CHAPTER III
METHODS OF PRINTING
It will be the aim of this chapter to show how to make really good and permanent impressions of the fingers. It is very easy to do so when the principles of the art are understood and practised, but difficult otherwise.
One example of the ease of making good, but not permanent impressions, is found, and should be tried, by pressing the bulb of a finger against well-polished glass, or against the highly-polished blade of a razor. The finger must be _very slightly_ oiled, as by passing it through the hair; if it be moist, dry it with a handkerchief before the oiling. Then press the bulb of the finger on the glass or razor, as the case may be, and a beautiful impression will be left. The hardness of the glass or steel prevents its surface from rising into the furrows under the pressure of the ridges, while the layer of oil which covers the bottom of the furrows is too thin to reach down to the glass or steel; consequently the ridges alone are printed. There is no capillary or other action to spread the oil, so the impression remains distinct. A merely moist and not oily finger leaves a similar mark, but it soon evaporates.
This simple method is often convenient for quickly noting the character of a finger pattern. The impression may be made on a window-pane, a watch-glass, or even an eye-glass, if nothing better is at hand. The impression is not seen to its fullest advantage except by means of a single small source of bright light. The glass or steel has to be so inclined as just _not_ to reflect the light into the eye. That part of the light which falls on the oily impression is not so sharply reflected from it as from the surface of the glass or steel. Consequently some stray beams of the light which is scattered from the oil, reach the eye, while all of the light reflected from the highly-polished glass or steel passes in another direction and is unseen. The result is a brilliantly luminous impression on a dark background. The impression ceases to be visible when the glass or steel is not well polished, and itself scatters the light, like the oil.
There are two diametrically opposed methods of printing, each being the complement of the other. The method used in ordinary printing, is to ink the projecting surfaces only, leaving the depressed parts clean. The other method, used in printing from engraved plates, is to ink the whole surface, and then to clean the ink from the projecting parts, leaving the depressions only filled with it. Either of these two courses can be adopted in taking finger prints, but not the two together, for when they are combined in equal degrees the result must be a plain black blot.
The following explanations will be almost entirely confined to the first method, namely, that of ordinary printing, as the second method has so far not given equally good results.
The ink used may be either printer's ink or water colour, but for producing the best work, rapidly and on a large scale, the method of printer's ink seems in every respect preferable. However, water colour suffices for some purposes, and as there is so much convenience in a pad, drenched with dye, such as is commonly used for hand stamps, and which is always ready for use, many may prefer it. The processes with printer's ink will be described first.
The relief formed by the ridges is low. In the fingers of very young children, and of some ladies whose hands are rarely submitted to rough usage, the ridges are exceptionally faint; their crests hardly rise above the furrows, yet it is the crests only that are to be inked. Consequently the layer of ink on the slab or pad on which the finger is pressed for the purpose of blackening it, must be _very thin_. Its thickness must be less than half the elevation of the ridges, for when the finger is pressed down, the crests displace the ink immediately below them, and drives it upwards into the furrows which would otherwise be choked with it.
It is no violent misuse of metaphor to compare the ridges to the crests of mountain ranges, and the depth of the blackening that they ought to receive, to that of the newly-fallen snow upon the mountaintops in the early autumn, when it powders them from above downwards to a sharply-defined level. The most desirable blackening of the fingers corresponds to a snowfall which covers all the higher passes, but descends no lower.
With a finger so inked it is scarcely possible to fail in making a good imprint; the heaviest pressure cannot spoil it. The first desideratum is, then, to cover the slab by means of which the finger is to be blackened, with an extremely thin layer of ink.
This cannot be accomplished with printer's ink unless the slab is very clean, the ink somewhat fluid, and the roller that is used to spread it, in good condition. When a plate of glass is used for the slab, it is easy, by holding the inked slab between the eye and the light, to judge of the correct amount of inking. It should appear by no means black, but of a somewhat light brown.
The thickness of ink transferred by the finger to the paper is much less than that which lay upon the slab. The ink adheres to the slab as well as to the finger; when they are separated, only a portion of the ink is removed by the finger. Again, when the inked finger is pressed on the paper, only a portion of the ink that was on the finger is transferred to the paper. Owing to this double reduction, it seldom happens that a clear impression is at the same time black. An ideally perfect material for blackening would lie loosely on the slab like dust, it would cling very lightly to the finger, but adhere firmly to the paper.
