Now the photographer, who studies and hopes to excel at decorative photography, must remember that he must work on the same general principles as he does in producing pictures, that is, he must pay attention, in a broad way, to the tone of the room, to effects of contrast, to harmonies, to the effect of artificial lights and of complementary colours, and above all to naturalism. Thus a delicate landscape must not be enamelled on a tea-cup, for it is obviously false in principle to place a picture on a curved surface. Again, a palmetto leaf must not be burned into the tiles of a fireplace, the two are incongruous and incompatible. Taste and a regard for truth should govern all such work.

We will now briefly enumerate the uses to which photography might be put in decoration.

For Panelling And Friezes

Much might be done in this direction by an appropriate choice of subject. For panels bits of landscape of strongly marked types, sea pieces, dead game, and plants might be admirably done. By landscapes of strongly marked type, we mean such things as a dead or leafless tree overhanging a pond, a pollarded willow in winter, and like subjects, where the elements are few, the composition simple, and where there are no subtle atmospheric effects. For this work the subject must be expressed with great terseness and directness, for the form is what is required, not subtlety of tone or mystery. A group of dead mallard or teal, or an arrangement of bulrushes and water-lilies, are all suitable and admirable subjects. Negatives for this class of work should be rather dense, and in some cases they may be as sharply focussed as possible, it being remembered that for form (diagrammatic form) decision is what is required. There are certain subjects, however, which will bear being only just suggested, such as bulrushes, reeds, etc, which are full of character in themselves. These objects should be photographed against flat-tinted backgrounds, the colour chosen being ruled by the colour of the furniture of the room.

Negatives. Red Carbon

The best method of procedure would be to sensitize the panel and print directly on to it by the platinotype process, or perhaps by some of the carbon processes, red carbon being especially suitable for this work. The Platinotype Company give directions for sensitizing various surfaces, all of which can be obtained from their offices in Southampton Bow, High Holborn.

Friezes

For friezes, beautiful arrangements could be made of suitably draped figures of girls, of athletes, and of animals, the draped figures being in white, taken against a black background. These subjects printed in red carbon would look admirable if properly arranged. Enlargements could be used in these cases, as it does not matter if the original negatives are made microscopically sharp. Various subjects and methods of treatment will suggest themselves to the thoughtful and artistic student.

Tiles

We cannot help thinking there is a held for the photographic decoration of tiles. For this purpose, as they are low down and seen close to, tone pictures might be used; but any quality of landscape would not be admissible for this work. Mr. Henderson's method of enamelling is fully given in the late Baden-Pritchard's "Studios of Europe."These tiles would have to be cautiously used.

Windows

There is little or nothing to be done in the decoration of windows by photography. Of course, transparencies will immediately suggest themselves, but they, like modern glass painting, are false art. The first requisite of glass painting is that all the light possible shall pass through the pane, and that the colours shall be flat. Modern window-painters overstep the limits of the art, and try to render tone as well, the result being bad artistically and bad decoratively, as utility is affected. Glass transparencies and opals are, to our mind, worthless for decorative purposes, and should not be encouraged.

Enamels. Poitevin's Method

M. Lafon de Camarsac was the first to apply photography to porcelain work, in the year 1854 He worked with colours and produced some marvellous results, applying gold, silver, and various pigments in this way. His method was used for producing enamels for jewellery, but, of course, such things could be utilized in decorative work. But to produce pictures* on tea-cups, saucers, brooches, etc, seems to us, against all principles of truth. We think that with great care and taste this class of work might be artistically utilized in decorative art, but none but an artist must attempt it. So we shall give Poitevin's method.

A positive on glass is obtained, and a glass plate is coated with gum sensitized with bi-chromate of potash. The positive is then placed in contact with the prepared plate and exposed to the light, the result being invisible as in carbon printing. A very fine hair sieve is now taken, and dry powdered charcoal is sifted over the coated plate, and it will be found that the charcoal adheres to the parts acted upon by light. Thus is produced a delicate portrait in as perfect tone as the original. This portrait is temporarily secured by brushing it over with collodion. The collodion film has now to be separated by delicate knives, and it brings away with it the charcoal picture. This film is next placed on a white enamelled copper plate, which plates are bought ready prepared, and a fixing paste (that used by ceramic painters being employed) is spread with a brush over the enamel. This paste combines with the charcoal image. All is now ready for placing in the enamelling furnace, when vitrification takes place, and all the organic bodies are destroyed, the vitrified charcoal image alone remaining.

We think that with taste even china services might be decorated by means of photography. At any rate there is a wide field for any one with taste and feeling.