 
 
 of the ground glass — varnished side up, of course — and 
 trace the picture with a needle. If you wish to substi- 
 tute the prepared plate for the ground glass, so as to 
 get the image sharper and closer to your point, you 
 must employ a varnish called "Ground Glass Substi- 
 tute," used by photographers. To this you must add 
 about one-third more alcohol. 
 
COLLODIO-ETCHING. 
 
 43 
 
 The picture thus made is reversed and ready for 
 printing, and besides is a drawing direct from nature. 
 
 One thing more to be considered, and that is how to 
 support the camera while working. For this purpose 
 you will find a tripod the most convenient article. The 
 camera must, in some way, be fastened to the top, so as 
 to remain perfectly still. Photographers use a bolt with 
 screw and nut, but there are other ways of accomplish- 
 ing the same object. 
 
 Messrs. Queen & Co. make and sell a little camera 
 obscura with a tent, which is highly recommended for 
 use by those unacqu linted with drawing. By this in- 
 strument the piciure is thrown down on a table inside 
 the tent, and is sketched very easily, the principal 
 trouble being the shadows cast by hand and pencil. It 
 is not adapted to our purpose, however, as we must have 
 the light reflected from below the plate. 
 
 With the camera above illustrated and described, 
 and a number of prepared plates, any one, with a little 
 practice, can fill a day or a week at home or abroad with 
 profitable pleasure. 
 
 There are only two drawbacks to this practice : the 
 first is the lack of artistic freedom. All you can do is to 
 copy what is thrown on your plate ; this can be over- 
 come by an artist, but should not be attempted by any- 
 one else. The second disadvantage is in being unable 
 
44 
 
 COLLODIO ETCHING. 
 
 in many instances to find a good standing place for the 
 tripod, so as to get just the view you wish; but the great 
 advantage of being able to etch your plate on the spot, 
 where a suitable place can be obtained, knowing that it 
 is absolutely true to nature, will in most minds more 
 than compensate for the disadvantages spoken of. 
 
 Let me, in closing, recommend the making of simple 
 outlines first. A well-drawn outline is far better than 
 a poorly-shaded picture, and can express a great deal 
 more than is often imagined. After some practice in 
 shading with a pencil, you can easily add it on your 
 plates. 
 
COLLOMO-ETCHING. 
 
 45 
 
 APPENDIX. 
 
 Some things that may happen, and what to do about them. 
 
 In spite of all precautions, and notwithstanding the fact that 
 the directions are implicitly followed, little things will sometimes 
 occur that will annoy and perplex the student considerably if not 
 forewarned. In order, therefore, to forewarn and so forearm the 
 etcher, we will mention here the six chief troubles. 
 
 1. The first thing that may happen to a plate is the peeling off 
 of the collodion film. This occurs when the plate is being 
 washed after strengthening, and the cause, which at once suggests 
 the remedy, is that the plate was not thoroughly cleaned. A 
 very good practice, and one adopted by photographers generally, 
 is to albuminize the plates after cleaning. This is done by coat- 
 ing the plates with albumen, made as follows: White of one egg, 
 well beaten ; 35 oz. of pure water. 
 
 2. The next thing likely to happen is that the corner on which 
 the iron solution is poured for strengthening is much more trans- 
 parent than the rest of the plate. This is caused by the action 
 of the iron not being sufficiently restrained, and all you have to 
 do is to add a few drops of acetic acid and alcohol to your 
 solution. 
 
 3. Another trouble will be found in attempting to draw very 
 delicate lines. No matter how small the needle is, it is frequently 
 found to take off more of the film than is desired. In order to 
 
46 
 
 COLLODIOETCHING. 
 
 obviate this difficulty, yon must keep the needle very sharp, 
 either by filing it or rubbing it on a piece of sandstone. Coat 
 the plate with very thin varnish, bend the point of the needle, 
 and then draw it over the surface, and the finest lines will be the 
 result. 
 
