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+The Project Gutenberg eBook, The Evolution of Photography , by John Werge
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: The Evolution of Photography 
+       With a Chronological Record of Discoveries, Inventions, etc., Contributions to Photographic Literature, and Personal Reminescences Extending over Forty Years
+
+
+Author: John Werge
+
+
+
+Release Date: February 13, 2012  [eBook #38866]
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK THE EVOLUTION OF PHOTOGRAPHY ***
+
+
+E-text prepared by Albert László, Tom Cosmas, P. G. Máté, and the Online
+Distributed Proofreading Team (http://www.pgdp.net) from page images
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+Transcriber's note:
+
+      Text enclosed by underscores is in italics (_italics_).
+
+      Text enclosed by equal signs is in bold face (=bold=).
+
+      Whole and fractional parts of numbers are displayed as 4-5/8
+      for four and five-eights or as a decimal number. Several of
+      the advertisements display another type of 'fraction' to
+      represent shillings and pence: 1/1-1/2 for one shilling and
+      one and one-half pence; and 1/- is 1 shilling and no pence.
+
+
+
+
+
+  [Illustration: FIRST PERIOD.
+
+  PAPER, ASPHALTUM, &C.
+
+  THOMAS WEDGWOOD.
+  _From a Plaster Cast._
+
+  JOSEPH NICEPHORE NIEPCE.
+  _From a Painting by L. Berger._
+
+  Rev. J. B. READE.
+  _From a Photograph
+  by Maull & Fox._
+
+  HENRY FOX TALBOT.
+  _From a Calotype._
+
+  SIR JOHN HERSCHEL.
+  _From a Daguerreotype._]
+
+
+THE EVOLUTION OF PHOTOGRAPHY.
+
+With a Chronological Record of Discoveries, Inventions, Etc.,
+Contributions to Photographic Literature, and
+Personal Reminiscences Extending over Forty Years.
+
+by
+
+JOHN WERGE.
+
+Illustrated.
+
+
+
+
+
+
+
+London: Piper & Carter, 5, Furnival Street, Holborn, E.C.;
+and John Werge, 11A, Berners Street, Oxford Street, W.
+1890.
+
+[All Rights Reserved.]
+
+Printed by Piper & Carter, 5, Furnival Street, Holborn, London, E.C.
+
+
+
+
+PREFACE.
+
+
+No previous history of photography, that I am aware of, has ever assumed
+the form of a reminiscence, nor have I met with a photographic work, of
+any description, that is so strictly built upon a chronological
+foundation as the one now placed in the hands of the reader. I therefore
+think, and trust, that it will prove to be an acceptable and readable
+addition to photographic literature.
+
+It was never intended that this volume should be a text-book, so I have
+not entered into elaborate descriptions of the manipulations of this or
+that process, but have endeavoured to make it a comprehensive and
+agreeable summary of all that has been done in the past, and yet convey
+a perfect knowledge of all the processes as they have appeared and
+effected radical changes in the practice of photography.
+
+The chronological record of discoveries, inventions, appliances, and
+publications connected with the art will, it is hoped, be received and
+considered as a useful and interesting table of reference; while the
+reminiscences, extending over forty years of unbroken contact with every
+phase of photography, and some of its pioneers, will form a vital link
+between the long past and immediate present, which may awaken pleasing
+recollections in some, and give encouragement to others to enter the
+field of experiment, and endeavour to continue the work of evolution.
+
+At page 10 it is stated, on the authority of the late Robert Hunt, that
+some of Niepce's early pictures may be seen at the British Museum. That
+was so, but unfortunately it is not so now. On making application, very
+recently, to examine these pictures, I ascertained that they were never
+placed in the care of the curator of the British Museum, but were the
+private property of the late Dr. Robert Brown, who left them to his
+colleague, John Joseph Bennett, and that at the latter's death they
+passed into the possession of his widow. I wrote to the lady making
+enquiries about them, but have not been able to trace them further;
+there are, however, two very interesting examples of Niepce's
+heliographs, and one photo-etched plate and print, lent by Mr. H. P.
+Robinson, on view at South Kensington, in the Western Gallery of the
+Science Collection.
+
+For the portrait of Thomas Wedgwood, I am indebted to Mr. Godfrey
+Wedgwood; for that of Joseph Nicephore Niepce, to the Mayor of
+Chalons-sur-Saone; for the Rev. J. B. Reade's, to Mr. Fox; for Sir John
+Herschel's, to Mr. H. H. Cameron; for John Frederick Goddard's, to Dr.
+Jabez Hogg; and for Frederick Scott Archer's, to Mr. Alfred Cade; and to
+all those gentlemen I tender my most grateful acknowledgments. Also to
+the Autotype Company, for their care and attention in carrying out my
+wishes in the reproduction of all the illustrations by their beautiful
+Collotype Process.
+
+JOHN WERGE.
+
+_London, June, 1890._
+
+
+
+
+CONTENTS.
+
+
+  INTRODUCTION                                                     1
+
+  FIRST PERIOD.
+    The Dark Ages                                                  3
+
+  SECOND PERIOD.
+    Publicity and Progress                                        27
+
+  THIRD PERIOD.
+    Collodion Triumphant                                          58
+
+  FOURTH PERIOD.
+    Gelatine Successful                                           95
+
+  CHRONOLOGICAL RECORD.
+    Inventions, Discoveries, etc.                                126
+
+  CONTRIBUTIONS TO PHOTOGRAPHIC LITERATURE.                      140
+
+
+
+
+LIST OF ILLUSTRATIONS.
+
+
+  Frontispiece     Portrait of Thomas Wedgwood.
+
+      "            Portrait of Joseph Nicephore Niepce.
+
+      "            Portrait of Rev. J. B. Reade.
+
+      "            Portrait of Henry Fox Talbot.
+
+      "            Portrait of Sir John Herschel.
+
+     27            Portrait of L. J. M. Daguerre.
+
+     27            Portrait of John Frederick Goddard.
+
+     27            Copy of Instantaneous Daguerreotype.
+
+     58            Portrait of Frederick Scott Archer.
+
+     58            Hever Castle, Kent.
+
+     95            Portrait of Dr. R. L. Maddox.
+
+     95            Portrait of Richard Kennett.
+
+
+
+
+INDEX.
+
+
+  Archer, Frederick Scott, 58-69
+  Argentic Gelatino-Bromide Paper, 106
+  Abney's Translation of Pizzighelli and Hubl's Booklet, 109
+  A String of Old Beads, 309
+
+  Bacon, Roger, 3
+  Bennett, Charles, 102
+  Boston, 51
+  Bromine Accelerator, 29
+  Bingham, Robert J., 87
+  Burgess, J., 93
+
+  Cabinet Portraits, 84
+  Camera-Obscura, 3
+  Chronological Record, 126-139
+  Convention of 1889, 122
+  Claudet, A. F. J., 29, 86
+  Chlorine Accelerator, 29
+  Collodion Process (Archer's), 68
+  Collodio-Chloride Printing Process, 81
+
+  Davy, Sir H., 9
+  Daguerre, L. J. M., 9, 43
+  Daguerreotype Process, 23, 24, 25
+  ---- Apparatus Imported, 29
+  Diaphanotypes, 71
+  Dolland, J., 4
+  Donkin, W. F., 120
+  Draper, Dr., 107
+  Dublin Exhibition, 205-226
+
+  Eburneum Process, 82
+  Elliott & Fry, 96
+  Eosine, &c., 109
+  Errors in Pictorial Backgrounds, 231
+
+  First Photographic Portrait, 107
+  Fizeau, M., 6, 28
+  Flash-light Pictures, 118
+
+  Gelatino-Bromide Experiments, 91
+  Globe Lens, 78
+  Goddard, John Frederick, 28, 79
+
+  Harrison, W. H., 87
+  Heliographic Process, 11, 12, 13
+  Heliochromy, 88
+  Herschel, Dr., 6
+  Herschel, Sir John, 94
+  Hillotypes, 71
+  Hughes, Jabez, 55, 75
+  Hunt, Robert, 117
+
+  International Exhibitions, 42, 77, 82, 111
+
+  Johnson, J. R., 107
+
+  Kennett, R., 96
+
+  Lambert, Leon, 98
+  Laroche, Sylvester, 116
+  Lea, Carey, 101
+  "Lux Graphicus" on the Wing, 273-299
+  Lights and Lighting, 311
+
+  Maddox, Dr. R. L., 91
+  Magic Photographs, 83
+  Mawson, John, 85
+  Mayall, J. E., 54
+  Macbeth, Norman, 120
+  Montreal, 51
+  Morgan and Kidd, 106
+
+  Newton, Sir Isaac, 3
+  New York, 48, 71
+  Niagara, 50
+  Niepce, J. Nicephore, 9, 11
+  Niepce de St. Victor, 88
+  Niagara, Pictures of, 140-158
+  Notes on Pictures in National Gallery, 245
+
+  Orthochromatic Plates, 115
+
+  Panoramic Lens and Camera, 76
+  Pistolgraph, 76
+  Pensions to Daguerre and Niepce, 33
+  Philadelphia, 49
+  Ponton, Mungo, 22, 103
+  Poitevin, M., 85, 108
+  Porta, Baptista G., 3
+  Potash Bichromate, 22
+  Pouncy Process, 78
+  Pictures of the St. Lawrence, 158-169
+  Pinhole Camera, 117
+  Pizzighelli's Platinum Printing, 118
+  Pictures of the Potomac, 183-196
+  Photography in the North, 226-231
+  Perspective, 237-244
+  Photography and the Immured Pompeiians, 303
+
+  Rambles among Studios, 196-204
+  Reade, Rev. J. B., 15-22, 90
+  Rejlander, O. G., 98
+  Ritter, John Wm., 5
+  Rumford, Count, 5
+  Russell, Col., 117
+
+  Sable Island, 47
+  Salomon, Adam, 84
+  Sawyer, J. R., 121
+  Scheele, C. W., 4, 5
+  Senebier, 5
+  Simpson, George Wharton, 75, 103
+  Soda Sulphite, 109
+  Swan's Carbon Process, 80
+  Stannotype, 107
+  Sutton, Thomas, 100
+  Spencer, J. A., 102
+  Stereoscopic Pictures, 119
+  Sharpness and Softness _v._ Hardness, 249
+  Simple Mode of Intensifying Negatives, 307
+
+  Talbot, Henry Fox, 14, 101
+  Talbot versus Laroche, 54
+  Taylor, Professor Alfred Swaine, 104
+  The Hudson River, 169-183
+  The Society's Exhibition, 260
+  The Use of Clouds in Landscapes, 265
+  ---- as Backgrounds in Portraiture, 269
+
+  Union of the North and South London Societies, 253
+
+  Vogel, Dr. H. W., 109
+
+  Washington, 49
+  Wedgwood Controversy, 80
+  Wedgwood, Thomas, 7, 8, 9
+  Whipple Gallery, 52
+  Wolcott Reflecting Camera, 28
+  Wollaston's Diaphragmatic Shutter, 115
+  Wollaston, Dr., 6
+  Woodbury Process, 82
+  Wothlytype Printing Process, 81
+
+
+
+
+INTRODUCTION.
+
+
+Photography, though young in years, is sufficiently aged to be in danger
+of having much of its early history, its infantile gambols, and vigorous
+growth, obscured or lost sight of in the glitter and reflection of the
+brilliant success which surrounds its maturity. Scarcely has the period
+of an average life passed away since the labours of the successful
+experimentalists began; yet, how few of the present generation of
+workers can lay their fingers on the dates of the birth, christening,
+and phases of the delightful vocation they pursue. Many know little or
+nothing of the long and weary travail the minds of the discoverers
+suffered before their ingenuity gave birth to the beautiful art-science
+by which they live. What form the infant art assumed in the earlier
+stages of its life; or when, where, and how, it passed from one phase to
+another until it arrived at its present state of mature and profitable
+perfection. Born with the art, as I may say, and having graduated in it,
+I could, if I felt so disposed, give an interesting, if not amusing,
+description of its rise and progress, and the many difficulties and
+disappointments that some of the early practitioners experienced at a
+time when photographic A B C's were not printed; its "principles and
+practice" anything but familiarly explained; and when the "dark room"
+was as dark as the grave, and as poisonous as a charnel-house, and only
+occasionally illumined by the glare of a "bull's-eye." But it is not my
+intention to enter the domain of romance, and give highly coloured or
+extravagant accounts of the growth of so beautiful and fascinating an
+art-science. Photography is sufficiently facetious in itself, and too
+versatile in its powers of delineation of scenes and character, to
+require any verbose effort of mine to make it attractive. A record of
+bare facts is all I aim at. Whatever is doubtful I shall leave to the
+imagination of the reader, or the invention of the romance writer. To
+arrange in chronological order the various discoveries, inventions, and
+improvements that have made photography what it is; to do honour to
+those who have toiled and given, or sold, the fruits of their labour for
+the advancement of the art; to set at rest, as far as dates can succeed
+in doing so, any questionable point or order of precedence of merit in
+invention, application, or modification of a process, and to enable the
+photographic student to make himself acquainted with the epochs of the
+art, is the extent of my ambition in compiling these records.
+
+With the hope of rendering this work readily referable and most
+comprehensive, I shall divide it into four periods. The first will deal
+broadly and briefly with such facts as can be ascertained that in any
+way bear on the accidental discovery, early researches, and ultimate
+success of the pioneers of photography.
+
+The second will embrace a fuller description of their successes and
+results. The third will be devoted to a consideration of patents and
+impediments; and the fourth to the rise and development of photographic
+literature and art. A strict chronological arrangement of each period
+will be maintained, and it is hoped that the advantages to be derived
+from travelling some of the same ground over again in the various
+divisions of the subject will fully compensate the reader, and be
+accepted as sufficient excuse for any unavoidable repetition that may
+appear in the work. With these few remarks I shall at once enter upon
+the task of placing before the reader in chronological order the origin,
+rise, progress, and development of the science and art of photography.
+
+
+
+
+FIRST PERIOD.
+
+THE DARK AGES.
+
+
+More than three hundred years have elapsed since the influence and
+actinism of light on chloride of silver was observed by the alchemists
+of the sixteenth century. This discovery was unquestionably the first
+thing that suggested to the minds of succeeding chemists and men of
+science the possibility of obtaining pictures of solid bodies on a plane
+surface previously coated with a silver salt by means of the sun's rays;
+but the alchemists were too much absorbed in their vain endeavours to
+convert the base metals into royal ones to seize the hint, and they lost
+the opportunity of turning the silver compounds with which they were
+acquainted into the mine of wealth it eventually became in the
+nineteenth century. Curiously enough, a mechanical invention of the same
+period was afterwards employed, with a very trifling modification, for
+the production of the earliest sun-pictures. This was the camera-obscura
+invented by Roger Bacon in 1297, and improved by a physician in Padua,
+Giovanni Baptista Porta, about 1500, and afterwards remodelled by Sir
+Isaac Newton.
