The medallion of Alexander the Great was made by combining the images of six different medals, with a view of obtaining the type of features that the makers of those medals concurred in desiring to ascribe to him. The originals were kindly selected for me by Mr. R. Stuart Poole from the collection in the British Museum. This composite was one of the first I ever made, and is printed together with its six components in the _Journal of the Royal Institution_, in illustration of a lecture I gave there in April 1879. It seems to me that it is possible on this principle to obtain a truer likeness of a man than in any other way. Every artist makes mistakes; but by combining the conscientious works of many artists, their separate mistakes disappear, and what is common to all of their works remains. So as regards different photographs of the same person, those accidental momentary expressions are got rid of, which an ordinary photograph made by a brief exposure cannot help recording. On the other hand, any happy sudden trait of expression is lost. The composite gives the features in repose. The next pair of composites (full face and profile) on the Plate has not been published before. The interest of the pair lies chiefly in their having been made from only two components, and they show how curiously even two faces that have a moderate family likeness will blend into a single one. That neither of these predominated in the present case will be learned from the following letter by the father of the ladies, who is himself a photographer:-- "I am exceedingly obliged for the very curious and interesting composite portraits of my two children. Knowing the faces so well, it caused me quite a surprise when I opened your letter. I put one of the full faces on the table for the mother to pick up casually. She said, 'When did you do this portrait of A? how _like_ she is to B! Or _is_ it B? I never thought they were so like before.' It has puzzled several people to say whether the profile was intended for A or B. Then I tried one of them on a friend who has not seen the girls for years. He said, 'Well, it is one of the family for certain, but I don't know which.'" [Illustration: ] I have made several other family portraits, which to my eye seem great successes, but must candidly own that the persons whose portraits are blended together seldom seem to care much for the result, except as a curiosity. We are all inclined to assert our individuality, and to stand on our own basis, and to object to being mixed up indiscriminately with others. The same feeling finds expression when the resident in a suburban street insists on calling his house a villa with some fantastic name, and refuses, so long as he can, to call it simply Number so and so in the street.