IMPROVEMENTS IN THE PREPARATION OF PHOTOGRAPHS AND THE TREATMENT OF DRAWINGS OR DESIGNS PRINTED UPON PAPER OR OTHER SUITABLE MATERIAL FOR THE PURPOSE OF IMITATING STAINED, GROUND, CUT OR EMBOSSED GLASS, OR TO BE EMPLOYED FOR OTHER USEFUL AND ORNAMENTAL PURPOSES "
Year: 1883

page_text: LETTERS PATENT to George Rydill, of 52 Chancery Lane, in the County
of Middlesex for an Invention of "IMPROVEMENTS IN THE PREPARATION OF
PHOTOGRAPHS AND THE TREATMENT OF DRAWINGS OR DESIGNS PRINTED UPON
PAPER OR OTHER SUITABLE MATERIAL FOR THE PURPOSE OF IMITATING
STAINED, GROUND, CUT OR EMBOSSED GLASS, OR TO BE EMPLOYED FOR OTHER
USEFUL AND ORNAMENTAL PURPOSES
"
PROVISIONAL SPECIFICATION left by the said George Rydill at the Office
of the Commissioners of Patents on the 31st December 1883.
GEORGE RYDILL, of 52 Chancery Lane, in the County of Middlesex, "IMPROVE
MENTS IN THE PREPARATION OF PHOTOGRAPHS AND THE TREATMENT OF DRAWINGS
OR DESIGNS PRINTED UPON PAPER OR OTHER SUITABLE MATERIAL FOR THE PURPOSE
OF IMITATING STAINED, GROUND, CUT OR EMBOSSED GLASS, OR TO BE EMPLOYED
FOR OTHER USEFUL AND ORNAMENTAL PURPOSES
"
My invention consists in producing, treating and applying photographs, printed
drawings or designs either upon sensitized white, tinted or coloured paper, satin,
cotton, linen, parchment, glass, wood or other suitable material printed or produced
from glass negatives, wood blocks, stone, metal, glass, engraved or etched metal
plates or by any of the known methods of printing in one or more colours.
In order to describe my invention and its various applications for useful and
ornamental purposes I will explain one process for producing printed copies of
photographs.
As it is important that when printed photographs, printed drawings or designs
are treated with castor oil, pine oil, olive oil, dissolved fats, white wax, mineral
oils or spirits, they should be thoroughly penetrated quickly to prevent the picture
from getting dull, I place the printed drawings or photographs in a closed metal
vessel subjected to hydraulic, atmospheric or vacuum pressure and pump in oil,
dissolved fats or wax with a hydraulic pump, or air may be pumped into the vessel

page_text: to give pressure, or air may be pumped out of the vessel to form a vacuum and
oil, dissolved fats or white wax is let in warm under atmospheric pressure to force
the oil or dissolved fats or wax into the paper to make it translucent. On the
pressure being taken off from the vessel the printed drawings, designs or photo-
graphs are removed and passed betwixt india rubber rollers or placed in a hydro
extractor to remove the excess of oils, fats or wax. Having photographed, drawn
or transferred a facsimile on stone or other substance, the finished photograph is
printed upon on the back side in one or more colours or tints either in oil, water
or other colours or tints to bring up the coloured features of a person, dress
ornaments or a coloured landscape or other coloured printings representing nature
or works of art. The paper on which each photograph is taken is fixed in a true
position in the printing frame so that the outlines of the printing on the back
exactly line with those on the face of the photograph. When thought desirable
one part of the printing of a person or a landscape or other design may be partly
printed on the back side of the translucent photograph and another part of the
printing to finish the picture is printed upon another paper on the face side and
fixed to a second glass put behind the photograph. A sheet of glass is then placed
on the front side and for some purposes I place another picture on the back of the
second glass, and then the three sheets of glass are cemented together. When the
whole of the colours are printed on the back I place any coloured printing or
design on the back, covered by a sheet of glass; then the two glasses are cemented
together round the edges with ground glass, liquid isinglass and mastic or other
glass cement. Or the photograph printed on the back as a finished picture may
be fixed on the inside of a glass shade or vase or it may be fixed at the back of a
looking glass and a glass being placed over it the two glasses are cemented together
round the edges with glass cement. This method of printing on the face and back
of translucent paper tends to bring up the colour and may be fixed with copal or
other varnish or adhesive substance to any shaped glass or glasses. When the
printed paper is found too thick for producing a good transparency it may be
rubbed down with fine sand paper.