+
+Two more centuries passed away before another step was taken towards the
+revelation of the marvellous fact that Nature possessed within herself
+the power to delineate her own beauties, and, as has recently been
+proved, that the sun could depict his own terrible majesty with a
+rapidity and fidelity the hand of man could never attain. The second
+step towards this grand achievement of science was the construction of
+the double achromatic combination of lenses by J. Dolland. With single
+combinations of lenses, such pictures as we see of ourselves to-day, and
+such portraits of the sun as the astronomers obtained during the late
+total eclipse, could never have been produced. J. Dolland, the eminent
+optician, was born in London 1706, and died 1762; and had he not made
+that important improvement in the construction of lenses, the eminent
+photographic opticians of the present day might have lived and died
+unknown to wealth and fame.
+
+The observations of the celebrated Swedish chemist, Scheele, formed the
+next interesting link between the simple and general blackening of a
+lump of chloride of silver, and the gradations of blackening which
+ultimately produced the photographic picture on a piece of paper
+possessing a prepared surface of nitrate of silver and chloride of
+sodium in combination. Scheele discovered in 1777 that the blackening of
+the silver compound was due to the reducing power of light, and that the
+black deposit was _reduced silver_; and it is precisely the same effect
+of the action of light upon chloride of silver passing through the
+various densities of the negative that produces the beautiful
+photographic prints with which we are all familiar at the present time.
+Scheele was also the first to discover and make known the fact that
+chloride of silver was blackened or reduced to various depths by the
+varying action of the prismatic colours. He fixed a glass prism in a
+window, allowed the refracted sunbeams to fall on a piece of paper
+strewn with _luna cornua_--fused chloride of silver--and saw that the
+violet ray was more active than any of the other colours. Anyone, with a
+piece of sensitised paper and a prism, or piece of a broken lustre, can
+repeat and see for themselves Scheele's interesting discovery; and
+anyone that can draw a head or a flower may catch a sunbeam in a small
+magnifying glass, and make a drawing on sensitised paper with a pencil,
+as long as the sun is distant from the earth. It is the old story of
+Columbus and the egg--easy to do when you are shown or told how.
+
+Charles William Scheele was born at Stralsund, Sweden, December 19th,
+1742, and died at Koeping, on lake Moeler, May 21st, 1786. He was the
+real father of photography, for he produced the first photographic
+picture on record without camera and without lens, with the same
+chemical compound and the same beautiful and wonderful combination of
+natural colours which we now employ. Little did he dream what was to
+follow. But photography, like everything else in this world, is a
+process of evolution.
+
+Senebier followed up Scheele's experiments with the solar spectrum, and
+ascertained that chloride of silver was darkened by the violet ray in
+fifteen minutes, while the red rays were sluggish, and required twenty
+minutes to produce the same result.
+
+John Wm. Ritter, born at Samitz, in Silesia, corroborated the
+experiments of Scheele, and discovered that chloride of silver was
+blackened beyond the spectrum on the violet side. He died in 1810; but
+he had observed what is now called the fluorescent rays of the
+spectrum--invisible rays which unquestionably exert themselves in the
+interests and practice of photography.
+
+Many other experiments were made by other chemists and philosophers on
+the influence of light on various substances, but none of them had any
+direct bearing on the subject under consideration until Count Rumford,
+in 1798, communicated to the Royal Society his experiments with chloride
+of gold. Count Rumford wetted a piece of taffeta ribbon with a solution
+of chloride of gold, held it horizontally over the clear flame of a wax
+candle, and saw that the heat decomposed the gold solution, and stained
+the ribbon a beautiful purple. Though no revived gold was visible, the
+ribbon appeared to be coated with a rich purple enamel, which showed a
+metallic lustre of great brilliancy when viewed in the sunlight; but its
+photographic value lay in the circumstance of the hint it afterwards
+afforded M. Fizeau in applying a solution of chloride of gold, and, by
+means of heat, depositing a fine film of metallic gold on the surface of
+the Daguerreotype image, thereby increasing the brilliancy and
+permanency of that form of photographic picture. A modification of M.
+Fizeau's chloride of gold "fixing process" is still used to tone, and
+imparts a rich purple colour to photographic prints on plain and
+albumenized papers.
+
+In 1800, Dr. Herschel's "Memoirs on the Heating Power of the Solar
+Spectrum" were published, and out of his observations on the various
+effects of differently coloured darkening glasses arose the idea that
+the chemical properties of the prismatic colours, and coloured glass,
+might be as different as those which related to heat and light. His
+suspicions were ultimately verified, and hence the use of yellow or ruby
+glass in the windows of the "dark room," as either of those coloured
+glasses admit the luminous ray and restrain the violet or active
+photographic ray, and allow all the operations that would otherwise have
+to be performed in the dark, to be seen and done in comfort, and without
+injury to the sensitive film.
+
+The researches of Dr. Wollaston, in 1802, had very little reference to
+photography beyond his examination of the chemical action of the rays of
+the spectrum, and his observation that the yellow stain of gum guaiacum
+was converted to a green colour in the violet rays, and that the red
+rays rapidly destroyed the green tint the violet rays had generated.
+
+1802 is, however, a memorable year in the dark ages of photography, and
+the disappointment of those enthusiastic and indefatigable pursuers of
+the sunbeam must have been grievous indeed, when, after years of labour,
+they found the means of catching shadows as they fell, and discovered
+that they could not keep them.
+
+Thomas Wedgwood, son of the celebrated potter, was not only the first
+that obtained photographic impressions of objects, but the first to make
+the attempt to obtain sun-pictures in the true sense of the word.
+Scheele had obtained the first photographic picture of the solar
+spectrum, but it was by accident, and while pursuing other chemical
+experiments; whereas Wedgwood went to work avowedly to make the sunbeam
+his slave, to enlist the sun into the service of art, and to compel the
+sun to illustrate art, and to depict nature more faithfully than art had
+ever imitated anything illumined by the sun before. How far he succeeded
+everyone should know, and no student of photography should ever tire of
+reading the first published account of his fascinating pastime or
+delightful vocation, if it were but to remind him of the treasures that
+surround him, and the value of hyposulphite of soda. What would Thomas
+Wedgwood not have given for a handful of that now common commodity?
+There is a mournfulness in the sentence relative to the evanescence of
+those sun-pictures in the Memoir by Wedgwood and Davy that is peculiarly
+impressive and desponding contrasted with our present notions of
+instability. We know that sun-pictures will, at the least, last for
+years, while they knew that at the most they would endure but for a few
+hours. The following extracts from the Memoir published in June, 1802,
+will, it is hoped, be found sufficiently interesting and in place here
+to justify their insertion.
+
+"White paper, or white leather moistened with solution of nitrate of
+silver, undergoes no change when kept in a dark place, but on being
+exposed to the daylight it speedily changes colour, and after passing
+through different shades of grey and brown becomes at length nearly
+black.... In the direct beams of the sun, two or three minutes are
+sufficient to produce the full effect, in the shade several hours are
+required, and light transmitted through different coloured glasses acts
+upon it with different degrees of intensity. Thus it is found that red
+rays, or the common sunbeams passed through red glass, have very little
+action upon it; yellow and green are more efficacious, but blue and
+violet light produce the most decided and powerful effects.... When the
+shadow of any figure is thrown upon the prepared surface, the part
+concealed by it remains white, and the other parts speedily become dark.
+For copying paintings on glass, the solution should be applied on
+leather, and in this case it is more readily acted on than when paper is
+used. After the colour has been once fixed on the leather or paper, it
+cannot be removed by the application of water, or water and soap, and it
+is in a high degree permanent. The copy of a painting or the profile,
+immediately after being taken, must be kept in an obscure place; it may
+indeed be examined in the shade, but in this case the exposure should be
+only for a few minutes; by the light of candles or lamps as commonly
+employed it is not sensibly affected.
+
+"No attempts that have been made to prevent the uncoloured parts of the
+copy or profile from being acted upon by the light have as yet been
+successful. They have been covered by a thin coating of fine varnish,
+but this has not destroyed their susceptibility of becoming coloured,
+and even after repeated washings, sufficient of the active part of the
+saline matter will adhere to the white parts of leather or paper to
+cause them to become dark when exposed to the rays of the sun....
+
+"The images formed by means of a camera-obscura have been found to be too
+faint to produce, in any moderate time, an effect upon the nitrate of
+silver. To copy these images was the first object of Mr. Wedgwood, in
+his researches on the subject, and for this purpose he first used the
+nitrate of silver, which was mentioned to him by a friend, as a
+substance very sensible to the influence of light; but all his numerous
+experiments as to their primary end proved unsuccessful."
+
+From the foregoing extracts from the first lecture on photography that
+ever was delivered or published, it will be seen that those two eminent
+philosophers and experimentalists despaired of obtaining pictures in the
+camera-obscura, and of rendering the pictures obtained by superposition,
+or cast shadows, in any degree permanent, and that they were utterly
+ignorant and destitute of any fixing agents. No wonder, then, that all
+further attempts to pursue these experiments should, for a time, be
+abandoned in England. Although Thomas Wedgwood's discoveries were not
+published until 1802, he obtained his first results in 1791, and does
+not appear to have made any appreciable advance during the remainder of
+his life. He was born in 1771, and died in 1805. Sir Humphry Davy was
+born at Penzance 1778, and died at Geneva in 1828, so that neither of
+them lived to see the realization of their hopes.
+
+From the time that Wedgwood and Davy relinquished their investigation,
+the subject appears to have lain dormant until 1814, when Joseph
+Nicephore Niepce, of Chalons-sur-Saone, commenced a series of experiments
+with various resins, with the object of securing or retaining in a
+permanent state the pictures produced in the camera-obscura, and in
+1824, L. J. M. Daguerre turned his attention to the same subject. These
+two investigators appear to have carried on their experiments in
+different ways, and in total ignorance of the existence and pursuits of
+the other, until the year 1826, when they accidentally became acquainted
+with each other and the nature of their investigations. Their
+introduction and reciprocal admiration did not, however, induce them to
+exchange their ideas, or reveal the extent of their success in the
+researches on which they were occupied, and which both were pursuing so
+secretly and guardedly. They each preserved a marked reticence on the
+subject for a considerable time, and it was not until a deed of
+partnership was executed between them that they confided their hopes and
+fears, their failures with this substance, and their prospects of
+success with that; and even after the execution of the deed of
+partnership they seem to have jealously withheld as much of their
+knowledge as they decently could under the circumstances.
+
+Towards the close of 1827 M. Niepce visited England, and we receive the
+first intimation of his success in the production of light-drawn
+pictures from a note addressed to Mr. Bauer, of Kew. It is rather
+curious and flattering to find that the earliest intimation of the
+Frenchman's success is given in England. The note which M. Niepce wrote
+to Mr. Bauer is in French, but the following is a translation of the
+interesting announcement:--"Kew, 19th November, 1827. Sir,--When I left
+France to reside here, I was engaged in researches on the way to retain
+the image of objects by the action of light. I have obtained some
+results which make me eager to proceed.... Nicephore Niepce." This is
+the first recorded announcement of his partial success.
+
+In the following December he communicated with the Royal Society of
+London, and showed several pictures on metal plates. Most of these
+pictures were specimens of his successful experiments with various
+resins, and the subjects were rendered visible to the extent which the
+light had assisted in hardening portions of the resin-covered plates.
+Some were etchings, and had been subjected to the action of acid after
+the design had been impressed by the action of light. Several of these
+specimens, I believe, are still extant, and may be seen on application
+to the proper official at the British Museum. M. Niepce named these
+results of his researches Heliography, and Mr. Robert Hunt gives their
+number, and a description of each subject, in his work entitled,
+"Researches on Light." M. Niepce met with some disappointment in England
+on account of the Royal Society refusing to receive his communication as
+a secret, and he returned to France rather hurriedly. In a letter dated
+"Chalons-sur-Saone, 1st March, 1828," he says, "We arrived here 26th
+February"; and, in a letter written by Daguerre, February 3rd, 1828, we
+find that savant consoling his brother experimentalist for his lack of
+encouragement in England.
+
+In December, 1829, the two French investigators joined issue by
+executing a deed of co-partnery, in which they agreed to prosecute their
+researches in future in mutual confidence and for their joint advantage;
+but their interchange of thought and experience does not appear to have
+been of much value or advantage to the other; for an examination of the
+correspondence between MM. Niepce and Daguerre tends to show that the
+one somewhat annoyed the other by sticking to his resins, and the other
+one by recommending the use of iodine. M. Niepce somewhat ungraciously
+expresses regret at having wasted so much time in experimenting with
+iodine at M. Daguerre's suggestion, but ultimate results fully justified
+Daguerre's recommendation, and proved that he was then on the right
+track, while M. Niepce's experiments with resins, asphaltum, and
+other substances terminated in nothing but tedious manipulations,
+lengthy exposures, and unsatisfactory results. To M. Niepce, most
+unquestionably, is due the honour of having produced the first permanent
+sun-pictures, for we have seen that those obtained by Wedgwood and Davy
+were as fleeting as a shadow, while those exhibited by M. Niepce in 1827
+are still in their original condition, and, imperfect as they are, they
+are likely to retain their permanency for ever. Their fault lay in
+neither possessing beauty nor commercial applicability.
+
+As M. Niepce died at Chalons-sur-Saone in 1833, and does not appear to
+have improved his process much, if any, after entering into partnership
+with M. Daguerre, and as I may not have occasion to allude to him or his
+researches again, I think this will be the most fitting place to give a
+brief description of his process, and his share in the labours of
+bringing up the wonderful baby of science, afterwards named Photography,
+to a safe and ineffaceable period of its existence.
+
+The Heliographic process of M. Niepce consists of a solution of
+asphaltum, bitumen of Judea, being spread on metal or glass plates,
+submitted to the action of light either by superposition or in the
+camera, and the unaffected parts dissolved away afterwards by means of a
+suitable solvent. But, in case any student of photography should like to
+produce one of the first form of permanent sun-pictures, I shall give
+here the details of M. Niepce's own _modus operandi_ for preparing the
+solution of bitumen and coating the plate:--
+
+"I about half fill a wine-glass with this pulverised bitumen; I pour
+upon it, drop by drop, the essential oil of lavender until the bitumen
+is completely saturated. I afterwards add as much more of the essential
+oil as causes the whole to stand about three lines above the mixture,
+which is then covered and submitted to a gentle heat until the essential
+oil is fully impregnated with the colouring matter of the bitumen. If
+this varnish is not of the required consistency, it is to be allowed to
+evaporate slowly, without heat, in a shallow dish, care being taken to
+protect it from moisture, by which it is injured and at last decomposed.
+In winter, or in rainy weather, the precaution is doubly necessary. A
+tablet of plated silver, or well cleaned and warm glass, is to be highly
+polished, on which a thin coating of the varnish is to be applied cold,
+with a light roll of very soft skin; this will impart to it a fine
+vermilion colour, and cover it with a very thin and equal coating. The
+plate is then placed upon heated iron, which is wrapped round with
+several folds of paper, from which, by this method, all moisture had
+been previously expelled. When the varnish has ceased to simmer, the
+plate is withdrawn from the heat, and left to cool and dry in a gentle
+temperature, and protected from a damp atmosphere. In this part of the
+operation a light disc of metal, with a handle in the centre, should be
+held before the mouth, in order to condense the moisture of the breath."
