The photogenic images of glass articles impress the sensitive paper with a very peculiar touch, which is quite different from that of the China in Plate III. And it may be remarked that white china and glass do not succeed well when represented together, because the picture of the china, from its superior brightness, is completed before that of the glass is well begun. But coloured china may be introduced along with glass in the same picture, provided the colour is not a pure blue: since blue objects affect the sensitive paper almost as rapidly as white ones do. On the contrary, green rays act very feebly--an inconvenient circumstance, whenever green trees are to be represented in the same picture with buildings of a light hue, or with any other light coloured objects.

Statues, busts, and other specimens of sculpture, are generally well represented by the Photographic Art; and also very rapidly, in consequence of their whiteness.

These delineations are susceptible of an almost unlimited variety: since in the first place, a statue may be placed in any position with regard to the sun, either directly opposite to it, or at any angle: the directness or obliquity of the illumination causing of course an immense difference in the effect. And when a choice has been made of the direction in which the sun's rays shall fall, the statue may be then turned round on its pedestal, which produces a second set of variations no less considerable than the first. And when to this is added the change of size which is produced in the image by bringing the Camera Obscura nearer to the statue or removing it further off, it becomes evident how very great a number of different effects may be obtained from a single specimen of sculpture.

With regard to many statues, however, a better effect is obtained by delineating them in cloudy weather than in sunshine. For, the sunshine causes such strong shadows as sometimes to confuse the subject. To prevent this, it is a good plan to hold a white cloth on one side of the statue at a little distance to reflect back the sun's rays and cause a faint illumination of the parts which would otherwise be lost in shadow.

The chief object of the present work is to place on record some of the early beginnings of a new art, before the period, which we trust is approaching, of its being brought to maturity by the aid of British talent.

This is one of the trifling efforts of its infancy, which some partial friends have been kind enough to commend.

We have sufficient authority in the Dutch school of art, for taking as subjects of representation scenes of daily and familiar occurrence. A painter's eye will often be arrested where ordinary people see nothing remarkable. A casual gleam of sunshine, or a shadow thrown across his path, a time-withered oak, or a moss-covered stone may awaken a train of thoughts and feelings, and picturesque imaginings.