With amateurs it was very different, and many of their exhibits in the various exhibitions were from gelatine negatives obtained upon plates prepared by themselves, or commercial makers. In the London Photographic Society's exhibition of 1874, and following, several prints from gelatine negatives were exhibited, and in 1879 they were pretty general. Among the many exhibited that year was Mr. Gale's swallow-picture, which created at the time a great deal of interest and controversy, and Mr. Gale was invited over and over again to acknowledge whether the appearance of the bird was the result of skill, accident, or "trickery;" but I don't think that he ever gratified anyone's curiosity on the subject. I can, however, state very confidently that he was innocent of any "trickery" in introducing the bird by double printing, for the late Mr. Dudley Radcliffe told me at the time that he (Mr. Radcliffe) not only prepared the plate, but developed the negative, and was surprised to see the bird there. This may have been the reason why Mr. Gale was so reticent on the subject; but I am anticipating, and must go back to preserve my plan of chronological progression. In 1875 a considerable impetus was given to carbon printing, both for small work and enlarging by the introduction of the Lambertype process. Similar work had been done before, but, as Mr. Leon Lambert used to say, he made it "facile"; and he certainly did so, and induced many photographers to adopt his beautiful, but troublesome, chromotype process. There were two Lamberts in the tent--one a very clever manipulator, the other a clever advertiser--and between the two they managed to sell a great many licences, and carry away a considerable sum of money. I was intimate with them both while they remained in England, and they were both pleasant and honourable men.