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prints were made individually and to a great extent by hand. But they could be, and were, very greatly enhanced by having certain of the scenes stained with an appropriate dye — blue for moonlight, red for firelight for instance. There was another postprintual process, too, which often added real beauty to the scene, called 'toning.' In this case it was not the base of the film which was coloured but the photographic image itself. So it was possible to have the picture-substance of a deep brown-red colour on a background of light blue. All these effects could only be obtained by elaborate after-treatment of the otherwise finished print. It was difficult and expensive but it was worth while at the time, and was only abandoned as work became more commercialised and it is never even heard of now.
On another occasion I sent Scott-Brown to British North Borneo with the strictest injunctions to send every bit of film home just as soon as it was exposed, for I knew that tropical conditions had a nasty trick of dissolving out the latent image on the film, if it is under their influence for long, undeveloped, and leaving it almost as though it had never been exposed. Unfortunately he didn't do it. He developed a test from each roll and finding that was all right, brought the whole lot back with him. It was all spoilt; scarcely anything of an image could be developed. And all his tests showed really brilliant photography.
Among the few unpleasant things that happened about this time was the rascally behaviour of a well-connected man in London who certainly should have known better. He bought two or three copies of nearly everything we produced, but he sold ten or fifteen prints of each! It was horribly artful to buy more than one of each and so cover up his nefarious practices.
After Rover, there is not very much in our immediate catalogue which calls for special notice. There is a very ambitious film, which bears the stamp of Fitzhamon's peculiar gift — Prehistoric Peeps, based upon the work of E. T. Reed of Punch, for which all the resources of the works were devoted to the building and painting of the wildest of wild animals; and there was a film on the Death of Nelson which was intended to synchronise with the playing and singing of the well-known song. Then there was a bright idea for depicting the growth of scandal from mouth to mouth, with the title of What the Curate Really Did, and then the first of a series of political pictures which was called The Aliens9 Invasion. A pantomime picture and a melodrama, each of 700 feet,
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