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March 13, 1863.] THE PHOTOGRAPHIC NEWS. 123 graphs, chiefly consisting of rural studies and landscapes with figures, by Messrs. Jackson Brothers, which struck us at the time as unusually picturesque and artistic. We have here a series of views in North Wales, which, whilst diffe rent in character, consisting of natural scenery rather than artistic studies, are selected and executed with equal artistic feeling, with one slight drawback, however, namely, that in some instances we have white skies. In all other respects this is one of the best series of photographs of W elsh scenery we have met with. TRAITE GENERAL DE PHOTOGRAPHIE, Conprenant tous les Precedes connus jusqu’ ce jour. Par D. V. MOoxcKIOVEX, Quaterieme Edition, Paris: Victor Masson et Fils. The fourth edition of Dr. Van Monckhoven’s Traite General has been entirely re-written, and is, perhaps, the most complete work on photography in existence, treating most fully alike of the theory, practice, and scientific applications of photo graphy, and being illustrated with upwards of two hundred and fifty engravings. We heartily commend it as a work which should be in the library of every photographer who reads the French language. Dr. Monckhoven is not only a careful and conscientious compiler, but himself a man of high scientific attainments, and a high authority in the chemistry of photography, REPERTOIRE ENCYCLOPEDIQUE DE PHOTO- GRAPHIE. Par II. de la BLANCIERE. Tome 1. et II. Paris : 39 Boulevart de Capucines. This is another very comprehensive French work of refer ence on the art of photography, and professes to comprise, in alphabetical order, all which has been published in France and other countries since the discovery of Daguerre and Niepce on the art of printing by means of light, and of chemistry, physics, and art, so far as they relate thereto. The alphabetical treatment of all matters photographic is completed in two closely-printed 8vo. volumes ; but to keep pace with the progress of the art, the work is continued in monthly parts, which recommence the alphabet, and proceed to include the progress of the art to the latest possible period. The work displays great research and care, and is invaluable as a work of reference on the history, theory, practice, and applications of the art. TRAITE DE L’IMPRESSION PHOTOGRAPHIQUE SAN SEES D’ARGENT. Bar Alpiionse PorEVI, avec une Introduction par M. Ernest Lacan. Paris: Lieber A most interesting history of the origin and progress of the various methods of obtaining photographic impressions with out the salts of silver, whether by carbon, photolithography, or photographic engraving. To all photographers interested in this branch of the art, so important in an economic point of view, this brochure will be most welcome, both as recording the history and describing the methods of operation. The value of the work is most materially enhanced by illus trations, produced by the various processes described, in cluding a carbon print, containing very perfect half-tone. Hie book is manifestly the work of one with whom the art, to the progress of which he has contributed so much, has been a most all-absorbing passion. We notice in some cases, that he has fallen into some inexactitude in dates, but there is a manifest desire to perform the work in careful and conscientious spirit, and we commend it very heartily for its practical value. AN EXPERIENCE WITH THE OLD HYPO BATH. BY CARL MEINERTI. [We have received from Mr. Carl Meinerth of Portsmouth, New Hampshire, U.S., a series of prints, in illustration of an article in the American Journal, to which he calls our attention, and which we here subjoin. The prints include some exceedingly fine specimens of photography, and are very perfect in tone. The colours vary from a deep rich warm neutral tint to a deep black, and, notwithstanding their long immersion in the old hypo bath described, they have not the faintest indication of the yellow tint we generally find accompanying the blacks so produced, and which so often indicates incipient decay. The prints are card vig nettes, presenting therefore, a large surface of white, which is exquisitely fine. So far as there is present indication, the tones arc good, and with every promise of permanency. How far that promise will be fulfilled, time alone can decide. In the mean time, we arc bound to add that the alkaline gold process is, we think, the most trustworthy method we at present possess.—ED. P.N.] When a vicious boy changes his mind, repents his sins, and by degrees in his later days becomes a good man of es- teemable character and qualities, wo ought not surely con demn him for ever for his juvenile sin. Would that we could say so with some hope of the old boy, Hypo, whose pranks made him so odious with us, that he was despised and turned out years ago, with disgrace, so much so that we now feel almost ashamed even in mentioning his name ; and one must fear to be considered a candidate for some certain asylum, if he dares undertaking to restore him to society. Yet who of us would not be willing to welcome him back to home and hearth if he could, and would give up his rank habits and unstable qualities, for the slow but lasting virtues of his younger golden brother, Alkaline ?—the “ gold-sohn’chen," as the Germans would call him. But let me report an accidental case of experience with the boy, which induced me to extemporise in these charitable mediations in his behalf:— In May, or June of last year, I prepared a “ rich toning and fixing bath,” for experiment, and for quick work (as for any other I have used none but the alkaline), which as usual pro duced very fine tones, but the whites turned yellow after a few days, and even as soon as the prints were dry; now, these yellows even in pictures of no intended value or durability, can, to use a vulgar phrase, make any one mad! Well; so after they appeared, young master Hypo, after this first exploit ofyello w- nizing that batch of prints, was corked up, and put into the dark closet, until I could treat him to a dose of ferri sulphas, to disgorge the gold from his pockets, in order to prevent further mischief by temptation. But this was never executed, and he was left in statu quo until about two weeks ago—thus eight months. Gathering up, as I said, about two weeks ago, old bottles and solutions, I came across the old offender, and as it were, wishing to give him the last chance for repentance, poured him out into a dish and threw a handful of over-printed, unwashed albumen prints into it. This was in the afternoon ; other business made me neglect these prints entirely, until the next morning, when to my surprise I found them beautifully white or black, and the solution perfectly clear. I soaked the prints for only about an hour in one water, still suspiciously expecting that they would turn yellow after drying; but they did not, and have so far not shown any symptoms of the yellow fever, and also look not likely as if they would. [I enclose a few of those original prints, and beg for your opinion, Mr. Editor, of their toning quality, and for preserving them, and reporting on their stability at some future day.] Now to sum up : this bath was eight months old ; the prints were left in it eighteen hours, and received only one hour’s soaking afterwards. The tone of them is, in my humble opinion, ; (but let the Editor speak), and the white of the vignette is as pure as the edge of the surrounding card. When this same bath is freshly prepared, prints toned in it in thirty minutes and washed very carefully in warm, and then in running wafer for four hours, go to “ lemons” very soon, if not already while drying. But I must mention the composition of the bath :— Water ozs. Hypo g ozs. Sal ammoniac 2 ozs. Nitrate of silver 40 grs. Gold 15 grs. The result of the present experiment seems to indicate that
