Nov. 6. 1852.] 



NOTES AND QUERIES: 



443 



sliding frame, similar to Mr. Archer's. At each 

 corner of this piece of wood could be a hole for 

 four legs, so as to stand about five and a half feet 

 high. These legs could be jointed, so as when not 

 in use they would double up and pack with the 

 above piece of wood. I would have this piece of 

 wood covered with India rubber cloth, which 

 would cover the four legs when they are fitted to 

 the top piece of wood. The tent, when set up for 

 use, would be about three feet long, five and a half 

 feet high ; at the ends, about eleven inches at the 

 top, and two and a half feet at the bottom. If you 

 understand this description, you will easily see 

 that the usual camera box need not be used. The 

 brass tube of the lens would just come through 

 the cloth, b^ being placed in a sleeve, so as not to 

 admit any light. The yellow glass in the top piece 

 of wood would admit sufficient light to operate in 

 the tent, either with glass plates or paper. We 

 would be enabled, with this tent, to manipulate as 

 well as if we were in a room. H. Elliott. 



Penslur Iron Works, Fence Houses, Durham. 



[There seem two objections to the very ingenious 

 form of tent proposed by our correspondent: — 1st. The 

 vibration to which the lens would be subject, and which 

 would of course prevent that accuracy of definition 

 essential to a good picture ; 2nd. That from the large 

 exposed surface of the tent, it would be liable to be 

 blown over by the wind. It may also be remarked, 

 that a firm position is more easily obtained upon a 

 tripod than upon four legs.] 



Proof of the Value of Photography to the Ar- 

 chcBologist. — As an instance of the application of 

 photography to archasology in securing fac-similes 

 of remains which are becoming gradually obli- 

 terated, an interesting incident occurred to me 

 while taking some views at Psestum. The only 

 remains of a gateway which is left standing of that 

 ancient city is an arch about fifty feet high. My 

 guide told me, that on the key-stone of the arch 

 was still to be seen one of the effigies of the city, 

 " the Sirena Paestana," holding a rose, but that it 

 was nearly effixced by the ravages of time and 

 weather. After straining my eyes for some time, 

 it was with the utmost difficulty that I made out 

 something ; but on my return to Salerno, when I 

 brought out my negatives, I was much interested 

 in finding that the figure on the key-stone was far 

 more distinct there than the original was to my 

 eye ; and by aid of a glass the doll-like figure, 

 worn and much obliterated, was very apparent. 

 I believe that many interesting little morceaux 

 would be detected by archaeologists during a quiet 

 study of their photographs at home, which escaped 

 them in the originals. E. Kateb. 



[Thanks to the courtesy of Mr. Kater, who has 

 kindly forwarded to us a copy of the very interesting 

 view taken by him of the Gateway at Paestum, we are 

 enabled to confirm his statement as to the extraordi- 



nary manner in which his photograph has preserved 

 for examination, by a magnifier, an object the existence 

 of which was probably known to his guide rather by 

 tradition than by observation. The hint to archaeo- 

 logists which Mr. Kater draws from this curious dis» 

 covery is one well deserving of their attention. ] 



THE WAX-PAPER PROCESS. 



May I be permitted to detail a process I have 

 found very successful during a photographic tour 

 I have taken this autumn ? It combines the ad- 

 vantages of extreme sensitiveness (two minutes 

 being as effectual as ten by the ordinary method), 

 together with the faculty of the excited paper 

 keeping good for several weeks ; two properties 

 which I consider invaluable while working at a 

 distance from home, as the papers can all be ex- 

 cited ready for the camera before commencing the 

 journey, while the development can be deferred 

 until the return home, provided the time elapsed 

 after exciting be not more than about three weeks. 

 By this means the necessity for carrying about a 

 quantity of dishes, chemicals, &c., is avoided, the 

 only requisites being the camera and stand, paper 

 holders, and prepared paper. 



My method is a modification of Le Gray's pro- 

 cess, in which the pores of the paper are saturated 

 with wax previous to the formation of the sensitive 

 surface. This is undoubtedly the best, both as 

 regards the brilliancy of the finished picture, and 

 the ease and convenience of manipulation ; but 

 there are several circumstances which tend to im- 

 pair the beauty of the result, foremost of which 

 may be mentioned the spots, one or two being 

 generally to be met with even on the best paper. 

 By the following slight modification I have suc- 

 ceeded in removing the impurities which cause 

 the spots, and also in diminishing the time of ex- 

 posure in the camera. 



The paper I employ is the thin variety made by 

 Canson Freres. The first operation consists in 

 waxing it : the sheets, cut to the proper size, and 

 marked on the smooth side, are to be soaked in 

 melted wax, and afterwards separately ironed 

 between blotting-paper, until there are no shining 

 patches of wax to be seen on the surface. 



The next operation consists in iodizing the 

 sheets ; the bath is composed of 



Iodide of potassium 

 Water 



- 1 ounce. 



- 1 pint imp. 



with the addition of as much free iodide as will 

 give it a sherry colour. This removes the iron 

 and brass, of which the spots generally consist : it 

 will require renewing now and then. The sheets 

 are to be completely immersed in this bath for at 

 least two hours, taking care to avoid air bubbles, 

 and then hung up to dry : they will be of a deep 



