The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1864-12-20
"THosE WHO LIVE IN GLASS HOUSES

Should not throw stones" says the adage.
But who ever did live in glass houses before the
days of Sir Joseph Paxton or the invention of
photography And why were they expected to
be constantly peltng their neighbors Has the
sun necessarily combatye effect upon dwellers
in those traps to catch sunbeams
i, who live in glass house all day, am inclined
to answer the last question in the affirmative
when aggravated by ugly or capnclous sitters.
May l. therefore, humble photographer, venture
one or two hints to the owners of countenances
who desire them to be gracefully and accurately
copied, and to those who try to copy them?
In turning over the leaves of an album we
frequently pass our acquaintances without even
a nod. How is this The photograph may be
irreproachable as a work of art, and IL is impos-
Bible to be other than a transcript Of what was
presented to the camera. How comes it, then,
that it is not a likeness Simply because the
original was, at the critical moment unlike
himself. When about 10 be photographed,
one is apt TO feel that, like Marshal Ney,
the eyes of Europe are upon him that,
cording to the position which he assumes
judgment will be passed on his good or bad
figure, awkwardness or grace. lie wishes
20 present himself on paper TO an admirlng,
not 70 q critical, public. nervous con-
sciOusness, moreover, that perhaps a guinea or
two is involved IN the operation, tends mate
rally 10 aQu 70 MS ulhCOLnuLufe. lrlflhl as TINS
consideration may appear, IL eXerts a far greater
influence on the expression than most persons
are willing 10 acknowledge, even to themselves
Placed in position always chosen by the ope-
rator (being, TO save himself the trouble Of re-
arTau ging accessories precisely the same as that
which the last sitter occupied), his head screwed
in'o vice behind, he is told TO look at an indi-
caed spot on the wall and keep still. Thus
po ed, be regards further operations with much
the 81 me feelings Of distrust he would those Of
dentirt. In imP gnatOn he hears the sharp rat
tle of the iorceps, or the punch. His breathing
becomes thicker and quicker as the critical mo-
ment arrives, his heart beats audibly against his
Waislcoat. and haZy film falls over his eyes. In
this delightful condition of mind and body he is
en1ointd TO keep quite still, and put on natural
expression" ;" as II expressions were as easy TO
put on as gloves. The inevitable consequence l.,
that he "griDs horribly CHASTITY smile, the like
of which never passed over his features before.
Yet both operator and sitter wonder why the pOr-
trait is so very unlike.
81 should like to have a landscape background
tor my portrait, if you please" is a frequent,
but NEST inconsistent request. What can be more
preposterous than to see lady in full evening
costume quietly seated in a luxurious easy-chair,
in the middle of a mountain pass, with q roaring
cataract rushing madly down within a couple OF
inches Of her immaculate book-musln? The
rugged pnr aele to which abe Is supposed to have
hoHn Qn her easy-chair) being carefully adapted
60 hersatin shoes by Brussels carpet, from which
tree is vigorously springing. An actor wishing
60 be represented Ia some particular character,
may, with prOpriety require a painted back
ground 10 as ist In the illusion that he is on the
siege, before his own painted scenes. Addison
4 ma ks in the Spec at0T "A little skill in cru-
cI m would inform us that shadows and realities
ought not 20 be mixed together In the same piece.
N one would representa- wide champagne country
hlled with hocks and herds, II would be ridicu-
lOus 10 draw the country only upOu the scenes,
and to crowd several parts Of the stage with sheep
and OK, n. This is joining together inconsistent
encies, and making the decorations partly real
and Ia ty imaginary"
There are as much individuality and character
IN the human figure as Ia the human face.
Every one has some slight peculiarly Of gesture
and carriage Of body, as he has idlosyncrasy of
mind Assuming this to be so, with how much
mole Character is a portrait In some accustomed
position endowed than II represented in one
o which he was unaccustOmed! A right reYe-
end prelate, engaged In the manipulation Of
hree little thimbles and a small pea, or blind
nan iooh g through astereOscOpe would scarcely
o in harmony yet photographs are frequently