For Mounting the Photograph. - Is in - glass (fish glue) made in the following proportion: One teaspoonful to half cup of water, dissolved by boiling; strain through fine muslin, and apply the same as starch. Pure Albumen, or white of egg, brushed over the glass and surface of the photograph, is used with great success by some. Equal parts Canada balsam and turpentine is also used for attaching the print to the glass. Rubber varnish, made with pure rubber, dissolved in benzole. Some add a little Cooper's glue to the starch when making it. Dextrine is a favorite with many.

After the use of the castor oil, castor oil and glycerine, poppy oil, nut, or any of the oils, the print may be covered with a coating of Damar varnish, which it is claimed holds the oil and preserves the transparency. Many artists after oiling or varnishing, use water colors mixed with ox-gall in coloring on the back of the print, then follow with the oil colors as directed. In adopting any of the methods herein noted, your judgment will dictate care in observing the results, and suggesting changes that may facilitate the work, and success of the picture. You will find this art very attractive, simple, and productive of both pleasure and profit. Ladies are occupying leisure hours, and making home attractive with their artistic work in producing the Miniature.

By the first process pictures have stood for years without spotting or cracking.

Another plan is : After cleaning the photograph, blot off the surplus water and place it in alcohol, let it remain until transparent. Old, faded pictures can be brought out clear in this way. After placing it on glass, cover the print with "paraffine," and let it lie for a short time in the sun, until crys-talized, when it is ready to receive the colors. You may use water colors on the first glass with good effect.

"By this simple process any person unaccustomed to painting, and ignorant of art, may color photographs, and produce with rapidity and little trouble, effective, permanent, and beautiful pictures, so soft and delicate as to closely resemble painting on enamel; may render the treasured family portrait doubly valuable by adding the warm tints of life to the faithful but cold and deathlike production of the photographer, and produce a pleasing as well as a truthful representation. The largest and the smallest work may be painted with equal facility, the life-size portrait or a miniature for a locket, the only qualification for success, even in very elaborate pictures, being taste in the arrangement of the colors. An objection to coloring photographs, as coloring has hitherto been practiced - that the delicate truthfulness of nature's drawing was injured, and sometimes a likeness wholly destroyed, through being obscured by the colorist in the working, that the only guarantee of fidelity was the talent of the artist - in the beautifully simple process under consideration with which all the softness, lights, and shadows of the photographs are preserved."