1887.] PROCEEDINGS OF UNITED STATES NATIONAL MUSEUM. 725 



Frame 97.— Xos. 587-591, ,/. A. McN'. Whistler (1859, 1866, and later), 

 lu point of time, Mr. Whistler's work ought to have appeared farther 

 back ; but it has been grouped together here with that of a number of 

 younger artists, whom he iniluenced. 



Frame 98.— Xos. 592-598, Otto R. Backer (1879-1880.) 



Frame 99.— Xos. 599-601, Frank Duvenecl: (1881). 



Frame 100.— i^os. 602 and 603, G. E. Hopkins (1880). Nos.604 and 605, 

 Ghs. Cor win (1880). No. 606, T. M. Wendel (1880). Xo. 607, H. Rosenberg 

 (1880). 



Frame 101.— Nos. 608-613, Stephen Parrish (1879-1886). 



Frame 102.— Xos. 614-623, I. M. Gaugengigl (1880-1886). 



Frame 103.— Nos. 624-629, G. A. Piatt (1881-1888). No. 629 is a dry 

 poi n t. 



Frame 104.— Nos. 630 and 631, Joseph Pennell (1883 and 1884). No. 632, 

 C. A. Vanderhoof{ 1884). No. 633, Percy Moran ( 1884). No. 634, Leon Mo- 

 ran (1884). No. 635, William M. Chase (about 1879). No. 636, Robert 

 Blum (1879). No. 637, Alfred Brennan (1879). 



Frame 105.— Nos. 638-645, >S'. J. Ferris (1879-1880). 



Frame 106.— Nos. 646-652, Glis. A. Wallcer (1880 and later). 



Frame 107.— Nos. 653-658, ^S'. A. /Sc/to# (1879-1886). 



Frame 108. — No. 659, Hamilton Hamilton (1887). 



Screen 7. — No. 661, Walter JShirlaw (1884), 



Screen 8. — No. 662, Thomas Hovenden, N. A. No. 663, J. A. Monies. 



Screen 9.— Nos. 664* and 664^ S. J. Guy, N. A. (1884 and 1886). No. 

 665, T. W. \Vood, N. A. (1883). No. 606, J. G. Brown, N. A. (1884). 



Screen 10. — No. 667, Miss M. Louise McLaughlin (1886), dry point. 

 No. 668, James S. King. 



Part IV. — Modern Photo-Mechanical Processes. 



[Alcoves 10, 11, 12. Cases 28-36 and screens 11-13.] 



The modern photo-mechanical processes are the result of the desire 

 of man, noticeable already in the development of the older hand proc- 

 esses, to compel the forces of nature to do his work. In the most 

 exacting of the hand iirocesses, in engraving with the burin, man does 

 everything, from making the design to cutting the last line upon the 

 plate. In etching, chemical action does the work of the graver, and an 

 increasing substitution of other forces and devices for manual skill 



