The carte-de-visite form of photography had not exhibited much vitality at that period in London, but in Paris it was beginning to be popular. While in London I accompanied Mr. Jabez Hughes to the meeting of the Photographic Society, Feb. 7th, 1860, the Right Honorable the Lord Chief Baron Pollock in the chair, when the report of the Collodion Committee was delivered. The committee, consisting of F. Bedford, P. Delamotte, Dr. Diamond, Roger Fenton, Jabez Hughes, T. A. Malone, J. H. Morgan, H. P. Robinson, Alfred Rosling, W. Russell Sedgefield, J. Spencer, and T. R. Williams, strongly recommended Mr. Hardwich's formula. That was my first visit to the Society, and I certainly did not think then that I should ever see it again, or become and be a member for twenty-two years. I sailed from Liverpool in the ss. _City of Baltimore_ in March, and reached New York safely in April, 1860. I took time to look about me, and visited all the "galleries" on Broadway, and other places, before deciding where I should locate myself. Many changes had taken place during the six years I had been absent. Nearly all the old Daguerreotypists were still in existence, but all of them, with the exception of Mr. Brady, had abandoned the Daguerreotype process, and Mr. Brady only retained it for small work. Most of the chief galleries had been moved higher up Broadway, and a mania of magnificence had taken possession of most of the photographers. Mr. Anson was the first to make a move in that direction by opening a "superb gallery" on the ground floor in Broadway right opposite the Metropolitan Hotel, filling his windows with life-sized photographs coloured in oil at the back, which he called Diaphanotypes. He did a large business in that class of work, especially among visitors from the Southern States; but that was soon to end, for already there were rumours of war, but few then gave it any serious consideration.