the best for a toning-tray, and the best kind of plates to use. A
celluloid or gutta-percha tray is a good one for developing
solution, and an amber-glass tray for the hypo. If one uses a glass
tray for hypo he never mistakes the hypo for the developing-tray. A
white porcelain tray is a good one for a toning-tray. There are so
many kinds of plates, or rather brands of plates, made that there
is little choice between those made by reliable manufacturers. No
one plate can be used for all kinds of work. Some subjects require
a slow plate, some a very quick plate. A medium rapid plate is the
better plate for general use in all-round work. A very rapid plate
is needed for instantaneous. If our correspondent has trouble with
his plates, please write to the editor.
G. I. J. asks how the tint first obtained on the paper in printing
can be preserved, if the toning-bath that tones the
florograph-paper can be used for other papers, and if a picture can
be easily over-developed. The reddish tone of the picture may be
preserved by simply fixing the print in a solution of hypo without
previous toning, or it may be slightly toned and then fixed. The
toning-bath mentioned can be used for other papers. If the
developer is very strong and works quickly, it is very easy to
over-develop a plate. To find out when the development has been
carried far enough, take the plate out of the solution and look
through it toward the red light. If the picture is clearly defined,
and detail well out in the shadows, the plate is developed enough.
SIR KNIGHT RALPH WEAND encloses two prints and asks what is the
matter with them. The reason why the pictures are so indistinct is
that the plate was not exposed long enough, causing the shadows to
appear as black patches instead of showing detail. A little longer
exposure would correct this defect. A formula for plain paper is
desired. This formula will be found in Nos. 706 and 803. It was
also reprinted in the circular issued last fall.
SIR KNIGHT FRED TAYLOR asks the reason of the spots on the finished
prints. Spots are caused by black spots in the negative, from
imperfections in the paper, and from imperfect toning-bath. Stains
on the print are caused from careless handling in the toning-bath.
The face of the print should never be touched, but the prints
lifted by the edges. Hypo will cause spots, if any comes in contact
with the face of the print. Care should be taken that the hands are
perfectly clean when toning and fixing pictures. Sir Knight Fred
sends the following directions for making a vignetting mask, which
he hopes will be of benefit to the members of the club. Take a box
cover that fits the printing-frame and cut a hole in it as large as
the plate. Over it paste a piece of opaque paper, and make an
opening any shape desired for the vignette--either pear-shaped,
oval, round, etc. Cut little slits all round the edge of this, and
over it paste a sheet of tissue-paper. Place the cover over the
printing-frame and print. If the cover is attached to the frame the
progress of the print can be examined without changing the shape of
the vignette. Sir Fred asks for some hints on retouching.
Directions for retouching will be printed in an early number of the
ROUND TABLE.
QUICK WORK AGAIN.
So much interest was taken by readers of the ROUND TABLE in the stories
printed not very long ago about the rapid manufacture of a coat and a
suit of clothes, that this little anecdote from Sweden, which is of a
similar nature, may prove of interest. Some men, who worked in a
wood-pulp factory at Elfvethal, got into a discussion about how fast
wood could be made into pulp and then into paper. The result of the
discussion was an experiment, or trial of speed, in which these men
performed the feat of cutting down three trees, chopping them up, making
them into pulp, then into paper, on which the evening newspapers of the
place were printed--and it took them just two hours and a half from the
time the first tree was hewn until the first copy of the evening paper
was sold.
[Illustration: IVORY SOAP]
A fine complexion is too rare
To run the risk of losing;
But everyone who takes good care
(All other kinds refusing)
To get pure Ivory, grows more fair
With every day of using.
Copyright, 1896, by The Procter & Gamble Co., Cin'ti.
Approximately
the cut below represents the DeLONG Hooks and Eyes. For a complete
understanding sew them on your dresses. They cannot unhook except at the
will of the wearer.
See that
hump?
[Illustration]
Richardson & DeLong Bros., Philadelphia.
Also makers of the
CUPID Hairpin.
[Illustration: Thompson's Eye Water]
THE NEW YORK SUN _on April 11, 1896, said of_
HARPER'S
PERIODICALS
They are handsome and delightful all, and are as friends that one is
glad to see. They please the eye; the artistic sense is gratified by
them; they overflow with varied material for the reader. They educate
and entertain. They are the well-known and well-liked literary and
artistic chronicles of the time. They are a credit to their publishers
and to the discernment of the public that approves them. May they
continue to be as admirable as they have been and as they are. Better
could hardly be wished for them.
* * * * *
FOR SALE EVERYWHERE.
EARN A BICYCLE!
[Illustration]
We wish to introduce our Teas, Spices, and Baking Powder. Sell 75 lbs.
to earn a BICYCLE; 50 lbs. for a WALTHAM GOLD WATCH AND CHAIN; 25 lbs.
for a SOLID SILVER WATCH AND CHAIN; 10 lbs. for a beautiful GOLD RING;
50 lbs. for a DECORATED DINNER SET. Express prepaid if cash is sent with
order. Send your full address on postal for Catalogue and Order Blank to
Dept. I
W. G. BAKER, Springfield, Mass.
FOR KING OR COUNTRY
By JAMES BARNES
A Story of the American Revolution. Illustrated. Post 8vo, Cloth,
Ornamental, $1.50.