Or a photograph of a landscape is taken and when finished as a photographic
picture I print on the back of the photograph with such colours as shall represent
the true nature of a landscape, either in oil, water colours, transparent colours or
inks in the usual way of lithographic printing, which system of printing coloured
photographs applies to persons, animals, natural views, works of art, machinery,
articles or things. The transparent sensitized paper forms a thin film or covering
of the colours printed upon the back, making the photograph printed in colours
permanent. The oil colours may be of the usual class for painting or printing or
the transparent colours may be wholly or partially mixed with pine oil dissolved
in alcohol or turpentine, or the photograph or photographs after being printed
upon and become dry may be varnished with copal, mastic or other varnishes
which may be mixed with or coated over with dissolved pine oil in spirit which
preserves the colours and protects the picture from moisture.
Or I take two photographic negatives of the same figure or picture exactly alike
and having sensitized photographic paper on both sides. I place one negative on
the front side and one on the back side so that they stand exactly opposite each
other and are held firmly in a screw clasp frame, so that the light for printing may
act on one side at a time or on both sides at the same time. When taken out of
the frame and finished in the usual way as a picture, such may be made translucent
with castor or other oil, pine oil and varnish, or varnish alone, or it may be painted
or printed upon with oil.
Or a transparent photograph is covered on the back side with coloured,
transparent or non-transparent paper or other material cut out or coloured to
represent any part of the features, coloured dress, background, or drapery. Or a
background is printed upon paper representing any design filled up with other
suitable paper and placed on the back of the photograph. Or gold or silver leaf or
other metallic alloys may be applied. I then place at the back any other picture

page_text: and enclose the same betwixt two sheets of glass, cementing the edges together
with ground glass cement.
And in order that the oils, fats, wax, or varnish may be made to penetrate any
thickness of unprinted or printed paper glazed by means of hot rollers, I subject
photographs, printings, drawings, etchings, engravings, or stencils to hydraulic,
atmospheric or vacuum pressure by placing them in a closed metal vessel and
pumping in varnish or oil, fats, or wax, with a hydraulic pump, or the air may be
pumped into the vessel to give pressure, or the air may be pumped out of the vessel,
and by means of a tank pipe and valve connected with the vessel where a vacuum
has been produced, by opening the valve the oil or varnish is let in under
atmospheric pressure to force the oil or varnish into the paper. The pressure on
the vessel is let off, the lid removed and the photographs or printings taken out,
and the excess of oil, fats, wax or varnish removed by passing the same betwixt
two rollers, or with a hydro extractor.
Or I take a sheet of glass, glass shade or other glass and varnish it on the back
with copal, mastic or other translucent varnish or gelatine. When the varnish is
almost dry I press upon it a photograph, engraving or print previously steeped in
water and when dry I varnish the back side of the paper with pine oil and varnish.
This brings up a translucent picture or drawing according to whatever style of
photographing or printing it might be and if placed on to a glass shade or vase the
translucent photographs, printings, etchings, or drawings show by gas light the
same as day light. The light passing through the top of sides shows the
photograph or printings distinctly. The bottom of the glass shade I make up with
a glass cup or stand to protect the photograph, printings or drawings from dust
and moisture, and if for a window, door, partition or interior or exterior decoration
I place the translucent photograph, lithograph, printing, etching or drawing
representing any figure or design betwixt two sheets of glass and cement them
together at the edges with ground glass, mastic and isinglass.
Or a glass shade, vase, or a sheet of glass is varnished over with copal, mastic or
other varnish and when the varnish is almost dry an engraved print or a coloured
print having been steeped in water is pressed on the varnish and after remaining
until the varnish is dry the paper on which the engraving or printing has been
printed is wetted with water and a sponge and rubbed down with sand paper, the
finger, or india rubber. I then varnish the same and after it is dry I place a
varnished translucent sheet of bank post paper or other highly glazed translucent
paper, either white, tinted or coloured, and I cover the back side with a sheet of
glass and cement the two sheets of glass together at the edges. Or instead of a
translucent sheet of paper being put on the back to bring up the colour like stained
glass, I place white, opal or coloured glass at the back and the two sheets of glass
are cemented together at the edges and enclosed with a metal frame.
When printing from engraved or etched metal plates, lithographing or other
printing of any colour or design which I wish to put on to glass without the
tedious labour of rubbing off the paper, I coat one side of paper with liquid starch
or gelatine either by means of a brush or with a varnish machine. When the
starch is dry I print upon the starched or gelatine side of the paper any figure,
colour or design by any of the known methods of lithographing or other printing.
