35. A row of columns will diminish as they are- drawn true to. lineal perspective, but it is this quality of light to which they are indebted for their effect upon the eye. Also, two angles may occupy the same space upon the retina. hut by this power one is made to approach and the other to recede, so that one is diminished to the size of a tent, and the other increased to that of a pyramid, as in Fig.9. The student may find Subject for study in this art element. wherever he goes, if he will hut apply himself to it.

Fig. 9.

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34. Aye, now we are getting at it! Think. Have your mind on what you are doing, and your eyes to see what and how you are doing it. Note the slightest effect of defect produced by this or that change. Proceeding thus, other and greater things will be suggested to your mind, and erelong you will know how and what to use for the various negatives you wish to make. Then, loo, will the thoughts of others in the different departments of photog-raphy render you intelligent assistance, thereby making them your own. Again I say think. - B. Frank Sayor.

86. The real trouble in life, in all profession", is the troable of thinking; to escape which, the moot laborious, trifling is caught at, but if fairly grappled with in the outset, everything becomes clear, and, in after life, that which is a continual annoyance to many, becomes one of the greatest grtitifications.

Why is it, that to the eye of an artist the drawing of the most complicated plan is rendered clear at a glance, while to others it requires a multitude of figures as reference, and a long erplatntion ?It i, that his mind has been educated in continual intercourse with the eys, and the conatrant habit of reflecting on cause and effect has rendered a numerous assemblage of lines intelligible to him, which to others, uneducated, appear like a species of bieroglyphic. - JohN Burnet.

6. In the fine marine view, by "Willem Van de Velde, in the Cassel Gallery, there is not only an excellent example of aerial perspective, but also of that assemblage of lines produced by the repetition of forms which assists the receding of objects from theirdimi-nution,the doubling of the lines in producing richness of effect, and that harmony which arises from one line counteracting the other in its direction, giving thereby a general balance to the whole. It is hardly necessary to multiply examples. If you comprehend any rule, it is easy to extend it. To those who understand slowly. reflection on one or two diagrams will be of more service than educating the eye without impressing the mind.

87. The effect of aerial perspective upon the eye being mainly attributable to the application of shadow to the several outlines, thereby givbesides enabling to determine, to a great extent, the distance of one object from another by comparing the amount of light reflected from each,

work can stand the test. Only good work can keep favor and grow in favor. And once favor sets in for the artist, it is flowing tide - Rev. Frederick. Frothingham.

Fig. 10.

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36. Do not let yourself be a mere imitator, and lose your own individuality. In this way you are in danger of cultivating faults, for if you start out to make pictures like so and so-. you may make them like his bad ones, or may be misled by a reputation above merit. Rather seek to form in your own mind a type of beauty, the approximation to which will stamp all your work with the seal of your individual purpose. Be true to yourself. Admit no half-work; make it your first object to please yourself, or rather to gratify your artistic instincts, and the pleasing of your customers a secondary consideration. There is always a conflict between taste and ignorance; carry it on as courteously as you may, but yield no jot. In time you will be supported by those who really can discern, whose opinion is received by many who do not judge for themselves. When you find that the public have faith in you, keep faith with yourself and them by always doing your best. - W. J.Baker

37. Perhaps no class of subjects better exhibit the possibilities of photography than portraits. Here in a well - constructed studio the intelligent artist is comparatively master of the situation. Here he need not grope his way in obscurity, nor lose it altogether in excess of light; for it is under his control. The rays of light which refuse to affect his collodion, he as far as possible excludes from his lens. He has choice Though the study of composition ing them their Approaching or receding character, such arrangments is to be chosen which will give them this quality, and which is to be after wards repeated in smaller portions through the piece. In accidental combinations in nature, we often perceive this arrangement We also find aerial perspective indebted in its effect to the collection of many parts whose shadows form a mass of half-tint, their distance bringing them in apparent contact, owing to their diminutions; while their soft ness give them apparent distance, owing to their want of minute parts. 38. Although this splendid principle cannot be demonstrated to the same extent aslinear perspective, by rule, it is needful to give it very careful study. True, we must take the atmosphere as we find it - cannot alter it. Yet if we have our eyes educated to distinguish its different phases, we shall always be enabled to secure the best effects and know them when we see them. It varies so much under different circum-stands that its study will be found not only useful, but highly interesting, and chiaro-oscuro is of vital importance in all dapartment of art, it is here more than ever that he can make his knowledge available. True art looks to simplicity; but to the simplicity which results from abundance, not that which grows out of poverty. In a photo-graph portrait the interest ought, as in painting, to be centre in the head, for it it the human head, after all, that contains the Intelligence which makes man the beauty of the world, the paragon of animal; nothing in art is so difficult to handle with and the feeble generally resort to accessory subterfuges, which deceive none but the ignorant, to over up their faults and surroundings. At the camera, if well constructed and commanded, need not fail to give sufficiently correct drawing and beautiful modelling, the photographer can to practise the most rigid simplicity. I do n«>t say that accessory details except in bust portraits are inadmissible, but they ought to belong to the subject. In the hands of the man of genius, they enrich; in others, they encumber. This is as true of photograph as it is of painting; and the command of the greatest technical skill in one will no more be substituted for real art feeling than in the other. - S.G.Sellstedt.