So exceedingly expeditious is the process, that many dozens of prints could be mounted within the time it has taken to write this brief description. It may be mentioned that the press rollers should be nickel-plated, to avoid their becoming rusted by continued contact with the slightly moistened cards.

(d) So numerous are the styles in use at present for print-mounting, and so various the colours and general appearance of the mounts used, that it seems almost impossible to suggest anything new. The method to be described is particularly suitable for use with pla-tinotype, gelatino-bromide, or other kinds of prints where the black engraving tone and effect are to be preserved, and it has the. additional advantage of extreme economy.

One of the favourite methods, if not the most fashionable style at the present time, is the " plate-sunk " mount, with or without India tint - a style which undoubtedly adds a most artistic finish to prints in the popular tone. But such mounts are comparatively expensive, while those we have to recommend give a nearly equal result at a mere nominal cost, and may be "plate-sunk," if desired, with very little extra trouble.

The choice of material for the mounts may take a very wide range, though for general purposes we suggest as most suitable a slightly-tinted cartridge or drawing paper of not too rough a texture. For special or striking effects, the roughest drawing, or even wrapping papers, may be used in much the same manner as modern bookbinders adopt for catching the public eye by means of an unconventional, or even eccentric, cover. We have recently seen a series of prints so mounted on a species of drab wrapping paper of not too superlative quality.

There is, of course, one important precaution to be specially taken in using such common materials - common, that is, in the sense that they are not necessarily free from chemical impurities - namely, to either remove or in some other manner render harmless any foreign matters that may be present in the mount. Fortunately, from the nature of the mounts, as well as the process of mounting, this need not be a difficult matter. As will be seen, part of the process consists in thoroughly damping the mount as well as the print, which in the case of a solid paper does not present the same difficulties as in the case of a built-up cardboard; while the mount is undergoing the damping process, it is an easy matter to submit it to a little extra washing, or, if necessary, chemical treatment, in order to remove the impurities if such be suspected. Or the danger to the print may be at least lessened by applying a more or less impervious varnish to the mount, which, while not preventing the absorption of water, forms a protective coating when dry.

Such a varnish is found in bleached lac dissolved in aqueous solution of borax; if this be applied to the paper mount before damping, it will dry without leaving any gloss, and when the mount is subsequently soaked any excess of borax will be removed, and when dry the impurities will be isolated from the print.

The method of mounting consists in immersing the mounting paper previously cut roughly to size in clean water, assuming that any necessary preparation has been already effected. When perfectly limp, the sheets are taken out of the water and, as required, blotted off between blotting-paper. The wet prints are similarly treated, and then both print and mount - the latter over such part only as the print is to occupy - well impregnated with the mountant. If the print only be treated, it will in all probability peel off at the edges on drying. Nothing answers so well for mounting as arrowroot paste made pretty thick and allowed to cool, then squeezed through fine cambric to remove lumps. It should be used fresh, as it soon becomes watery, in which condition it loses its adhesive power.

A convenient plan for applying the mountant to the centre of the mount consists in making a mask from stout, smooth paper, or perhaps better still, from thin sheet zinc of the outside dimensions of the mount with a central aperture a little larger - say 1/8 in. each way - than the print. If this be laid on the damp mount, the arrowroot is easily applied to the proper portions with a sponge, and the print can be laid down in its position before removing the mask. The narrow strip of paste extending beyond the edges of the print may be removed by means of a damp sponge after the print is rubbed down; but this is scarcely needful, as it dries perfectly matt, and is only likely to show on a coloured mount.

With regard to the rubbing down, this is not so simple a matter with gelatine-surfaced papers as with albumen or platinotype; but all difficulty is surmounted by interposing a sheet of the thin paraffin-wax-saturated tissue paper sold for wrapping or waterproof purposes. This, while it adheres closely to the gelatine surface during the rubbing, comes easily away from it when it has served its purpose.

We next come to the drying, which is the most important part of the process if perfection of result is desired. It will be noticed that in order to avoid "cockling" of the dried print, the mount as well as the print has been moistened so that each may swell and shrink equally; but this is not alone effective. If left to dry alone, the edges of the mount will dry first, the extra thickness of the print-covered portion remaining damp for a considerably longer period, and taking a saucer shape from the contraction of the surrounding portions. To obviate this, the print as soon as mounted may be pinned to a flat board, or laid on a sheet of glass, and the edges of the mount turned over and stack at the back. But by far the better plan is to have a quantity of sheets of clean blotting-paper slightly larger than the mounted prints. Let these be thoroughly dried by exposing them for some time in a hot oven, then packing in a mass, and wrapping in tinfoil until required.

The prints are allowed to become partially dry; but before they lose their limpness, or show any tendency to curl, they are taken singly and placed between the blotting-pads, at least two sheets of drying paper intervening between each pair of prints. In the case of gelatine-surfaced prints a sheet of waxed tissue paper is also necessary. If the pile of interleaved prints be now placed under gentle pressure for a few hours, they will be found perfectly dry, and as flat as if they had been rolled. It only now remains to trim the mounts to size, and, if desired, to apply a "plate mark" by giving the print a "squeeze" in a copying press between folds of paper or in the copying-book, a plate of zinc of the proper size, and with its edges slightly bevelled, being laid over the face of the print.

Such prints are equally suitable for framing, for binding, or for keeping loose in a portfolio; for the two last purposes, indeed, this method of mounting is more convenient than any others we have tried. - (Brit Jl. Photo.) (See also iv. 403.)

Mounting Board

This consists of a flat board - a (Fig. 78), upon which are screwed the strips 6 c at right angles to one another. Each of those strips has a rabbet cut out of its under side about 1/2 in. deep, so as to allow the glass d to slip beneath. On this board a piece of paper can be pasted, on which the sizes of the mounts should be marked - e, f, g, etc. - care being taken that one edge and the bottom comes exactly under the edges of 6 c. d is a piece of glass which can be moved to and fro in the rabbets already referred to. In using this board, have the print surface dry. Put one of them on an old negative, face down, and paste; then put it on the glass d, still face down, and as nearly as possible to the lines. Move the glass till the print shows an equal margin all round the lines, Then take the mount, and, keeping it against the edges of 6 c, press it down, and if care has been taken, you will have a perfectly mounted print. Keep the glass dry and clean, and you will not damage the most delicate mount. - (A. Killar.)

Fig. 78.

Mounting Board 10060