 4. In ' ' stopping out " you must be very careful not to allow 
 the varnish to run over lines which you wish to remain clear, for, 
 as this varnish is just the opposite of the other — that is, having 
 very little alcohol and a good deal of gum and color — you will 
 find it quite difficult to scratch it off again when once set. It 
 will break under the needle, and, bringing the film with it, will 
 leave transparent spots instead of lines. 
 
 5. Sometimes an air bubble will escape notice in sensitizing 
 the paper, and so when printing you will find a white spot 
 instead of some detail of the drawing. Don't take it out and 
 throw it away, but finish it up just like the rest, and when 
 mounted take a little India ink and sepia and touch in the 
 details, and so save the picture. 
 
 6. Be sure not to fold the paper except where it is going to be 
 cut, otherwise, when it is wet in washing, it will be very apt to 
 tear at the crease and spoil the print. Plain paper is thinner 
 than the albuminized. 
 
COLLODIO-ETCHING. 
 
 47 
 
 THE ETCHINGS. 
 
 We add to the plates of this little volume four etchings, not as 
 showing the perfection of the art, but merely as hints which we 
 hope will, by their very faultiness, encourage the student to 
 attempt and achieve far greater things. They are simple essays, 
 done in the odd moments of a busy life, and as such the reader 
 must view them, believing that the system illustrated by them is 
 capable of being carried very much further than the exhibit. 
 
 ETCHING I. 
 
 This plate, which is a sketch from nature, was accomplished at 
 one sitting of about two hours. This will show how rapidly 
 these negatives can be made. There being but little in this view, 
 it is a good subject to begin with. Only the finest and medium 
 needles were used. Notice the lightness of the outline on the 
 top of the hill, which is produced by one coat of the stopping- 
 out varnish. Also observe that the picture is made by the bold- 
 ness of contrast rather than by carefully-worked details. 
 
 etching n. 
 
 In this view on the Marmaton Kiver, Kansas, there being no 
 large trunks or rocks, the largest point was little used, and 
 nearly the entire work was done with the finest needle. In look- 
 ing at the plate with the naked eye, there does not seem to be any 
 film left on the trees, the little curved lines are so close together; 
 the printing, however, reveals many points of light. The dash 
 
COLLODIO-ETCHING. 
 
 of sunlight which runs across the middle distance is made in 
 part by putting a broad line of varnish over the reflections. The 
 distant foliage being in the strongest sunshine, very few and very 
 fine lines are used. 
 
 etching in. 
 
 Here we have a subject capable of being treated with all the 
 boldness of a charcoal drawing, and at the sama time requiring 
 very careful handling in order to produce the effect of distance. 
 The hillside being in shade, it is covered over with a tint made 
 by fine lines regulariy drawn. There is another and a very 
 excellent way of obtaining a half tone for such studies; it is by 
 using the collodion film without being strengthened. After 
 the plate is taken out of the silver bath it is simply washed, by 
 pouring clean water over it, and then dried. This leaves the film 
 quite transparent. The difficulty with such a plate is in painting 
 on the high lights. These are very apt to be spotty and unsatis- 
 factory; for some simple effects, however, it does very well. A 
 plate like the one before us can be worked backwards; that is, 
 beginning with the principal trunk and foreground, using the 
 largest needle, and making the lines finer as the trees recede. 
 
 FRONTISPIECE. 
 
 The sketch on the Delaware Kiver, Pennsylvania, used as a 
 frontispiece, gives the effect of cross-line shading in both sky and 
 water. The picture represents early morning, when the reflec- 
 tions, though strong, are dimmed by the rising mists. The sky, 
 which in Plate I is in outline, is here worked up so that the 
 streaks of light seen in the landscape are duplicated in the clouds. 
 The smoke from the chimney, and the faint ripple on the water, 
 are made with the same stopping-out varnish. 
 
FLAT ROCKS, KANSAS. 
 
mm 
 
 STUDY OF TREES. 
 
FISH HAWK'S NEST, Manasquan River 
 
CATALOGUE 
 
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 Books and Periodicals. 
 
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 THE INDUSTRIAL PUBLICATION COMPANY, 
 
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 Rhymes of Science : Wise and Otherwise. 
 