+
+In the foregoing description it will be observed how much importance M.
+Niepce attached to the necessity of protecting the solution and prepared
+plate from moisture, and that no precautions are given concerning the
+effect of white light. It must be remembered, however, that the
+material employed was very insensitive, requiring many hours of exposure
+either in the camera or under a print or drawing placed in contact with
+the prepared surface, and consequently such precaution might not have
+been deemed necessary. Probably M. Niepce worked in a subdued light, but
+there can be no doubt about the necessity of conducting both the
+foregoing operations in yellow light. Had M. Niepce performed his
+operations in a non-actinic light, the plates would certainly have been
+more sensitive, and the unacted-on parts would have been more soluble;
+thus rendering both the time of exposure and development more rapid.
+
+After the plate was prepared and dried, it was exposed in the camera, or
+by superposition, under a print, or other suitable subject, that would
+lie flat. For the latter, an exposure of two or three hours in bright
+sunshine was necessary, and the former required six or eight hours in a
+strong light. Even those prolonged exposures did not produce a visible
+image, and the resultant picture was not revealed to view until after a
+tedious process of dissolving, for it could scarcely be called
+development. M. Niepce himself says, "The next operation then is to
+disengage the _shrouded_ imagery, and this is accomplished by a
+solvent." The solvent consisted of one measure of the essential oil of
+lavender and ten of oil of white petroleum or benzole. On removing the
+tablet from the camera or other object, it was plunged into a bath of
+the above solvent, and left there until the parts not hardened by light
+were dissolved. When the picture was fully revealed, it was placed at an
+angle to drain, and finished by washing it in water.
+
+Except for the purpose of after-etching, M. Niepce's process was of
+little commercial value then, but it has since been of some service in
+the practice of photo-lithography. That, I think, is the fullest extent
+of the commercial or artistic advantages derived from the utmost success
+of M. Niepce's discoveries; but what he considered his failures, the
+fact that he employed copper plates coated with silver for his
+heliographic tablets, and endeavoured to darken the clean or clear parts
+of the silvered plates with the fumes of iodine for the sake of contrast
+only, may be safely accepted as the foundation of Daguerre's ultimate
+success in discovering the extremely beautiful and workable process
+known as the Daguerreotype.
+
+M. Niepce appears to have done very little more towards perfecting the
+heliographic process after joining Daguerre; but the latter effected
+some improvements, and substituted for the bitumen of Judea the residuum
+obtained by evaporating the essential oil of lavender, without, however,
+attaining any important advance in that direction. After the death of M.
+Nicephore Niepce, a new agreement was entered into by his son, M.
+Isidore Niepce, and M. Daguerre, and we must leave those two
+experimentalists pursuing their discoveries in France while we return to
+England to pick up the chronological links that unite the history of
+this wonderful discovery with the time that it was abandoned by Wedgwood
+and Davy, and the period of its startling and brilliant realization.
+
+In 1834, Mr. Henry Fox Talbot, of Lacock Abbey, Wilts, "began to put in
+practice," as he informs us in his memoir read before the Royal Society,
+a method which _he_ "had _devised_ some time previously, for employing
+to purposes of utility the very curious property which has been long
+known to chemists to be possessed by the nitrate of silver--namely, to
+discolouration when exposed to the violet rays of light." The statement
+just quoted places us at once on the debateable ground of our subject,
+and compels us to pause and consider to what extent photography is
+indebted to Mr. Talbot for its further development at this period and
+five years subsequently. In the first place, it is not to be supposed
+for a moment that a man of Mr. Talbot's position and education could
+possibly be ignorant of what had been done by Mr. Thomas Wedgwood and
+Sir Humphry Davy. Their experiments were published in the Journal of
+the Royal Institution of Great Britain in June, 1802, and Mr. Talbot or
+some of his friends could not have failed to have seen or heard of those
+published details; and, in the second place, a comparison between the
+last records of Wedgwood and Davy's experiments, and the first published
+details of Mr. Talbot's process, shows not only that the two processes
+are identically the same, but that Mr. Talbot published his process
+before he had made a single step in advance of Wedgwood and Davy's
+discoveries; and that his fixing solution was not a fixer at all, but
+simply a retardant that delayed the gradual disappearance of the picture
+only a short time longer. Mr. Talbot has generally been credited with
+the honour of producing the first permanent sun-pictures on paper; but
+there are grave reasons for doubting the justice of that honour being
+entirely, if at all, due to him, and the following facts and extracts
+will probably tend to set that question at rest, and transfer the laurel
+to another brow.
+
+To the late Rev. J. B. Reade is incontestably due the honour of having
+first applied tannin as an accelerator, and hyposulphite of soda as a
+fixing agent, to the production and retention of light-produced
+pictures; and having first obtained an ineffaceable photograph upon
+paper. Mr. Talbot's gallate of silver process was not patented or
+published till 1841; whereas the Rev. J. B. Reade produced paper
+negatives by means of gallic acid and nitrate of silver in 1837. It will
+be remembered that Mr. Wedgwood had discovered and stated that the
+chloride of silver was more sensitive when applied to white leather, and
+Mr. Reade, by inductive reasoning, came to the conclusion that tanned
+paper and silver would be more sensitive to light than ordinary paper
+coated with nitrate of silver could possibly be. As the reverend
+philosopher's ideas on that subject are probably the first that ever
+impregnated the mind of man, and as his experiments and observations are
+the very earliest in the pursuit of a gallic acid accelerator and
+developer, I will give them in his own words.--"No one can dispute my
+claim to be the first to suggest the use of gallic acid as a sensitiser
+for prepared paper, and hyposulphite of soda as a fixer. These are the
+keystones of the arch at which Davy and Young had laboured--or, as I may
+say in the language of another science, we may vary the tones as we
+please, but here is the fundamental base. My use of gallate of silver
+was the result of an inference from Wedgwood's experiments with leather,
+'which is more readily acted upon than paper' (_Journal of the Royal
+Institution_, vol. i., p. 171). Mrs. Reade was so good as to give me a
+pair of light-coloured leather gloves, that I might repeat Wedgwood's
+experiment, and, as my friend Mr. Ackerman reminds me, her little
+objection to let me have a second pair led me to say, 'Then I will tan
+paper.' Accordingly I used an infusion of galls in the first instance in
+the early part of the year 1837, when I was engaged in taking
+photographs of microscopic objects. By a new arrangement of lenses in
+the solar microscope, I produced a convergence of the rays of light,
+while the rays of heat, owing to their different refractions, were
+parallel or divergent. This fortunate dispersion of the calorific rays
+enabled me to use objects mounted in balsam, as well as cemented
+achromatic object glasses; and, indeed, such was the coolness of the
+illumination, that even _infusoria_ in single drops of water were
+perfectly happy and playful (_vide_ abstracts of the 'Philosophical
+Transactions,' December 22nd, 1836). The continued expense of an
+artist--though, at first, I employed my friend, Lens Aldons--to copy the
+pictures on the screen was out of the question. I therefore fell back,
+but without any sanguine expectations as to the result, upon the
+photographic process adopted by Wedgwood, with which I happened to be
+well acquainted. It was a _weary while_, however, before any
+satisfactory impression was made, either on chloride or nitrate paper. I
+succeeded better with the leather; but my fortunate inability to
+replenish the little stock of this latter article induced me to apply
+the tannin solution to paper, and thus I was at once placed, by a very
+decided step, in advance of earlier experimenters, and I had the
+pleasure of succeeding where Talbot acknowledges that he failed.
+
+"Naturally enough, the solution which I used at first was too strong,
+but, if you have ever been in what I may call _the agony of a find_, you
+can conceive my sensations on witnessing the unwilling paper become in a
+few seconds almost as black as my hat. There was just a passing glimpse
+of outline, 'and in a moment all was dark.' It was evident, however,
+that I was in possession of all, and more than all, I wanted, and that
+the dilution of so powerful an accelerator would probably give
+successful results. The large amount of dilution greatly surprised me;
+and, indeed, before I obtained a satisfactory picture, the quantity of
+gallic acid in the infusion must have been quite homoeopathic; but
+this is in exact accordance with modern practice and known laws. In
+reference to this point, Sir John Herschel, writing from Slough, in
+April, 1840, says to Mr. Redman, then of Peckham (where I had resided),
+'I am surprised at the weak solution employed, and how, with such, you
+have been able to get a depth of shadow sufficient for so very sharp a
+re-transfer is to me marvellous.' I may speak of Mr. Redmond as a
+photographic pupil of mine, and at my request, he communicated the
+process to Sir John, which, 'on account of the extreme clearness and
+sharpness of the results,' to use Sir John's words, much interested him.
+
+"Dr. Diamond also, whose labours are universally appreciated, first saw
+my early attempts at Peckham in 1837, and heard of my use of gallate of
+silver, and was thus led to adopt what Admiral Smyth then called 'a
+quick mode of taking bad pictures'; but, as I told the Admiral in reply,
+he was born a _baby_. Whether our philosophical baby is 'out of its
+teens' may be a question; at all events, it is a very fine child, and
+handles the pencil of nature with consummate skill.
+
+"But of all the persons who heard of my new accelerator, it is most
+important to state that my old and valued friend, the late Andrew Ross,
+told Mr. Talbot how first of all, by means of the solar microscope, I
+threw the image of the object on prepared paper, and then, while the
+paper was yet wet, washed it over with the infusion of galls, when a
+sufficiently dense negative was quickly obtained. In the celebrated
+trial, "Talbot _versus_ Laroche," Mr. Talbot, in his cross-examination,
+and in an almost breathless court, acknowledged that he had received
+this information from Ross, and from that moment it became the
+unavoidable impression that he was scarcely justified in taking out a
+patent for applying my accelerator to any known photogenic paper.
+
+"The three known papers were those impregnated with the nitrate,
+chloride, and the iodide of silver--the two former used by Wedgwood and
+Young, and the latter by Davy. It is true that Talbot says of the iodide
+of silver that it is quite insensitive to light, and so it is as he
+makes it; but when he reduces it to the condition described by
+Davy--viz., affected by the presence of a little free nitrate of
+silver--then he must acknowledge, with Davy, that 'it is far more
+sensitive to the action of light than either the nitrate or the muriate,
+and is evidently a distinct compound.' In this state, also, the infusion
+of galls or gallic acid is, as we all know, most decided and
+instantaneous, and so I found it to be in my early experiments. Of
+course I tried the effects of my accelerator on many salts of silver,
+but especially upon the iodide, in consequence of my knowledge of Davy's
+papers on iodine in the 'Philosophical Transactions.' These I had
+previously studied, in conjunction with my chemical friend, Mr. Hodgson,
+then of Apothecaries' Hall. I did not, however, use iodised paper, which
+is well described by Talbot in the _Philosophical Magazine_ for March,
+1838, as a _substitute_ for other sensitive papers, but only as one
+among many experiments alluded to in my letter to Mr. Brayley.
+
+"My pictures were exhibited at the Royal Society, and also at Lord
+Northampton's, at his lordship's request, in April, 1839, when Mr.
+Talbot also exhibited his. In my letter to Mr. Brayley, I did not
+describe iodised pictures, and, therefore, it was held that exhibition
+in the absence of description left the process legally unknown. Mr.
+Talbot consequently felt justified in taking out a patent for uniting my
+_known_ accelerator with Davy's _known_ sensitive silver compound,
+adopting my method (already communicated to him) with reference to
+Wedgwood's papers, and adding specific improvements in manipulation.
+Whatever varied opinion may consequently be formed as to the defence of
+the patent in court, there can be but one as to the skill of the
+patentee.
+
+"It is obvious that, in the process so conducted by me with the solar
+microscope, I was virtually _within_ my camera, standing between the
+object and the prepared paper. Hence the exciting and developing
+processes were conducted under _one operation_ (subsequently patented by
+Talbot), and the fact of a latent image being brought out was not forced
+upon my attention. I did, however, perceive this phenomenon upon one
+occasion, after I had been suddenly called away, when taking an
+impression of the _Trientalis Europaea_--and surprised enough I was, and
+stood in astonishment to look at it. But with all this, I was only, as
+the judge said, "_very hot_." I did not realize the _master fact_ that
+the latent image which had been developed was the basis of photographic
+manipulation. The merit of this discovery is Talbot's, and his only, and
+I honour him greatly for his skill and earlier discernment. I was,
+indeed, myself fully aware that the image darkened under the influence
+of my sensitiser, while I placed my hand before the lens of the
+instrument to stop out the light; and my solar mezzotint, as I then
+termed it, was, in fact, brought out and perfected under my own eye by
+the agency of gallic acid in the infusion, rather than by the influence
+of direct solar action. But the notion of developing a latent image in
+these microscopic photographs never crossed my mind, even after I had
+witnessed such development in the _Trientalis Europaea_. My original
+notion was that the infusion of galls, added to the wet chloride or
+nitrate paper while the picture was thrown upon it, produced only a new
+and highly sensitive compound; whereas, by its peculiar and continuous
+action after the first impact of light on the now sensitive paper, I was
+also, as Talbot has shown, employing its property of development as well
+as excitement. My ignorance of its properties was no bar to its action.
+However, I threw the _ball_, and Talbot caught it, and no man can be
+more willing than myself to acknowledge our obligations to this
+distinguished photographer. He compelled the world to listen to him, and
+he had something worth hearing to communicate; and it is a sufficient
+return to me that he publicly acknowledged his obligation to me, with
+reference to what Sir David Brewster calls 'an essential part of his
+patent' (_vide North British Review_, No. 14 article--'Photography').
+
+"Talbot did not patent my valuable fixer. Here I had the advantage of
+having published my use of hyposulphite of soda, which Mr. Hodgson made
+for me in 1837, when London did not contain an ounce of it for sale. The
+early operators had no fixer; that was _their fix_; and, so far as any
+record exists, they got no further in this direction than 'imagining
+some experiments on the subject!' I tried ammonia, but it acted too
+energetically on the picture itself to be available for the purpose. It
+led me, however, to the ammonia nitrate process of printing positives, a
+description of which process (though patented by Talbot in 1843) I sent
+to a photographic brother in 1839, and a quotation from my letter of
+that date has already appeared in one of my communications to _Notes and
+Queries_. On examining Brande's Chemistry, under the hope of still
+finding the desired solvent which should have a greater affinity for the
+simple silver compound on the uncoloured part of the picture than for
+the portion blackened by light, I happened to see it stated, on Sir John
+Herschel's authority, that hyposulphite of soda dissolves chloride of
+silver. I need not now say that I used this fixer with success. The
+world, however, would not have been long without it, for, when Sir John
+himself became a photographer in the following year, he first of all
+used hyposulphite of ammonia, and then permanently fell back upon the
+properties of his other compound. Two of my solar microscope negatives,
+taken in 1837, and exhibited with several others by Mr. Brayley in 1839
+as illustrations of my letter and of his lecture at the London
+Institution, are now in the possession of the London Photographic
+Society. They are, no doubt, the earliest examples of the agency of two
+chemical compounds which will be co-existent with photography itself,
+viz., gallate of silver and hyposulphite of soda, and my use of them, as
+above described, will sanction my claim to be the first to take paper
+pictures rapidly, and to fix them permanently.
