A good polish can be applied to P.O.P. prints in the following manner. A thoroughly clean piece of plate glass, which may be large enough to take one or several prints, should be dusted over with French chalk and then well polished with a dry soft duster. While the print is still in the washing water, place the polished glass under it, get the print into position, and then lift it out of the water. When the surplus water has run off, a piece of blottin g-paper is placed on the print, and with the help of a roller squeegee the print is pressed into close contact with the glass. When thoroughly dry, the print will readily peel oft the glass. Floating the print on to the glass under water ensures the absence of air bubbles. The prints will dry quickly in a current of hot air. The polished surface is not waterproof, but the print may be backed with waterproof paper, which should be pasted on the back of the print while it is still on the glass slab, so that the two may dry together. Photographs with a highly glazed surface are still in great demand among a certain section of the public; nevertheless, there is a growing preference for platinotype, bromide, and albumen prints. Enamelling is a process only suited to subjects requiring microscopic definition.

It may be mentioned that it is now acknowledged by photographic experts generally that too much detail and too clear definition are not desirable in a portrait.

To glaze prints, care fully clean the glass, dust it over with French chalk, and rub well, finally polishing off every trace of chalk. SoaK the print in water, and bring it in contact with the polished glass under water. Cover the print with a sheet of blotting paper, and squeegee into close contact with a Hit squeegee, and set up in a warm, well-ventilated room to dry. When bone dry, the prints should spring off spontaneously if one corner is lifted witli a penknife. If the prints will not leave the glass without tearing, either the glass was improperly prepared or the prints were not thoroughly dry.