 This consists of a series of short poems, chiefly hu- 
 morous, by Oliver Wendel Holmes, Bret Hart, In- 
 goldsby, Prof. Forbes, Prof. J. W. McQ. Eankine, Hon. 
 E. W. Kaymond, and others. 
 
 With Illustrations. Cloth, Gilt Title, 
 
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Celestial Objects for Common Telescopes. 
 
 By the Eev. T. W. Webb, M.A., F.E.A.S. Fourth Edi- 
 tion, Kevised and Greatly Enlarged. Fully Illustrated 
 with Engravings and a large Map of the Moon. 
 - Cloth, - - - - - -' - $3.00 
 
 This edition has been made for us by the English publishers, and 
 is in every respect the same as the English edition. The work itself 
 *is too well known to require commendation at our hands. No one 
 that owns even the commonest kind of a telescope can afford to do 
 without it 
 
 " Many things, deemed invisible to secondary instruments, are 
 plain enough to one who ' knows how to see them.' "—Smyth. 
 
 " When an object is once discerned by a superior power, an inferior 
 one will suffice to see it afterwards."— Sik. W. Hekschel. 
 
 Chemical History of the Six Days of Creation. 
 
 By John Phin, Editor of the " American Journal of 
 
 Microscopy " and the " Young Scientist." 
 
 12 mo., Cloth, 75 cents. 
 
 In this volume an attempt is made to trace the evolution of our 
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 fitted to become the habitation of man. While the statements and 
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 views of a rather hackneyed subject, 
 
 Ponds and Ditches. 
 
 A Work on Pond Life and Kindred Objects. By M. C. 
 
 Cooke, M.A., LL.D. Cloth, 12mo., - - 75 cents. 
 
 This is a most interesting volume by a well-known author and 
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 Microscopical Examination of Drinking Water. 
 
 A Guide to the Microscopical Examination of Drinking 
 Water. By J. D. McDonald. 
 8vo., Cloth, 24 plates, - - - - $2,75 
 
Section Cuiiing. 
 
 A Practical Guide to the Preparation and Mounting oi 
 
 Sections for the Microscope ; Special Prominence being 
 
 0 4ven to the Subject of Animal Sections By Sylvester 
 
 Jfarsh. Reprinted from the London edition. With 
 
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 A Book for Beginners with the Microscope. 
 
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The Microscopisf s Annual for 1879. 
 
 Contains List of all the Microscopical Societies in the 
 country, with names of officers, days of meeting, etc. ; 
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 J8®" The " Annual " for 1880 is in a forward state of preparation, and 
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 Microscope Objectives. 
 
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 This is the elaborate paper on Angular Aperture, read by Dr. 
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 The Siliceous Shelled Bacillariae or Diatomaceae; the 
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 The Technologist, or Industrial Monthly. 
 
 The eight volumes of The Technologist, ok Industrial 
 Monthly, which have been issued, form a Mechanical and Archi- 
 tectural Encyclopaedia of grea& faiue; and, when properly bound, 
 they form a most important addition to any library. The splendid 
 full-page engravings, printed on tinted paper, in the highest style of 
 the art, are univei sally conceded to be the finest architectural and 
 mechanical engravings ever published in this country. We have on 
 hand a few complete sets, which we offer for $16.00, handsomely and 
 uniformly bound in cloth 0 
 
 We have also a few extra sets of Vols. Ill to VLLT inclusive. Thess 
 six volumes we offer for $8.00 bound in cloth. As there are but a very 
 few sets remaining, those who desire to secure them should order 
 immediately 
 
 Note.— The above prices do not include postage or express cnarge** 
 * he set weighs altogether too much to be sent by mail. 
 
The Steel Square and Its Uses. 
 