I then varnish or coat with gelatine the back surface of glass. When it is almost
dry I press the printed paper which has been placed in water on to the varnish and
when the varnish is dry I wet the back of the paper with water and a sponge,
which readily comes off. I then give the design on the back of the glass a coating
of dissolved pine oil to protect the colour or colours from change. When dry I
give a coat of varnish. Or varnish and pine oil may be mixed together which I
prefer to use. A sheet of translucent paper prepared with pine oil and copal,
mastic or other varnish either white, tinted, green, yellow, or any other colour or
design may be printed upon it to suit. The design is laid on the back made to
represent any design of stained, cut, ground or embossed glass. A second sheet of
glass is placed on the back covering the translucent sheet of paper and the two

page_text: sheets of glass are cemented together at the edges. Or white opal glass or white
pot metal is put at the back to show clearly the colours. Or any coloured glass
may be placed at the back. Or I take a sheet of moderately strong paper and coat
the back with starch or gelatine. I then take the thinnest of white, tinted or
coloured paper and place it upon the starch, which paper I prefer to be glazed, or
the same may be glazed after being fixed on the starched paper on one side by
passing the two starched papers betwixt hot rollers. I then lithograph in oil,
transparent or water colours any figure or design representing stained glass, works
of art or other designs, then the printed colours are when dry coated with gum,
gelatine, size or varnish as circumstances require. In transferring the same on to
a sheet of glass I dip or pass the whole paper through water, then place the same
on glass and press out all air bubbles; the starch having become soft the paper on
the back of the printed design is removed. When dry it is varnished over, and
when the varnish is dry I place another sheet of glass on the back, either ordinary
white or coloured glass, and cement the two sheets together with ground glass,
mastic and dissolved isinglass, or other glass cement; then the same is enclosed in
a metal frame. This means of fixing designs enables imitation of stained, cut, or
embossed glass to be prepared in the sheet and cut to any required size with a
diamond and backed with glass or applied to glass shades. In some instances the
paper on the back of the transfer may be dispensed with and transferred on to
silvered looking glass.
Or glass is coated with varnish or gelatine and when dry it is printed upon with
type or any figure or design formed of india rubber to enable an even and soft
pressure to act upon the glass. A sheet of india rubber or a bag of india rubber
filled with air or water is laid over the glass and evenly pressed to produce an
impression.
This improvement in producing translucent designs upon glass enables the same
to be applied to looking glass backs. Taking for instance a dressing table looking
glass, I take a sheet of plate or other glass and form a border round, which border
may be etched with fluoric acid, or a varnished border is formed round the outer
edge of the glass with copal or other varnish mixed with dissolved pine oil and a
printed transfer border forming any design is pressed upon the varnish. When
the varnish is dry the paper is wetted on the back with a sponge and removed,
then the whole including the border is silvered with nitrate of silver and tin foil,
or by the liquid silvering process in the usual way, on the back side of the glass,
which causes the bordering to appear as if in relief on the front side. The silver
on the back of the glass is coated over with mastic, shellac or other protecting
substances. I then take another sheet of glass of the same size and on the back of
this second sheet of glass I place a translucent or a non-translucent sheet of
paper on which has been printed any figure or design that will give pleasing effect.
The back surfaces of the two glasses are closely pressed together and held firmly
with set screws, clamps or twine, then the edges of the two sheets of glass are
cemented together with glass cement that will protect the silver or design from
dust, damp or moisture. The dressing table glass has an improved appearance on
the front side of the glass to the room, and the back side of the glass facing the
window gives a good effect when seen through the window from the outside.
Or a translucent or a non-translucent ornamental border forming any figure,
colour or design may be placed on the front side of a sheet of looking glass that has
been coated with silver on the back side. I then place a clear sheet of glass on
the front side of the looking glass to protect the border and after the silver has
received a coat of varnish, shellac or other protecting substance, I place on the
back of a third sheet of glass a translucent or non-translucent sheet of paper on
which has been photographed, printed, stained, stencilled, or embossed any figure,
colour or design. The back surface of this third sheet of glass is placed to the
back side of the silvered glass and the three glasses are pressed closely together and
held firmly with set screws or clamps. Then the three glasses are cemented
together with ground glass, mastic and isinglass, or any other glass cement may

page_text: be used and the cement and edges of the three glasses are protected with a metal
rim or a composition frame or with paper and cement.
Or a sheet of glass is silvered on the back side which may be plain or have an
ornamental border, the silver on the back of the looking glass having been coated
over with varnish, shellac or other protecting substance. Then on the back side of
a second sheet of glass I place any woven, plain, figured or printed satin, silk, cotton,
linen, lace or other fabric or material or embossed or pierced paper forming any
figure, pattern, colour or design. Then the back surfaces of the two glasses are
closely pressed together with set screws or clamps. Then round the edges of the
two sheets of glass are cemented together and strengthened with grooved tin, brass
or other metal or composition.