+
+"Such is a short account of my contribution to this interesting branch
+of science, and, in the pleasure of the discovery, I have a sufficient
+reward."
+
+These lengthy extracts from the Rev. Mr. Reade's published letter render
+further comment all but superfluous, but I cannot resist taking
+advantage of the opportunity here afforded of pointing out to all lovers
+of photography and natural justice that the progress of the discovery
+has advanced to a far greater extent by Mr. Reade's reasoning and
+experiments than it was by Mr. Talbot's ingenuity. The latter, as Mr.
+Reade observes, only "caught the ball" and threw it into the Patent
+Office, with some improvements in the manipulations. Mr. Reade
+generously ascribes all honour and glory to Mr. Talbot for his
+shrewdness in seizing what he had overlooked, viz., the development of
+the latent image; but there is a quiet current of rebuke running all
+through Mr. Reade's letter about the justice of patenting a known
+sensitiser and a known accelerator, which he alone had combined and
+applied to the successful production of a negative on paper. Mr.
+Talbot's patent process was nothing more, yet he endeavoured to secure
+a monopoly of what was in substance the discovery and invention of
+another. Mr. Talbot was either very precipitate, or ill-advised, to rush
+to the Patent Office with his modification, and even at this distant
+date it is much to be regretted that he did so, for his rash act has,
+unhappily for photography, proved a pernicious precedent. Mr. Reade gave
+his discoveries to the world freely, and the "pleasure of the discovery"
+was "a sufficient reward." All honour to such discoverers. They, and
+they only, are the true lovers of science and art, who take up the torch
+where another laid it down, or lost it, and carry it forward another
+stage towards perfection, without sullying its brightness or dimming the
+flame with sordid motives.
+
+The Rev. J. B. Reade lived to see the process _he_ discovered and
+watched over in its embryo state, developed with wondrous rapidity into
+one of the most extensively applied arts of this marvellous age, and
+died, regretted and esteemed by all who knew him, December 12th, 1870.
+Photographers, your occupations are his monument, but let his name be a
+tablet on your hearts, and his unselfishness your emulation!
+
+The year 1838 gave birth to another photographic discovery, little
+thought of and of small promise at the time, but out of which have
+flowed all the various modifications of solar and mechanical carbon
+printing. This was the discovery of Mr. Mungo Ponton, who first observed
+and announced the effects of the sun's rays upon bichromate of potash.
+But that gentleman was unwise in his generation, and did not patent his
+discovery, so a whole host of patent locusts fell upon the field of
+research in after years, and quickly seized the manna he had left, to
+spread on their own bread. Mr. Mungo Ponton spread a solution of
+bichromate of potash upon paper, submitted it under a suitable object to
+the sun's rays, and told all the world, without charge, that the light
+hardened the bichromate to the extent of its action, and that the
+unacted-upon portions could be dissolved away, leaving the object
+_white_ upon a yellow or orange ground. Other experimenters played
+variations on Mr. Ponton's bichromate scale, and amongst the performers
+were M. E. Becquerel, of France, and our own distinguished countryman,
+Mr. Robert Hunt.
+
+During the years that elapsed between the death of M. Niepce and the
+period to which I have brought these records, little was heard or known
+of the researches of M. Daguerre, but he was not idle, nor had he
+abandoned his iodine ideas. He steadily pursued his subject, and worked
+with a continuity that gained him the unenviable reputation of a
+lunatic. His persistency created doubts of his sanity, but he toiled on
+_solus_, confident that he was not in pursuit of an impossibility, and
+sanguine of success. That success came, hastened by lucky chance, and
+early in January, 1839, M. Daguerre announced the interesting and
+important fact that the problem was solved. Pictures in the
+camera-obscura could be, not only seen, but caught and retained. M.
+Daguerre had laboured, sought, and found, and the bare announcement of
+his wonderful discovery electrified the world of science.
+
+The electric telegraph could not then flash the fascinating intelligence
+from Paris to London, but the news travelled fast, nevertheless, and the
+unexpected report of M. Daguerre's triumph hurried Mr. Talbot forward
+with a similar statement of success. Mr. Talbot declared his triumph on
+the 31st of January, 1839, and published in the following month the
+details of a process which was little, if any, in advance of that
+already known.
+
+Daguerre delayed the publication of his process until a pension of six
+thousand francs per annum had been secured to himself, and four thousand
+francs per annum to M. Isidore Niepce for life, with a reversion of
+one-half to their widows. In the midst of political and social struggles
+France was proud of the glory of such a marvellous discovery, and
+liberally rewarded her fortunate sons of science with honourable
+distinction and substantial emolument. She was proud and generous to a
+chivalrous extent, for she pensioned her sons that she might have the
+"glory of endowing the world of science and of art with one of the most
+surprising discoveries" that had been made on her soil; and, because she
+considered that "the invention did not admit of being secured by
+patent;" but avarice and cupidity frustrated her noble and generous
+intentions in this country, and England alone was harassed with
+injunctions and prosecutions, while all the rest of the world
+participated in the pleasure and profits of the noble gift of France.
+
+In July, 1839, M. Daguerre divulged his secret at the request and
+expense of the French Government, and the process which bore his name
+was found to be totally different, both in manipulation and effect, from
+any sun-pictures that had been obtained in England. The Daguerreotype
+was a latent image produced by light on an iodised silver plate, and
+developed, or made visible, by the fumes of mercury; but the resultant
+picture was one of the most shimmering and vapoury imaginable, wanting
+in solidity, colour, and firmness. In fact, photography as introduced by
+M. Daguerre was in every sense a wonderfully shadowy and all but
+invisible thing, and not many removes from the dark ages of its
+creation. The process was extremely delicate and difficult, slow and
+tedious to manipulate, and too insensitive to be applied to portraiture
+with any prospect of success, from fifteen to twenty minutes' exposure
+in bright sunshine being necessary to obtain a picture. The mode of
+proceeding was as follows:--A copper plate with a coating of silver was
+carefully cleaned and polished on the silvered side, that was placed,
+silver side downwards, over a vessel containing iodine in crystals,
+until the silvered surface assumed a golden-yellow colour. The plate was
+then transferred to the camera-obscura, and submitted to the action of
+light. After the plate had received the requisite amount of exposure, it
+was placed over a box containing mercury, the fumes of which, on the
+application of a gentle heat, developed the latent image. The picture
+was then washed in salt and water, or a solution of hyposulphite of
+soda, to remove the iodide of silver, washed in clean water afterwards,
+and dried, and the Daguerreotype was finished according to Daguerre's
+first published process.
+
+The development of the latent image by mercury subliming was the most
+marvellous and unlooked-for part of the process, and it was for that
+all-important thing that Daguerre was entirely indebted to chance.
+Having put one of his apparently useless iodized and exposed silver
+plates into a cupboard containing a pot of mercury, Daguerre was greatly
+surprised, on visiting the cupboard some time afterwards, to find the
+blank looking plate converted into a visible picture. Other plates were
+iodized and exposed and placed in the cupboard, and the same mysterious
+process of development was repeated, and it was not until this thing and
+the other thing had been removed and replaced over and over again, that
+Daguerre became aware that quicksilver, an article that had been used
+for making mirrors and reflecting images for years, was the developer of
+the invisible image. It was indeed a most marvellous and unexpected
+result. Daguerre had devoted years of labour and made numberless
+experiments to obtain a transcript of nature drawn by her own hand, but
+all his studied efforts and weary hours of labour had only resulted in
+repeated failures and disappointments, and it appeared that Nature
+herself had grown weary of his bungling, and resolved to show him the
+way.
+
+The realization of his hopes was more accidental than inferential. The
+compounds with which he worked, neither produced a visible nor a latent
+image capable of being developed with any of the chemicals with which he
+was experimenting. At last accident rendered him more service than
+reasoning, and occult properties produced the effect his mental and
+inductive faculties failed to accomplish; and here we observe the great
+difference between the two successful discoverers, Reade and Daguerre.
+At this stage of the discovery I ignore Talbot's claim in _toto_. Reade
+arrived at his results by reasoning, experiment, observation, and
+judiciously weakening and controlling the re-agent he commenced his
+researches with. He had the infinite pleasure and disappointment of
+seeing his first picture flash into existence, and disappear again
+almost instantly, but in that instant he saw the cause of his success
+and failure, and his inductive reasoning reduced his failure to success;
+whereas Daguerre _found_ his result, was puzzled, and utterly at a loss
+to account for it, and it was only by a process of blind-man's bluff in
+his chemical cupboard that he laid his hands on the precious pot of
+mercury that produced the visible image.
+
+That was a discovery, it is true; but a bungling one, at best. Daguerre
+only worked intelligently with one-half of the elements of success; the
+other was thrust in his way, and the most essential part of his
+achievement was a triumphant accident. Daguerre did half the work--or,
+rather, one-third--light did the second part, and chance performed the
+rest, so that Daguerre's share of the honour was only one-third. Reade
+did two-thirds of the process, the first and third, intelligently;
+therefore to him alone is due the honour of discovering practical
+photography. His was a successful application of known properties, equal
+to an invention; Daguerre's was an accidental result arising from
+unknown causes and effects, and consequently a discovery of the lowest
+order. To England, then, and not to France, is the world indebted for
+the discovery of photography, and in the order of its earliest,
+greatest, and most successful discoverers and advancers, I place the
+Rev. J. B. Reade first and highest.
+
+
+  [Illustration: SECOND PERIOD.
+
+  DAGUERREOTYPE.
+
+  L. J. M. DAGUERRE.
+  _Used Iodine, 1839._
+
+  JOHN FREDERICK GODDARD.
+  _Applied Bromine, 1840._
+
+  NEW YORK.
+  _Copy of Instantaneous Daguerreotype, 1854._]
+
+
+
+
+SECOND PERIOD.
+
+PUBLICITY AND PROGRESS.
+
+
+1839 has generally been accepted as the year of the birth of Practical
+Photography, but that may now be considered an error. It was, however,
+the Year of Publicity, and the progress that followed with such
+marvellous rapidity may be freely received as an adversely eloquent
+comment on the principles of secrecy and restriction, in any art or
+science, like photography, which requires the varied suggestions of
+numerous minds and many years of experiment in different directions
+before it can be brought to a state of workable certainty and artistic
+and commercial applicability. Had Reade concealed his success and the
+nature of his accelerator, Talbot might have been bungling on with
+modifications of the experiments of Wedgwood and Davy to this day; and
+had Daguerre not sold the secret of his iodine vapour as a sensitiser,
+and his accidentally discovered property of mercury as a developer, he
+might never have got beyond the vapoury images he produced. As it was,
+Daguerre did little or nothing to improve his process and make it yield
+the extremely vigorous and beautiful results it did in after years. As
+in Mr. Reade's case with the Calotype process, Daguerre threw the ball
+and others caught it. Daguerre's advertised improvements of his process
+were lamentable failures and roundabout ways to obtain sensitive
+amalgams--exceedingly ingenious, but excessively bungling and
+impractical. To make the plates more sensitive to light, and, as
+Daguerre said, obtain pictures of objects in motion and animated scenes,
+he suggested that the silver plate should first be cleaned and polished
+in the usual way, then to deposit successively layers of mercury, and
+gold, and platinum. But the process was so tedious, unworkable, and
+unsatisfactory, no one ever attempted to employ it either commercially
+or scientifically. In publishing his first process, with its working
+details, Daguerre appears to have surrendered all that he knew, and to
+have been incapable of carrying his discovery to a higher degree of
+advancement. Without Mr. Goddard's bromine accelerator and M. Fizeau's
+chloride of gold fixer and invigorator, the Daguerreotype would never
+have been either a commercial success or a permanent production.
+
+1840 was almost as important a period in the annals of photography as
+the year of its enunciation, and to the two valuable improvements and
+one interesting importation, the Daguerreotype process was indebted for
+its success all over the world; and photography, even as it is practised
+now, is probably indebted for its present state of advancement to Mr.
+John Frederick Goddard, who applied bromine, as an accelerator, to the
+Daguerreotype process this year. In the early part of the Daguerreotype
+period it was so insensitive there was very little prospect of being
+able to take portraits with it through a lens. To meet this difficulty
+Mr. Wolcott, an American optician, constructed a reflecting camera and
+brought it to London. It was an ingenious contrivance, but did not fully
+answer the expectations of the inventor. It certainly did not require
+such a long exposure with this camera as when the rays from the image or
+sitter passed through a lens; but, as the sensitised plate was placed
+_between_ the sitter and the reflector, the picture was necessarily
+small, and neither very sharp nor satisfactory. This was a mechanical
+contrivance to shorten the time of exposure, which partially succeeded,
+but it was chemistry, and not mechanics, that effected the desirable
+result. Both Mr. Goddard and M. Antoine F. J. Claudet, of London,
+employed chlorine as a means of increasing the sensitiveness of the
+iodised silver plate, but it was not sufficiently accelerative to meet
+the requirements of the Daguerreotype process. Subsequently Mr. Goddard
+discovered that the vapour of bromine, added to that of iodine, imparted
+an extraordinary degree of sensitiveness to the prepared plate, and
+reduced the time of sitting from minutes to seconds. The addition of the
+fumes of bromine to those of iodine formed a compound of bromo-iodide of
+silver on the surface of the Daguerreotype plate, and not only increased
+the sensitiveness, but added to the strength and beauty of the resulting
+picture, and M. Fizeau's method of precipitating a film of gold over the
+whole surface of the plate still further increased the brilliancy of the
+picture and ensured its permanency. I have many Daguerreotypes in my
+possession now that were made over forty years ago, and they are as
+brilliant and perfect as they were on the day they were taken. I fear no
+one can say the same for any of Fox Talbot's early prints, or even more
+recent examples of silver printing.
+
+Another important event of this year was the importation of the first
+photographic lens, camera, &c., into England. These articles were
+brought from Paris by Sir Hussey Vivian, present M.P. for Glamorganshire
+(1889). It was the first lot of such articles that the Custom House
+officers had seen, and they were at a loss to know how to classify it.
+Finally they passed it under the general head of Optical Instruments.
+Sir Hussey told me this, himself, several years before he was made a
+baronet. What changes fifty years have wrought even in the duties of
+Custom House officers, for the imports and exports of photographic
+apparatus and materials must now amount to many thousands per annum!
+
+Having described the conditions and state of progress photography had
+attained at the time of my first contact with it, I think I may now
+enter into greater details, and relate my own personal experiences from
+this period right up to the end of its jubilee celebration.
+
+I was just fourteen years old when photography was made practicable by
+the publication of the two processes, one by Daguerre, and the other by
+Fox Talbot, and when I heard or read of the wonderful discovery I was
+fired with a desire to obtain a sight of these "sun-pictures," but the
+fire was kept smouldering for some time before my desire was gratified.
