The San Francisco Call. Newspaper, August 25, 1901, Page 3

THE SUNDAY CALL. ™\ OES the camers li )) Look on this picture and then on and does the camera 1i Would you ever believe that those two pictures of Grace Noblots, fer instance, were of the same woman? They are as different as day is trom might, or, to be more complj- mentary, as one day is from another, and yet they are both portraits of Grace Nobl She swear: Zoes likewise Now the camera may have told the truth either one time or the other, but certainly not both times. Wherein does the trick lie? If you will look at the profile view you will notice the lines of the p tinct as if clip, The light fall the outlines, The nose here ond perhaps a Now in the other ture you will notice that the full face represented lcoks as if it belonged to another woman. . ‘There is a shadow upon the face The light is not thrown strong upon the features as the other view, and the drapery thrown over the head adds to the shadow by the hair. The face is downeast in- stead of thrown upward in a hopefal attitude. The greatest difference lies in thLe nose. You would never guess from the full face view that this is the long, somewhat pointed nose of the = say, it and the photographer profile. It carries the impression of being rpther short and flat. The’face was thrown out of focus in this view. That’s what does it. The camers lied. You have heard it said that photo graphs must be truthful because the sun cannot lie. That is a pretty way of begging the question and does not amount to 2 row of pins. The sun cannot but the camera can and does. % If you have a wise photographer yeu can look like anything that you please. Notice what very different girls such a one has made of Pearl Landers. He did it by means of the cast of en eye, the smile of a mouth. Tke one picture shows a laughing, dimj- ling, up-to-date young woman in a crisp shirt waist; the other is a rather love-lorn damsel in a great many curls. - It looks as if the camera had lied cne time or the other. It would be hard to say whether Pearl is crisp and laughing, or esthetic and love lorn, but she can’t very well be both. The two pictures of Edna Farrell present the face from almost identi- cal points of view, and yet the omnz could scarcely be recogpized from the - other. In this case the make-up has done more than anything else to wnake the difference; hat and style of hair dressing have changed the poser’s appearance. The Carmen Canchita pictures dif- fer by the tiit of a head. They are also lighted differently. The smaller one is slightly clouded, creating an impressionistic effect, while the othex is detailed. . All this photography can do. Which is exactly what the painter does for you when he paints your por- trait. He flatters and he changes to suit his own and your whim. And yet the painter still insifts that the photographer has no art. He has the art of teaching his camera to be a clever liar. WOMAN WHO HUNTS UP ARMORIAL BEARINGS FOR AMERICANS. * HNTEREST!NG studies are neither few nor difficult to find in the borough of Brooklyn, but it is doubtful whether among them there is any more unique than one that is to be found on an upper floor of the building at 467 Fulton street, waere a white placard, fastened on a door, bears the legend, “Miss Adelaide Tukey. Studio. Heraldry.” If the visitor makes bold to knock the door is opened by a little white-haired woman with blue eyes. This is Miss N Vs \"Z) Tukey herself, who, as the visito. will soon learn, is not a whit less interesting than her studio. Miss Tukey is 65 vears of age, and is the daughter of a Boston lawyer, whose name was well known in his profession in the 40s. With the death of her father Miss Tukey was confronted with the necessity of earning a livellhood, and accordingly she became a teacher of painting on cuina. Several vears ago she began to find it difficult to compete with younger teachers and their more modern methods, and Mies Tukey, who had always been ‘interested i the study of heraldry, re- solved to make her knowledge of this art .supplement her small income. In this she has attained a remarkable degree of suc- cess. Miss Tukey’'s studio consists of a large, CARMEN WSANTHITA square room, whose walls are covered with faded paper. On one of the walls is draped a large American flag, and ar- tistically arranged on shelves, tables and walls are books, decorated china, hand- some paintings and a vast assortment of colored plates, showing coats of arms and other heraldic devices. Miss Tukey is authority for the state- ment that coats of arms are coming more and more into favor with American fam- ilies. “It is only natural, after all, that this should be so,” explained Miss Tukey to a reporter for the Eagle. *“Many of the - best American families have always felt & pride In their escutcheons. And why not? They constituted a part of our ancestrals heritage. Washington used his crest, and 80, too, did Benjamin Franklin and Peter Faneuil of Boston. President Adams had @ crest also, although many persons be- lieve that he designed it himself, but this is not so. I discovered the genuine escutcheon of the Adams family, em- blazoned on a window in an anclent church that still stands in the town of Chapin, in the north of England. It was formerly a Welsh town and the family name was Ap-Adam, which is really ‘son of Adam.” The ‘s’ Is a modern annexa- tion.”—Brooklyn Eagle. i b SRR Shropshire farmers in England are at their wits’ end for the lack of laborers to plow the land, sow the seed, drive the wagons and herd the cows. In a recent Shropshire weekly paper there were 20 advertisements for men to work on farms.