Or the bordering placed betwixt two or more sheets of glass may be pierced and
embossed, and this part of the glass left unsilvered so that the light will shine
through when placed opposite the light.
Or the surfaces of glass may be partly silvered so that the other part allows for
any bordering being placed over the unsilvered parts; or the front is a plain
silvered surface and the back forms any colour, figure or design.
Or paper or other fabric forming any figure, pattern or design as described may
be put on the back of a silvered looking glass having a wooden back to protect the
silver which may be covered over with woven satin or printed silk, paper or other
ornamental substances forming any design which may be covered with a sheet of
glass; or the paper may be fixed to the wood and varnished over so that a pleasing
effect is given if viewed from the outside.
Or I pass a sheet of paper through starch or I starch one side of a sheet of paper,
then give the starched side a coat of gelatine or ivory dust gelatine. When this is
dry I coat it with dissolved pine oil in alcohol or turpentine which forms a thin
transparent skin or film which resists the action of air, water or acids and allows
the most delicate colours and tints known in the arts, from the likeness of a person
to the most delicate flower, on which I print any figure or design either by
lithography or any other process of printing, and when the printed figure or design
has been printed in oil, water or transparent colours upon the oil of pine, and when
dry, I give the print a coat of pine oil, and when dry the printing is protected from
the action of the air, water or acids on both sides. It is then coated over with
varnish, when dry it receives a coat of gum or gelatine. When required it is
passed through water and laid I will say on a sheet of glass, all air bubbles being
pressed or rolled out. Then the paper is readily removed by the softening of the
starch with water, as there is no fear of injuring the printing by the resistance of
pine oil to water. It is well washed and run over with a roller. When dry it is
varnished and when the varnish is dry a sheet of glass is placed over it and the
edges of the two glasses are cemented together with ground glass, isinglass and
mastic or other glass cement. The cemented edges are then allowed to stand in a
solution of sulphate of iron and water for some hours, which fills up the pores of
the cement. Then the printing will stand the action of all weather.
In some cases I print on gelatine placed on paper or on varnished paper that has
had the colouring matter mixed with the varnish but I prefer to print on white,
tinted or coloured paper or other material any figure or design in one or more
colours for making windows, in imitation of stained glass, translucent pictures,
signs and lamps, for making cabinet work represent a variety of inlaid or other
woods, which is also applicable for architectural purposes such as the ornamentation
of interior or exterior of buildings, chimney pieces representing facings of marble,
granite, or other stones, in producing ornamental designs or works of art attached
to metal or other material for making panels for imitation of stained glass, finger
plates, or for advertisements.

page_text: SPECIFICATION in pursuance of the conditions of the Letters Patent filed
by the said George Rydill in the Patent Office on the 30th June 1884.
GEORGE RYDILL, of 52 Chancery Lane, in the County of Middlesex, "IMPROVE-
MENTS IN THE PREPARATION OF PHOTOGRAPHS AND THE TREATMENT OF DRAWINGS
OR DESIGNS PRINTED UPON PAPER OR OTHER SUITABLE MATERIAL FOR THE PURPOSE
OF IMITATING STAINED, GROUND, CUT OR EMBOSSED GLASS, OR TO BE EMPLOYED
FOR OTHER USEFUL AND ORNAMENTAL PURPOSES
"
My invention consists in producing, treating and applying photographs, printed
drawings or designs either upon sensitized white, tinted or coloured paper, satin,
cotton, linen, parchment, glass, wood or other suitable material printed or produced
from glass negatives, wood blocks, stone, metal, glass, engraved or etched metal
plates or by any of the known methods of printing in one or more colours.
In order to describe my invention and its various applications for useful and
ornamental purposes I will explain one process for producing printed copies of
photographs.