The last preliminary to be noticed is the slowness with which the printer's ink hardens on the slab, and the rapidity with which it dries on paper. While serviceable for hours in the former case, in the latter it will be dry in a very few seconds. The drying or hardening of this oily ink has nothing whatever to do with the loss of moisture in the ordinary sense of the word, that is to say, of the loss of the contained water: it is wholly due to oxidisation of the oil. An extremely thin oxidised film soon forms on the surface of the layer on the slab, and this shields the lower-lying portions of the layer from the air, and retards further oxidisation. But paper is very unlike a polished slab; it is a fine felt, full of minute interstices. When a printed period (.) is placed under the microscope it looks like a drop of tar in the middle of a clean bird's-nest. The ink is minutely divided among the interstices of the paper, and a large surface being thereby exposed to the air, it oxidises at once, while a print from the finger upon glass will not dry for two or three days. One effect of oxidisation is to give a granulated appearance to the ink on rollers which have been allowed to get dirty. This granulation leaves clots on the slab which are fatal to good work: whenever they are seen, the roller must be cleaned at once.
The best ink for finger printing is not the best for ordinary printing. It is important to a commercial printer that his ink should dry rapidly on the paper, and he does not want a particularly thin layer of it; consequently, he prefers ink that contains various drying materials, such as litharge, which easily part with their oxygen. In finger prints this rapid drying is unnecessary, and the drying materials do harm by making the ink too stiff. The most serviceable ink for our purpose is made of any pure "drying" oil (or oil that oxidises rapidly), mixed with lampblack and very little else. I get mine in small collapsible tubes, each holding about a quarter of an ounce, from Messrs. Reeve & Sons, 113 Cheapside, London, W.C. Some thousands of fingers may be printed from the contents of one of these little tubes.
Let us now pass on to descriptions of printing apparatus. First, of that in regular use at my anthropometric laboratory at South Kensington, which has acted perfectly for three years; then of a similar but small apparatus convenient to carry about or send abroad, and of temporary arrangements in case any part of it may fail. Then lithographic printing will be noticed. In all these cases some kind of printer's ink has to be used. Next, smoke prints will be described, which at times are very serviceable; after this the methods of water colours and aniline dyes; then casts of various kinds; last of all, enlargements.
_Laboratory apparatus._--Mine consists of: 1, slab; 2, roller; 3, bottle of benzole (paraffin, turpentine, or solution of washing soda); 4, a funnel, with blotting-paper to act as a filter; 5, printer's ink; 6, rags and duster; 7, a small glass dish; 8, cards to print on.
The _Slab_ is a sheet of polished copper, 10-1/2 inches by 7, and about 1/16 inch thick, mounted on a solid board 3/4 inch thick, with projecting ears for ease of handling. The whole weighs 2-1/2 lbs. Each day it is cleaned with the benzole and left bright. [A slab of more than double the length and less than half the width might, as my assistant thinks, answer better.]
The _Roller_ is an ordinary small-sized printer's roller, 6 inches long and 3 in diameter, obtained from Messrs. Harrild, 25 Farringdon Street, London. Mine remained in good condition for quite a year and a half. When it is worn the maker exchanges it for a new one at a trifling cost. A good roller is of the highest importance; it affords the only means of spreading ink evenly and thinly, and with quickness and precision, over a large surface. The ingenuity of printers during more than four centuries in all civilised nations, has been directed to invent the most suitable composition for rollers, with the result that particular mixtures of glue, treacle, etc., are now in general use, the proportions between the ingredients differing according to the temperature at which the roller is intended to be used. The roller, like the slab, is cleansed with benzole every day (a very rapid process) and then put out of the reach of dust. Its clean surface is smooth and shining.
The _Benzole_ is kept in a pint bottle. Sometimes paraffin or turpentine has been used instead; washing soda does not smell, but it dissolves the ink more slowly. They are otherwise nearly equally effective in cleansing the rollers and fingers. When dirty, the benzole can be rudely filtered and used again.
