on a press. In a few years his experiments led him to conceive the combination of two of the four methods of printing as previously described. There was, if I may be pardoned for saying so, more Art in printing in Baxter's day than there 1 is to-day, for he adopted the artistic principle of building up the picture, tint by tint, in a manner not unlike the stages of a painting. From ten to fifteen and even twenty separate printings were not unusual methods of production with him. Baxter's early efforts in Pictorial Colour Printing were based on the superimposition of wood blocks only, the same executed upon the old style Wooden Press. One of his finest efforts by this mode is seen in his print " Cattle Drinking," which was a Frontispiece for B. F. Gandee's ' The Artist; or, Young Ladies' Instructor in Ornamental Painting, Draw- ing, etc," published in 1835. The Preface informs us that Baxter in pro- ducing this print used no less than 12 blocks, all of which would have a different tint or colour. A careful inspection of the print reveals that Baxter, in. his aim for perfection in light and shade, printed the Whites. It will perhaps give you some indication of the magnitude of Baxter's task if we take ourselves back to the period in which this print was produced and consider in detail the Art and labour involved. This picture was from Gainsborough's two Pictures in the National Gallery, so Baxter would first of all have to make a Water-colour of the subject, and in doing this he would fix or note the various tints or colours required, which, when superimposed over each other, would give the facsimile of the Painting he was copying. These tints or colours, we are told, were 42 Baxter'sl_Process 12; thus his next process would be to engrave 12 blocks, each block to be a section, as it were, to take the tint or colour, so that the whole when