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486 THE PHOTOGRAPHIC NEWS* [October 9, 1868. Solomon himself, as well as some other untouched pictures, and I should think many followers of the art who do not feel warranted in going to the expense of a solar camera will gladly avail themselves of this much less costly apparatus.” Another correspondent, after some remarks on the unusual excellence of this year’s photographic exhibition, says :— “ There is a prospect of the Cornwall Society becoming migratory, and holding its meetings in other parts of the county; this will prove of much benefit to art in general, and photography in particular.” He adds " a word in conclu sion to photographers generally, and the Exeter local com mittee in particular. Next year the British Association hold their meeting in the ever faithful ‘ city of the red earth,’ when a most excellent opportunity occurs for a great art display, graphic and photographic, to those interested in the proceedings of the exploration society. Further informa tion may be obtained from Mr. A. L. Fox, one of the acting honorary secretaries of the Cornwall Polytechnic. For the British Association, Mr. H. S. Ellis, of Exeter, will furnish any particulars that may be required.” The official report of awards will be fonnd in another column. PICTORIAL EFFECT IN PHOTOGRAPHY ; Being Lessons in Composition and Chiaroscuro for Photographers. BY II. P. ROBINSON. Chapter XXXVII. Mr. FRUWIRTH's useful process of phototype, which not only reproduces engravings for the press, but also enlarges or re duces them, enables me to present one of the most perfect compositions of modern times, which, happily, belongs to the nation, and will remain an object of study as long as it exists. Perhaps nothing in the whole range of art can be brought into comparison with the works of Mulready for technical perfection. In truth of drawing, elaborate finish, and exquisite colour, he excelled long before the works of the modern pre-Raphaelites made these qualities indispen sable in pictures, and to these perfections he added most supreme skill in composition. His subjects were not always equal to his powers, and one cannot help regretting that he wasted such splendid art on themes such as “ Boys firing a Cannon,” “ The Loan of a Bite,” “ Bob Cherry,” and others; but even these incidents become, under his hand, elevated, and redeemed from the commonplace and vulgar. The nation is rich in possessing—through the generosity of Mr. Vernon, and, more especially, of Mr. Sheepshanks—a! arge collection of his works, illustrating his progress from the commencement to the end of his career. Painted in his best period, “ Choosing the Wedding Gown,” of which an illustration is given in this chapter, is one of his finest creations, and is an admirable example for the student to have constantly before his eyes. During the earlier chapters of this attempt to teach the laws of art to photographers, when I had to deal chiefly with principles, and to enforce their use, I abstained as much as possible from giving long quotations from well-known works, well knowing that nothing tires a reader more than numerous extracts, often ill-adapted to the purpose for which they are intended; but in the later chapters, in which examples are introduced showing how these laws have been applied by others, I prefer, when possible, using the