over the continental divide, and the Poncha Pass, over the Sangre di Cristo range. This range contains Harvard, Yale, Princeton, Elbert, Massive (the peak opposite Leadville), and other summits exceeding the altitude of 14,000 ft. To the east of it is the valley of the Arkansas, into which and down which we pass, and so through the Royal Gorge to Canon City and Pueblo, where we arrived before dark on the day after leaving Salt Lake.

Salt Lake, the Jordan Valley, Utah Lake, the Wahsatch, Castle Canon, the Black Canon of the Gunnison, Marshall Pass, Poncha Pass, the Arkansas Valley, the Royal Gorge--what a catalogue for so brief a journey! No wonder everybody who has made it is "wild about it!" If enthusiastic urgency of recommendation from every passenger has any influence (and I know it has a great deal), this road will continue to be, as it is at present, crowded with tourists. It furnishes a delightful route for those who wish on the overland journey to see Denver (as who does not?) and to visit Colorado Springs and Manitou. All this can be done _en route_, without retracing the steps.

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PHOTOGRAPHY APPLIED TO TERRA-COTTA AND OPAL GLASS.

In the natural course of things it must necessarily have occurred to practical men to utilize photography in the case of terra-cotta, as it has already been employed in connection with so many other wares; but I have not to this day known of its successful application to terra-cotta. Now this is strange, if one considers how fashionable _plaque_ and plate painting have become of late, and the good photographic results that are easily obtained on these as on sundry articles of this same "burnt earth." Portraits, animals, landscapes, seascapes, and reproductions are one and all easily transferred, whether for painting upon or to be left purely photographic. As a matter of business, too, one fails to see that it would not be remunerative, but rather the contrary. It was with something of this feeling that I was led to try and see what could be done to attain the end in view, and as I knew of no data to go by, I had to use my own experience, or rather experiment on my own account.

Since emulsion was constantly at hand in my establishment, in the commercial production of my gelatine dry plates, it was but natural I should first have turned to this as a mode of obtaining the desired results; but, alas! all attempts in that direction signally failed--the ware most persistently refused to have anything to do with emulsion. The bugbear was the fixing agent or hypo., which not only left indelible marks, but, despite any amount of washing, the image on a finished plate vanished to nothing at the end of an hour's exposure in the show window. There was nothing left but to seek other means for the attainment of my object. I would not have troubled the reader as to this unsuccessful line of experiment but that I wished to put him on his guard and save him useless researches in the same direction. To cut matters short, the method I found best and most direct was the now old but still excellent wet collodion transfer. I will now proceed to detail my system of working to facilitate the matter to the inexperienced in collodion transfer.

TERRA-COTTA PHOTOGRAPHY IN PRACTICE.

The first and indispensable operation, in the preparation of the surface to receive the transfer, is the "sizing of the surface." It simply consists of a solution of gelatine chrome-alumed, as follows:

Gelatine. 10 grains. Water. 1 ounce. A trace of chrome alum.

Coat with a soft camel's hair brush and let dry. It is needless to say that numbers of _plaques_, plates, vases, etc., may be coated right off, and will then be ready for use at any time.

Having settled on the subject and carefully dusted the negative, as well as placed it _in situ_ for reproduction, the next thing required is a