After various trials, the plan I have found decidedly the best is the following:--Soak the drawing-paper in a vessel of water for ten minutes, or until it appears by its flaccidity to have become perfectly saturated; put it at once into an artist's stretching frame, brush over the back of the photograph with rather thin and perfectly smooth paste, allow it a few minutes to imbibe a portion of the moisture of the paste, and then lay it smoothly down on the damp paper now on the stretching frame, of course carefully pressing out all air bubbles as you gradually, beginning at one side, smooth down the pasted picture. It should remain in a dry place (not placed before a fire) until the whole has become quite dry, about ten or twelve hours. It may then be taken out of the frame, cut to the desired shape, and a single or double line nicely drawn around the picture, at a distance suitable to each individual's taste, by the help of sepia-coloured ink and a crowquill pen, both of which may also be bought at the artists' colour shop. Should it be required to be still more nicely mounted, and to appear to have been one and the same paper originally, the back edges of the picture should, previous to laying on the paste, be rubbed down to a fine and knife-like edge with a piece of the finest sand-paper placed on a wine cork, or substance of a similar size. The drawing-paper should be of the same shade and tint as the ground of the photograph. A novice in the wax-paper process (having heretofore worked the collodion and calotype, from its very desirable property of keeping long good after being excited, _i. e._ the wax paper), I am very desirous of getting over an unexpected difficulty in its manipulation; and if some one of the many liberal-minded contributors to your justly wide-spread periodical, well versed in that department of the art, would lend me a helping hand in my present difficulty, I should feel more than obliged for the kindness thereby conferred. My wax-paper negative, much to my disappointment, occasionally exhibits, more or less, a speckled appearance by transmitted light, which frequently, in deep painting, impresses the positive with an unsightly spotted character, somewhat similar to that of a bad lithograph taken from a worn-out stone. I should wish my wax-paper negative to be similar in appearance to that of a good calotype one, or to show by transmitted light, as my vexatious specimen does when viewed on its right side by reflected light. As the most lucid description must fall far short of a sight of the article itself, I purpose enclosing you a specimen of my failure, a portion of one of the negatives in question. Would immersion, instead of floating on the gallo-nitrate solution, remedy the evil? Or should the impressed sheet be entirely immersed in the developing fluid in place of being floated? And if in the affirmative, of what strength should it be? I have thus far tried both plans in vain. HENRY H. HELE.