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132 THE PHOTOGRAPHIC NEWS. LFEBEUARY 27, 1885. joint in a new form), permitting the camera to be tilted to any necessary angle, and fixed in such position at will. The whole apparatus is mounted upon a brass telescopic draw-stand, which, by means of clamps, is attached to the steering handle or other convenient part of the tricycle, preferably the form made by Messrs. Budge and Co., of Coventry, represented in the cut. We understand that the side bars of the camera and the adjustable stand as attached to the steering handle, have been made the subject of a patent claim by Messrs. Cussons. THE GLASS HOUSE—HOW TO DESIGN, CON STRUCT, AND FURNISH IT. Chapter I.—Glass Houses, Old and New. The very foundation of portraiture, whether as an amuse ment or as a profession, is the glass house, and the circum stance that good portraits are occasionally made without the protection and control over the result afforded by the glass house, detracts nothing from the general truth of the position that a glass house is an essential for the portraitist. Without it, the worker is completely at the mercy of wind, rain, and cold ; but with a properly constructed and fitted studio, the photographer may not only defy the fury of the elements, but he may work with equal certainty whether it be night or day. What shall be the height of the studio I am about to contruct—how broad, how wide, what its aspect, what kind of framing, glass, and construction? All these are questions which the photographer asks himself when he is about to construct his glass room ; but how difficult they are to answer! Apart from the fact that the views of no two persons as to what is required in a portrait can be ex pected to exactly coincide, it very often—indeed, generally —happens that circumstances limit the choice of the photo grapher. He may have to construct his studio on a plot of ground shaded on the very side from which he would like to draw his main supply of light, or he may have no choice whatever as to the aspect of the side lights. In order that the reader may have, as it were, a synop tical view of those conditions which the practical experience of the best photographic portraitists has proved to be adapted for studio work, it is proposed, in the first place, to give illustrations of those forms of studio which practice has proved to be specially good, notably bad, or moderately good, and to accompany these illustrations with just sufficient descriptive text to elucidate their principal points. A study of these examples will enable the photo grapher to determine upon a form not only suited to his requirements, but also adapted to such conditions as he may be subject to. Next in order will come a chapter on constructive details ; and after this, other points relating to the glass-room will be treated of. Blanchard's Glass House Lighted from South and from East.—The subjoined block shows a horizontal section of a studio constructed by Mr. Blanchard, where the only light available was from the south and from the east. The black lines show the opaque portions, the shaded portions represent rough glass, and the unshaded portions, opposite the word “ south,” show the position of the clear glass. The dotted lines may be taken as representing the sun’s rays at noon ; the sunlight being cut off by screens which can be moved about on castors, the arrangement of these being perhaps better shown by the subjoined vertical section taken through that portion where the clear glass is situated. Mr. Blanchard speaks highly of the capabilities of this glass house, and the work produced in his sunlight studio fully bears out his words. It need scarcely be said that either the south light or the east light may be used accord ing to requirements, and the screens must be shifted according to circumstances. A Glass House Designed by Mr. Samuel Fry.—This is shown in section and in plan by the following sketches, and but little explanation is needed. No side blinds are used, but in their place two lofty folding screens, as shown on the ground plans. These are made of a light frame-work, and three folds are covered with dark-green tammy, while the other fold is covered with book muslin; but spring roller blinds cover the upper light. Mr. Fry says : — “ One of the points to which I gave most attention in the building of this room, and which has turned out in every way successful, was to have complete means of working out a number of variations in shadow on Rembrandt pictures. Look at ground plan No. 2. At the north end, in the dead wall, is a window of ground glass. When at work at fully lighted pictures, a large background, on a frame and castors, covers this up ; but when I wish to do a Rembrandt of the now popular kind, with profile and outline in vivid light, and the rest in subdued tones, this