As it is important that when printed photographs, printed drawings or designs
are treated with castor oil, pine oil, olive oil, dissolved fats, white wax, mineral
oils or spirits, they should be thoroughly penetrated quickly to prevent the picture
from getting dull, I place the printed drawings or photographs in a closed metal
vessel subjected to hydraulic, atmospheric or vacuum pressure and pump in oil,
dissolved fats or wax with a hydraulic pump, or air may be pumped into the vessel
to give pressure, or air may be pumped out of the vessel to form a vacuum and
oil, dissolved fats or white wax is let in warm under atmospheric pressure to force
the oil or dissolved fats or wax into the paper to make it translucent. On the
pressure being taken off from the vessel the printed drawings, designs or photographs
are removed and passed betwixt india rubber rollers or placed in a hydro extractor
to remove the excess of oils, fats or wax. Having photographed, drawn or
transferred a facsimile on stone or other substance, the finished photograph is
printed upon on the back side in one or more colours or tints either in oil, water
or other colours or tints to bring up the coloured features of a person, dress,
ornaments or a coloured landscape or other coloured printings representing nature
or works of art. The paper on which each photograph is taken is fixed in a true
position in the printing frame so that the outlines of the printing on the back
exactly line with those on the face of the photograph. When thought desirable
one part of the printing of a person or a landscape or other design may be partly
printed on the back side of the translucent photograph and another part of the
printing to finish the picture is printed upon another paper on the face side and
fixed to a second glass put behind the photograph. A sheet of glass is then placed
on the front side and for some purposes I place another picture on the back of the
second glass, and then the three sheets of glass are cemented together. When the
whole of the colours are printed on the back I place any coloured printing or
design on the back, covered by a sheet of glass; then the two glasses are cemented
together round the edges with ground glass, liquid isinglass and mastic or other
glass cement. Or the photograph printed on the back as a finished picture may
be fixed on the inside of a glass shade or vase or it may be fixed at the back of a
looking glass and a glass being placed over it the two glasses are cemented together
round the edges with glass cement. This method of printing on the face and back
of translucent paper tends to bring up the colour and may be fixed with copal or
other varnish or adhesive substance to any shaped glass or glasses. When the
printed paper is found too thick for producing a good transparency it may be
rubbed down with fine sand paper.

page_text: Or a photograph of a landscape is taken and when finished as a photographic
picture I print on the back of the photograph with such colours as shall represent
the true nature of a landscape, either in oil, water colours, transparent colours or
inks in the usual way of lithographic printing, which system of printing coloured
photographs applies to persons, animals, natural views, works of art, machinery,
articles or things. The transparent sensitized paper forms a thin film or covering
of the colours printed upon the back, making the photograph printed in colours
permanent. The oil colours may be of the usual class for painting or printing or
the transparent colours may be wholly or partially mixed with pine oil dissolved in
alcohol or turpentine, or the photograph or photographs after being printed upon
and become dry may be varnished with copal, mastic or other varnishes which
may be mixed with or coated over with dissolved pine oil in spirit which preserves
the colours and protects the picture from moisture.
Or I take two photographic negatives of the same figure or picture exactly alike
and having sensitized photographic paper on both sides. I place one negative on the
front side and one on the back side so that they stand exactly opposite each other
and are held firmly in a screw clasp frame, so that the light for printing may act
on one side at a time or on both sides at the same time. When taken out of the
frame and finished in the usual way as a picture, such may be made translucent
with castor or other oil, pine oil and varnish, or varnish alone, or it may be painted
or printed upon with oil.
Or a transparent photograph is covered on the back side with coloured,
transparent or non-transparent paper or other material cut out or coloured to
represent any part of the features, coloured dress, background or drapery. Or a
background is printed upon paper representing any design filled up with other
suitable paper and placed on the back of the photograph. Or gold or silver leaf or
other metallic alloys may be applied. I then place at the back any other picture
and enclose the same betwixt two sheets of glass, cementing the edges together
with ground glass cement.
And in order that the oils, fats, wax, or varnish may be made to penetrate any
thickness of unprinted or printed paper glazed by means of hot rollers, I subject
photographs, printings, drawings, etchings, engravings, or stencils to hydraulic,
atmospheric or vacuum pressure by placing them in a closed metal vessel and
pumping in varnish or oil, fats, or wax, with a hydraulic pump, or the air may be
pumped into the vessel to give pressure, or the air may be pumped out of the
vessel, and by means of a tank pipe and valve connected with the vessel where a
vacuum has been produced, by opening the valve the oil or varnish is let in under
atmospheric pressure to force the oil or varnish into the paper. The pressure on
the vessel is let off, the lid removed and the photographs or printings taken out,
and the excess of oil, fats, wax or varnish removed by passing the same betwixt
two rollers, or with a hydro extractor.
Or I take a sheet of glass, glass shade or other glass and varnish it on the back
with copal, mastic or other translucent varnish or gelatine. When the varnish is
almost dry I press upon it a photograph, engraving or print previously steeped in
water and when dry I varnish the back side of the paper with pine oil and varnish.
This brings up a translucent picture or drawing according to whatever style of
photographing or printing it might be and if placed on to a glass shade or vase the
translucent photographs, printings, etchings, or drawings show by gas light the
same as day light. The light passing through the top or sides shows the photograph
or printings distinctly. The bottom of the glass shade I make up with a glass cup
or stand to protect the photograph, printings or drawings from dust and moisture,
and if for a window, door, partition or interior or exterior decoration, I place the
translucent photograph, lithograph, printing, etching or drawing representing any
figure or design betwixt two sheets of glass and cement them together at the edges
with ground glass, mastic and isinglass.
