The Photographic art-journal . on of (he opinions which we have fre-quently put forth, in relation to the arts ofdesign and of the influence of collection illustrates the most recentand the most intelligent tendencies of theyoung school; of that school which lives,which searches, which labors, which lovesits art, and which makes it to be beloved. By the gracefulness of subjects, by theable interpretation of originals, by the ex-quisite delicacy of its execution, this Al-bum is placed beyond all competition,above all rivalship, and our heliographers,to whom we recommend this wo
The Photographic art-journal . on of (he opinions which we have fre-quently put forth, in relation to the arts ofdesign and of the influence of collection illustrates the most recentand the most intelligent tendencies of theyoung school; of that school which lives,which searches, which labors, which lovesits art, and which makes it to be beloved. By the gracefulness of subjects, by theable interpretation of originals, by the ex-quisite delicacy of its execution, this Al-bum is placed beyond all competition,above all rivalship, and our heliographers,to whom we recommend this work, mayexamine it with profit. We are happy, inthis journal—entirelydevoted to the generalinterests of the arts, the only one wherewe can judge without reserve, and praisewithout being suspected of having someoriginal work to recommend,—to offerour fraternal sympathies to artists whohave followed with a lively interest the la-bors of the Heliographic Society. Francis Wey. DRESS—AS A FINE ART.* BY MRS. MERRIFIELD. Part E fear from Mr. Blanches extracts thatthe evil was perpetuated ( ky tne p°ets an(i ro~ f mance writers of periods ; andwe are sure that the no-velists of our own time have muchto answer for on the score. Hadthey not been for ever praising ta-%!C Per wa^ts» tight-lacing would4ujSl have shared the fate of other fash-ions, and have been banished from all ci-vilized society. Similar blame does notattach to the painter or sculptor. Thecreations of their invention are modelleduoon thi true principles of proporti »n andb-auly, and in their works a small waistand foot is always accompanied by a sleud rform. In the mind of the poet and novel-ist the sani} associations may take place ;when a writer describes the slender waistor small foot, he proSably sees mentally the * Continued from page 151, Vol. 5, JSo. 3. whole slender figure. The small waist is aporportionate part of the figure of his crea-tion. But there is this difference betweenthe painter
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Keywords: ., bookcentury1800, bookdecade1850, booksubjectphotogr, bookyear1851
