that were in their ship; and those
which were aboord my ship sallied out of my cabbin, where they were
put, with such weapons as they had, finding certaine targets in my
cabbin, and other things that they vsed as weapons. My selfe being
aloft on the decke, knowing what was likely to follow, leapt into the
waste, where, with the boate swaines, carpenter and some few more, wee
kept them vnder the halfe-decke. At their first comming forth of the
cabbin, they met captain Dauis comming out of the gun-roome, whom they
pulled into the cabbin, and giuing him sixe or seuen mortall wounds,
they thrust him out of the cabbin before them. His wounds were so
mortall, that he dyed assoone as he came into the waste."--Purchas, i.
137.

BOLTON CORNEY.

* * * * *

PHOTOGRAPHIC CORRESPONDENCE.

_Clouds in Photographs._--I wish one of your photographic correspondents
would inform me, how _clouds_ can be put into photographs taken on paper?
Mr. Buckle's photographs all contain _clouds_?

[Sigma].

"_The Stereoscope considered in relation to the Philosophy of Binocular
Vision_" is the title of a small pamphlet written by a frequent contributor
to this journal, Mr. C. MANSFIELD INGLEBY, in which he has "attempted to
sketch out such modifications of the theory of double vision as appear to
him to be entailed on the rationale of the stereoscope." The corroboration
thus indirectly afforded to the principles of Sir William Hamilton's
_Philosophy of Perception_ has induced MR. INGLEBY to dedicate his word to
that distinguished metaphysician. The essay will, we have no doubt, be
perused with great interest by many of our photographic friends, for whose
gratification we shall borrow its concluding paragraph.

"In conclusion we must not forget to acknowledge our obligations to the
photographic art, not merely as one of the most suggestive results of
natural science, but as a means of the widest and soundest utility. To
antiquaries the services of photography have a unique value, for, by
perpetuating in the form of negatives those monuments of nature and art
which, though exempt from common accident, are still subject to gradual
decay from time, it places in the hands of us all microscopically exact
antitypes of objects which, from change or distance, are otherwise
inaccessible. To the artist they afford the means of facilitating the