Messrs. Gurney and Sons' gallery was also a very fine one, but not on the ground floor. Their "saloon" was upstairs, This house was one of the oldest in New York in connection with photography. In the very early days, Mr. Gurney, senr., was one of the most eminent "professors" of the Daguerreotype process, and was one of the committee appointed to wait upon the Rev. Wm. Hill, a preacher in the Catskills, to negotiate with the reverend gentlemen (?) for his vaunted secret of photography in natural colours. As the art progressed, or the necessity for change arose, Mr. Gurney was ready to introduce every novelty, and, in later years, in conjunction with Mr. Fredericks, then in partnership with Mr. Gurney, he introduced the "Hallotype," not Hillotype, and the "Ivorytype." Both these processes had their day. The former was photography spoiled by the application of Canada balsam and very little art; the latter was the application of a great deal of art to spoil a photograph. The largest of all the large galleries on Broadway was that of Messrs. Fredericks and Co. The whole of the ground and first floor were thrown into one "crystal front," and made a very attractive appearance. The windows were filled with life-sized portraits painted in oil, crayons, and other styles, and the walls of the interior were covered with life-sized portraits of eminent men and beautiful women. The floor was richly carpeted, and the furnishing superb. A gallery ran round the walls to enable the visitors to view the upper pictures, and obtain a general view of the "saloon," the _tout ensemble_ of which was magnificent. From the ground floor an elegant staircase led to the galleries, toilet and waiting rooms, and thence to the operating rooms or studios. Some of the Parisian galleries were fine, but nothing to be compared with Fredericks', and the finest establishment in London did not bear the slightest comparison. Mr. Brady was another of the early workers of the Daguerreotype process, and probably the last of his _confrères_ to abandon it. He commenced business in the early forties in Fulton Street, a long way down Broadway, but as the sea of commerce pressed on and rolled over the strand of fashion, he was obliged to move higher and higher up Broadway, until he reached the corner of Tenth Street, nearly opposite Grace Church. Mr. Brady appeared to set the Franklin maxim, "Three removes as bad as a fire," at defiance, for he had made three or four moves to my knowledge--each one higher and higher to more elegant and expensive premises, each remove entailing the cost of more and more expensive furnishing, until his latest effort in upholstery culminated in a superb suite of black walnut and green silk velvet; in short, Longfellow's "Excelsior" appeared to be the motto of Mr. Brady.