The finishing off of a slide is not a difficult matter, but one which wants doing properly. Place the slide film downward upon a piece of white paper, and with a box of assorted masks try various shapes till the one most suitable to the picture is found, and frequently a mask with a comparatively small opening will give the best results pictorially. Having found the most suitable mask, lay it on the slide, on the top of this a cover glass well cleaned, and it is ready for binding. Binding strips can be purchased commercially in long strips, but personally we prefer to use 3¼ strips, as somewhat easier to apply. Wet 3¼ in. of the strip, lay it flat on the table, pick up the slide and cover glass and adjust on the wetted slip so that there is an equal width on either side; now press the glasses firmly on to the strip and lift from the table and with a handkerchief or soft duster wipe the strip on to the glass of the slide and cover, taking care that these do not slip; when it adheres firmly, that is, does not immediately rise up, lay the whole on one side and go on with next slide; by the time half a dozen have been thus treated a second side may be stuck down, and thus with the third and fourth. By working in this way a far neater and safer job is made of it than if all four sides are bound at once.
The final operation is tilting and spotting. There are several makes of masks on the market on which a blank white space is left for the title, and it is just as well to write the title on the mask, as it is then protected by the cover glass. If the ordinary masks are used, Chinese white may be used for the titles.
"Spotting" the slides is affixing to them two marks, by means of which the lantern operator can tell which side is to be placed next the lantern, and these marks usually take the form of two white circles. Such "spots" can be bought commercially already gummed, or postage stamp edging may be used.
A few minutes' thought will show that the projecting lens of the lantern will reverse an image just as the lens of the camera does, so that we must insert the slide into the lantern carrier upside down and wrong way round, and as the spots are used to indicate this, they must be placed at the top of the slide, when the view appears to us as we saw it in nature. If it be a subject with lettering in it, the spots must be placed at the top of the slide, when we can read the lettering the right way as the slide is looked at against a piece of white paper.
PRECIOUS STONES.[1]
By Prof. Henry A. Miers, M.A., F.R.S.
LECTURE I.
The object which I have proposed to myself in these two lectures is to consider, not the history nor the artistic interest of precious stones, but simply some of their curious properties. In the first place, then, I will ask you to accompany me in the inquiry as to those characters of precious stones to which they owe their beauty and their value, and next to pursue the inquiry a little farther and to see how, by means of these characters, the same stones may be studied, and hence, also, identified with accuracy.
From the earliest times certain minerals, which are conspicuous for their beauty, have been prized for decorative purposes; the brilliant green hue of malachite, the deep blue of lapis lazuli and the rich color of red jasper would naturally attract early attention. But these particular minerals are not numbered among the true precious stones; they do not possess the remarkable qualities which endow the diamond, the ruby or the topaz with their peculiar attractiveness. The two essential qualities, namely, brilliancy and hardness, are only possessed by certain rare minerals; a brilliancy which makes them unrivaled for ornamental purposes and a hardness which protects them from wear and tear and makes them practically indestructible.