The _Funnel_ holds blotting-paper for filtering the benzole. Where much printing is going on, and consequent washing of hands, it is worth while to use a filter, as it saves a little daily expense, though benzole is very cheap, and a few drops of it will clean a large surface.
The _Ink_ has already been spoken of. The more fluid it is the better, so long as it does not "run." A thick ink cannot be so thinned by adding turpentine, etc., as to make it equal to ink that was originally fluid. The variety of oils used in making ink, and of the added materials, is endless. For our purpose, any oil that dries and does not spread, such as boiled or burnt linseed oil, mixed with lampblack, is almost all that is wanted. The burnt oil is the thicker of the two, and dries the faster. Unfortunately the two terms, burnt and boiled linseed oil, have no definite meaning in the trade, boiling or burning not being the simple processes these words express, but including an admixture of drying materials, which differ with each manufacturer; moreover, there are two, if not three, fundamentally distinct qualities of linseed, in respect to the oil extracted from it. The ink used in the laboratory and described above, answers all requirements. Many other inks have suited less well; less even than that which can be made, in a very homely way, with a little soot off a plate that had been smoked over a candle, mixed with such boiled linseed oil as can be bought at unpretentious oil and colour shops, its only fault being a tendency to run.
_Rags_, and a comparatively clean duster, are wanted for cleaning the slab and roller, without scratching them.
The small _Glass Dish_ holds the benzole, into which the inked fingers are dipped before wiping them with the duster. Soap and water complete the preliminary cleansing.
_Cards_, lying flat, and being more easily manipulated than paper, are now used at the laboratory for receiving the impressions. They are of rather large size, 11-1/2 x 5 inches, to enable the prints of the ten digits to be taken on the same card in two rather different ways (see Plate 2, Fig. 3), and to afford space for writing notes. The cards must have a smooth and yet slightly absorbent surface. If too highly glazed they cease to absorb, and more ink will remain on the fingers and less be transferred from them to the paper. A little trial soon determines the best specimen from among a few likely alternatives. "Correspondence cards" are suitable for taking prints of not more than three fingers, and are occasionally employed in the laboratory. Paper books and pads were tried, but their surfaces are inferior to cards in flatness, and their use is now abandoned.
The cards should be _very_ white, because, if a photographic enlargement should at any time be desired, a slight tint on the card will be an impediment to making a photograph that shall be as sharp in its lines as an engraving, it being recollected that the cleanest prints are brown, and therefore not many shades darker than the tints of ordinary cards.
The method of printing at the laboratory is to squeeze a drop or so of ink on to the slab, and to work it thoroughly with the roller until a thin and even layer is spread, just as is done by printers, from one of whom a beginner might well purchase a lesson. The thickness of the layer of ink is tested from time to time by taking a print of a finger, and comparing its clearness and blackness with that of a standard print, hung up for the purpose close at hand. If too much ink has been put on the slab, some of it must be cleaned off, and the slab rolled afresh with what remains on it and on the roller. But this fault should seldom be committed; little ink should be put on at first, and more added little by little, until the required result is attained.
The right hand of the subject, which should be quite passive, is taken by the operator, and the bulbs of his four fingers laid flat on the inked slab and pressed gently but firmly on it by the flattened hand of the operator. Then the inked fingers are laid flat upon the upper part of the right-hand side of the card (Plate 2, Fig. 3), and pressed down gently and firmly, just as before, by the flattened hand of the operator. This completes the process for one set of prints of the four fingers of the right hand. Then the bulb of the thumb is slightly _rolled_ on the inked slab, and again on the lower part of the card, which gives a more extended but not quite so sharp an impression. Each of the four fingers of the same hand, in succession, is similarly rolled and impressed. This completes the process for the second set of prints of the digits of the right hand. Then the left hand is treated in the same way.
The result is indicated by the diagram, which shows on what parts of the card the impressions fall. Thus each of the four fingers is impressed twice, once above with a simple dab, and once below with a rolled impression, but each thumb is only impressed once; the thumbs being more troublesome to print from than fingers. Besides, the cards would have to be made even larger than they are, if two impressions of each thumb had to be included. It takes from two and a half to three minutes to obtain the eighteen impressions that are made on each card.
