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The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, August 25, 1901, Image 3

Image and text provided by University of California, Riverside; Riverside, CA

Persistent link: https://chroniclingamerica.loc.gov/lccn/sn85066387/1901-08-25/ed-1/seq-3/

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INTERESTING 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,
wnere.a white' placard, fastened on a
door, bears the legend, " Mi ss 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
Tukey herself, who, aa the vlsltoi, will
soon learn . is not a whit less Interesting
than her studio. - < "i -.'¦..,
: Miss Tukey is 65 years of age, and Is the
daughter, of 'a' Boston lawyer, whose name
was well * known in. his profession In the
4Os. With the death of her father Miss
Tukey was confronted with the necessity,
of a* livelihood," and accordingly
she became, a" -teacher of ; painting on
cnina. • Several years : ago* ; she began " to
find it -difficult to compete with younger
teachers and their more modern methods,
and Mifes •: Tukey, who had always been
interested in 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. , .. ' f ' \ ' i
Miss Tukey's studio 'consists, of a large.
square robaa, whose walls are covered
with faded paper. On one, of th« 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. .
x 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
:'¦¦ "-. •. . >-. ~*w ' ' : - - ¦¦-' :¦¦¦
is not so. I discovered the genulna
escutcheon of the Adams family, em
blazoned on a window In an ancient
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\ la ,a modern annexa
tion." — Brooklyn Eagle.
.-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 r recent
Shropshire weekly paper there were 260
advertisements for men to work on farms.
best American families have always f elt »
Pride in their escutcheons. And why not?
Th«y constituted a part of our ancestral
heritage. Washington used hla crest, and
so, too, did Benjamin Franklin and Peter
Faneuil of Boston. President Adams had
a crest also, although many persons be
lieve that h» designed It himself, but this
is detailed.
All this photography can do.
Which is exactly what the painter -
The Carmen Canchlta pictures dif
fer by the tilt- of a head. They' are
also lighted differently. The smaller
one is slightly clouded, "creating an
impressionistic* effect, while the other
The two pictures of Edna Farrell
present the face from almost identi
cal points of view, and yet the on 3
could scarcely be recognized from the
other. In this case .the make-up has
done more than anything else to
make the difference; hat and style of
hair dressing have changed the
poser's appearance.
It looks as if the camera had lied
one 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.
ling, up-to-date young woman in a
crisp shirt waist; the other is a rather
love-lorn damsel in a great many
curls. ¦
He has the art of teaching his
camera to be a clever liar.
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 insists ' that • the
photographer has no art. "..'\&it r
He did it by means of the cast of
en eye, the smile of a mouth. The
one' picture shows a laughing, dimj.-
If you have a wise photographer
ycu can look like anything that you
Notice what very different girls
ruch a one has made of Pearl"
That is a pretty way of bsgg^ng
the question and does not amount to
a row of pins.
The sun cannot but the camera
can and does.
You have heard it said that photo
graphs must be truthful because the
cun cannot lie.
The camera lied.
The greatest difference lies in tLs
nose. You would never guess from,
the full face view that this • is the
long, somewhat pointed nose of the
profile. It carries the impression of
being rather short and flat.
Tho^ace was thrown out of focus
in this view. That's what does it.
Now in the other picture you will
notice that the full face represented
Icoks as if it belonged to another
woman. . -
• There is a shadow upon the face
The light is not thrown strongly
upon the features as in the other
view, and the drapery thrown over
the head adds to the shadow made
by the hair. ' The face is downcast in
stead of thrown upward in a hopeful
Wherein does the trick lie?
If you will look at the profile view
you •will notice that it is sharp, clear,
the lines of the profile being as dis
tinct as if clipr^d from cardboard.
The light falls clean and bright on
the outlines, showing them strongly.
The nose here appears rather long
end perhaps a little sharp.
Now the camera may have told
the truth either one time or the other,
but certainly not both times.
They are as different as day is
from night, or, to be more comple
mentary, as one day is from another,
and yet they are both portraits of
Grace Moblots.
She swears it and the photographer
does likewise.
"Would you ever believe that those
two pictures of Grace Noblots, fcr
instance, were of the same woman?
DOES the camera lie?
Look on this picture and then
on that and say, does the
camera lieP

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