That much-debated question, "Is it legitimate for an artist to profit by the use of photography in his work?" is still engaging the attention of some of our contemporaries. Surely it is not the use but only the abuse of the camera by the painter that is to be condemned. There is little danger of an artist availing himself too freely of the aid of photography. To use the camera in any legitimate cases, the painter must have artistic perception, tact and experience. In cases of arrested motion, or of a pose difficult for a model to sustain even tor a few minutes, the value of photographic aid is evident; but this does not imply, of course, that the living model may, in any case, be dispensed with altogether. In the open air the artist need not be reminded how, by means of camera, he may be saved valuable time, and how his memory may be refreshed for the future working up of his rough sketches. Let him, by all means, if he desires to do so, photograph clouds, trees and bits of foreground, a flock of sheep or a herd of cattle, picturesque costumes and what not - not to copy into his pictures, but as memoranda only. In portrait painting, it is an excellent plan to bring in photography as an aid to get the sitter and his friends to decide on the most familiar and natural-looking pose. For book and magazine illustrating, photography is largely used as an aid to the draughtsman, who often, to save time and insure accuracy in details, draws over a "silver print," the photographic image on which is subsequently removed by a bath of bichlorate of mercury. For artistic work in genre subjects this would be unsuitable, if only for the reason that correct perspective is impossible under such circumstances; but in portraiture, drawing over a silver print is common even with some of the best magazines, and in architectural views and interiors nearly all pen drawings are reproduced in that way for illustrations in periodicals. We do not commend such work to the art student. On the contrary, we warn him that he should be a first-class draughtsman before he attempts doing anything of the sort; and, be the reason for doing so what it may, he should never forget that, in drawing over a silver print, he is working like an artisan and not like an artist.

Lessons in Wood Carving.