 The Carpenters' Steel Square and its Uses ; being a de- 
 scription of the Square, and its Uses in obtaining the 
 Lengths and Bevels of all kinds of Kafters, Hips, Groins, 
 Braces, Brackets, Purlins, Collar-Beams, and Jack- 
 Rafters. Also, its application in obtaining the Bevels 
 and Cuts for Hoppers, Spring Mouldings, Octagons, 
 Stairs, Diminished Stiles, etc., etc., etc. Illustrated by 
 Over Fifty Wood-cuts. By Fred. T. Hodgson, Editor 
 of the " Builder and Woodworker." 
 Cloth, Gilt, - - - ■ - - 75 cents. 
 
 Mechanical Draughting. 
 
 The Students' Illustrated Guide to Practical Draughting. 
 A Series of Practical Instructions for Machinists, Me- 
 chanics, Apprentices, and Students at Engineering 
 Establishments and Technical Institutes. By T. P. 
 Pemberton, Draughtsman and Mechanical Engineer. 
 Illustrated with Numerous Engravings. 
 
 Cloth, Gilt, $1.00 
 
 This is a simple but thorough book, by a draughtsman of twenty- 
 flvo years' experience. It is intended for beginners and self-taught 
 students, as well as for those who pursue the study under the direc- 
 tion of a teacher. 
 
 Lectures In a Workshop. 
 
 By T. P. Pemberton, formerly Associate Editor of the 
 "Technologist;" Author of "The Student's Illustrated 
 Guide to Practical Draughting." With an appendix con- 
 taining the famous papers by Whitworth "On Plane 
 Metallic Surfaces or True Planes;" "On an Uniform 
 System of Screw Threads ; " "Address to the Institution 
 of Mechanical Engineer's, Glasgow;" "On Standard 
 Decimal Measures of Length." 12 mo., Cloth, Gilt, $1.00 
 
 We have here a sprightly, fascinating book, full of valuable hints, 
 interesting anecdotes and sharp sayings. It is not a compilation 
 of dull sermons or dry mathematics, but a live, readable book. The 
 papers by Whitworth, now first made accessible to the American 
 reader, form the basis of our modern systems of accurate work. 
 
The Microscope and its Revelations. 
 
 By William B. Carpenter, C.B., M.D., LL.D., F.R.S., 
 F.G.S., F.L.S., etc., etc. Sixth Edition. Illustrated 
 by twenty-six plates and five hundred wood engravings, 
 882 pages. Cloth, 12 mo., - $5.50 
 
 This is indisputably the best work for the general Student of Natural 
 History. It gives the most complete account of the various forms of 
 the Microscope, of the accessories employed, and of the best modes of 
 using them, and it describes the best methods of preparing and 
 mounting objects. In the second part— the " Kevelations "—it leads 
 the student step by step from the simplest forms of animal and 
 vegetable life up to the minute anatomy of the highest. The new 
 edition is so greatly improved as to render all former editions 
 obsolete. 
 
 Diatoms. 
 
 Practical Directions for Collecting, Preserving, Trans- 
 porting, Preparing and Mounting Diatoms. By Prof. A. 
 Mead Edwards, M.D., Prof. Christopher Johnston, M.D., 
 Prof. Hamilton L. Smith, LL.D. 
 12mo., Cloth, - - - - 75 cents. 
 
 This volume undoubtedly contains the most complete series of 
 directions for Collecting, Preparing and Mounting Diatoms ever 
 published. The directions given are the latest and best. 
 
 Common Objects for the Microscope. 
 
 By Kev. J. G. Wood. Upwards of four hundred illus- 
 trations, including twelve colored plates by Tuffen West. 
 Illuminated Covers, - - - 50 cents. 
 
 This book contains a very complete description of the objects 
 ordinarily met with, and as the plates are very good, and almost every 
 object is figured, it is a most valuable assistant to the young micro- 
 scopist. 
 
 One Thousand Objects for the Microscope. 
 
 By M. C. Cooke, Vice-President of the Quekett Micro- 
 scopical Club, London ; Hon. Member of the American 
 Microscopical Society, etc., etc. Illustrated with 12 
 plates, containing 500 figures of the most interesting 
 microscopic objects. 12 mo., Boards, - 50 cents 
 
dements and Glue. 
 
