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July 13, 1883.] HE PHOTOGRAPHIC NEWS. 437 out, ‘My heart is broke!’ and in a few hours expired, : purely through love.” | Another association with Bowes is the circumstance [ that Charles Dickens placed his “ Dotheboys Hall” here. I It is a four-mile walk from Greta Bridge, where Squeers and Nicholas Nickleby, it will be remembered, quitted the coach—we secure, by-the-way, a picture of the old hostelry at Greta Bridge, and its big grass-grown quad- I rangle, both indicative of bygone traffic—and is also but a I short distance from Barnard Castle, about which, it will be recollected, Newman Noggs gave a hint to Nicholas, । to the effect that, “ If you go near Barnard Castle, there is good ale at the 1 King’s Head.' ” I Ihe last house in the village, a one-storied buil-ling nf dull stone, surrounded by a high wall, is pointed out as the original of “ Dotheboys; ” but the good people of Bowes, naturally enough, hesitate to talk much about it. The old landlady at the “ Unicorn ” spoke very depre- catingly of “young Mr. Dickens,” as she still termed him, when we mentioned the subject, and complained that matters were grossly exaggerated. But the fact remains that in the house in question there was a cheap and low class boarding school, about which ugly rumours were rife in the village ; that its squalid character and half starved inmates attracted the attention of the great novelist when visiting Bowes, and that the miserable estab ¬ lishment did not long outlast the publication of Nicholas Nickleby; and it is now occupied by farm people. As a matter of course, we cannot leave Bowes without a picture of Dotheboys Hall. We take photographs both of the front and back of the house, the sketch herewith being the latter, which is the more characteristic of the two. LIGHTING AND FUSING THE HUMAN MODEL. BY CLIFF. It having struck me that an article on the above subject would be acceptable to a considerable proportion of the readers of this valuable journal, I have spent some con siderable amount of thought and time in looking up the opinions of various authorities on the subject, which, with my own experiences, I now lay before them, trusting that some little good may accrue therefrom. With regard to the construction of the studio, it behoves me to say as little as possible, as well-lighted and artistic pictures have been, and constantly are being, turned out from studios of every construction. One artist prefers all top-light; another has no top-light, or has a ridge roof ; and one has the ridge across instead of along the studio. Yet in each and all of these rooms artistic lighting can be obtained by the careful adjustment of blinds and screens, and the placing of the sitter in different positions with regard to the source of light. Of course, the construction of studio which requires the least intricate arrangement of blinds, screens, and reflectors, is the easiest in which to work. Too much top-light should, in all cases, be avoided, as it gives a light patch, looking like grey hair on the top of the head, and heavy shadows under the eyes, nose, and chin, in many cases making the neck appear black, and causing the retoucher to talk about ordering in his blue paint by the hundredweight. Brilliancy (not hardness) is obtained by near approach to the source of light, flatness by going too far from it; but the roundest and most flesh-like effects are produced by having the sitter, so to speak, behind the side light— that is, do not have your side light striking straight, or at right angles on the face. Do not be afraid either of your light being too bright, so long as you take care of your shadows, and by reflection soften them ; no amount of light will give hardness. I usually nse diffused side light and direct top light—that is, the lights on the forehead, nose, and cheek, I obtain from the top, the side light being in the front of the sitter; this gives a very soft and yet brilliant effect. Of course, the direct top light must not, in any case, be allowed to fall on the top of the head. In some constructions of studios this cannot be avoided without the use of a head- i screen, which is a very useful piece of apparatus, consist; • ing of the screen proper, a wooden framework covered • with blue or pink (sometimes white) linen, and about 40 , inches square. This is attached by a hinged arm, with an i iron stand much like a headrest, and which can be raised i and depressed in the same manner. A string is attached f to the screen, by which the angle of • levation may be a altered at will. This, of course, keeps oil all direct light, and the stand, I may remark, is placed at the side of the