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and only the intervening spaces be affected by it. But the spaces to be bitten must lie so close together that they cannot be detected by the naked eye." At the period when Baxter manipulated the Aquatint Process, there were practically only two ways of getting the Aquatint ground, although in later years operators of this Process have several ways of obtaining it. These two methods were the dust ground and the spirit ground. I am of opinion that Baxter used the spirit ground, as the quality of an Aquatint Print from this ground is much more defined and brighter, and moreover will not wear so quickly in the printing as the dust ground. For this liquid or spirit ground, resin is dissolved in pure alcohol, to which is added a quantity of water. This solution is poured over the copper plate, as one pours a developer over a photographic 44 Baxter's Process negative. The alcohol evaporates, the while the water will have caused the resin to settle in a network of tiny channels, the copper being thus exposed between these channels, ready to be bitten by the acid. The coarseness or fineness of this ground is determined by the quantity of resin used; the weaker the solution the finer the grain. All Baxter's grounds were of a very fine grain. Baxter's next step in this Process would be to transfer the drawing of the Picture he was producing to the ground plate he had prepared; this he could do either by tracing over a paper prepared for the purpose, or by drawing the subject direct on the ground of the plate. The picture having now been transferred to the plate, the next thing will be to do what is technically termed " Stopping out " and " Biting." This Stopping out and Biting is done as often as the lights and shades of the