 A Practical Treatise on the Preparation and Use of all 
 Kinds of Cements, Glue, and Paste. By John Phin, 
 Editor of the " Young Scientist" and the ''American 
 Journal of Microscopy." 
 
 Stiff Covers, - - - - - 25 cents. 
 
 This is the first of a Series of 'Work Manuals," which are intended 
 to be thoroughly trustworthy and practical. They are not mere 
 reprints of old matter, but fresh presentations of valuable material, 
 representing the latest developments of science. Every mechanic 
 and householder will find the volume on Cements of almost everyday 
 use. It contains nearly 200 recipes for the preparation of cements for 
 almost every conceivable purpose. 
 
 The Amateur's Hand-Book of Practical Information. 
 
 For the Workshop and the Laboratory. Second Edition. 
 Greatly Enlarged. Neatly Bound, - - 15 cents. 
 
 This is a handy little book, containing just the information needed 
 by Amateurs in the Workshop and Laboratory. Directions for 
 making Alloys, Fusible Metals, Cements, Glues, etc. ; and for Solder- 
 ing, Brazing, Lacquering, Bronzing, Staining and Polishing Wood, 
 Tempering Tools, Cutting and Working Glass, Varnishing, Silvering, 
 Gilding, Preparing Skins, etc., etc. 
 
 The New Edition contains extended directions for preparing Polish- 
 ing Powders, Freezing Mixtures, Colored Lights for tableaux, Solu- 
 tions for rendering ladies' dresses incombustible, etc. There has also 
 been added a very large number of new and valuable receipts. 
 
 Five Hundred and Seven Mechanical Movements. 
 
 Embracing all those which are Most Important in Dy- 
 namics, Hydraulics, Hydrostatics, Pneumatics, Steam 
 Engines, Mill and Other Gearing, Presses, Horology and 
 Miscellaneous Machinery; and including Many Move- 
 ments never before published, and several of which have 
 only recently come into use. By Henry T. Brown, editor 
 of the " American Artisan." Eleventh Edition. $1.00 
 This work is a perfect Cyclopaedia of Mechanical Inventions, which 
 are here reduced to first principles, and classified so as to be readily 
 available. Every mechanic that hopes to be more than a rule-of- 
 thumb worker ought to have a copy. 
 
Shooting orr the Winy- 
 Plain Directions for Acquiring the Art of Shooting on 
 the Wing. With Useful Hints concerning all that relates 
 to Guns and Shooting, and particularly in regard to the 
 art of Loading so as to Kill. To which has been added 
 several Valuable and hitherto Secret Kecipes, of Great 
 Practical Importance to the Sportsman. By an Old 
 Gamekeeper. 
 
 12mo., Cloth, Gilt Title. - - - 75 cents. 
 
 The Pistol as a Weapon of Defence, 
 
 In the House and on the Eoad. 
 
 12m o., Cloth. 50 cents. 
 
 This work aims to instruct the peaceable and law-abiding citizens 
 in the best means of protecting themselves from the attacks of the 
 brutal and the lawless, and is the only practical book published on 
 this subject. Its contents are as follows : The Pistol as a Weapon of 
 Defence.— The Carrying of Fire- Arms.— Different kinds of Pistols in 
 Market; How to Choose a Pistol.— Ammunition, different kinds; 
 Powder, Caps, Bullets, Copper Cartridges, etc.— Best form of Bullet- 
 How to Load.— Best Charge for Pistols.— How to regulate the 
 Charge— Care of the Pistol ; how to Clean it.— How to Handle and 
 Carry the Pistol.— How to Learn to Shoot.— Practical use of the 
 Pistol ; how to Protect yourself and how to Disable your antagonist. 
 
 Lightning Rods. 
 
