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quality.

It is easier in that medium than in any other. It is well done in Figs. 101 and 102, and the oilcloth apron of the fisherman in Hawthorne's painting is excellent. So are the fish in the Franz Hals picture. In Figs. 104, 108, and 109, the quality is absolutely lacking. And the reason is that they are tone pictures. Vivid detail and textural charm do not go with blurred and dark tonal effects.

The reader can easily find out for himself by

(Diag. 50)

reviewing the various illustrations of my articles whether a picture is enhanced by texture or not. undoubtedly are, while

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would look foolish if an

Some

others

undue

WATER NYMPH. (Fig. 105) Chas. I. Berg.

done in Figs. 103, 104, 108, and 110.

share of attention would be bestowed upon some minute and unattractive pattern or grain. The subtlety of tonal values in Fig. 101 is largely due to the exquisite textural representation.

An important feature in every figure composition is the complexion, the flesh color of faces, hands, or such parts of the body as might be shown. It should be ordinarily in a much higher key than it is in most photographs. The arm and neck in Henri's picture has a delightful luminous quality. He subordinated everything else to it. I do not see any use of representing human flesh as dark as it is There is no excuse for it. It is un

reasonasble and in no way attractive or beautiful. As a realistic study of flesh

values (notice the dark hand) Hawthorne's fisherman is to be recommended. Fig. 101 shows a fair appreciation of the luminosity of the human face, although expressed in a minor key. The "Sleeping Girl" (Fig. 111), by the Parrish Sisters, shows good light distribution and modeling but is deficient in flesh values if compared to the Henri picture. The composition is noteworthy as it has been managed in the shape of an exaggerated oblong, one of the most difficult shapes to

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master.

"The Water Nymph" of Charles I. Berg. (Fig. 105), in the S shape deserves its reputation as a photographic nude. It has rarely been excelled. It is matter of fact, but

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the form is shown to good advantage and the light flesh quality has been preserved.

In posing a nude for photographic purposes (and I believe beter results can be obtained by limiting oneself to one figure like LeBegue rather than grouping a whole bunch like Herzog), one should be exceedingly careful to show the figure in such way that the lines are really beautiful. Few models are perfect in form, and one should only reveal such views as approach perfection.

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AT THE SAW' BENCH.

(Fig. 102)

J. R. Peterson.

The Peterson picture, "At the Saw Bench" (Fig. 102), is a good example of depicting an occupation. I I think clearness is preferable to the mushiness of Figs. 108 and 109. In the latter one is at loss to say what the figure is doing. The various accessories, the silk kimono, the gong, the roll picture, and musical instrument would surely have been more beautiful if depicted a little more in detail and with textural distinction.

"The Manger" (Fig. 103), is a most ambitious effort. The background with its long diagonal and short vertical lines is masterly and the pose of the figure and the lighting of the drapery excellent. The only shortcoming is the darkness of the face and hands.

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York Minster from the City Wall.

EIGHTH LETTER.

English Cathedrals.

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OST of the famous English Cathedrals are situated in the inland cities or towns of Central England, in the east, between the Scottish Border and London; and the principal ones may, therefore, very conveniently be seen on the way from Edinburgh, the Capital of the North, to London, the great metropolis of the British Empire.

Exeter Cathedral, it is true, is situated in the city of that name in Devonshire, of which it is the capital, in the south western part of England; and it is distinguished for its magnificent West Front, which is probably the most beautiful of all. Chester Cathedral I have already mentioned in a former letter, though its picture I reserved for this; and Canterbury we saw and photographed on our way from Dover, where we disembarked, on our first trip to London. Majestic St. Paul's and beautiful old Westminster will be given in the following letter about London.

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