438 
NOTES AND QUERIES. 
(204 S, No 22., May 31. 56, 
three, as stated by Tennyson. For the benefit of 
Curusert Bens I give the names of these chil- 
dren, with the dates of the births of all except 
one. They were: 
1. Sophia, born February 4, 1793 (before her 
father became a peer), and died Noy, 2, 1823. 
2. Henry, Lord Burleigh, born and died 1794. 
3. Brownlow, now Mgrquis of Exeter, born 
July 2, 1795. 
4. Lord Thomas, born January 1, 1797, seven- 
teen days prior to his mother’s death. 
Her ladyship probably died of scarlatina, which 
frequently supervenes on childbirth, and of puer- 
peral fever, and may have thus occasioned the error 
into which Tennyson fell as to the cause of her lady- 
ship’s death. It is plain that her husband, Mr. 
Cecil, could not have taken her, on his marriage, 
to Burleigh Hall as his residence ; for he married 
Miss Hoggins in October, 1791, and did not be- 
come the owner of Burleigh Hall until December, 
1793, more than two years after his marriace. 
The countess survived her marriage six years and 
three months; and I agree with your talented cor- 
respondent (1* §. xii. 581.) that “the ‘ fading’ 
of the countess must have been unusually slow, 
and that the ‘shock’ was protracted beyond the 
customary limits.” For confirmation of the above- 
mentioned dates, see Lodge’s Peerage. G. L. S. 
Conservative Club. 
PHOTOGRAPHIC CORRESPONDENCE. 
MM. de Caranza’s Waxed Paper Process. — The follow- 
ing account of the process employed by him has been 
presented to the Société Frangaise de Photographie by 
M. de Caranza: 
“The paper which most photographers reject is pre- 
cisely that which I employ in preference. All my nega- 
tives are obtained with paper very much pressed, and 
pierced through with an infinite number of small holes. 
These papers appear to me to retain more wax than those 
of a more compact texture, where the wax cannot so 
easily lodge and rest on the surface. The papier pelure in 
which I find all the qualities which I have just mentioned, 
has furnished me with pictures which are second to no- 
thing in delicacy to collodion and albumen, without 
having their dryness. I commence, then; by choosing 
those sheets which have an even grain and thickness, and 
which contain no metallic dust. After having cut them 
large enough to extend three or four centimetres on each 
side beyond the plate of my frame, I submit them to the 
operation of waxing. 
“T have obtained ‘good results with both white and 
yellow wax; I prefer, however, the white. I melt it ina 
very clean vessel, which is used entirely for this purpose. 
As soon as it is melted it should be strained through 
muslin to get rid of the impurities which it may contain, 
placed again on the fire; then as it is on the point of 
evaporating by the heat, by the aid of a large brush called 
queue dessins, I cover a sheet of paper on both sides. If 
have a certain number of sheets to prepare, sixty for 
example, I cover ten sheets with wax on both sides, and 
these serve to wax the fifty others. 
* These ten sheets being waxed on both sides, I place 
five sheets of unwaxed paper on a portfolio of blotting- 
paper, covered with a sheet of ordinary paper, then that 
waxed on both sides, and lastly five others not waxed. 
I cover all with a large sheet of ordinary paper, rather 
stronger, and I pass over it a moderately hot iron until 
the heat has melted the wax, and the two first sheets on 
both sides of the waxed sheet have perfectly imbibed the 
wax: I change the sheets, and I obtain them equally well 
waxed. . 
“The absorption of the superfluous wax, which many 
photographers perform with blotting-paper, is tedious and 
defective; in many sheets the wax is found to be too 
completely removed, or they retain on the surface some of 
the fibres of the blotting-paper. These sheets ought to 
be rejected, as, in the first place, the proofs are granulated, 
and in the second they are stained. 
“For the purpose, then, of unwaxing my selected negative 
paper, I place alternately on a cushion of blotting-paper 
an unwaxed and a waxed sheet, to the number of about 
forty. Then, with a moderately hot iron, I make the 
excess of wax pass to the new sheets. One operation will 
ordinarily suffice, and by this process in half a day I can 
easily prepare a hundred sheets of paper. 
“ To Iodize the Paper.—In 1000 grammes of distilled 
water I put three grammes of starch, and boil it till it is 
perfectly dissolved. Having taken it off the fire I add — 
Sugar of milk - - - 40 grammes 
Iodide of potassium - - 15 do. 
Cyanide of potassium - - 08 do. 
This solution is that indicated by M. G. Legray; I have 
omitted the fluoride of potassium, which, without adding 
to the sensitiveness of the paper, makes it granulated. 
Whilst this solution is still tepid, I strain it and pour it 
into a porcelain or gutta percha dish, and I introduce one 
by one a dozen sheets of wax paper, taking care to let the 
liquid run all over them, and with a badger brush I re- 
move the bubbles of air which would otherwise adhere to 
the sheet. 
“The paper ought to remain thus for about half an 
hour, but it is necessary to agitate the dish frequently, in 
order that the combination of the wax and the salts 
should be as complete as possible; after this the sheets 
should be taken out one by one, and hung up to dry. 
“Care must be taken not to put the waxed sheets into 
the solution without first making it tepid; Linsist on this 
point, because in a hot atmosphere, if the paper has not 
been treated in this manner, the wax reappears again in 
about fifteen or twenty days, and the sensitizing becomes 
diffigilt. The dry sheets ought to be very white, and of 
avery granulated appearance. It should be remembered 
that in order to obtain good pictures, iodized paper should 
not be kept more than a month; after that time the 
iodizing should be renewed. It would be better not to 
use the iodizing solution more than once or twice; beauty 
of the pictures depending on the recent preparation of 
this solution. 
“ Sensitizing the Paper. — The following solution is to be 
prepared in a blue or black bottle: 
Distilled water - - - 
Nitrate of silver - - 35 do. 
Crystallisable acetic acid - - 40 do 
This may be used an hour after it has been made. The 
sensitizing the paper should be done in a dark room, or 
by the light of a candle. 
“Filter this solution into a porcelain dish rather larger 
than the paper, and plunge a sheet of paper into it, taking 
care to agitate the dish continually. After four minutes 
of immersion the sheet becomes of a milky colour, and 
resembles opal glass. It should then be taken out of the 
acetonitrate and immersed in a dish of rain water, or what 
500 grammes. 