Or a glass shade, vase, or a sheet of glass is varnished over with copal, mastic or
other varnish and when the varnish is almost dry an engraved print or a coloured

page_text: print having been steeped in water is pressed on the varnish and after remaining
until the varnish is dry the paper on which the engraving or printing has been
printed is wetted with water and a sponge and rubbed down with sand paper, the
finger, or india rubber. I then varnish the same and after it is dry I place a
varnished translucent sheet of bank post paper or other highly glazed translucent
paper, either white, tinted or coloured, and I cover the back side with a sheet of
glass and cement the two sheets of glass together at the edges. Or instead of a
translucent sheet of paper being put on the back to bring up the colour like
stained glass, I place white, opal or coloured glass at the back and the two sheets
of glass are cemented together at the edges and enclosed with a metal frame.
When printing from engraved or etched metal plates, lithographing or other
printing of any colour or design which I wish to put on to glass without the
tedious labour of rubbing off the paper, I coat one side of paper with liquid
starch or gelatine either by means of a brush or with a varnish machine. When
the starch dry I print upon the starched or gelatine side of the paper any figure,
colour or design by any of the known methods of lithographing or other printing.
I then varnish or coat with gelatine the back surface of glass. When it is almost
dry I press the printed paper which has been placed in water on to the varnish
and when the varnish is dry I wet the back of the paper with water and a sponge,
which readily comes off. I then give the design on the back of the glass a coating
of dissolved pine oil to protect the colour or colours from change. When dry
I give a coat of varnish. Or varnish and pine oil may be mixed together which
I' prefer to use. A sheet of translucent paper prepared with pine oil and copal,
mastic or other varnish either white, tinted, green, yellow, or any other colour or
design may be printed upon it to suit. The design is laid on the back made to
represent any design of stained, cut, ground or embossed glass. A second sheet
of glass is placed on the back covering the translucent sheet of paper and the two
sheets of glass are cemented together at the edges. Or white opal glass or white
pot metal is put at the back to show clearly the colours. Or any coloured glass
may be placed at the back. Or I take a sheet of moderately strong paper and
coat the back with starch or gelatine. I then take the thinnest of white, tinted
or coloured paper and place it upon the starch, which paper I prefer to be glazed,
or the same may be glazed after being fixed on the starched paper on one side by
passing the two starched papers betwixt hot rollers. I then lithograph in oil,
transparent or water colours any figure or design representing stained glass, works
of art or other designs, then the printed colours are when dry coated with gum,
gelatine, size or varnish as circumstances require. In transferring the same on to
a sheet of glass I dip or pass the whole paper through water, then place the same
on glass and press out all air bubbles; the starch having become soft the paper on
the back of the printed design is removed. When dry it is varnished over, and
when the varnish is dry I place another sheet of glass on the back, either ordinary
white or coloured glass, and cement the two sheets together with ground glass,
mastic and dissolved isinglass, or other glass cement; then the same is enclosed in
a metal frame. This means of fixing designs enables imitation of stained, cut,
or embossed glass to be prepared in the sheet and cut to any required size with
a diamond and backed with glass or applied to glass shades. In some instances
the paper on the back of the transfer may be dispensed with and transferred on to
silvered looking glass.
Or glass is coated with varnish or gelatine and when dry it is printed upon with
type or any figure or design formed of india rubber to enable an even and soft
pressure to act upon the glass. A sheet of india rubber or a bag of india rubber
filled with air or water is laid over the glass and evenly pressed to produce an
impression.
This improvement in producing translucent designs upon glass enables the same
to be applied to looking glass backs. Taking for instance a dressing table looking
glass, I take a sheet of plate or other glass and form a border round, which
border may be etched with fluoric acid, or a varnished border is formed round the

page_text: outer edge of the glass with copal or other varnish mixed with dissolved pine oil,
and a printed transfer border forming any design is pressed upon the varnish.
When the varnish is dry the paper is wetted on the back with a sponge and
removed, then the whole including the border is silvered with nitrate of silver and
tin foil, or by the liquid silvering process in the usual way, on the back side of the
glass, which causes the bordering to appear as if in relief on the front side. The
silver on the back of the glass is coated over with mastic, shellac or other
protecting substances. I then take another sheet of glass of the same size and on
the back of this second sheet of glass I place a translucent or a non-translucent
sheet of paper on which has been printed any figure or design that will give
pleasing effect. The back surfaces of the two glasses are closely pressed together
and held firmly with set screws, clamps or twine, then the edges of the two sheets
of glass are cemented together with glass cement that will protect the silver or
design from dust, damp or moisture. The dressing table glass has an improved
appearance on the front side of the glass to the room, and the back side of the
glass facing the window gives a good effect when seen through the window from
the outside.
