made by it also; indeed, as a basis for coloring, nothing could well be
better. Artists all over the country have told me that after a few
trials they prefer it to anything else, while excellent and effective
plain enlargements are easily made by it if only carefully handled. A
very good enlargement is made by vignetting the picture, as I have just
done, with the opal, and then squeezing it down on a clean glass, and
afterward framing it with another glass in front, when it will have the
appearance almost equal to an opal. To make sure of the picture adhering
to the glass, however, and at the same time to give greater brilliancy,
it is better to flow the glass with a 10 or 15 grain solution of clear
gelatine before squeezing it down. The one fault or shortcoming of the
plain argentic paper is the dullness of the surface when dry, and this
certainly makes it unsuitable for small work, such as the rapid
production of cartes or proofs from negatives wanted in a hurry; the
tone of an argentic print is also spoken of sometimes as being
objectionable; but my impression is, that it is not so much the tone as
the want of brilliancy that is the fault there, and if once the public
were accustomed to the tones of argentine paper, they might possibly
like them twice as well as the purples and browns with which they are
familiar, provided they had the depth and gloss of a silver print; and
some time ago, acting on a suggestion made by the editor of the
_Photographic News_, I set about trying to produce this result by
enameling the paper with a barium emulsion previous to coating it with
the gelatinous bromide of silver. My experiments were successful, and we
now prepare an enamel argentic paper on which the prints stand out with
brilliancy equal to those on albumenized paper. I here show you
specimens of boudoirs and panels--pictures enlarged from
C.D.V.--negatives on this enamel argentic.

[Mr. Goodall then passed round several enlargements from landscape and