 Plain Directions for the Construction and Erection of 
 Lightning Kods. By John Phin, C. E., editor of "The 
 Young Scientist," author of "Chemical History of the 
 Six Days of the - Creation, " etc. Second Edition, En- 
 larged and Fully Illustrated. 
 12mo., Cloth, Gilt Title. - - - 50 cents, 
 
 This is a simple and practical little work, intended to convey just 
 such information as will enable every property owner to decide 
 whether or not his buildings are thoroughly protected. It is not 
 written in the interest of any patent or particular article of manu- 
 facture, and by following its directions, any ordinarily skilful me- 
 chanic can put up a. rod that will afford perfect protection, and thai 
 will not infringe aay patent. Every owcer of a house or barn ough* 
 to procure a copy. 
 
THE WORKSHOP COMPANION. 
 
 A Collection of" Useful and Reliable Recipes, 
 Rules, Processes, JJIetliods, Wrinkles, 
 and Practical Hints, 
 
 i O il THE HOUSEHOLD ^JVJD THE SHOP. 
 
 CONTENTS. 
 
 Abyssinian Gold; — Accidents, General Rules;— Alabaster, how to work, polish and 
 clean; — Alcohol; — Alloys, rules for making, and ?6 recipes; — Amber, how to work, 
 polish and mend; — Annealing and Hardening ghss, copper, steel, etc.; — Arsenical 
 Soap; — Arsenical Powder; — Beeswax, how to bleach; — Blackboards, how to make; — 
 Brass, how to work, polish, color, varnish, whiten, deposit by electricity, clean, etc., 
 etc. ; — Brazing and Soldering; — Bronzing brass, wood, leather, etc. ; — Burns, how to 
 cure; — Case-hardening ; — Catgut, how prepared ; — Cements, general rules for using, and 
 56 recipes for preparing; — Copper, working, welding, depositing; — Coral, artificial; — 
 Cork, working; — Crayons for Blackboards; — Curling brass, iron, etc.; — Liquid Cu- 
 ticle; — Etching copper, steel, glass; — Eye, accidents to;- -Fires, to prevent; — Clothes 011 
 Fire; — Fireproof Dresses; — Fly Papers; — Freezing Mixtures, 6 recipes; — Fumigating 
 Pastils; — Gilding metal, leather, wood, etc.; — Glass, cutting, drilling, turning in the 
 lathe, fitting stoppers, removing tight stoppers, powdering, packing, imitating ground 
 glass, washing glass vessels, etc. ; — Grass, Dry, to stain; —Guns, to make shoot close, 
 to keep from rusting, to brown the barrels of, etc., etc. ; — Handles, to fasten ; — Inks, 
 rules for selecting and preserving, and 34 recipes for; — Ink. Eraser; — Inlaying; — Iron, 
 forging, welding, case-hardening, zincing, tinning, do. in the cold, brightening, etc., 
 etc. ; — Ivory, to work, polish, bleach, etc. ; — Javelle Water ;■ --Jewelry and Gilded Ware, 
 care of, cleaning, coloring, etc. ; — Lacquer, how to make and apply; — Laundry Gloss ; — 
 Skeleton Leaves; — Lights, signal and colored, also for tableaux, photography, etc., 25 
 recipes; — Lubricators, selection of, 4 recipes for; — Marble, working, polishing, clean- 
 ing; — Metals, polishing; — Mirrors, care of, to make, pure silver, etc., etc.; — Nickel, 
 to plate with without a battery; — Noise, prevention of; — Painting Bright Metals; — 
 Paper, adhesive, barometer, glass, tracing, transfer, waxed, etc. ;•<— Paper, to clean, take 
 creases out of, remove water stains, mount drawing paper, to prepare for varnishing, 
 etc., etc. ; — Patina; — Patterns, to. trace; — Pencils, indelible; — Pencil Marks, to fix; — 
 Pewter; — Pillows for Sick Room, cheap and good; — Plaster-of-Pavi^, how to work; — 
 Poisons, antidotes for, 12 recipes; — Polishing Powders, preparation and use of (six 
 pages); — Resins, their properties, etc.; — Saws, how to sharpen ;- -Sieves; — Shellac, 
 properties and uses of; — Silver, properties of, oxidized, old, cleaning, to remove ink 
 stains from, to dissolve from plated goods, etc., etc. ; — Silvering metals, leather, iron, 
 etc. ; — Size, preparation of various kinds of; — Skins, tanning and curing, do with haif 
 on; — Stains, to remove from all kinds of goods; — Steel, tempering and working (six 
 pages) ; — Tin, properties, methods of working; — Varnish, 21 recipes for; — Varnishipg, 
 directions for; — Voltaic Batteries; — Watch, care of; — Waterproofing, 7 recipes for; — 
 Whitewash; — Wood Floors, waxing, staining, and polishing; — Wood, poUshihg, 
 Wood, staining, 17 recipes; — Zinc, to pulverize, black varnish for. 
 
