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THE PHOTOGRAPHIC NEWS. LMaRCH 27, 1885. subsequent emulsion passed through takes some of the bromide with it, and causes black spots. N othing can be better for break ing up emulsion than a vulcanite or well silvered metal tube covered at one end with No. 16 wire gauze. While lam talking of washing emulsion, I may as well mention that an emulsion which will sometimes give a slightly foggy result will invariably give clear negatives if warmer water is used in the washing, or if the emulsion is precipitated with alcohol; the reason is that meta-gelatine is more soluble in warm solutions. I would like to say something about the sensitometer—War- nerke’s. That clever instrument is in many ways far from perfect yet. I could not do without it. It is most valuable for comparing one’s own results, but useless for comparison with others ; no two tablets seem of the same density ; and emulsion makers seldom use the same formula. Some time ago, a plate- maker asked me to test some plates for him ; they were not quick—14—and the No. 1 indication was poor and thin, which is quite the reverse of what might be expected. Strange to say, a plate registering 22 gave much more density ; but the camera test reversed this order of things, for the slow plate gave the densest image. I was informed that the plate contained no iodide. Very fine results may be obtained by mixing emulsions of different speeds, but it has to be done carefully. It must not be thought that an emulsion—say giving 1 and 7 respectively on the sensitometer, and mixed in equal quantities, would give the mean speed, 4. In practice it will be found that to get the mean speed, (i.e., 4) you would require to mix one part of No. 1 to three parts of No. 7. It must also be remembered that emul sions of various speeds vary in colour, and also in density; and if a large quantity of a slow emulsion, (i. e., one giving a yellow or red colour) is mixed with a small quantity of very rapid, the slow will completely destroy or eclipse the rapidity of the quick one. To get the mean density of emulsions, the proportions given for speed seems about the same. In conclusion, I will give you a formula for a very rapid emul sion—i. e., one that will give 25 on Warnerke's sensitometer with half the usual exposure recommended. I have no idea of the speed compared with collodion, or even with a plate exposed the usual 30 seconds. Formula. No. 1.—Nelson’s gelatine No. 1 20 grains Water 4 ounces C’arb. ammon. ... ... ... 60 grains Br. potass 180 „ lod 10 „ No. 2.—Ammonia-converted silver nit. ... 240 „ Water ... ... ... ... ... 4 ounces Nit. acid ... 2 minims Mix the silver to the gelatine in a fine stream, place the jar in three quarts of boiling water, leave all night, then add dry gela tine 480 grains. Warm to melt the gelatine; let this stand another day ; break up through 16 mesh gauge, and well wash. A good developer is as follows :— No. 1.—Pyro ... 4 grains Br. potass 2 ,, Water ... ... ... ... ... 1 ounce Sulphite soda „ hit. acid „ Mix sulphite soda, nit. acid, and water, then add pyro. This will keep concentrated indefinitely. No. 2.—Liq. ammon 4 minims Water ... ... ... ... ... 1 ounce For use take half of each. In lieu of ammonia take carb, potass 40 grains. A FEW STRAY “ SHOTS ” IN IRELAND. BY ADOLPH W. BEER.* We leave the rails at the next station, viz., Thurles—-city of mud cabins and ruins, dirty and world-forsaken in appear ance, with a picturesque castle keep commanding the river and bridge—a genuine ideal Irish city, and crowded with unique studies. But, seeing how the hours were fleeting, and con sidering the quantity of work arranged for in the day, we reluctantly at once took a car for Holy Cross Abbey and Cashel. Here let me mention that the price demanded for • Continuation of a communication to the Birkenhead Photographic Society. “ three of us ” for a drive of about fifteen English miles to Cashel, including calling at the Abbey, and a delay of an hour or two, was the sum of five shillings. We have pleasant remembrances of that lovely drive from Thurles to Holy Cross Abbey; and the recollection of a certain sleepy old mill embedded in the rushes of the almost stagnant river, with a few gnarled trees scattered round, and the surface of the stream broken up by green islets shrouded in graceful foliage, makes one long for another opportunity of better showing our appreciation of its loveliness than simply admiring and—passing on. But here we are at the famous Cistercian Abbey of the Holy Cross—perhaps the most perfect monastic remain in Ireland, and certainly yielding to none in interest or beauty. If looked at near, or far off, across the woods and meadows or over the babbling boulder-strewn stream, it is unique in its perfect assimilation with its surroundings, and as the warm glow of the afternoon sun softens aud brightens its grey lichen-covered walls, the colour, so charming, photography altogether fails to render. The east window is of great beauty and especial interest, on account of its unique design. The Cloister Court is just lighted right, and with one or two details of doorways and buttresses, with the delicate arcading that once ran right round the courtyard, made pleasing pictures. The nave is very plain, with stonework supports, and seems to be used as the cemetery of the district. In one of the small transepts is a marvellous piece of shrine work, said to have been the receptacle of the pieces of the true Cross, that gave the Abbey its name, and afterwards used as the temporary resting place of the bodies of the monks, previous to burial, upon which the medival craftsman has lavished an infinite amount of most elaborate carving and decoration. In a cell “ one of us ” changes his plates most successfully, the others barricading the entrance with a large focussing cloth. One more “ shot” from the opposite side of the river, with the mill wheel to balance the picture, aud we adjourn to a dirty cottage called the “ Inn,” for our well-earned refreshment, ere proceeding to Cashel. At about 3.30, we are again on board our jaunting car, trust ing to be able to get to Cashel in time to utilise the evening light. Here we have “ reckoned without our host,” or rather, our steed, for the long rest has made the mare skittish, else she preferred returning to her stable at Thurles to turning her nose Cashel-wards. Consequently, we had about thirty miuutes fun (?) with an Irish self-willed mare, the termination of which amusement nearly left us up to our necks in a soft ditch, or crucified on a high thorn hedge. However, by dint of apples and coaxing, we got fairly away at last. But the evening was rapialy closing in, and a dull heaviness—so dear to the heart of the landscape photographer—pervaded the air, as on surmount ing a little hill the Rock of Cashel could just be seen, while the Slieve-na-Man Mountains behind were putting on their night-caps of white mist. Dull and cloudy in the morning, but fairly clear, and time being limited, we at once attack—with long focus lenses—the famous rock. Mounting the hill, and entering the enclosure, we notice that we are within the walls, not only of what has been an ecclesiastical structure, but also a fortress of no ordinary strength. The first object of notice is the cruciform cathedral, plain but strong, the early English window of three lights being notable for having them surmounted by an unusual rose window. This cathedral was burnt in 1495, by the Eail of Kildare, who had a grudge against the Archbishop, and whose only apology for this sacrilegious act was, that he would not have set fire to the build ing if he had known that the Archbishop was not in it. Adjoining the cathedral is the interesting building called Cormac’s Chapel, by far the oldest building on the rock. Petrie says : “ It is the most curious and best-preserved structure in the country, combining the richest Norman decoration with the high stone hoof peculiar to Irish architecture.” The south entrance is by a beautiful Norman door. The north doorway, which was evidently the principal entrance, is a most unique and elaborate work of seven orders, but in a most unfortunate position for obtaining photographs. Inside the chapel is the sarcophagus of the founder, King Cormac, a.d. 908, a perfect gem of early Celtic work. The very peculiar carving over the great north door, through which this picture is taken, represents a Centaur shooting a mythological animal. In the city of Cashel, buried in back lanes of cabins, arc the