The _pocket apparatus_ is similar to one originally made and used by Sir William J. Herschel (see Plate 3, Fig. 4, in which the roller and its bearings are drawn of the same size as those I use). A small cylinder of hard wood, or of brass tube, say 1-3/4 inch long, and 1/2 or 3/4 inch in diameter, has a pin firmly driven into each end to serve as an axle. A piece of tightly-fitting india-rubber tubing is drawn over the cylinder. The cylinder, thus coated with a soft smooth compressible material, turns on its axle in two brackets, each secured by screws, as shown in Plate 2, Fig. 4, to a board (say 6 x 2-1/2 x 1/4 inch) that serves as handle. This makes a very fair and durable roller; it can be used in the heat and damp of the tropics, and is none the worse for a wetting, but it is by no means so good for delicate work as a cylinder covered with roller composition. These are not at all difficult to make; I have cast them for myself. The mould is a piece of brass tube, polished inside. A thick disc, with a central hole for the lower pin of the cylinder, fits smoothly into the lower end of the mould, and a ring with a thin bar across it, fits over the other end, the upper pin of the cylinder entering a hole in the middle of the bar; thus the cylinder is firmly held in the right position. After slightly oiling the inside of the mould, warming it, inserting the disc and cylinder, and fitting on the ring, the melted composition is poured in on either side of the bar. As it contracts on cooling, rather more must be poured in than at first appears necessary. Finally the roller is pushed out of the mould by a wooden ramrod, applied to the bottom of the disc. The composition must be melted like glue, in a vessel surrounded by hot water, which should never be allowed to boil; otherwise it will be spoilt. Harrild's best composition is more than twice the cost of that ordinarily used, and is expensive for large rollers, but for these miniature ones the cost is unimportant. The mould with which my first roller was made, was an old pewter squirt with the nozzle cut off; its piston served the double purpose of disc and ramrod.
The _Slab_ is a piece of thick plate glass, of the same length and width as the handle to the roller, so they pack up easily together; its edges are ground to save the fingers and roller alike from being cut. (Porcelain takes the ink better than glass, but is not to be commonly found in the shops, of a convenient shape and size; a glazed tile makes a capital slab.) A collapsible tube of printer's ink, a few rags, and a phial of washing soda, complete the equipment (benzole may spoil india-rubber). When using the apparatus, spread a newspaper on the table to prevent accident, have other pieces of newspaper ready to clean the roller, and to remove any surplus of ink from it by the simple process of rolling it on the paper. Take care that the washing soda is in such a position that it cannot be upset and ruin the polish of the table. With these precautions, the apparatus may be used with cleanliness even in a drawing-room. The roller is of course laid on its back when not in use.
My assistant has taken good prints of the three first fingers of the right hands of more than 300 school children, say 1000 fingers, in a few hours during the same day, by this apparatus. Hawksley, 357 Oxford Street, W., sells a neatly fitted-up box with all the necessary apparatus.
_Rougher arrangements._--A small ball made by tying chamois leather round soft rags, may be used in the absence of a roller. The fingers are inked from the ball, over which the ink has been evenly distributed, by dabbing it many times against a slab or plate. This method gives good results, but is slow; it would be intolerably tedious to employ it on a large scale, on all ten digits of many persons.
It is often desirable to obtain finger prints from persons at a distance, who could not be expected to trouble themselves to acquire the art of printing for the purpose of making a single finger print. On these occasions I send folding-cases to them, each consisting of two pieces of thin copper sheeting, fastened side by side to a slip of pasteboard, by bending the edges of the copper over it. The pasteboard is half cut through at the back, along the space between the copper sheets, so that it can be folded like a reply post-card, the copper sheets being thus brought face to face, but prevented from touching by the margin of an interposed card, out of which the middle has been cut away. The two pieces of copper being inked and folded up, may then be sent by post. On arrival the ink is fresh, and the folders can be used as ordinary inked slabs. (See also Smoke Printing, page 47.)
