Is used more extensively than gold printing, being attended with far less expense in the cost of the material. The method of printing is the same, except that, instead of laying on the gold-leaf, the impression is rubbed over with the bronze, by dipping a small block, covered with a short, fine fur, or a small wad of raw cotton, into the powder, and brushing off the superfluous bronze with a soft brush, as in gold printing. Bronze can be procured of various colours, and when laid on with judgment the effect is beautiful. The palest bronze is best. To produce a finished effect after bronzing, take finely-powdered soapstone, and apply in the same manner as bronze. PRINTING IN COLOURS. When red and black are to be printed on the same sheet,—the same process being applicable to all other colours,—the form is made ready in the usual way, and a chalk-line is traced around the outside of the chase on the press-bed, to show the exact situation in which the form must be replaced after having been lifted. The form is then laid with its face downward on a letter-board covered with the press-blankets. The words marked in the proof to be printed red are then forced down, and Nonpareil reglets nicely fitted into the vacancies, which raise the red lines and words an equal distance from the other matter. A sheet of paper is then pasted on the form, to keep the Nonpareil underlays in their proper places. The form is again laid on the press, observing the utmost care in placing it in its original position as indicated by the marks before made on the bed. [Illustration: INK STONE AND MULLER.] It must then be made perfectly fast to the corner irons, as it is highly important that it remain firm and immovable during its stay on the press. The frisket (which is covered with strong paper) is then put on, the form rolled over with the red ink, and an impression made on it. The red words are then cut out with a sharp-pointed penknife, with so much nicety as not to admit the smallest soil on the paper from the other matter. The red being finished and the form washed, the compositor unlocks it, (this should be done on the imposing-stone, as the pressman can easily lay it agreeably to the marks made on the press,) and draws out the red lines, filling up the space with quadrates. When this is done, the pressman cuts out the frisket for the black. An extra pair of points are used to prevent the black from falling on the red, or, as it is technically termed, _riding_. Generally, when a great number is to be printed, as many forms are used as there are colours to be printed. Another method of placing the underlays is adopted for broadsides, &c. with large letter and with but two or three lines of red. The red lines are taken out on the press, and underlays are put in, upon which the lines are placed, and the frisket is cut out as before mentioned.