lid 
THE COTTAGE GARDENER AND COUNTRY GENTLEMAN, November 2-1, 1857. 
such a strength that the taste of the salt is just 
perceptible. 
* After ten minutes* immersion they may be pinned 
up by one corner to dry. The next operation 
must be performed by candlelight; or, if in the 
daytime, with a screen of three or four thicknesses 
of yellow calico over the window. In most photo¬ 
graphic manipulations such a precaution is ne¬ 
cessary. 
A few drops of solution A are poured on a flat 
sheet of glass placed on a level table, and spread 
out with the edge of a smaller piece of glass to the 
size of a sheet of the paper previously salted. 
Then a sheet having been marked at the corner, to 
show the prepared side, is lowered on the solution, 
the marked side being downwards. Here it must 
remain for eight or ten minutes, and can then be 
hung up in the dark to dry. The photographic 
paper tiius prepared can be kept in a portfolio till 
required for the frame, and, if properly shielded 
from the light, will keep good several days. * 
The paper is arranged in the frame as described. 
The face of the frame is then placed in a strong 
light, and after a little time the exposed parts of 
the paper will be found to darken. When suffi¬ 
ciently intense the back is taken out, and the 
paper (on which is the impression of the leaf), 
soaked toell in solution B. After this it must be 
10 ell washed in water. When dry this can be 
coloured to nature, or, by using it in the same way 
as the leaf, a positive copy (dark on a light ground) 
may be obtained. Tire veinings should appear 
beautifully distinct. 
In copying an apple or pear the photograph 
must be taken from a section through the middle. 
In washing the finished photograph it is well to 
let it soak in several quantities of water. Better 
still to place it for an hour or two in a dish under 
a tap of slowly running water. 
By varying the strength of the solutions of salt 
and silver almost any tone is producible. Thus 
with 10 grs. of salt to each ounce of water, and 
substituting 80 grs. for 40 grs. in solution A, a 
deeper black tone is the result. 
Photographic printing artists produce their in¬ 
tense black tones with chloride of gold. This 
chemical is an expensive one. This method, of 
toning is as follows 
Tuning. 
Solutions. 
cost. 
s. d. 
v On removal from the frame the photograph 
must be soaked in pfire water for an hour. It is 
then soaked in solution a . The print having 
attained the desired colour should be withdrawn 
from the bath. It must then be placed in solution 
b for about half an hoar. It must then be well 
washed in pure water to remove all traces of the 
hyposulphite. This is aided by dabbing with a 
sponge of clean water on a sheet of glass under a 
running tap. On the amount of care involved in 
washing depends the degree of permanency in the 
finished picture. 
(To be continued.) 
% 0 
f Distilled water *. 10 ozs. ^ 
a. <j Sel (Tor ....*. . . 10 grains 
l^Pure muriatic acid .... 5 drops J 
Mix 
^ | Common water. 1 pint jpg 
| Hyposulphite of soda .... 4 ozs. j 
N.B.—This process to be conducted in the subdued light 
of the operating room. 
STOKE NEWINGTON CHRYSANTHEMUM 
SHOW. 
About three years since I saw one collection of large 
Chrysanthemums, another of Pompones, and a third of 
cutblooms, which were exhibited before the Horticultural 
Society in Regent Street from Stoke Newington way; 
and 1 confess that I was much puzzled about how the 
cut flowers were so managed as to excel in size, beauty, 
and even colour all that I had ever seen of the same 
kinds before them. They were the most beautifully got 
up flowers I had ever seen; the Dahlias at the Crystal 
Palace were not better “done.” Mr. Appleby is our 
great authority for all matters about florists’ flowers ; 
and he says that it is as lawful to tidy up a flower for a 
show as to groom a horse to break his own neck in a 
steeple chase, and so it is. But what about changing a 
grey mare into a white horse, or an Arabian pony to a 
sleek donkey, or a puny flower to a first-class certificate 
condition ? They say such changes are not so rare as 
the accidental changes from the common forms of 
flowers, for which we cannot account. At all events, 
the Chrysanthemum season each year since then brought 
round that puzzle to my recollection, and an itching 
desire to get at the right understanding of the thing; in 
short, a kind of “ longing ” to see a Chrysanthemum 
Show at Stoke Newington with my own eyes. Well, at 
the eleventh hour, and on the eleventh year of these 
exhibitions, the Honorary Secretary for the first time sent 
me word that the Exhibition would be held on the 17th 
and 18th of November, ten years’ experience having 
proved to this Society that these flowers are in their 
prime about the middle of the month in Stoke Newing¬ 
ton. I availed myself of the first invitation ; and after 
thanking the Honorary Secretary, the Committee, and all 
the exhibitors for their cordiai reception of an entire 
stranger, I shall go on to tell what I saw, parts of what 
I heard, and much of what I learned that day. I was 
very much amused myself, much gratified, and on the 
whole I learned more useful knowledge there than was 
possible for me to pick up at any one Show I. have 
attended for the last five-aud-twenty years. 
The exhibition room is well suited for the purpose. 
The large Chrysanthemums and the largest plants in 
collections of Pompones were staged with admirable 
skill round three sides” of the room, right and left, and 
straight opposite, as one entered the room. There were 
three rows of tables down the centre of the room, with 
ample space to walk between. The middle table was 
divided down the centre by a green division of calico, as 
at the Crystal Palace, and on each side of this central 
table were collections of Pompones, the finest got up 
that ever were seen; but there were no artificial tricks 
or dodges about any of the pot plants save the training 
to sticks or wire, which .was entirely kept out of sight. 
Nothing could be done more straightforwardly or more to 