Or a translucent or a non-translucent ornamental border forming any figure,
colour or design may be placed on the front side of a sheet of looking glass that
has been coated with silver on the back side. I then place a clear sheet of glass on
the front side of the looking glass to protect the border and after the silver has
received a coat of varnish, shellac or other protecting substance, I place on the
back of a third sheet of glass a translucent or non-translucent sheet of paper on
which has been photographed, printed, stained, stencilled, or embossed any figure,
colour or design. The back surface of this third sheet of glass is placed to the
back side of the silvered glass and the three glasses are pressed closely together
and held firmly with set screws or clamps. Then the three glasses are cemented
together with ground glass, mastic and isinglass, or any other glass cement may
be used and the cement and edges of the three glasses are protected with a metal
rim or a composition frame or with paper and cement.
Or a sheet of glass is silvered on the back side which may be plain or have an
ornamental border, the silver on the back of the looking glass having been coated
over with varnish, shellac or other protecting substance. Then on the back side
of a second sheet of glass I place any woven, plain, figured or printed satin, silk,
cotton, linen, lace or other fabric or material or embossed or pierced paper forming
any figure, pattern, colour or design. Then the back surfaces of the two glasses
are closely pressed together with set screws or clamps. Then round the edges of
the two sheets of glass are cemented together and strengthened with grooved tin,
brass or other metal or composition.
Or the bordering placed betwixt two or more sheets of glass may be pierced and
embossed, and this part of the glass left unsilvered so that the light will shine
through when placed opposite the light.
Or the surfaces of glass may be partly silvered so that the other part allows for
any bordering being placed over the unsilvered parts; or the front is a plain
silvered surface and the back forms any colour, figure or design.
Or paper or other fabric forming any figure, pattern or design as described may
be put on the back of a silvered looking glass having a wooden back to protect the
silver which may be covered over with woven satin or printed silk, paper or other
ornamental substances forming any design which may be covered with a sheet of
glass; or the paper may be fixed to the wood and varnished over so that a pleasing
effect is given if viewed from the outside.
Or I pass a sheet of paper through starch or I starch one side of a sheet of
paper, then give the starched side a coat of gelatine or ivory dust gelatine. When
this is dry I coat it with dissolved pine oil in alcohol or turpentine which forms
a thin transparent skin or film which resists the action of air, water or acids and
allows the most delicate colours and tints known in the arts, from the likeness of
a person to the most delicate flower, on which I print any figure or design either

page_text: by lithography or any other process of printing, and when the printed figure or
design has been printed in oil, water or transparent colours upon the oil of pine,
and when dry, I give the print a coat of pine oil, and when dry the printing is
protected from the action of the air, water or acids on both sides. It is then
coated over with varnish, when dry it receives a coat of gum or gelatine. When
required it is passed through water and laid I will say on a sheet of glass, all air
bubbles being pressed or rolled out. Then the paper is readily removed by the
softening of the starch with water, as there is no fear of injuring the printing by
the resistance of pine oil to water. It is well washed and run over with a roller.
When dry it is varnished and when the varnish is dry a sheet of glass is placed
over it and the edges of the two glasses are cemented together with ground glass,
isinglass and mastic or other glass cement. The cemented edges are then allowed
to stand in a solution of sulphate of iron and water for some hours, which fills up
the pores of the cement. Then the printing will stand the action of all weather.
In some cases I print on gelatine placed on paper or on varnished paper that has
had the colouring matter mixed with the varnish but I prefer to print on white,
tinted or coloured paper or other material any figure or design in one or more
colours for making windows, in imitation of stained glass, translucent pictures,
signs and lamps, for making cabinet work represent a variety of inlaid or other
woods, which is also applicable for architectural purposes such as the ornamentation
of interior or exterior of buildings, chimney pieces representing facings of marble,
granite, or other stones, in producing ornamental designs or works of art attached
to metal or other material for making panels for imitation of stained glass, finger
plates, or for advertisements.
Figure 1 shows a window with the sash raised with curtains and a landscape in
the distance which represents one of the backgrounds of my improvements for
a photograph or the back of a looking glass.