+Nothing travelled very fast in those days. Railroads had not long been
+started, and were not very extensively developed. Telegraphy, by
+electricity, was almost unknown, and I was a fixture, having just been
+apprenticed to an engraving firm hundreds of miles from London. But at
+last I caught sight of one of those marvellous drawings made by the sun
+in the window of the Post Office of my native town. It was a small
+Daguerreotype which had been sent there along with a notice that a
+licence to practise the "art" could be obtained of the patentee. I
+forget now what amount the patentee demanded for a licence, but I know
+that at the time referred to it was so far beyond my means and hopes
+that I never entertained the idea of becoming a licencee. I believe some
+one in the neighbourhood bought a licence, but either could not or did
+not make use of it commercially.
+
+Some time after that, a Miss Wigley, from London, came to the town to
+practise Daguerreotyping, but she did not remain long, and could not, I
+think, have made a profitable visit. If so, it could scarcely be
+wondered at, for the sun-pictures of that period were such thin,
+shimmering reflections, and distortions of the human face divine, that
+very few people were impressed either by the process or the newest
+wonder of the world. At that early period of photography, the plates
+were so insensitive, the sittings so long, and the conditions so
+terrible, it was not easy to induce anyone either to undergo the ordeal
+of sitting, or to pay the sum of twenty-one shillings for a very small
+and unsatisfactory portrait. In the infancy of the Daguerreotype
+process, the sitters were all placed out-of-doors, in direct sunshine,
+which naturally made them screw up or shut their eyes, and every feature
+glistened, and was painfully revealed. Many amusing stories have been
+told about the trials, mishaps, and disappointments attending those
+long and painful sittings, but the best that ever came to my knowledge
+was the following. In the earliest of the forties, a young lady
+went a considerable distance, in Yorkshire, to sit to an itinerant
+Daguerreotypist for her portrait, and, being limited for time,
+could only give one sitting. She was placed before the camera, the
+slide drawn, lens uncapped, and requested to sit there until the
+Daguerreotypist returned. He went away, probably to put his "mercury
+box" in order, or to have a smoke, for it was irksome--both to sitter
+and operator--to sit or stand doing nothing during those necessarily
+long exposures. When the operator returned, after an absence of fifteen
+or twenty minutes, the lady was sitting where he left her, and appeared
+glad to be relieved from her constrained position. She departed, and he
+proceeded with the development of the picture. The plate was examined
+from time to time, in the usual way, but there was no appearance of the
+lady. The ground, the wall, and the chair whereon she sat, were all
+visible, but the image of the lady was not; and the operator was
+completely puzzled, if not alarmed. He left the lady sitting, and found
+her sitting when he returned, so he was quite unable to account for her
+mysterious non-appearance in the picture. The mystery was, however,
+explained in a few days, when the lady called for her portrait, for she
+admitted that she got up and walked about as soon as he left her, and
+only sat down again when she heard him returning. The necessity of
+remaining before the camera was not recognised by that sitter. I
+afterwards reversed that result myself by focussing the chair, drawing
+the slide, uncapping the lens, sitting down, and rising leisurely to cap
+the lens again, and obtained a good portrait without showing a ghost of
+the chair or anything else. The foregoing is evidence of the
+insensitiveness of the plates at that early period of the practice of
+photography; but that state of inertion did not continue long, for as
+soon as the accelerating properties of bromine became generally known,
+the time of sitting was greatly reduced, and good Daguerreotype views
+were obtained by simply uncapping the lens as quickly as possible. I
+have taken excellent views in that manner myself in England, and, when
+in America, I obtained instantaneous views of Niagara Falls and other
+places quite as rapidly and as perfect as any instantaneous views made
+on gelatine dry plates, one of which I have copied and enlarged to 12 by
+10 inches, and may possibly reproduce the small copy in these pages.
+
+In 1845 I came into direct contact with photography for the first time.
+It was in that year that an Irishman named McGhee came into the
+neighbourhood to practise the Daguerreotype process. He was not a
+licencee, but no one appeared to interfere with him, nor serve him with
+an injunction, for he carried on his little portrait business for a
+considerable time without molestation. The patentee was either very
+indifferent to his vested interests, or did not consider these intruders
+worth going to law with, for there were many raids across the borders by
+camera men in those early days. Several circumstances combined to
+facilitate the inroads of Scotch operators into the northern counties of
+England. Firstly, the patent laws of England did not extend to Scotland
+at that time, so there was a far greater number of Daguerreotypists in
+Edinburgh and other Scotch towns in the early days of photography than
+in any part of England, and many of them made frequent incursions into
+the forbidden land without troubling themselves about obtaining a
+licence, but somehow they never remained long at a time; they were
+either afraid of consequences, or did not meet with patronage
+sufficient to induce them to continue their sojourns beyond a few of the
+summer weeks. For many years most of the early Daguerreotypists were
+birds of passage, frequently on the wing. Among the earliest settlers in
+London, were Mr. Beard (patentee), Mr. Claudet, and Mr. J. E.
+Mayall--the latter is still alive, 1889--and in Edinburgh, Messrs. Ross
+and Thompson, Mr. Howie, Mr. Poppawitz, and Mr. Tunny--the latter was a
+Calotypist--with most of whom it was my good fortune to become
+personally acquainted in after years.
+
+Secondly, a great deal of ill-feeling and annoyance were caused by the
+incomprehensible and somewhat underhanded way in which the English
+patent was obtained, and these feelings induced many to poach on
+photographic preserves, and even to defy injunctions; and, while
+lawsuits were pending, it was not uncommon for non-licencees to practise
+the new art with the impunity and feelings common to smugglers. Mr.
+Beard, the English patentee, brought many actions at law against
+infringers of his patent rights, the most memorable of which was that
+where Mr. Egerton, 1, Temple Street, Whitefriars, the first dealer in
+photographic materials, and agent for Voightlander's lenses in London,
+was the defendant. During that trial it came out in evidence that the
+patentee had earned as much as forty thousand pounds in one year by
+taking portraits and fees from licencees. Though the judgment of the
+Court was adverse to Mr. Egerton, it did not improve the patentee's
+moral right to his claim, for the trial only made it all the more public
+that the French Government had allowed M. Daguerre six thousand francs
+(L240), and M. Isidore Niepce four thousand francs (L160) per annum, on
+condition that their discoveries should be published, and _made free to
+all the world_. This trial did not in any way improve Mr. Beard's
+financial position, for eventually he became a bankrupt, and his
+establishments in King William Street, London Bridge, and the
+Polytechnic Institute, in Regent Street, were extinguished. Mr. Beard,
+who was the first to practise Daguerreotyping commercially in this
+country, was originally a coal merchant. I think Mr. Claudet practised
+the process in London without becoming a licencee, either through
+previous knowledge, or some private arrangement made with Daguerre
+before the patent was granted to Mr. Beard. It was while photography was
+clouded with this atmosphere of dissatisfaction and litigation, that I
+made my first practical acquaintance with it in the following manner:--
+
+Being anxious to obtain possession of one of those marvellous
+sun-pictures, and hoping to get an idea of the manner in which they
+were produced, I paid a visit, one sunny morning, to Mr. McGhee, the
+Daguerreotypist, dressed in my best, with clean shirt, and stiff
+stand-up collar, as worn in those days. I was a very young man then, and
+rather particular about the set of my shirt collar, so you may readily
+judge of my horror when, after making the financial arrangements to the
+satisfaction of Mr. McGhee, he requested me to put on a blue cotton
+_quasi_ clean "dickey," with a limp collar, that had evidently done
+similar duty many times before. You may be sure I protested, and
+inquired the reason why I should cover up my white shirt front with such
+an objectionable article. I was told if I did not put it on my shirt
+front would be _solarized_, and come out _blue_ or dirty, whereas if I
+put on the blue "dickey" my shirt front would appear white and clean.
+What "solarized" meant, I did not know, nor was it further explained,
+but, as I very naturally wished to appear with a clean shirt front, I
+submitted to the indignity, and put on the limp and questionably clean
+"dickey." While the Daguerreotypist was engaged with some mysterious
+manipulations in a cupboard or closet, I brushed my hair, and
+contemplated my singular appearance in the mirror somewhat ruefully. O,
+ye sitters and operators of to-day! congratulate yourselves on the
+changes and advantages that have been wrought in the practice of
+photography since then. When Mr. McGhee appeared again with something
+like two wooden books in his hand, he requested me to follow him into
+the garden; which was only a back yard. At the foot of the garden, and
+against a brick wall with a piece of grey cloth nailed over it, I was
+requested to sit down on an old chair; then he placed before me an
+instrument which looked like a very ugly theodolite on a tripod
+stand--that was my first sight of a camera--and, after putting his head
+under a black cloth, told me to look at a mark on the other side of the
+garden, without winking or moving till he said "done." How long I sat I
+don't know, but it seemed an awfully long time, and I have no doubt it
+was, for I know that I used to ask people to sit five and ten minutes,
+afterwards. The sittings over, I was requested to re-enter the house,
+and then I thought I would see something of the process; but no. Again
+Mr. McGhee went into the mysterious chamber, and shut the door quickly.
+In a little time he returned and told me that the sittings were
+satisfactory--he had taken two--and that he would finish and deliver
+them next day. Then I left without obtaining the ghost of an idea of the
+_modus operandi_ of producing portraits by the sun, beyond the fact that
+a camera had been placed before me. Next day the portraits were
+delivered according to promise, but I confess I was somewhat
+disappointed at getting so little for my money. It was a very small
+picture that could not be seen in every light, and not particularly like
+myself, but a scowling-looking individual, with a limp collar, and
+rather dirty-looking face. Whatever would _mashers_ have said or done,
+if they had gone to be photographed in those days of photographic
+darkness? I was, however, somewhat consoled by the thought that I, at
+last, possessed one of those wonderful sun-pictures, though I was
+ignorant of the means of production.
+
+Soon after having my portrait taken, Mr. McGhee disappeared, and there
+was no one left in the neighbourhood who knew anything of the
+mysterious manipulations of Daguerreotyping. I had, nevertheless,
+resolved to possess an apparatus and obtain the necessary information,
+but there was no one to tell me what to buy, where to buy it, nor what
+to do with it. At last an old friend of mine who had been on a visit to
+Edinburgh, had purchased an apparatus and some materials with the view
+of taking Daguerreotypes himself, but finding that he could not, was
+willing to sell it to me, though he could not tell me how to use it,
+beyond showing me an image of the house opposite upon the ground glass
+of the camera. I believe my friend let me have the apparatus for what it
+cost him, which was about L15, and it consisted of a quarter-plate
+portrait lens by Slater, mahogany camera, tripod stand, buff sticks,
+coating and mercury boxes of the roughest description, a few chemicals
+and silvered plates, and a rather singular but portable dark room. Of
+the uses of the chemicals I knew very little, and of their nature
+nothing which led to very serious consequences, which I shall relate in
+the proper place. Having obtained possession of this marvellous
+apparatus, my next ardent aspiration was to make a successful use of it.
+I distinctly remember, even at this distant date, with what nervous
+curiosity I examined all the articles when I unpacked them in my
+father's house, and with what wonder, not unmixed with apprehension, my
+father looked upon that display of unknown, and to him apparently
+nameless and useless toys. "More like a lot of conjuror's traps than
+anything else," he exclaimed, after I had set them all out. And a few
+days after he told one of my young friends that he thought I had gone
+out of my mind to take up with that "Daggertype" business; the name
+itself was a stumbling block in those days, for people called the
+process "dagtype, docktype, and daggertype" more frequently than by its
+proper name, Daguerreotype. What a contrast now-a-days, when almost
+every father is an amateur photographer, and encourages both his sons
+and daughters to become the same. My father was a very good parent, in
+his way, and encouraged me, to the fullest extent of his means, in the
+study of music and painting, and even sent me to the Government School
+of Design, where I studied drawing under W. B. Scott; but the
+new-fangled method of taking portraits did not harmonise with his
+conservative and practical notions. One cause of his disapprobation and
+dissatisfaction was, doubtless, my many failures; in fact, I may say,
+inability to show him any result. I had acquired an apparatus of the
+roughest and most primitive construction, but no knowledge of its use or
+the behaviour of the chemicals employed, beyond the bare numerical order
+in which they were to be used, and there was no one within a hundred
+miles of where I lived, that I knew of, who could give me lessons or the
+slightest hint respecting the process. I had worn out the patience of
+all my relations and friends in fruitless sittings. I had set fire to my
+singular dark room, and nearly set fire to the house, by attempting to
+refill the spirit lamp while alight, and I was ill and suffering from
+salivation through inhaling the fumes of mercury in my blind, anxious,
+and enthusiastic endeavours to obtain a sun-picture. It is not long
+since an eminent photographer told me that I was an enthusiast, but if
+he had seen me in those days he would, in all probability, have told me
+that I was mad. Though ill, I was not mad; I was only determined not to
+be beaten. I was resolved to keep pegging away until I obtained a
+satisfactory result. My friends laughed at me when I asked them to sit
+for a trial, and they either refused, or sat with a very bad grace, as
+if it really were a trial to them; but fancy, fair and kindly readers,
+what it must have been to me! Finding that my living models fought shy
+of me and my trials, I then thought of getting a lay figure, and
+borrowed a large doll--quite as big as a baby--of one of my lady
+friends. I stuck it up in a garden and pegged away at it for nearly six
+months. At the end of that time I was able to produce a portrait of the
+doll with tolerable certainty and success. Then I ventured to ask my
+friends to sit again, but my process was too slow for life studies, and
+my live sitters generally moved so much, their portraits were not
+recognisable. There were no head-rests in those days, at least I did not
+possess one, or it might have been pleasanter for my sitters and easier
+for myself. What surprised me very much--and I thought it a singular
+thing at the time--was my success in copying an engraving of Thorburn's
+Miniature of the Queen. I made several good and beautiful copies of that
+engraving, and sent one to an artist friend, then in Devonshire, who
+wrote to say that it was beautiful, and that if he could get a
+Daguerreotype portrait with the eyes as clear as that, he would sit at
+once; but all the "Dagtypes" he had hitherto seen had only black holes
+where the eyes should be. Unfortunately, that was my own experience. I
+could copy from the flat well enough, but when I went to the round I
+went wrong. Ultimately I discovered the cause of all that, and found a
+remedy, but oh! the weary labour and mental worry I underwent before I
+mastered the difficulties of the most troublesome and uncertain, yet
+most beautiful and permanent of all the photographic processes that ever
+was discovered or invented; and now it is a lost art. No one practises
+it, and I don't think that there are half-a-dozen men living--myself
+included--that could at this day go through all the manipulations
+necessary to produce a good Daguerreotype portrait or picture; yet, when
+the process was at the height of its popularity, a great number of
+people pursued it as a profession in all parts of the civilized world,
+and in the United States of America alone it was estimated in 1854 that
+there were not less than thirty thousand people making their living as
+Daguerreans. Few, if any, of the photographers of to-day--whether
+amateur or professional--know anything of the forms or uses of plates,
+buffs, lathes, sensitising or developing boxes, gilding stands, or other
+Daguerreotype appliances; and I am quite certain that there is not a
+dealer in all England that can furnish at this date a complete set of
+Daguerreotype apparatus.