The fluidity of even a very thin layer of ink seems to be retained for an indefinite time if the air is excluded to prevent oxidisation. I made experiments, and found that if pieces of glass (photographic quarter plates) be inked, and placed face to face, separated only by narrow paper margins, and then wrapped up without other precaution, they will remain good for a year and a half.
A slight film of oxidisation on the surface of the ink is a merit, not a harm; it is cleaner to work with and gives a blacker print, because the ink clings less tenaciously to the finger, consequently more of it is transferred to the paper.
If a blackened plate becomes dry, and is re-inked without first being cleaned, the new ink will rob the old of some of its oxygen and it will become dry in a day or even less.
_Lithography._--Prints may be made on "transfer-paper," and thence transferred to stone. It is better not to impress the fingers directly upon the stone, as the print from the stone would be reversed as compared with the original impression, and mistakes are likely to arise in consequence. The print is re-reversed, or put right, by impressing the fingers on transfer-paper. It might sometimes be desirable to obtain rapidly a large number of impressions of the finger prints of a suspected person. In this case lithography would be easier, quicker, and cheaper than photography.
_Water Colours and Dyes._--The pads most commonly used with office stamps are made of variously prepared gelatine, covered with fine silk to protect the surface, and saturated with an aniline dye. If the surface be touched, the finger is inked, and if the circumstances are all favourable, a good print may be made, but there is much liability to blot. The pad remains ready for use during many days without any attention, fresh ink being added at long intervals. The advantage of a dye over an ordinary water colour is, that it percolates the silk without any of its colour being kept back; while a solution of lampblack or Indian ink, consisting of particles of soot suspended in water, leaves all its black particles behind when it is carefully filtered; only clear water then passes through.
A serviceable pad may be made out of a few thicknesses of cloth or felt with fine silk or cambric stretched over it. The ink should be of a slowly drying sort, made, possibly, of ordinary ink, with the admixture of brown sugar, honey, glycerine or the like, to bring it to a proper consistence.
Mr. Gilbert Thompson's results by this process have already been mentioned. A similar process was employed for the Bengal finger prints by Sir W. Herschel, who sent me the following account: "As to the printing of the fingers themselves, no doubt practice makes perfect. But I took no pains with my native officials, some dozen or so of whom learnt to do it quite well enough for all practical purposes from Bengali written instructions, and using nothing but a kind of lampblack ink made by the native orderly for use with the office seal." A batch of these impressions, which he was so good as to send me, are all clear, and in most cases very good indeed. It would be easier to employ this method in a very damp climate than in England, where a very thin layer of lampblack is apt to dry too quickly on the fingers.
_Printing as from Engraved Plates._--Professor Ray Lankester kindly sent me his method of taking prints with water colours. "You take a watery brushful or two of the paint and rub it over the hands, rubbing one hand against the other until they feel sticky. A _thin_ paper (tissue is best) placed on an oval cushion the shape of the hand, should be ready, and the hand pressed not too firmly on to it. I enclose a rough sample, done without a cushion. You require a cushion for the hollow of the hand, and the paint must be rubbed by the two hands until they feel sticky, not watery." This is the process of printing from engravings, the ink being removed from the ridges, and lying in the furrows. Blood can be used in the same way.
The following is extracted from an article by Dr. Louis Robinson in the _Nineteenth Century_, May 1892, p. 303:--
"I found that direct prints of the infant's feet on paper would answer much better [than photography]. After trying various methods I found that the best results could be got by covering the foot by means of a soft stencil brush with a composition of lampblack, soap, syrup, and blue-black ink; wiping it gently from heel to toe with a smoothly-folded silk handkerchief to remove the superfluous pigment, and then applying a moderately flexible paper, supported on a soft pad, direct to the foot."
