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January 24, 1868.] THE PHOTOGRAPHIC NEWS. 48 ends and the south sides and roof are opaque, the north side only open to a fine expanse of light. At the north side the roof is of glass throughout, but the whole of the skylight is stippled in imitation of ground glass. This skylight of obscured glass is, from ridge to eaves, nearly 10 feet in depth, and in length about 26 feet; consisting in length of 16 panes of 18 inches wide, and in depth of 4 panes about 30 inches long. At the north side, about 6 feet at each end of which is opaque, the light extends 12 feet laterally, and is a little more than 6 feet deep, reaching from the eaves to within 18 inches of the floor. It consists laterally of 8 panes 18 inches wide, and in depth of 2 panes 36 inches long. Thus it will be seen that the total amount of clear glass in the studio is 72 superficial feet. Curtains sliding on a rod at each end serve to contract, at will, the amount of the side-light, and also to modify its direction more or less in advance of the sitter. The design subjoined, which we draw from memory, gives a view of the interior of the studio, showing the disposition of the light, and the relations of the camera and background to it. Some points of detail, &c., are omitted, to avoid con fusion in the general presentation of the interior. As we have said, the room is about 16 feet wide; but the operations are chiefly confined to the 10 feet of space nearest the window, 5 or 6 feet of the width being occupied by a chair, tables, and other accessories of varied and excellent design. The floor is covered with a somewhat dark felt carpet, and the walls 'with the same material, which give an effect of extreme warmth and cosiness, especially pleasant in winter weather. Although M. Salo mon can operate at either end of the room in his usual practice, the camera is placed in the north-east corner, whilst the position of the sitter is somewhat in a diagonal direction, and at a further distance than the camera from the side-light. We must reserve an account of M. Salomon’s mode of working for our next; but before concluding a brief descrip tion of the material appliances, we must refer to certain mechanical conveniences in the accessories, upon which, although trifling in themselves, much of artistic success depends. The use of a column has been in this country so often absurdly misapplied that many of our best artists have discarded it altogether as an unnecessary conventionality. One of the common enormities in using the column has been the Procrustean practice of many photographers. The same column was used alike for short and tall models: a short man leaning against the base of a column, with his elbow raised higher than his shoulder ; whilst a tall man leaning his elbow on the same base was compelled to stoop awkardly, in order to find a resting-place. M. Salomon uses the column, and often very effectively; but he provides for the difficulty we have indicated. The plinth of the column is moveable, and can be elevated by means of an Archimedean screw like a camera-stand, so that the cornice of the plinth, upon which the model usually leans, can be placed at any height which con venience or pictorial conditions may require. In like manner the table, which often forms an accessory in sitting portraits, is provided with a similar means of elevation, and. is readily accommodated to the height reqnired by the sitter. For standing portraits of ladies a convenient rest is em ployed, which we have not seen before. It consists of a piece of wood about a foot wide and three feet long, upon which the lady is invited to stand, and rest the back against a narrow upright piece of wood which is fixed in the centre of the baseboard, and kept firm by a strut extending between the top of the - upright and the hinder portion of the baseboard. Great firmness and comfort are obtained by this simple body-rest; and which, supplemented by the head-rest, generally secures steadiness in the model. M. Salomon appears in all things to require the ut most mobility and ready applicability — we had almost said, plasticity—in his accessories. Everything must ac commodate itself to the position of the sitter, instead of the sitter accommodating himself to rigid and immovable appliances. The curtain is not, as is usual, attached to a fixture. On a cross-piece, attached to a rod placed in the base of a head-rest, the curtain slides on rings, and is