+
+It was in 1849 that I gilded my first picture--a portrait of one of my
+friends playing a guitar. I possess that picture now, and, after a lapse
+of forty years, it is as good and bright as it was on the day that it
+was taken. It was not a first-class production, but I hoped to do better
+soon, and on the strength of that hope determined to commence business
+as a professional Daguerreotypist. While I was considering whether I
+should pitch my tent permanently in my native town, or take to a nomadic
+kind of life, similar to what other Daguerreotypists were pursuing, I
+was helped to a decision by the sudden appearance of a respectable and
+experienced Daguerreotypist who came and built a "glass house"--the
+first of its kind--in my native town. This somewhat disarranged my
+plans, but on the whole it was rather opportune and advantageous than
+otherwise, for it afforded me an unexpected opportunity of gaining a
+great deal of practical experience on easy terms. The new comer was Mr.
+George Brown, who had been an "operator" for Mr. Beard, in London, and
+as he exhibited much finer specimens of the Daguerreotype process than
+any I had hitherto seen, I engaged myself to assist him for six months
+at a small salary. I showed him what I had done, and he showed and told
+me all that he knew in connection with photography, and thus commenced a
+business relation that ripened into a friendship that endured as long as
+he lived.
+
+At the end of the six months' engagement I left Mr. Brown, to commence
+business on my own account, but as neither of us considered that there
+was room for two Daguerreotypists in a town with a population of _one
+hundred and twenty thousand_, I was driven to adopt the nomadic mode of
+life peculiar to the itinerant photographer of the period. That was in
+1850. Up to that time I had done nothing in Calotype work. Mr. Brown was
+strictly a Daguerreotypist, but Mr. Parry, at that time a glass dealer
+and amateur photographer, was working at the Calotype process, but not
+very successfully, for nearly all his efforts were spoiled by
+decomposition, which he could not then account for or overcome, but he
+eventually became one of the best Calotypists in the neighbourhood, and
+I became the possessor of some of the finest Calotype negatives he ever
+produced, many of which are still in my possession. Mr. Parry
+relinquished his glass business, and became a professional photographer
+soon after the introduction of the collodion process. Another amateur
+photographer that I met in those early days was a flute player in the
+orchestra of the theatre. He produced very good Calotype negatives with
+a single lens, and was very enthusiastic, but extremely reticent on all
+photographic matters. About this period I made the acquaintance of Mr.
+J. W. Swan: I had known him for some time previously when he was
+apprentice and assistant to Mr. Mawson, chemist, in Mosley Street,
+Newcastle-on-Tyne. Neither Mr. Mawson nor Mr. Swan were known to the
+photographic world at that time. Mr. Mawson was most popular as a dealer
+in German yeast, and I think it was not until after Archer published his
+process that they began to make collodion and deal in photographic
+materials--at any rate, I did not buy any photographic goods of them
+until 1852, when I first began to use Mawson's collodion. In October,
+1850, I went to Hexham, about twenty miles west of Newcastle-on-Tyne, to
+make my first appearance as a professional Daguerreotypist. I rented a
+sitting-room with a good window and clear view, so as to take "parlour
+portraits." I could only take small pictures--two and a half by two
+inches--for which I charged half a guinea, and was favoured with a few
+sittings; but it was a slow place, and I left it in a few weeks.
+
+The next move I made was to Seaham Harbour, and there I did a little
+better business, but the place was too small and the people too poor for
+me to continue long. Half guineas were not plentiful, even among the
+tradespeople, and there were very few gentlefolk in the neighbourhood.
+Some of the townspeople were very kind to me, and invited me to their
+homes, and although my sojourn was not very profitable, it was very
+pleasant. I had many pleasant rambles on the sands, and often looked at
+Seaham Hall and thought of Byron and his matrimonial disappointment in
+his marriage with Miss Milbank.
+
+From Seaham Harbour I went to Middlesborough, hoping to do more business
+among a larger population, but it appeared as if I were only going from
+bad to worse. At that date the population was about thirty thousand, but
+chiefly people of the working classes, employed at Balchow and Vaughn's
+and kindred works. I made portraits of some of the members of Mr.
+Balchow's family, Mr. Geordison, and some of the resident Quakers, but
+altogether I did not do much more than pay expenses. I managed, however,
+to stay there till the year 1851, when I caught the World's Fair fever,
+so I packed up my apparatus and other things I did not require
+immediately, and sent them to my father's house, and with a few changes
+in my carpet-bag, and a little money in my pocket, I started off to see
+the Great Exhibition in London. I went by way of York and Hull, with the
+two-fold object of seeing some friends in both places, and to prospect
+on the business chances they might afford. At York I found Mr. Pumphrey
+was located, but as he did not appear to be fully occupied with
+sitters--for I found him trying to take a couple of boys fighting in a
+back yard--I thought there was not room for another Daguerreotypist in
+York. In a few days I went to Hull, but even there the ground was
+preoccupied, so I took the first steamer for London. We sailed on a
+Saturday night, and after a pleasant voyage arrived at the wharf below
+London Bridge early on Sunday evening. I put up at the "Yorkshire Grey,"
+in Thames Street, where I met several people from the North, also on a
+visit to London to see the Great Exhibition. This being my first visit
+to London, I was anxious to get a sight of the streets and crowds
+therein, so, after obtaining some refreshment, I strolled out with one
+of my fellow passengers to receive my first impressions of the great
+metropolis. The evening was fine, and, being nearly the longest day,
+there was light enough to enable me to see the God-forsaken appearance
+of Thames Street, the dismal aspect of Fish Street Hill, and the gloomy
+column called "The Monument" that stands there to remind citizens and
+strangers of the Great Fire of 1666; but I was both amazed and amused
+with the life and bustle I saw on London Bridge and other places in the
+immediate neighbourhood, but my eyes and ears soon became fatigued with
+the sights and sounds of the lively and noisy thoroughfares. After a
+night's rest, which was frequently broken by cries of "Stop thief!" and
+the screams of women, I arose and made an early start for the Great
+Exhibition of 1851. Of all the wonderful things in that most wonderful
+exhibition, I was most interested in the photographic exhibits and the
+beautiful specimens of American Daguerreotypes, both portraits and
+landscapes, especially the views of Niagara Falls, which made me
+determine to visit America as soon as ever I could make the necessary
+arrangements.
+
+While examining and admiring those very beautiful Daguerreotypes, I
+little thought that I was standing, as it were, between the birth of one
+process and the death of another; but so it was, for the newly-born
+collodion process very soon annihilated the Daguerreotype, although the
+latter process had just reached the zenith of its beauty. In the March
+number of the _Chemist_, Archer's Collodion Process was published, and
+that was like the announcement of the birth of an infant Hercules, that
+was destined to slay a beautiful youth whose charms had only arrived at
+maturity. But there was really a singular and melancholy coincidence in
+the birth of the Collodion Process and the early death of the
+Daguerreotype, for Daguerre himself died on July 10th, 1851, so that
+both Daguerre and his process appeared to receive their death blows in
+the same year. I don't suppose that Daguerre died from a shock to his
+system, caused by the publication of a rival process, for it is not
+likely that he knew anything about the invention of a process that was
+destined, in a very few years, to abolish his own--living as he was in
+the retirement of his native village, and enjoying his well-earned
+pension.
+
+As Daguerre was the first of the successful discoverers of photography
+to be summoned by death, I will here give a brief sketch of his life and
+pursuits prior to his association with Nicephore Niepce and photography.
+Louis Jacques Mande Daguerre was born at Cormeilles, near Paris, in
+1787, of poor and somewhat careless parents, who appear to have bestowed
+upon him more names than attention. Though they did not endow him with a
+good education, they had the good sense to observe the bent of his mind
+and apprentice him to a theatrical scene painter. In that situation he
+soon made his mark, and his artistic and mechanical abilities, combined
+with industry, painstaking, and boldness of conception, soon raised him
+to the front rank of his profession, in which he gained both honour and
+profit. Like all true artists, he was fond of sketching from nature;
+and, to save time and secure true proportion, he employed such optical
+appliances as were then at his command. Some of his biographers say
+that he, like Fox Talbot, employed the camera lucida; others the
+camera-obscura; as there is a considerable difference between the two
+it would be interesting to know which it really was. At any rate it was
+one of these instruments which gave him the notion and created the desire
+to secure the views as they were presented by the lens or reflector. Much
+of his time was devoted to the painting and construction of a diorama
+which was first exhibited in 1822, and created quite a sensation in
+Paris. As early as 1824 he commenced his photographic experiments, with
+very little knowledge on the subject; but with the hope and
+determination of succeeding, by some means or other, in securing the
+pictures as Nature painted them on the screen or receiver. Doubtless he
+was sanguine enough then to hope to be able to obtain colours as well as
+drawings, but he died without seeing that accomplished, and so will many
+others. What he did succeed in accomplishing was marvellous, and quite
+entitled him to all the honour and emolument he received, but he only
+lived about twelve years after his discovery. He was, however, saved the
+mortification of seeing his beautiful discovery discarded and cast away
+in the hey-day of its beauty and perfection.
+
+After a few weeks sojourn in London, seeing all the sights and
+revisiting all the Daguerreotype studios, I turned my back on the great
+city and my footsteps homewards again. As soon as I reached home I
+unpacked my apparatus and made arrangements for another campaign with
+the camera at some of the sea-side resorts, with the hope of making up
+for lost time and money through visiting London.
+
+I had looked at Scarborough and found the Brothers Holroyd located
+there; at Whitby, Mr. Stonehouse; and I did not like the appearance of
+Redcar, so I settled upon Tynemouth, and did fairly well for a short
+season. About the end of October I went on to Carlisle, but a Scotchman
+had already preceded me there, and I thought one Daguerreotypist was
+quite enough for so small a place, and pushed on to Penrith, where I
+settled for the winter and gradually worked up a little connection, and
+formed some life-long friendships. I was the first Daguerreotypist who
+had visited the town of Penrith, and while there I made Daguerreotypes
+of Sir George and Lady Musgrave and family, and some members of the
+Lonsdale family. It was through the kindness of Miss Lowther that I was
+induced to go to Whitehaven, but I did not do much business there, so,
+after a bad winter, I resolved to go to America in the spring, and made
+arrangements for the voyage immediately. Thinking that I would find
+better apparatus and appliances in America, I disposed of my "Tent and
+Kit," closed up my affairs, bid adieu to my relatives and friends, and
+departed.
+
+To obtain the benefit and experience of a long sea voyage, I secured a
+cabin passage in a sailing ship named the _Amazon_, and sailed from
+Shields towards the end of April, 1853. We crossed the Tyne bar late in
+the evening with a fair wind, and sailed away for the Pentland Frith so
+as to gain the Atlantic by sailing all round the North of Scotland. I
+was rather upset the first night, but recovered my appetite next
+morning. We entered the Pentland Frith on the Saturday afternoon, and
+were running through the Channel splendidly, when the carpenter came to
+report water in the well--I forget how many feet--but he thought it
+would not be safe to attempt crossing the Atlantic. I was a little
+alarmed at this, but the captain took it very coolly, and ordered the
+ship to be pumped every watch. Being the only passenger, I became a kind
+of chum and companion to the captain, and as we sat over our grog that
+night in the cabin our conversation naturally turned upon the condition
+of the ship, when he remarked that he was disappointed, and that he
+"expected he had got a sound ship under his feet this time." These words
+did not make much impression upon me then, but I had reason to
+comprehend their meaning afterwards. I was awoke early on the Sunday
+morning by the noise caused by the working of the pumps, and on going on
+deck found that we were becalmed, lying off the coast of Caithnesshire,
+and the water pouring out of the pump-hole in a continuous stream. After
+breakfast, and while sitting on the taffrail of the quarterdeck along
+with the captain, waiting for a breeze, I asked him if he intended to
+cross the Atlantic in such a leaky vessel. He answered "Yes, and the men
+are all willing." So I thought if these men were not afraid of the ship
+foundering, I need not be; but I had reasons afterwards for coming to an
+opposite conclusion.
+
+Towards evening the breeze sprang up briskly, and away we went, the
+ship heading W.N.W., as the captain said he wanted to make the northern
+passage. Next morning we were in a rather rough sea, and a gale of wind
+blowing. One of the yards was broken with the force of the wind, and the
+sail and broken yard dangled about the rigging for a considerable time
+before the sail could be hauled in and the wreckage cleared up. We had
+several days of bad weather, and one morning when I got up I found the
+ship heading East. I naturally concluded that we were returning, but the
+captain said that he had only turned the ship about to enable the men to
+stop a leak in her bows. The carpenter afterwards told me that the water
+came in there like a river during the night. Thus we went on through
+variable weather until at last we sighted two huge icebergs, and then
+Newfoundland, when the captain informed me that he intended now to coast
+up to New York. We got out of sight of land occasionally, and one day,
+after the captain had taken his observations and worked out the ship's
+position, he called my attention to the chart, and observed that he
+intended to sail between an island and the mainland, but as the Channel
+was subject to strong and variable currents, it was a rather dangerous
+experiment. Being in such a leaky ship, I thought he wanted to hug the
+land as much as possible, which I considered a very wise and safe
+proceeding; but he had ulterior objects in view, which the sequel will
+reveal.
+
+On the night of the 31st of May, after a long yarn from the captain
+about how he was once wrecked on an iceberg, I turned in with a feeling
+of perfect safety, for the sea was calm, the night clear, and the wind
+fair and free; but about daylight next morning I was awoke with a shock,
+a sudden tramping on deck, and the mate shouting down the companion
+stairs, "Captain, the ship's ashore." Both the captain and I rushed on
+deck just as we jumped out of our berths, but we could not see anything
+of the land or shore, for we were enveloped in a thick fog. We heard the
+breakers and felt the thud of the waves as they broke upon the ship,
+but whether we had struck on a rock or grounded on a sandy beach we
+could not then ascertain. The captain ordered the sails to be "slewed
+back" and a hawser to be thrown astern, but all efforts to get the ship
+off were in vain, for with every wave the ship forged more and more on
+to the shore.
+
+As the morning advanced, the fog cleared away a little, which enabled us
+to see dimly through the mist the top of a bank of yellow sand. This
+sight settled the doubt as to our whereabouts, and the captain
+immediately gave the order "Prepare to abandon the ship." The long boat
+was at once got ready, and lowered with considerable difficulty, for the
+ship was then more among the breakers. After a good deal of delay and
+danger, we all succeeded in leaving the ship and clearing the breakers.
+We were exposed in the open boats all that day and night, and about ten
+o'clock next morning we effected a landing on the lee side of the
+island, which we ascertained to be Sable Island, a bald crown of one of
+the banks of Newfoundland. Here we received help, shelter, and
+provisions, all provided by the Home and Colonial Governments, for the
+relief of shipwrecked people, for this island was one of the places
+where ships were both accidentally and wilfully wrecked. We were obliged
+to stay there sixteen days before we could get a vessel to take us to
+Halifax, Nova Scotia, the nearest port, and would possibly have had to
+remain on the island much longer, but for a mutiny among the crew. I
+could describe some strange and startling incidents in connection with
+the wreck and mutiny, but I will not allow myself to be tempted further
+into the vale of divergence, as the chief object I have in view is my
+reminiscence of photography.
