the solution at intervals; when finished the mixture should be nearly
colorless.

Place the plate on its stand, or hold it in the plyers, in a perfectly
horizontal position--silver surface upward--having previously slightly
turned up the edges, so that it may hold the solution. Wet the surface
with alcohol, letting any superfluous quantity drain off. The alcohol
is of no farther use than to facilitate the flowing of the gold mixture
over the surface. Now pour on, carefully, as much of the preparation
of gold as will remain on the plate. The under part of the plate is
then to be heated as uniformly as possible with the spirit lamp; small
bubbles will arise, and the appearance of the portrait or view very
sensibly improved. The process must not be carried too far, but as
soon as the bubbles disappear the lamp should be removed, and the plate
immersed in distilled water, and dried as before directed.

7th. COLORING THE PICTURE.--I very much doubt the propriety of coloring
the daguerreotypes, as I am of opinion, that they are little, if any,
improved by the operation, at least as it is now generally practised.

There are several things requisite in an artist to enable him to color
a head, or even a landscape effectively, and correctly, and I must say
that very few of these are possessed by our operators as a class.
These requirements are, a talent for drawing--taste--due discrimination
of effect--strict observance of the characteristic points in the
features of the subject--quick perception of the beautiful, and a
knowledge of the art of mixing colors, and blending tints.

The method now pursued, I do not hesitate to say, and have no fears of
being contradicted by those capable of critisizing is on the whole
ruinous to any daguerreotype, and to a perfect one absolutely
disgusting. The day may come when accurate coloring may be obtained in
the camera. Until that day, if we cannot lead taste into the right
channel, we will endeavor to give such instructions that
Daguerreotypists may proceed with this part of his work with a better
understanding of the principles involved. For this purpose I have
prepared a short chapter on the art of coloring, which may be found in
the latter part of this volume.

To Preserve Daguerreotypes they must be well sealed and secured in a
case, or frame. These, of course, are selected according to the taste
of the customer, the principal requisite being good glass. Most
Daguerreotypis