A curious method with paper and ordinary writing ink, lately contrived by Dr. Forgeot, is analogous to lithography. He has described in one of the many interesting pamphlets published by the "Laboratoire d'Anthropologie Criminelle" of Lyon (_Stenheil_, 2 Rue Casimir-Delavigne, Paris), his new process of rendering visible the previously invisible details of such faint finger prints as thieves may have left on anything they have handled, the object being to show how evidence may sometimes be obtained for their identification. It is well known that pressure of the hand on the polished surface of glass or metal leaves a latent image very difficult to destroy, and which may be rendered visible by suitable applications, but few probably have suspected that this may be the case, to a considerable degree, with ordinary paper. Dr. Forgeot has shown that if a slightly greasy hand, such for example as a hand that has just been passed through the hair, be pressed on clean paper, and if common ink be afterwards brushed lightly over the paper, it will refuse to lie thickly on the greasy parts, and that the result will be a very fair picture of the minute markings on the fingers. He has even used these productions as negatives, and printed good photographs from them. He has also sent me a photographic print made from a piece of glass which had been exposed to the vapour of hydrofluoric acid, after having been touched by a greasy hand. I have made many trials of his method with considerable success. It affords a way of obtaining serviceable impressions in the absence of better means. Dr. Forgeot's pamphlet describes other methods of a generally similar kind, which he has found to be less good than the above.
_Smoke Printing._--When other apparatus is not at hand, a method of obtaining very clear impressions is to smoke a plate over a lighted candle, to press the finger on the blackened surface, and then on an adhesive one. The following details must, however, be borne in mind: the plate must not be smoked too much, for the same reason that a slab must not be inked too much; and the adhesive surface must be only slightly damped, not wetted, or the impression will be blurred. A crockery plate is better than glass or metal, as the soot does not adhere to it so tightly, and it is less liable to crack. Professor Bowditch finds mica (which is sold at photographic stores in small sheets) to be the best material. Certainly the smoke comes wholly off the mica on to the parts of the finger that touch it, and a beautiful negative is left behind, which can be utilised in the camera better than glass that has been similarly treated; but it does not serve so well for a plate that is intended to be kept ready for use in a pocket-book, its softness rendering it too liable to be scratched. I prefer to keep a slip of very thin copper sheeting in my pocket-book, with which, and with the gummed back of a postage stamp, or even the gummed fringe to a sheet of stamps, impressions can easily be taken. The thin copper quickly cools, and a wax match supplies enough smoke. The folders spoken of (p. 42) may be smoked instead of being inked, and are in some cases preferable to carry in the pocket or to send by post, being so easy to smoke afresh. Luggage labels that are thickly gummed at the back furnish a good adhesive surface. The fault of gummed paper lies in the difficulty of damping it without its curling up. The gummed paper sold by stationers is usually thinner than luggage labels, and still more difficult to keep flat. Paste rubbed in a very thin layer over a card makes a surface that holds soot firmly, and one that will not stick to other surfaces if accidentally moistened. Glue, isinglass, size, and mucilage, are all suitable. It was my fortune as a boy to receive rudimentary lessons in drawing from a humble and rather grotesque master. He confided to me the discovery, which he claimed as his own, that pencil drawings could be fixed by licking them; and as I write these words, the image of his broad swab-like tongue performing the operation, and of his proud eyes gleaming over the drawing he was operating on, come vividly to remembrance. This reminiscence led me to try whether licking a piece of paper would give it a sufficiently adhesive surface. It did so. Nay, it led me a step further, for I took two pieces of paper and licked both. The dry side of the one was held over the candle as an equivalent to a plate for collecting soot, being saved by the moisture at the back from igniting (it had to be licked two or three times during the process), and the impression was made on the other bit of paper. An ingenious person determined to succeed in obtaining the record of a finger impression, can hardly fail altogether under any ordinary circumstances.
Physiologists who are familiar with the revolving cylinder covered with highly-glazed paper, which is smoked, and then used for the purpose of recording the delicate movements of a tracer, will have noticed the beauty of the impression sometimes left by a finger that had accidentally touched it. They are also well versed in the art of varnishing such impressions to preserve them in a durable form.
A cake of blacklead (plumbago), such as is sold for blackening grates, when rubbed on paper leaves a powdery surface that readily blackens the fingers, and shows the ridges distinctly. A small part of the black comes off when the fingers are pressed on sticky paper, but I find it difficult to ensure good prints. The cakes are convenient to carry and cleanly to handle. Whitening, and still more, whitening mixed with size, may be used in the same way, but it gathers in the furrows, not on the ridges.
