8. _Vertical lines, and mistiness, on the image._--If the Bath has been much used, add to it a third part of a simple solution of Nitrate of Silver in water, without any Alcohol or Iodide. Also prepare the developer with addition of Alcohol, to make it flow more readily (p. 211). SECTION II. _Imperfections in Paper Positives._ 1. _The Print marbled and spotty._--The quality of the paper is often inferior, which causes it to imbibe liquids unevenly at different points; or the amount of Silver in the Nitrate Bath is insufficient. In this case the spots are often absent at the lower and most depending part of the sheet, where the excess of liquid drains off. 2. _The Print clean on the surface, but spotted when held up to the light._--In this case the spots are probably due to imperfect fixation (see p. 129). 3. _The Print becomes pale in the Hyposulphite Bath, and has a cold and faded appearance when finished._--The Chloride of Silver in the paper may have been in excess with regard to the free Nitrate of Silver; which is especially likely if no bronzing could be obtained by prolonged action of the light, or if a weak solution of Nitrate of Silver was laid on with a brush, or by a glass rod. Prints formed on paper which has been kept too long after sensitizing present the same appearance, the free Nitrate of Silver having entered into combination with the organic matter. 4. _Yellowness of the light parts of the proof._--The following causes are likely to produce yellowness:--acidity of the fixing and toning Bath (p. 139),--its action continued for too long a time,--the first washings of the proof not performed quickly,--the toning Bath laid aside until it had become decomposed and nearly useless,--the paper kept for several days after sensitizing. A creamy yellowness is also common in Prints toned by Sel d'or, when the Hydrochloric Acid has been omitted from the formula; the proof exposed to light during the toning and fixing process; or too long a time allowed to elapse between the toning and fixing. It is also more frequently met with on albuminized paper. 5. _Intense bronzing of the deep shadows._--In this case the Negative is in fault; remedy the evil as far as possible by printing on paper containing but little salt. 6. _The definition of the Print imperfect, the Negative being a good one._--Much will depend upon the quality of the paper. Towgood's Positive gives good definition. The use of Albumen will be a great advantage. Citrate of Soda (p. 246) will also improve the definition on plain paper. 7. _Markings of a yellow tint in the dark portions of the Positive._--These are common on Prints toned without Gold; care should be taken not to handle the paper too much, either before or after sensitizing; to wash the prints in a clean vessel; and not to lay them down whilst wet on a wooden table or in contact with anything likely to communicate impurities.