one with a perfect reverse impression of the stone’s surface. Some soak the paper before laying on the stone, but if that is done and there be any wind, the paper, become very tender, will be apt to tear with its own weight while being laid on, and will be difficult to lay flat. If for any reason, _e.g._, overhanging of the stone’s face, it is difficult to make the paper adhere, the task will prove easier with small pieces. But whenever a surface is squeezed by sections, the operator must be careful to make the edges of his sheets overlap, so that later all can be gummed together as one sheet; to number the sheets according to a key-plan, recorded in his note-book, and to mark on the sheets themselves the lines of junction. All superfluous edges should be peeled off, as they are apt to lift in the wind and cause all or a part of the impression to become detached before it is well set, and weights should, if possible, be laid on the drying paper. If for any reason the paper cannot be left to dry in position, peel off carefully and lay out to dry reverse side uppermost. The impression, so taken, will be hardly less good. When dry, roll the squeeze inside a tin cylinder, and only very rough usage will harm it. Squeezing sculptures is a more difficult matter. Mr. A. P. Maudslay gave very full directions in an earlier edition of these “Hints” which may be repeated here. After stating that all moulds of sculpture have to be made of many thicknesses of paper, with a good coating of paste between every few sheets (not only because of the great inequalities of surface, which break through the paper, but also in order that the mould, when dry, may be stout enough to keep its shape), he said:— ‘Paper can only properly be applied for the purpose of moulding when the carving is free from large contours and deep undercutting; but it is wonderful what accurate results can be obtained even when large curves and some undercutting have to be contended against. Where worn or splintered parts of a wood-carving, or fissures in a stone, or deep undercutting which is not essential to the design, occur, it is often of advantage to fill them up with clay or paper, to which a smooth surface can be given, so that the mould will come away free from them when it is dry; and careful notes and measurements will often enable one to restore the contour to a mould which has suffered some pressure in transport. In a properly-made mould the detail of carving is never lost, unless the paper itself is destroyed. ‘A shallow tin bath (or two made to fit inside one another), large enough to hold an open sheet of paper, is useful for soaking the paper in.[17] Twenty sheets or more may be placed in the water at once, and left there without harm for an hour or more; but a few minutes’ soaking is quite enough.