Later I made trial of a composition of lead, zinc, and bismuth, and this succeeds thoroughly with proper care. So here we would have still another printing process, which has the advantage over all others that the inscription need not be made reversed, as the impression on the wax or lead reverses it automatically. If the white mass is laid on more thickly, one can make the handsomest patterns for calico much more quickly than has been possible heretofore with wood-cuts. A little more care is necessary, because no stroke must be made entirely through the mass, when it is laid on thick. My experiments in that direction all exceeded expectations, and it is to be regretted that I had no opportunity thereafter to perfect this invention more, or use it practically. The experiments had no value even for Herr Schulrath Steiner, for whom I made them, as he never had use for the process afterward. Indeed, I would have forgotten the matter almost entirely, if it had not been brought back to mind by this work of writing my story. In the second part of this book, in describing stone-printing itself, I will show various methods of making patterns for work on cotton, such as I conceived later in Vienna where I busied myself very much with cotton-printing. I happened to print for Herr Lentner a little song about the great fire of Neuötting in Bavaria and used a little vignette showing a burning house. This induced Herr Steiner to let me etch a few small pictures for a catechism. So far as execution of drawing goes, they were very ordinary; but he continued to encourage me to try if the new printing process would not be available for art work. With the exception of Herr Andre of Offenbach, he was the only one who reasoned thus: "These strokes and points, of such great fineness and again of such great strength, can evidently be made on the stone, therefore it is possible to make drawings similar to copper-plate etchings. That this cannot be done yet is due not to a fault in the art of stone-printing, but to the insufficient skill of the artists." Even at that time he did not say: "The art is still in its infancy," as many a would-be wise man does to-day, thus exposing his lack of knowledge of the entire matter. Even at that time he was convinced, more so even than I, that the art of stone-printing had reached its climax when I gave him the first specimens of stone-printing improved by the chemical process. Artists might cultivate and perfect themselves, manipulation be simplified and processes be increased in number and variety, but the art itself could not be improved greatly.