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Juli 20, 1883.] THE PHOTOGRAPHIC NEWS 457 has been definitely settled, and the “ sun spotting ” adhe rents have not been able to say exactly whether such spots are for good or for evil. The labours of Mr. W estwood Oliver, who has for some time past been collecting the statements of various observers, will not, we fear, assist them. Herr Schwabe, in the course of twenty-five years, made 10,000 observations of the sun, but seems to have done little more than establish the fact that the spots in crease to their highest number at intervals of about eleven years, decreasing gradually directly afterwards. Since then the efforts of observers have been directed towards connecting the spots with the indication of calamities on the earth. We have had Indian droughts and famines, storms, cyclones, and commercial panics, accounted for by the science of “ sun spotting.’’ Indeed, the science has even invaded social and political questions; and some three years ago Professor Piazzi Smyth went so far as to say that “ the sun, in his never-ceasing cycles of radiant heat, light, magnetism, and spots, with their necessarily accompanying tenth or twelfth bad agricultural year, fights against the Irish Land League.” After this, it is dis appointing to find Mr. Oliver coming to the conclusion that “ sun spottery is not what it is represented to be, but is, for the most part, humbug.” The manufacturers of photographic birthday cards cannot be congratulated on their selection of photographs, so far as the appropriateness of the text is concerned. Take this one, for instance, which, from its frequent appearance in shop windows, would seem to be popular. The text runs thus :— “ God grant thee happiness Of His great pleasure ; God give to thee good gifts In fullest measure.” We have nothing to say against the piety of these wishes, though there is something to bo desired in the way of clear ness, especially in the two first lines ; but surely the depth of bathos is reached when underneath the photograph opposite (a sea-scape) is printed “ Off Margate ! ” Among the first books illustrated by photography may be mentioned Piazzi Smyth’s "‘Teneriffe," and as the scientific value of such a work as this depends almost entirely on the accuracy and detail of the illustrations, we mention with regret that in a copy which came into our hands the other day, each of the stereographic pictures had yielded to the deteriorating influence of a quarter of a century. Let us hope that the last book illustrated with silver prints has been issued. Bound up with Professor Smyth’s book, we find a leaflet in which Mr. Melhuish (who printed the stereographic illustrations) offers apparatus especially adapted to the wants of the tourist, and he refers to the value of the roller slide to those working a paper process. As the roller slide is likely to be of very considerable value in con nection with gelatino-bromide, not only for the produc tion of negatives, but also for making positive prints, we reproduce in another column the original sketch of Mr. Melhuish's slide from the Journal of the Photographic Society of April, 1856. Why do photographers object to display cards of terms? Many have them printed, but do not show them ; and many more object altogether to the idea. In no instance during our half-dozen visits was a card of terms put into our hands. Plainly speaking, we should have felt more confidence had we possessed some knowledge of the prices of various photographs; and we think, too, the duties of the reception room would thereby be lightened. Whether the sum demanded is large or small, the public usually like to know it is a fixed one. An International Exhibition of Graphic Arts is to be held at Vienna between September 15th and October 31st, for the purpose of bringing into prominent view the im provement and development of the graphic arts during the second half of the nineteenth century, that is to say, since 1850. The list of exhibits comprehends copper and steel engravings, etchings, lithographs, wood engravings, and drawings and paintings produced with a view to engraving. There will also be shown heliotypes and illustrated works in which any reproductive graphic art has been employed, except, strange to say, the art of direct photography. One would like to know on what grounds photography has been thus excluded. Photography has, during recent years, been brought more and more in connection with book and newspaper illustration, and is gradually narrowing the sphere of the wood-engraver. It certainly has a moral right to be included among the graphic arts, though, technically, it may not be considered one. Bink's Photorjraph Gallery, a novelty brought out at the Avenue Theatre, on Monday, is well worth a visit, if only to hear the touching little ballad of the “ Old-Fashioned Photograph ” rendered by the silver-haired and silver voiced grandmother in Act I. It is a sign of the times—and a very good sign, too—that however people may decry the photographic portrait, they are beginning to find out there is a homeliness and pathos attaching to it that grand oil paintings and family portraits never possess. The Second Act passes m Bink’s studio, and here Mr Willie Edouin—who does not remember his drollery as the Heathen Chinee five years ago?—gets fun unlimited out of the shiftings of an impecunious photographer and from the posing of models and manipulation of the apparatus. The camera, the background, the head-rest, all are made to serve their turn at burlesque, and the busy photographer, and his more busy lad, never let the fun flag during the hour and a-half that the audience have the studio before them. One customer comes to get a photograph of a sister who is in Australia, and another lady—so the boy announces to his master—would give a guinea if she could but see the photographer for a few minutes; only, as the young urchin subsequently explains, she is blind. In a word, the little piece is teeming with broad fun and