Light and shade, as seen in Nos. 1, 13, and 15, are occasioned by a very similar process, but one which perhaps requires a little more care, and necessarily becomes somewhat more tedious. For instance, in the former case the pulp is distributed equally throughout the entire surface of the wire forming the mould, whereas _now_ we have to contrive the means of increasing to a very great nicety the thickness or distribution of the pulp, and at the same time to make provision for the water’s draining away. This has been accomplished, as in the case of No. 13, by first taking an electrotype of the raised surface of any model or design, and again from that, forming in a similar manner a matrix or mould, both of which are subsequently mounted upon lead or gutta percha, in order that they may withstand the pressure which is required to be put upon them in giving impression to a sheet of very fine copper wire-gauze, which, in the form of a mould, and in the hands of the vatman, suffices ultimately to produce such beautiful transparent effects in paper pulp as those to which I have called your attention. By similar means a portrait of the Emperor Napoleon was produced for the Paris Exhibition. The other specimens, 1 and 15, are produced in the same manner as the word “Five” in the centre of the new Bank of England note. The deepest shadows in the water-mark being occasioned by the deepest engraving upon the die, the lightest, by the shallowest, and so forth; the die being employed to give impression by means of the stamping press and “force” to the fine wire-gauze itself, which by this means, providing the die be properly cut, is accomplished far more successfully than by any other process, and with the additional advantage of securing perfect identity. It may be interesting to call attention to the contrast as regards the method of mould-making originally practised, and that which has recently been adopted by the Bank of England. In a pair of five pound note moulds, prepared by the old process, there were 8 curved borders, 16 figures, 168 large waves, and 240 letters, which had all to be separately secured by the finest wire to the waved surface. There were 1,056 wires, 67,584 twists, and the same repetition where the stout wires were introduced to support the under surface. Therefore, with the backing, laying, large waves, figures, letters, and borders, before a pair of moulds was completed, there were some hundreds of thousands of stitches, most of which are now avoided by the new patent. But further, by this multitudinous stitching and sewing, the parts were never placed precisely in the same position, and the water-mark was consequently never identical. Now, the same die gives impression to the metal which transfers it to the water-mark, with a certainty of identity unattainable before, and one could almost say, never to be surpassed.