 164 closely-printed pages, neatly bound. Sent bv mail for 36 oenxti 
 (postage stamps received). Specimen pages free. 
 
 INDUSTRIAL PUBLICATION COMPANY, 
 
 49 Maiden Lane, New York. 
 
A XEtV SERIES OF PRACTICAL BOOKS. 
 
 WORK MANUALS. 
 
 The intention of the publishers is to give in this Series a number of small books which 
 will give Thorough and Reliable Information in the plainest possible language, upon the 
 ARTS OF EVERYDAY LIFE. 
 
 Each volume will be by some one who is not only practically familiar with his subject, 
 but who has the ability to make it clear to others. The volumes will each contain from 
 50 to 75 pages , will be neatly and clearly printed on good paper, and bound in tough 
 and durable binding. The price will be 25 cents each, or five for One Dollar, 
 
 The following are the titles of the volumes already issued. Others will follow at 
 short intervals. 
 
 I. Cements and Glue. 
 
 A Practical Treatise on the Preparation and Use of All Kinds of Cements, Glue 
 and Paste. By John Phin, Editor of the Youtig Scientist and the A merican 
 Jottrnal of Microscopy 
 Every mechanic and householder will find this volume of almost everyday use. It 
 
 contains nearly 200 recipes for the preparation of Cements for almost every conceivable 
 
 purpose. 
 
 II. The Slide Rule, and How to Use It. 
 
 This is a compilation of Explanations, Rules and Instructions suitable for mechanics 
 and others interested in the industrial arts. Rules are given for the measurement of 
 all kinds of boards and planks, timber in the round or square, glaziers' work and paint- 
 ing, brickwork, paviors' work, tiling and slating, the measurement of vessels of various 
 shapes, the wedge, inclined planes, wheels and axles, levers, the weighing and meas- 
 urement of metals and all solid bodies, cylinders, cones, globes, octagon rules and 
 formulae, the measurement of circles, and a comparison of French and English measures, 
 with much other information, useful to builders, carpenters, bricklayers, glaziers, 
 paviors, slaters, machinists and other mechanics. 
 
 Possessed of this little Book and a good Slide Rule, mechanics might carry in their 
 pockets some hundreds of times the power of calculation that they now have in their 
 heads, and the use of the instrument is very easily acquired. 
 
 III. Hints for Painters, Decorators and Paperliangers. 
 
 Being a selection of Useful Rules, Data, Memoranda, Methods and Suggestions 
 for House, Ship, and Furniture Painting, Paperhanging, Gilding, Color Mixing, 
 and other matters Useful and Instructive to Painters and Decorators. Prepared 
 with Special Reference to the Wants of Amateurs. By an Old Hand. 
 
 IV. Construction, Use and Care of Drawing Instruments. 
 
 Being a Treatise on Draughting Instruments, wi.th Rules for their Use and Care, 
 Explanations of Scales, Sectors and Protractors. Together with Memoranda for 
 Draughtsmen, Hints on Purchasing Paper, Ink, Instruments, Pencils, etc. Also a 
 Price List of all materials required by Draughtsmen. Illustrated with twenty-four 
 Explanatory Illustrations. By Fred. T. Hodgson. 
 
