Notes and Queries, Number 182, April 23, 1853

TO ARTISTS AND SCULPTORS

MR. DELAMOTTE will be happy to photograph Artist' Paintings and Statues, and supply two or more impressions as may be desired. He also undertakes to photograph, under the superintendence of the Artist, the Life Model, Costume, or any required object, and to deliver the negative plate.

TO ENGINEERS AND ARCHITECTS

MR. DELAMOTTE is ready to enter into engagements to photograph Buildings and Engineering Works of all kinds, either in progress or when completed. In illustration of the advantages to be derived by Engineers from Photography, MR. DELAMOTTE begs to refer to Mr. Fenton's Views of Mr. Vignolles' Bridge across the Dnieper at Kieff, and to his own views of the Progress of the Crystal Palace at Sydenham.

TO THE NOBILITY AND GENTRY

MR. DELAMOTTE has made arrangements which enable him to take photographic views of Country Mansions, Ancient Castles and Ruins, Villas, Cottages, Bridges or Picturesque Scenery of any description, and to supply as many copies as may be desired.

TO THE CLERGY

MR. DELAMOTTE will be happy to receive commissions to take photographic views of Churches—either Exterior or Interiors—Rectories or School-houses. He will also be willing to make special arrangements for Portraits of Clergymen, when several copies of the same portrait are required.

TO AMATEURS AND STUDENTS

MR. DELAMOTTE gives lessons in every branch of the Photographic Art, but more especially in the Collodion Process, which he undertakes to teach, together with the best method of Printing, in Six Lessons.

For Terms apply to MR. PHILIP DELAMOTTE, Photographic Institution, 168. New Bond StreetJust published, price 10s. 6dTHE PHOTOGRAPHIC ALBUMPART IIIContaining Four Pictures

TINTERN ABBEY. By Roger Fenton.

THE BOY IN THE ARCH. By Philip DelaMotte.

BURNHAM BEECHES. By Roger Fenton.

KENILWORTH CASTLE. By Philip DelaMotte.

Parts I. and II. are now reprinted and good impressions of the pictures are guaranteed. Part IV. will be ready in May

*** The Publisher apologizes for the long delay in issuing Part III. and reprinting the two former Parts. Photographers will readily understand why no quantity of good impressions could have been printed during the last four months.

Now ready, price 16sPHOTOGRAPHIC STUDIES

By GEORGE SHAW, Esq. (of Queen's College, Birmingham).

Comprising,

A MILL STREAM,

A FOREST SCENE,

A RUSTIC BRIDGE,

A WELSH GLEN.

These Pictures are of large size, and are very carefully printed

*** Should this Number meeting with the approbation of the Public, Professor Shaw will continue the Series.

Nearly ready,THE PRACTICE OF PHOTOGRAPHYA MANUAL for STUDENTS and AMATEURS

Edited by PHILIP DELAMOTTE, F.S.A.

Illustrated with a Photographic Picture taken by the Collodion Process, and a Diagram of Six Colours, with its result in a Photographic impression.

This Manual will contain much practical information of a valuable nature.

Preparing for Publication, in Parts, price One Guinea each,PROGRESS OF THE CRYSTAL PALACE AT SYDENHAMExhibited in a Series of Photographic Views taken by PHILIP DELAMOTTE

This Work will be found of much service to Engineers and Architects, and all who are interested in the Crystal Palace.

*** Some of these Views may be had for the StereoscopePreparing for Publication,A SERIES OF PHOTOGRAPHIC PICTURESBy HUGH OWEN, ESQ. (of Bristol.)LONDON: Published by JOSEPH CUNDALL, at the PHOTOGRAPHIC INSTITUTION,168. NEW BOND STREET

1

Footnote 1:

The epithets "heavenly," "holy," "solemn," &c., represent the nightingale's song, as spoken of by Keats, as the bird's "plaintive anthem;" by Mackay, as its

"Hymn of gratitude and love;"

and by Moore also, in his account of the Vale of Cashmere, as

"The nightingale's hymn from the Isle of Chenars."

In A Proper New Boke of the Armony of Byrdes (quoted by Dibdin, Top. Antiq., iv. 381.), of unknown date, though probably before 1580, the nightingale is represented as singing its Te Deum:

"Tibi CherubinEt SeraphinFull goodly she dyd chaunt,With notes merelyIncessabileVoce Prœclamant."

2

(Troilus and Creseide) imagines the nightingale to "stint" at the beginning of its song, and to be frightened at the least noise.

3

This, and the epithets of "sole-sitting" and "unseen," refer to the nightingale's love of solitary seclusion.

4

"He slep no more than doth the nightingale."Chaucer, Cant. Pil.

5

For a notice of the Townley MSS., see "N. & Q.," Vol. iv., p. 103.