With stereoscopic portraits it was not so, for there was always a personal and family interest attached to them, and I made a great many stereoscopic portraits by the Daguerreotype process; but even they were somewhat ruthlessly and precipitately displaced when the carte-de-visite mania took possession of the public mind. However, I see no reason why stereoscopic portraiture should not be revived if good pictures were produced on ivoryine, and it appears to me that substance is most suitable for the purpose, as the pictures can be examined either by reflected or transmitted light. Everyone interested in stereoscopic photography should "read, mark, learn, and inwardly digest," the late Mr. Donkin's able and instructive paper on "Stereoscopes and Binocular Vision," published in the journal of the Photographic Society, January 27th, 1888. This was unhappily the last paper that Mr. Donkin read at the Photographic Society, for he was unfortunately lost in the Caucasus the following autumn. W. F. Donkin, M.A., F.C.S., F.I.C., was for several years Honorary Secretary of the Photographic Society and of the Alpine Club, and, at the November meeting of the Photographic Society, the President, James Glaisher, F.R.S., made the following remarks on the melancholy event:--"There is, I am sure, but one feeling in regard to the fact that the gentleman who usually sits on my right is not here to-night. Our Secretary, W. F. Donkin, is, I fear, irretrievably lost in the Caucasus. The feeling of every member of this Society is one of respect and esteem towards him. During the time he held the post of Secretary, his uniform courtesy won him the respect of all. I fear we shall see him no more." This fear was afterwards confirmed by the search party, which was headed by Mr. C. T. Dent, President of the Alpine Club. The late Mr. Donkin was both an expert Alpine climber and photographer, and many of his photographs of Alpine scenery have been published and admired. Every year compels me to record the death of some old and experienced photographer, or some artist associated with photography from its earliest introduction. Among the latter was Norman Macbeth, R.S.A., an eminent portrait painter, who was quick to see and ready to avail himself of the invaluable services of a new art, or means of improving art, both in drawing and detail, and make the newly-discovered power a help in his own labours, and an economiser of the time of his sitters. The first time I had the pleasure of meeting him was in Glasgow in 1855, when he brought one of his sitters to me to be Daguerreotyped, and he preferred a Daguerreotype as long as he could get one, on account of its extreme delicacy and details in the shadows; but he could not obtain any more Daguerreotypes after 1857, for at that time I abandoned the Daguerreotype for ever, and was the last to practise the process in Glasgow, and probably throughout Great Britain.