 V. The Steel Square. 
 
 Some Difficult Problems in Carpentry and Joinery Simplified and Solved by the 
 aid of the Carpenters' Steel Square, together with a Full Description of the Tool, 
 and Explanations of the Scales, Lines arid Figures on the Blade and Tongue, and 
 How to Use them in Everyday Work. Showing how the Square may be Used 
 in Obtaining the Lengths and Bevels of Rafters, Hips, Groins, Braces, Brackets, 
 Purlins, Collar- Beams, and Jack-Rafters. Also, its Application in Obtaining 
 the Bevels and Cuts for Hoppers, Spiing Mouldings, Octagons, Diminished 
 Styles, etc., etc. Illustrated by Numerous Wood-cuts. By Fred. T. Hodgson 
 Author of the " Carpenters' Stee 1 Square." 
 Note. — This work is intended as an elementary introduction for the use of those who 
 have not time to study Mr. Hodgson's larger work on the same subject. 
 
 INDUSTRIAL PUBLICATION CO., 
 I*. O. Box 4& Maiden. Lane, New York* 
 
THE AMERICAN 
 
 Journal of Microscopy. 
 
 Now (1881) in its Sixth Tear. 
 
 While popular in the general tone of its articles, this journal has always been 
 thoroughly reliable, practical and ^ dignified. It addresses itself to the Naturalist, the 
 Teacher, the Student, the Physician, and the general reader, and describes all new 
 improvements in the construction and methods of using the Microscope, and gives an 
 account of the discoveries made by it. 
 
 Illustrations. — No expense is spared in illustrating such subjects as demand it. 
 The woodcuts which appear in our columns are by the very best artists, and our full- 
 page plates have not been excelled by any work produced in this country. 
 
 IJp^This Journal is not the organ of any Society, but it gives the Proceedings of all 
 the Microscopical Societies of importance. 
 
 Published Monthly at $1.00 per year. Specimens Free. 
 
 Since 1878 the pages of the Journal have been electrotyped, and back numbers and 
 volumes from that time can always be furnished. Some of the earlier volumes are out 
 of print, but we are occasonally able to supply comp ete sets. Price per volume 
 (bound) $1.50; Single numbers (ordinary) 10 cts. ; Extra numbers 25 cts. 
 
 THE YOUNG SCIENTIST. 
 
 NOW (1881) IN ITS FOURTH YEAR. 
 
 _^\_ ^Practical Journal for Amateurs. 
 
 Devoted to Amateur Arts, Lathes, Scroll Saws, Wood Carving, Boat Building, 
 Microscopes, Telescopes, Modelling in Clay, Drawing, Engraving on Wood, Pho- 
 tography, Parlor Science, Legerdemain, Aquaria, Use of Tools, Scientific Experiments, 
 etc., etc. 
 
 Monthly, SO cents a year. Specimens Free. 
 BOUND VOLUMES. — This bright little monthly is published in s*uch a form 
 that when bound the year's numbers make a handsome volume. We can furnish a few 
 sets, neatly and uniformly bound, for $1.00 per volume. 
 
 THE LONDON LANCET. 
 
 A Journal of British and Foreign Medicine, Physiology, Surgery, Chemistry, 
 Criticism, Literature and News. 
 Edited by JAMES G. WAKLEY, M.D., M.R.C.S. 
 NOW (1881) IN ITS THIRTY-SEVENTH YEAR OF REPUBLICATION. 
 
 THE LANCET is the oldest and most practical Medical Journal published in the 
 English language. It is the standard medical periodical of the world. 
 
 THE LANCET for each year makes two thick volumes, containing over 1200 
 double-column pages of closely-printed matter, exclusive of the advertising sheets. We 
 ■have just pur hased an entirely new set of beautiful and clear type, which is printed on 
 the very best calendered book paper. Our pages^ contain nearly twice as much reading 
 ^matter as any other monthly medical journal published on this side of the Atlantic. 
 
 $4.00 per year. Single Numbers 40 cents. 
 
 Liberal Clxib Rates. 
 
 Specimen Numbers (our selection) sent for four 3-cent postage stamps. 
 
 INDUSTRIAL PUBLICATION COMPANY, 
 
 P. O. Box 3853. 4:9 Maiden Lane, New York;. 
 
 Send for our Catalogue of Books and Microscopes,