A spirited story of the days that tried men's souls, full of incident
and movement that keep up the reader's interest to the turning of the
last page. It is full of dramatic situations and graphic descriptions
which irresistibly lead the reader on, regretful at the close that there
is not still more of it.--_Christian Work_, N. Y.
A boy's story, full of movement, and full of surprises.... The picture
of the old "Sugar House" prison in New York and of the secret societies
of patriots are drawn with entertaining pen, and the book will instruct
as well as interest the average boy who reads it.--_Boston Journal._
* * * * *
HARPER & BROTHERS, Publishers, New York.
[Illustration]
SHOOTING THE RAPIDS.
TO SHOOT THE RAPIDS SIMPLE SAMMY HEARD 'TWAS VERY BRAVE,
SO DOWN BEHIND THE HOUSE HE WENT AND SHOT INTO THE WAVE.
* * * * *
FROM THE SEASHORE.
NEW USE FOR A SAND HOLE.
BOBBIE (_who has been digging in the sand for an hour_). "Mollie, come
here and look at the beautiful hole I've dug!"
MOLLIE. "My! ain't it lovely! If you'll give it to me I'll take it home
with me, and use it for a scrap-basket."
* * * * *
LOST.
"Hi, mamma! come here!" cried Willie; "see this funny insect."
"That's what they call a sand-fiddler," said his mother.
"Poor little bug," said Willie, looking all around him. "I guess he's
lost his fiddle."
* * * * *
HARD TO TAKE.
"Well, Tommie, I saw you go into the tin-type-man's place this morning."
"Yes; but I'd oughter known better. It didn't take. I don't ever get
took. When I was waxinated it didn't take either."
* * * * *
A LITTLE GIRL'S VIEW.
"Hoh!" cried little Janie, as the photographer came down to take a
picture of the ocean. "He'll never get a picture of the ocean. It don't
never stand still long enough."
* * * * *
A TERRIBLE CHANGE.
After Polly had been at the seashore for a week she ran in to her mother
weeping.
"Oh, mamma! mamma!" she cried, holding up her brown little hand. "I'm
a-turnin' into a 'ittle darky goyl!"
* * * * *
A FISH STORY.
There is an old darky who can be found any day perched on such freight
as may rest on the platform of the little station at S---- up in Maine.
He has a cheerful word for every one that will greet him, and was never
known to lose his good-humor except on one occasion. One morning he was
as usual perched on a bale of straw, but instead of whittling at a piece
of stick, a habit of his, he sat with his face in his hands, gazing
mournfully out over the little lake that stretched away among the hills.
It was then I noticed that his nose had assumed enormous proportions,
almost shutting out his eyes.
"Why, Ike, what's the matter with your nose?"
He shook his head sadly, and inquired if I had a little "baccy." I
handed him some, and waited for an explanation about his nose.
"I's neber gwan ter fish no mo', sah--no, sah! neber no mo'; 'cause
dat's whar I's got dat nose, youse see."
"How did it happen, Ike? Tell us; perhaps we can fix you up."
"See dat little neck er-runnin' out past de big mountain ober dar? Well,
round dat neck dere's a cove, and dere's as fine er trout stream runs in
dere as dey has 'bout dis place. Ise was er-fishin' dere de oder day,
when Ise seed er big one flittin' by a rock dat's dere. Ise thrashed dat
spot by de hour, and dat trout he done come an' look at de fly, an'
den--yes, sah, den dat trout laugh at me an' swim 'way. I's tried
eberyt'ing to ketch him, but 'twa'n't any use. Den Ise grew er-thinkin'.
What he do 'round dat stone all de time? So Ise rested very quiet and
watched dat stone. Pretty soon Ise see er bee hummin' 'round close to de
water and near de stone, and Ise see de trout make er leap fer him.
"Dat settled it; Ise knew what ter ketch 'im wid. Ise just caught er bee
an' put de hook in between de wings, where it wouldn't hurt him. Den Ise
casted. Yah, yah!--he! he! Dat trout he made one leap an' he had de bee;
but de fight was awful. He done paid no 'tention ter me, but he an' de
bee wuz er-havin' it out--and how dey did fight! Ise got him on de bank
at last, and dere's whar my trouble came in. Ise opened his mouth ter
get de hook out, when out flew dat bee, and he wuz mad. Yes, sah, he
just been er-waitin' fer me, Ise know, an' he landed plumb on my nose.
Youse see de result. But dat's only part ob it. De trout he swelled up
de same way. He wuz five pounds when Ise first ketched him, but when he
was done swellin' he was too heavy ter carry home."
We silently left Ike to continue his mournful contemplation of the lake.
* * * * *
JACK'S PROBLEM.
JACK (_mystified_). "Papa, there's one thing I don't understand
kerzactly."
PAPA. "Well, what is that?"
JACK. "I dig a hole here on the beach, and a wave comes along and washes
over it, and goes back again. Then I find the hole all filled up with
sand. I thought the ocean was made of water, but it seems to me it's
nothin' but sand."
* * * * *
NO STOPPING-PLACE.
STRANGE LITTLE GIRL (_at Long Branch_). "Where are you stoppin'?"
LITTLE BOY. "We ain't. We're all the time a-movin'."
End of Project Gutenberg's Harper's Round Table, July 21, 1896, by Various