+
+On leaving Sable Island I was taken to Halifax, where I waited the
+arrival of the Cunard steamer _Niagara_, to take me on to Boston; thence
+I proceeded by rail and steamer to New York, where I arrived about the
+end of June, 1853.
+
+On landing in New York I only knew one individual, and not knowing how
+far I should have to go to find him I put up at an hotel on Broadway,
+but soon found that too expensive for my means, and went to a private
+boarding house as soon as I could.
+
+Visiting all the leading Daguerreotypists on Broadway, I was somewhat
+astonished at their splendid reception rooms, and the vast number of
+large and excellent specimens exhibited. Their plain Daguerreotypes were
+all of fine quality, and free from the "buff lines" so noticeable in
+English work at that period; but all their attempts at colouring were
+miserable failures, and when I showed one of my coloured specimens to
+Mr. Gurney, he said, "Well, if you can colour one of my pictures like
+that I'll believe you;" which I soon did, and very much to his
+astonishment. In those days I prepared my own colours, and Mr. Gurney
+bought a box immediately. The principal Daguerreotypists in New York at
+that time were Messrs. Brady, Gurney, Kent, Lawrence, Mead Brothers, and
+Samuel Root, and I called upon them all before I entered into any
+business arrangements, finally engaging myself to Messrs. Mead Brothers
+as a colourist and teacher of colouring for six months, and while
+fulfilling that engagement I gave lessons to several "Daguerreans," and
+made the acquaintance of men from all parts of the Union, for I soon
+obtained some notoriety throughout the States in consequence of a man
+named Humphrey attacking me and my colouring process in a photographic
+journal which bore his name, as well as in the _New York Tribune_. I
+replied to his attack in the columns of the _Tribune_, but I saw that he
+had a friend on the staff, and I did not feel inclined to continue the
+controversy. Mr. Humphrey knew nothing about my process, but began and
+continued the discussion on his knowledge of what was known as the
+"Isinglass Process," which was not mine. After completing my engagements
+with Messrs. Mead Brothers, I made arrangements to supply the stock
+dealers with my prepared colours, and travel the States myself to
+introduce them to all the Daguerreans residing in the towns and cities I
+should visit.
+
+In the principal cities I found all the Daguerreans quite equal to the
+best in New York, and all doing good business, and I gave lessons in
+colouring to most of them. In Newark I met Messrs. Benjamin and Polson;
+in Philadelphia, Marcus Root and Dr. Bushnell. I encountered a great many
+_doctors_ and _professors_ in the business in America. In Baltimore,
+Maryland--then a slave State--many of the Daguerreans owned slaves. In
+Washington D.C., I renewed my acquaintance with Mr. George Adams, one of
+the best Daguerreans in the City; and while visiting him a very curious
+thing occurred. One of the representatives of the South came in to have
+his portrait taken, and the first thing he did was to lay a revolver and
+a bowie knife on the table beside him. He had just come from the House
+of Representatives. His excuse for such a proceeding was that he had
+bought some slaves at the market at Alexandria, and was going to take
+them home that night. He was a very tall man, and when he stood up
+against the background his head was above it. As he wanted to be taken
+standing, this put Mr. Adams into a dilemma, and he asked what he should
+do. I thought the only thing that could be done was to move the
+background up and down during exposure, which we did, and so obviated
+the appearance of a line crossing the head.
+
+While staying in Washington I attended one of the levees at the White
+House, and was introduced to President Pearce. There was no fuss or
+difficulty in gaining admission. I had only to present my card at the
+door, and the City Marshall at once led me into the room where the
+President, surrounded by some of his Cabinet, was waiting to receive,
+and I was introduced. After a cordial shake of his hand, I passed on to
+another saloon where there was music and promenading in mixed costumes,
+for most of the men were dressed as they liked, and some of the ladies
+wore bonnets. It was the weekly _sans ceremonie_ reception. Finding many
+of the people of Washington very agreeable and hospitable, I stayed
+there a considerable time. When I started on the southern journey I did
+intend to go on to New Orleans, but I stayed so long in Philadelphia and
+Washington the summer was too far advanced, and as a rather severe
+outbreak of yellow fever had occurred, I returned to New York and took a
+journey northward, visiting Niagara Falls, and going on to Canada. I
+sailed up the Hudson River, stopping at Albany and Troy. At the latter
+place I met an Englishman, named Irvine, a Daguerrean who treated me
+hospitably, and for whom I coloured several Daguerreotypes. He wanted me
+to stay with him, but that I declined. Thence I proceeded to Rochester,
+and there found that one of my New York pupils had been before me,
+representing himself as Werge the colourist, for when I introduced
+myself to the principal Daguerrean he told me that Werge--a very
+different man--had been there two or three weeks ago. I discovered who
+the fellow was, and that he had practised a piece of Yankee smartness
+for which I had no redress. From Rochester I proceeded to Buffalo, where
+I met with another instance of Yankee smartness of a different kind. I
+had sold some colours to a man there who paid me in dollar bills, the
+usual currency of the country, but when I tendered one of these bills
+for payment at the hotel, it was refused. I next offered it on board a
+steamboat, but there it was also declined. When I had an opportunity I
+returned it to the man who gave it to me, and requested him to send me a
+good one instead. He was honest enough to do that, and impudent enough
+to tell me that he knew it was bad when he gave it to me, but as I was a
+stranger he thought I might pass it off easily.
+
+I next went to Niagara Falls, where it was my good fortune to encounter
+two very different specimens of American character in the persons of Mr.
+Easterly and Mr. Babbitt, the former a visitor and the latter a resident
+Daguerrean, who held a monopoly from General Porter to Daguerreotype
+the Falls and visitors. He had a pavilion on the American side of the
+Falls, under which his camera was in position all day long, and when a
+group of visitors stood on the shore to survey the Falls from that
+point, he took the group--without their knowledge--and showed it to the
+visitors before they left. In almost every instance he sold the picture
+at a good price; the people were generally delighted to be taken at the
+Falls. I need hardly say that they were all taken instantaneously, and
+embraced a good general view, including the American Fall, Goat Island,
+the Horse Shoe Fall, and the Canadian shore. Many of these views I
+coloured for Mr. Babbitt, but there was always a beautiful green colour
+on the brink of the Horse Shoe Fall which I never could match. For many
+years I possessed one of Mr. Babbitt's Daguerreotype views, as well as
+others taken by Mr. Easterly and myself, but I had the misfortune to be
+deprived of them all by fire. Some years after I lent them to an
+exhibition in Glasgow, which was burnt down, and all the exhibits
+destroyed. After a delightful sojourn of three weeks at Niagara Falls, I
+took steamer on the lower Niagara River, sailed down to Lake Ontario,
+and down the River St. Lawrence, shooting the Lachine Rapids, and on to
+Montreal.
+
+In the Canadian City I did not find business very lively, so after
+viewing the fine Cathedral of Notre Dame, the mountain, and other
+places, I left Montreal and proceeded by rail to Boston. The difference
+between the two cities was immense. Montreal was dull and sleepy, Boston
+was all bustle and life, and the people were as unlike as the cities. On
+my arrival in Boston, I put up at the Quincy Adams Hotel, and spent the
+first few days in looking about the somewhat quaint and interesting old
+city, hunting up Franklin Associations, and revolutionary landmarks,
+Bunker Hill, and other places of interest. Having satisfied my appetite
+for these things, I began to look about me with an eye to business, and
+called upon the chief Daguerreans and photographers in Boston. Messrs.
+Southworth and Hawes possessed the largest Daguerreotype establishment,
+and did an excellent business. In their "Saloon" I saw the largest and
+finest revolving stereoscope that was ever exhibited. The pictures were
+all whole-plate Daguerreotypes, and set vertically on the perpendicular
+drum on which they revolved. The drum was turned by a handle attached to
+cog wheels, so that a person sitting before it could see the
+stereoscopic pictures with the utmost ease. It was an expensive
+instrument, but it was a splendid advertisement, for it drew crowds to
+their saloon to see it and to sit, and their enterprise met with its
+reward.
+
+At Mr. Whipple's gallery, in Washington Street, a dual photography was
+carried on, for he made both Daguerreotypes and what he called
+"crystallotypes," which were simply plain silver prints obtained from
+collodion negatives. Mr. Whipple was the first American photographer who
+saw the great commercial advantages of the collodion process over the
+Daguerreotype, and he grafted it on the elder branch of photography
+almost as soon as it was introduced. Indeed, Mr. Whipple's establishment
+may be considered the very cradle of American photography as far as
+collodion negatives and silver prints are concerned, for he was the very
+first to take hold of it with spirit, and as early as 1853 he was doing
+a large business in photographs, and teaching the art to others.
+Although I had taken collodion negatives in England with Mawson's
+collodion in 1852, I paid Mr. Whipple fifty dollars to be shown how he
+made his collodion, silver bath, developer, printing, &c., &c., for
+which purpose he handed me over to his active and intelligent assistant
+and newly-made partner, Mr. Black. This gave me the run of the
+establishment, and I was somewhat surprised to find how vast and varied
+were his mechanical appliances for reducing labour and expediting work.
+The successful practice of the Daguerreotype art greatly depended on the
+cleanness and highly polished surface of the silvered plates, and to
+secure these necessary conditions, Mr. Whipple had, with characteristic
+and Yankee-like ingenuity, obtained the assistance of a steam engine
+which not only "drove" all the circular cleaning and buffing wheels, but
+an immense circular fan which kept the studio and sitters delightfully
+cool. Machinery and ingenuity did a great many things in Mr. Whipple's
+establishment in the early days of photography. Long before the
+Ambrotype days, pictures were taken on glass and thrown upon canvas by
+means of the oxyhydrogen light for the use of artists. At that early
+period of the history of photography, Messrs. Whipple and Black did an
+immense "printing and publishing" trade, and their facilities were
+"something considerable." Their toning, fixing, and washing baths were
+almost worthy the name of vats.
+
+Messrs. Masury and Silsby were also early producers of photographs in
+Boston, and in 1854 employed a very clever operator, Mr. Turner, who
+obtained beautiful and brilliant negatives by iron development. On the
+whole, I think Boston was ahead of New York for enterprise and the use
+of mechanical appliances in connection with photography. I sold my
+colours to most of the Daguerreotypists, and entered into business
+relations with two of the dealers, Messrs. French and Cramer, to stock
+them, and then started for New York to make arrangements for my return
+to England.
+
+When I returned to New York the season was over, and everyone was
+supposed to be away at Saratoga Springs, Niagara Falls, Rockaway, and
+other fashionable resorts; but I found the Daguerreotype galleries all
+open and doing a considerable stroke of business among the cotton
+planters and slave holders, who had left the sultry south for the cooler
+atmosphere of the more northern States. The Daguerreotype process was
+then in the zenith of its perfection and popularity, and largely
+patronised by gentlemen from the south, especially for large or double
+whole-plates, about 16 by 12 inches, for which they paid fifty dollars
+each. It was only the best houses that made a feature of these large
+pictures, for it was not many of the Daguerreans that possessed a
+"mammoth tube and box"--_i.e._, lens and camera--or the necessary
+machinery to "get up" such large surfaces, but all employed the best
+mechanical means for cleaning and polishing their plates, and it was
+this that enabled the Americans to produce more brilliant pictures than
+we did. Many people used to say it was the climate, but it was nothing
+of the kind. The superiority of the American Daguerreotype was entirely
+due to mechanical appliances. Having completed my business arrangements
+and left my colours on sale with the principal stock dealers, including
+the Scovill Manufacturing Company, Messrs. Anthony, and Levi Chapman.
+
+I sailed from New York in October 1854, and arrived in England in due
+time without any mishap, and visiting London again as soon as I could, I
+called at Mr. Mayall's gallery in Regent Street to see Dr. Bushnell,
+whom I knew in Philadelphia, and who was then operating for Mr. Mayall.
+While there Mr. Mayall came in from the Guildhall, and announced the
+result of the famous trial, "Talbot _versus_ Laroche," a verbatim report
+of which is given in the Journal of the Photographic Society for
+December 21st, 1854. Mr. Mayall was quite jubilant, and well he might
+be, for the verdict for the defendant removed the trammels which Mr. Fox
+Talbot attempted to impose upon the practice of the collodion process,
+which was Frederick Scott Archer's gift to photographers. That was the
+first time that I had met Mr. Mayall, though I had heard of him and
+followed him both at Philadelphia and New York, and even at Niagara
+Falls. At that time Mr. Mayall was relinquishing the Daguerreotype
+process, though one of the earliest practitioners, for he was in
+business as a Daguerreotypist in Philadelphia from 1842 to 1846, and I
+know that he made a Daguerreotype portrait of James Anderson, the
+tragedian, in Philadelphia, on Sunday, May 18th, 1845. During part of
+the time that he was in Philadelphia he was in partnership with Marcus
+Root, and the name of the firm was "Highschool and Root," and about the
+end of 1846 Mr. Mayall opened a Daguerreotype studio in the Adelaide
+Gallery, King William Street, Strand, London, under the name of
+Professor Highschool, and soon after that he opened a Daguerreotype
+gallery in his own name in the Strand, which establishment he sold to
+Mr. Jabez Hughes in 1855. The best Daguerreotypists in London in 1854
+were Mr. Beard, King William Street, London Bridge; Messrs. Kilburn, T.
+R. Williams and Claudet, in Regent Street; and W. H. Kent, in Oxford
+Street. The latter had just returned from America, and brought all the
+latest improvements with him. Messrs. Henneman and Malone were in Regent
+Street doing calotype portraits. Henneman had been a servant to Fox
+Talbot, and worked his process under favourable conditions. Mr. Lock was
+also in Regent Street, doing coloured photographs. He offered me a
+situation at once, if I could colour photographs as well as I could
+colour Daguerreotypes, but I could not, for the processes were totally
+different. M. Manson, an old Frenchman, was the chief Daguerreotype
+colourist in London, and worked for all the principal Daguerreotypists.
+I met the old gentleman first in 1851, and knew him for many years
+afterwards. He also made colours for sale. Not meeting with anything to
+suit me in London, I returned to the North, calling at Birmingham on my
+way, where I met Mr. Whitlock, the chief Daguerreotypist there, and a
+Mr. Monson, who professed to make Daguerreotypes and all other types.
+Paying a visit to Mr. Elisha Mander, the well-known photographic case
+maker, I learnt that Mr. Jabez Hughes, then in business in Glasgow, was
+in want of an assistant, a colourist especially. Having met Mr. Hughes
+in Glasgow in 1852, and knowing what kind of man he was, I wrote to him,
+and was engaged in a few days. I went to Glasgow in January, 1855, and
+then commenced business relations and friendship with Mr. Hughes that
+lasted unbroken until his death in 1884. My chief occupation was to
+colour the Daguerreotypes taken by Mr. Hughes, and occasionally take
+sitters, when Mr. Hughes was busy, in another studio. I had not,
+however, been long in Glasgow, when Mr. Hughes determined to return to
+London. At first he wished me to accompany him, but it was ultimately
+arranged that I should purchase the business, and remain in Glasgow,
+which I did, and took possession in June, Mr. Hughes going to Mr.