_Casts_ give undoubtedly the most exact representation of the ridges, but they are difficult and unsatisfactory to examine, puzzling the eye by showing too conspicuously the variation of their heights, whereas we only want to know their courses. Again, as casts must be of a uniform colour, the finer lines are indistinctly seen except in a particular light. Lastly, they are both cumbrous to preserve and easily broken.
A sealing-wax impression is the simplest and best kind of cast, and the finger need not be burnt in making it. The plan is to make a considerable pool of flaming sealing-wax, stirring it well with the still unmelted piece of the stick, while it is burning. Then blow out the flame and wait a little, until the upper layer has cooled. Sealing-wax that has been well aflame takes a long time to harden thoroughly after it has parted with nearly all its heat. By selecting the proper moment after blowing out the flame, the wax will be cool enough for the finger to press it without discomfort, and it will still be sufficiently soft to take a sharp impression. Dentist's wax, which is far less brittle, is easily worked, and takes impressions that are nearly as sharp as those of sealing-wax; it has to be well heated and kneaded, then plunged for a moment in cold water to chill the surface, and immediately impressed. Gutta-percha can also be used. The most delicate of all impressions is that left upon a thick clot of varnish, which has been exposed to the air long enough for a thin film to have formed over it. The impression is transient, but lingers sufficiently to be easily photographed. It happened, oddly enough, that a few days after I had noticed this effect, and had been experimenting upon it, I heard an interesting memoir "On the Minute Structure of Striped Muscle, with special allusion to a new method of investigation by means of 'Impressions' stamped in Collodion," submitted to the Royal Society by Dr. John Berry Haycraft, in which an analogous method was used to obtain impressions of delicate microscopic structures.
_Photographs_ are valuable in themselves, and the negatives serve for subsequent _enlargements_. They are unquestionably accurate, and the labour of making them being mechanical, may be delegated. If the print be in printer's ink on white paper, the process is straightforward, first of obtaining a negative and afterwards photo-prints from it. The importance of the paper or card used to receive the finger print being quite white, has already been pointed out. An imprint on white crockery-ware is beautifully clear. Some of the photographs may be advantageously printed by the ferro-prussiate process. The paper used for it does not curl when dry, its texture is good for writing on, and the blue colour of the print makes handwriting clearly legible, whether it be in ink or in pencil.
Prints on glass have great merits for use as lantern slides, but it must be recollected that they may take some days to dry, and that when dry the ink can be only too easily detached from them by water, which insinuates itself between the dry ink and the glass. Of course they could be varnished, if the trouble and cost were no objection, and so preserved. The negative print left on an inked slab, after the finger has touched it, is sometimes very clear, that on smoked glass better, and on smoked mica the clearest of all. These have merely to be placed in the enlarging camera, where the negative image thrown on argento-bromide paper will yield a positive print. (See p. 90.)
I have made, by hand, many enlargements with a prism (camera lucida), but it is difficult to enlarge more than five times by means of it. So much shade is cast by the head that the prism can hardly be used at a less distance than 3 inches from the print, or one quarter the distance (12 inches) at which a book is usually read, while the paper on which the drawing is made cannot well be more than 15 inches below the prism; so it makes an enlargement of (4 x 15)/12 or five-fold. This is a very convenient method of analysing a pattern, since the lines follow only the axes of the ridges, as in Plate 3, Fig. 5. The prism and attached apparatus may be kept permanently mounted, ready for use at any time, without the trouble of any adjustment.
An enlarging pantagraph has also been of frequent use to me, in which the cross-wires of a low-power microscope took the place of the pointer. It has many merits, but its action was not equally free in all directions; the enlarged traces were consequently jagged, and required subsequent smoothing.
All hand-made enlargements are tedious to produce, as the total length of lineations to be followed is considerable. In a single finger print made by dabbing down the finger, their actual length amounts to about 18 inches; therefore in a five-fold enlargement of the entire print the pencil has to be carefully directed over five times that distance, or more than 7 feet.
Large copies of tracings made on transparent paper, either by the Camera Lucida or by the Pantagraph, are easily printed by the ferro-prussiate photographic process mentioned above, in the same way that plans are copied by engineers.