The various figures in the drawings clearly show that a photograph or other
printing, either of a residence of a person or of a landscape or any other design
may form a distinct and separate background for a photographic picture, so that
the photograph of a person or any other subject may be photographed larger in
proportion than the background, which photograph is cut out with scissors or by
any other means and placed on the background in any required position so that
the likeness of a person and the picture forming the background of a person's home
is taken or produced in any required different proportions which may be required
without a person having to go to the place forming the background. The
background may be a photographed print or a picture forming any design
whatever either printed, tinted, or produced in one or any number of colours
and this is applicable to any photograph having back views which may be made
translucent or not, so that the photograph of a person, a horse or any other object
may be placed on photographed, printed or other views to form a background
or design of places obtained at distances of thousands of miles away, or a person
may be shown standing, walking, sitting or riding in any grounds, place, or
position whatever, by cutting out the figure of a person with scissors and placing
it on a background.
Or a photograph or other likeness of a person may be cut out and placed on a
background showing that the person is looking out of a window.
Or a photograph of a person of any nationality may be photographed, cut out
and placed in any position to form a group, or by cutting out the photographic
figures of two friends they may be shown to be shaking hands with each other, or
the photograph of a person may be cut out to appear standing on the deck of a ship,
or on a locomotive, standing on the top of a mountain, looking out of a car of a
balloon or in any other position.

page_text: Figure 2 represents the photograph of a lady reading a book, cut out with
scissors, knife, stamp, or other means ready to be placed in any required position
on a background.
Figure 3 shows the photograph of Figure 2 cut out and placed in the centre of
a design forming a background as shown in Figure 1. When the photograph of a
person is cut out as shown in Figure 2 it is slightly coated with gum, gelatine or
paste on the back, then it is placed in any required position as shown on this "
background of Figure 3 in a central position.
After the cut out photograph is fixed in position on the background, then any
required number of photographic copies may be produced and transferred on to stone,
and when photographs are made translucent with pine or other oil as described and
become dry they are varnished, and to preserve the picture from dirt, moisture or
dust, I place it betwixt two sheets of glass and cement the edges together.
Or should the photograph produced as described not be made translucent or
placed betwixt two sheets of glass, then it is mounted on cardboard or other
material, and on the back side of the card or mount is placed any other printed
picture, figure or design.
Figure 4 shows the cut out photograph figure of a lady reading a book of Figure 2
placed in another position on the background to that shown in Figure 3. The same
cut out figure may be shown reading a book beyond some trees or at the other side
of a wall by making a cut or slit in the background, and passing the figure through
the cut or slit, and fixing it to the background, so that a person may be made to
appear looking from the top of a hill or coming out of a pit.
Figure 5 shows the frame and back of a looking glass with a plain wooden
back.
Figure 6 shows the design of Figure 1 placed on the back of the silvered
looking glass, which is covered with a sheet of glass and the edges of the silvered
looking glass and the edges of the sheet of glass placed over the design are
cemented together with ground glass or glass cement, showing that the design for a
photographic background is adapted for a looking glass.
Figure 7 shows the design of a background and photograph of a lady reading a
book as shown in Figure 3 applied to a looking glass back. Such a picture or
design dispenses entirely with the unsightly appearance of a wood back of a
looking glass, showing that the owners of looking glasses may have their likenesses
as well as designs fixed therein, or any other figures or designs as taste and
circumstances require.
Having now particularly described and ascertained the nature of my said
invention, and in what manner the same is to be performed, I declare that what I
claim is :-
1. The treatment of photographic or other prints or paper in a vessel with pine
or other oil or varnish, as described, under hydraulic, vacuum, or air pressure to
make the same translucent and preserve the colour.
2. Printing photographs or other printings on the back, either before or after
they are made translucent, and on another paper to finish the picture is printed on
the face side a background, or the background may be printed on the face side of
the photograph.
3. Placing photographs betwixt two sheets of glass and cementing the edges.
together.
4. Placing a printed design on the back of a photograph mount.
5. Printing photographs on both sides of sensitized paper at one time by the use
of two photographic negatives.
6. Cutting out photographs to be placed on a background or cutting out coloured
paper or material to be placed behind translucent photographs.
7. Placing material or designs on the back of looking glasses, also placing a
border on the front or back side and enclosing the same betwixt sheets of glass and
cementing the edges together as described.

page_text: 8. Placing transfer borders in imitation of stained glass or placing designs on
glass to imitate stained glass so as to be cut with a diamond as described and for
the ornamentation of glass shades.
In witness whereof, I, the said George Rydill, have hereunto set my hand
and seal, this twenty-seventh day of June in the year of our Lord one thousand
eight hundred and eighty-four.
GEORGE RYDILL (LS.)