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402 THE PHOTOGRAPHIC NEWS. [June 26, 1885. soft metal. It is an excellent plan to wax the print before converting it into a priming stencil, as, under these cir cumstances, the perforations are cleaner and less liable to become clogged up by the expansion of the paper under the action of the printing ink. The subjoined cuts illustrate the method of using the WRITING WITH THE PERFORATING PEN. PLACING THE PAPER THAT IS TO RECEIVE THE IMPRESSION. USE OF TIIE ROLLER FOR FORCING INK THROUGH THE PERFORATIONS OF THE STENCIL. cyclostyle for the multiplication of an original stencil writing, and when the tracing of a photograph is to be multiplied, it is merely necessary to use the photograph (waxed by preference) instead of the paper ordinarily sup plied with the apparatus. THE ANTWERP INTERNATIONAL EXHIBITION. [from a special correspondent.] Situated at the extreme east end of the Avenue de l’Industrie, and about ten minutes' stroll from the old town of Antwerp, the spacious buildings which constitute the Exposition Universelie will before long present an im pressive appearance; but now, nearly two months after the official opening, the central arch with the ornamental towers on either side are little more than an iron cage and wooden boarding. On entering the building by the main doorway, however, one is at once impressed with the very brilliant effect that one sees in the Belgian and French sections, with their coloured canopies, festoons, flags, and other ornamentations. The grounds, too, although com paratively small, looked very gay, with the luxuriant plantations, kiosks, ornamental cafes, and the gorgeous eastern temple of the French colonial section. Of the exhibition itself, we may at once say that it is a grand success, and that, considering the exhibition is universal, photography is fairly well represented ; although, as is usual under these circumstances, the exhibits are chiefly contributed by professional photographers. Of the various countries represented, whether from a general or photographic point of view, the palm must certainly be given to France, although Belgium has a very fine show, and undoubtedly comes second on the list. As regards England and Germany, they are practically unrepresented ; in fact, as far as English photography is concerned, the exhibits are confined to two frames, the one containing Messrs. West and Son’s admirable yachting pictures, and the other from A. G. Tagliaferro, including the church of the knights of St. John at Malta, which gained two medals at Pall Mall last October. English photo- graphers, altough so deficiently represented, can certainly find consolation in the fact that the quality of the British exhibits is all that could be desired. Perhaps some explanation is due to our readers for allowing nearly eight weeks to pass before following up the first notice (see page 291), but when we say that until a few days ago there was scarcely a frame hanging in the photographic departments of the Belgian and French sections, it will be at once understood that we preferred to delay giving a detailed account till the afore-mentioned photographic displays were completed. On entering the main building, the Belgian photographic department is situated just to the left. The frames are for the most part hung on three-sided screens, over the top of which are suspended light canopies which very effectually soften and diffuse the direct rays from the large skylight. MM. Geruzet Freres, of Brussels, whose work is always of great excellence, show a very striking series of large portraits with artistic backgrounds. The portraits are taken in the usual studio, but the surroundings are printed in from well chosen negatives of actual interiors or landscapes ; thus a lady is represented posed in a taste fully-arranged ball-room ; or again, Her Majesty, Queen of the Belgians, is represented strolling in a leafy avenue. The effects thus shown are highly satisfactory. Of Herr Ganz’s large frame of portraits and groups, which are also very excellent, little need be said. The electric light por traits of M. Dupont show what can be done with artificial illumination, the pictures being delightfully soft and har monious. The frame of instantaneous portraits of children, contributed by M. Maes, of Antwerp, contains a few charming little studies, but also several which, although taken instantaneously, present unmistakable signs that the juvenile sitters feel they are being photographed. In cases where instantaneous photography is possible in a studio, it would be a great advantage to disguise the camera and lens in some way or other. The enlargements conti ibuted by M. Dirks, of Antwerp, and M. Meeus- Verbeke, of Louvain, are satisfactory ; but we should have admired them more if they did not so unmistakably bear the marks of the retoucher’s pencil. Of M. Van Crewel’s gorgeous exhibits of character studies, mounted in massive metallic frames on a crimson plush background, we prefer the mounting to the photographs. M. de Neck exhibits his hat-camera, which was described in these columns a short time ago, and also several surprisingly satisfactory