+Mayall's old place in the Strand, London. Mr. Hughes had been in Glasgow
+for nearly seven years, and had done a very good business, going first
+as operator to Mr. Bernard, and succeeding to the business just as I was
+doing. While Mr. Hughes was in Glasgow he was very popular, not only as
+a Daguerreotypist, but as a lecturer. He delivered a lecture on
+photography at the Literary and Philosophical Society, became an active
+member of the Glasgow Photographic Society, and an enthusiastic member
+of the St. Mark's Lodge of Freemasons. Only a day or two before he left
+Glasgow, he occupied the chair at a meeting of photographers, comprising
+Daguerreotypists and collodion workers, to consider what means could be
+adopted to check the downward tendency of prices even in those early
+days. I was present, and remember seeing a lady Daguerreotypist among
+the company, and she expressed her opinion quite decidedly. Efforts were
+made to enter into a compact to maintain good prices, but nothing came
+of it. Like all such bandings together, the band was quickly and easily
+broken.
+
+I had the good fortune to retain the best of Mr. Hughes's customers, and
+make new ones of my own, as well as many staunch and valuable friends,
+both among what I may term laymen and brother Masons, while I resided in
+Glasgow. Most of my sitters were of the professional classes, and the
+_elite_ of the city, among whom were Sir Archibald Alison, the
+historian, Col. (now General) Sir Archibald Alison, Dr. Arnott,
+Professor Ramsey, and many of the princely merchants and manufacturers.
+Some of my other patrons--for I did all kinds of photographic work--were
+the late Norman Macbeth, Daniel McNee (afterwards Sir Daniel), and
+President of the Scottish Academy of Art, and also Her Majesty the
+Queen, for she bought two of my photographs of Glasgow Cathedral, and a
+copy of my illustration of Hood's "Song of the Shirt," copies of which I
+possess now, and doubtless so does Her Majesty. One of the most
+interesting portraits I remember taking while I was in Glasgow was that
+of John Robertson, who constructed the first marine steam engine. He was
+associated with Henry Bell, and fitted the "Comet" with her engine. Mr.
+Napier senr., the celebrated engineer on the Clyde, brought Robertson to
+sit to me, and ordered a great many copies. I also took a portrait of
+Harry Clasper, of rowing and boat-building notoriety, which was engraved
+and published in the _Illustrated London News_. Several of my portraits
+were engraved both on wood and steel, and published. At the photographic
+exhibition in connection with the meeting of the British Association
+held in Glasgow, in 1855, I saw the largest collodion positive on glass
+that ever was made to my knowledge. The picture was thirty-six inches
+long, a view of Gourock, or some such place down the Clyde, taken by Mr.
+Kibble. The glass was British plate, and cost about L1. I thought it a
+great evidence of British pluck to attempt such a size. When I saw Mr.
+Kibble I told him so, and expressed an opinion that I thought it a waste
+of time, labour, and money not to have made a negative when he was at
+such work. He took the hint, and at the next photographic exhibition he
+showed a silver print the same size. Mr. Kibble was an undoubted
+enthusiast, and kept a donkey to drag his huge camera from place to
+place. My pictures frequently appeared at the Glasgow exhibition, but at
+one, which was burnt down, I lost all my Daguerreotype views of Niagara
+Falls, Whipple's views of the moon, and many other valuable pictures,
+portraits, and views, which could never be replaced.
+
+
+  [Illustration: THIRD PERIOD.
+
+  COLLODION.
+
+  FREDERICK SCOTT ARCHER.
+  _From Glass Positive by R. Cade, Ipswich. 1855._
+
+  HEVER CASTLE, KENT.
+  _Copy of Glass Positive taken by F. Scott Archer in 1849._]
+
+
+
+
+THIRD PERIOD.
+
+COLLODION TRIUMPHANT.
+
+
+In 1857 I abandoned the Daguerreotype process entirely, and took to
+collodion solely; and, strangely enough, that was the year that
+Frederick Scott Archer, the inventor, died. Like Daguerre, he did not
+long survive the publication and popularity of his invention, nor did he
+live long enough to see his process superseded by another. In years,
+honours, and emoluments, he fell far short of Daguerre, but his process
+had a much longer existence, was of far more commercial value,
+benefitting private individuals and public bodies, and creating an
+industry that expanded rapidly, and gave employment to thousands all
+over the world; yet he profited little by his invention, and when he
+died, a widow and three children were left destitute. Fortunately a few
+influential friends bestirred themselves in their interest, and when the
+appeal was made to photographers and the public to the Archer
+Testimonial, the following is what appeared in the pages of _Punch_,
+June 13th, 1857:--
+
+
+"To the Sons of the Sun.
+
+"The inventor of collodion has died, leaving his invention unpatented,
+to enrich thousands, and his family unportioned to the battle of life.
+Now, one expects a photographer to be almost as sensitive as the
+collodion to which Mr. Scott Archer helped him. A deposit of silver is
+wanted (gold will do), and certain faces, now in the dark chamber, will
+light up wonderfully, with an effect never before equalled by
+photography. A respectable ancient writes that the statue of Fortitude
+was the only one admitted to the Temple of the Sun. Instead whereof, do
+you, photographers, set up Gratitude in your little glass temples of the
+sun, and sacrifice, according to your means, in memory of the benefactor
+who gave you the deity for a household god. Now, answers must not be
+negatives."
+
+The result of that appeal, and the labours of the gentlemen who so
+generously interested themselves on behalf of the widow and orphans, was
+highly creditable to photographers, the Photographic Society, Her
+Majesty's Ministers, and Her Majesty the Queen. What those labours were,
+few now can have any conception; but I think the very best way to convey
+an idea of those labours and their successful results will be to reprint
+a copy of the final report of the committee.
+
+
+The Report of the Committee of the Archer Testimonial.
+
+"The Committee of the Archer Testimonial, considering it necessary to
+furnish a statement of the course pursued towards the attainment of
+their object, desire to lay before the subscribers and the public
+generally a full report of their proceedings.
+
+"Shortly after the death of Mr. F. Scott Archer, a preliminary meeting
+of a few friends was held, and it was determined that a printed address
+should be issued to the photographic world.
+
+"Sir William Newton, cordially co-operating in the movement, at once
+made application to Her Most Gracious Majesty. The Queen, with her usual
+promptitude and kindness of heart, forwarded a donation of L20 towards
+the Testimonial. The Photographic Society of London, at the same time,
+proposed a grant of L50, and this liberality on the part of the Society
+was followed by an announcement of a list of donations from individual
+members, which induced your Committee to believe that if an appeal were
+made to the public, and those practising the photographic art, a sum
+might be raised sufficiently large, not only to relieve the immediate
+wants of the widow and children, but to purchase a small annuity, and
+thus in a slight degree compensate for the heavy loss they had sustained
+by the premature death of one to whom the photographic art had already
+become deeply indebted.
+
+"To aid in the accomplishment of this design, Mr. Mayall placed the use
+of his rooms at the service of a committee then about to be formed. Sir
+William Newton and Mr. Roger Fenton consented to act as treasurers to
+the fund, and the Union, and London and Westminster Banks kindly
+undertook to receive subscriptions.
+
+"Your Committee first met on the 8th day of June, 1857, Mr. Digby Wyatt
+being called to the chair, when it was resolved to ask the consent of
+Professors Delamotte and Goodeve to become joint secretaries. These
+duties were willingly accepted, and subscription lists opened in various
+localities in furtherance of the Testimonial.
+
+"Your Committee met on the 8th day of July, and again on the 4th day of
+September, when, on each occasion, receipts were announced and paid into
+the bankers.
+
+"The Society of Arts having kindly offered, through their Secretary, the
+use of apartments in the house of the Society for any further meetings,
+your Committee deemed it expedient to accept the same, and passed a vote
+of thanks to Mr. Mayall for the accommodation previously afforded by
+that gentleman.
+
+"Your Committee, believing that the interests of the fund would be
+better served by a short delay in their proceedings, resolved on
+deferring their next meeting until the month of November, or until the
+Photographic Society should resume its meetings, when a full attendance
+of members might be anticipated; it being apparent that individually and
+collectively persons in the provinces had withheld their subscriptions
+until the grant of the Photographic Society of London had been formally
+sanctioned at a special meeting convened for the purpose, and that their
+object--the purchase of an annuity for Mrs. Archer and her
+children--could only be effected by the most active co-operation among
+all classes.
+
+"Your Committee again met on the 26th of November, when it was resolved
+to report progress to the general body of subscribers, and that a public
+meeting be called for the purpose, at which the Lord Chief Baron Pollock
+should be requested to preside. To this request the Lord Chief Baron
+most kindly and promptly acceded; and your Committee determined to seek
+the co-operation of their photographic friends and the public to enable
+them to carry out in its fullest integrity the immediate object of
+securing some small acknowledgment for the eminent services rendered to
+photography by the late Mr. Archer.
+
+"At this meeting it was stated that an impression existed, which to some
+extent still exists, that Mr. Archer was not the originator of the
+Collodion Process; your Committee, therefore, think it their duty to
+state emphatically that they are fully satisfied of the great importance
+of the services rendered by him, as an original inventor, to the art of
+photography.
+
+"Professor Hunt, having studied during twenty years the beautiful art of
+photography in all its details, submitted to the Committee the following
+explanation of Mr. Archer's just right:--
+
+"'As there appears to be some misconception of the real claim of Mr.
+Archer to be considered as a _discoverer_, it is thought desirable to
+state briefly and distinctly what we owe to him. There can be no doubt
+that much of the uncertainty which has been thought by some persons to
+surround the introduction of collodion, has arisen from the unobtrusive
+character of Mr. Archer himself, who deferred for a considerable period
+_the publication of the process of which he was the discoverer_.
+
+"'When Professor Schoenbein, of Basle, introduced gun-cotton at the
+meeting of the British Association at Southampton in 1846, the
+solubility of this curious substance in ether was alluded to. Within a
+short time collodion was employed in our hospitals for the purposes of
+covering with a film impervious to air abraded surfaces on the body; its
+peculiar electrical condition was also known and exhibited by Mr. Hall,
+of Dartford, and others.
+
+"'The beautiful character of the collodion film speedily led to the idea
+of using it as a medium for receiving photographic agents, and
+experiments were made by spreading the collodion on paper and on glass,
+to form with it sensitive tablets. These experiments were all failures,
+owing to the circumstance that the collodion was regarded merely as a
+sheet upon which the photographic materials were to be spread; the dry
+collodion film being in all cases employed.
+
+"'To Mr. Archer, who spent freely both time and money in experimental
+research, it first occurred to dissolve in the collodion itself the
+iodide of potassium. By this means he removed every difficulty, and
+became the inventor of the collodion process. The pictures thus obtained
+were exhibited, and some of the details of the process communicated by
+Mr. Scott Archer in confidence to friends before he published his
+process. This led, very unfortunately, to experiments by others in the
+same direction, and hence there have arisen claims in opposition to
+those of this lamented photographer. Everyone, however, acquainted with
+the early history of the collodion process freely admits that Mr. Archer
+was the _sole inventor of iodized collodion_, and of those manipulatory
+details which still, with very slight modifications, constitute the
+collodion process, and he was the first person who published any account
+of the application of this remarkable accelerating agent, by which the
+most important movement has been given to the art of photography.'
+
+"Your committee, in May last, heard with deep regret of the sudden death
+of the widow, Mrs. Archer, which melancholy event caused a postponement
+of the general meeting resolved upon in November last. Sir Wm. Newton
+thereupon resolved to make another effort to obtain a pension for the
+three orphan children, now more destitute than ever, and so earnestly
+did he urge their claim upon the Minister, Lord Derby, that a reply came
+the same day from his lordship's private secretary, saying, 'The Queen
+has been pleased to approve of a pension of fifty pounds per annum being
+paid from the Civil List to the children of the late Mr. Frederick Scott
+Archer, in consideration of the scientific discoveries of their father,'
+his lordship adding his regrets 'that the means at his disposal have not
+enabled him to do more in this case.' Your committee, to mark their
+sense of the value of the services rendered to the cause by Sir William
+Newton, thereupon passed a vote of thanks to him. In conclusion, your
+committee have to state that a trust deed has been prepared, free of
+charge, by Henry White, Esq., of 7, Southampton Street, which conveys
+the fund collected to trustees, to be by them invested in the public
+securities for the sole benefit of the orphan children. The sum in the
+Union Bank now amounts to L549 11s. 4d., exclusive of interest, and the
+various sums--in all about L68--paid over to Mrs. Archer last year. Thus
+far, the result is a subject for congratulation to the subscribers and
+your committee, whose labours have hitherto not been in vain. Your
+committee are, nevertheless, of opinion that an appeal to Parliament
+might be productive of a larger recognition of the claim of these orphan
+children--a claim not undeserving the recognition of the Legislature,
+when the inestimable boon bestowed upon the country is duly considered.
+Since March 1851, when Mr. Archer described his process in the pages of
+the _Chemist_, how many thousands must in some way or other have been
+made acquainted with the immense advantages it offers over all other
+processes in the arts, and how many instances could be adduced in
+testimony of its usefulness? For instance, its value to the Government
+during the last war, in the engineering department, the construction of
+field works, and in recording observations of historical and scientific
+interest. Your committee noticed that an attractive feature of the
+Photographic Society's last exhibition was a series of drawings and
+plans, executed by the Royal Engineers, in reduction of various ordnance
+maps, at a saving estimated at L30,000 to the country. The
+non-commissioned officers of this corps are now trained in this art, and
+sent to different foreign stations, so that in a few years there will be
+a network of photographic stations spread over the world, and having
+their results recorded in the War Department, and, in a short time, all
+the world will be brought under the subjugation of art.
+
+"Mr. Warren De la Rue exhibited to the Astronomical Society, November,
+1857, photographs of the moon and Jupiter, taken by the collodion
+process in five seconds, of which the Astronomer-Royal said, 'that a
+step of very great importance had been made, and that, either as regards
+the self-delineation of clusters of stars, nebulae, and planets, or the
+self-registration of observations, it is impossible at present to
+estimate the value.' When admiring the magnificent photographic prints
+which are now to be seen in almost every part of the civilized world, an
+involuntary sense of gratitude towards the discoverer of the collodion
+process must be experienced, and it cannot but be felt how much the
+world is indebted to Mr. Archer for having placed at its command the
+means by which such beautiful objects are presented. How many thousands
+amongst those who owe their means of subsistence to this process must
+have experienced such a feeling of gratitude? It is upon such
+considerations that the public have been, and still are, invited to
+assist in securing for the orphan children of the late Mr. Archer some
+fitting appreciation of the service which he rendered to science, art,
+his country--nay, to the whole world.
+
+"M. Digby Wyatt, _Chairman_,
+
+"Jabez Hogg, _Secretary to Committee_.
+
+"_Society of Arts, July, 1858._"
+
+After reading that report, and especially Mr. Hunt's remarks, it will
+appear evident to all that even that act of charity, gratitude, and
+justice could not be carried through without someone raising objections
+and questioning the claims of Frederick Scott Archer as the original
+inventor of the Collodion process. Nearly all the biographers and
+historians of photography have coupled other names with Archer's, either
+as assistants or co-inventors, but I have evidence in my possession that
+will prove that neither Fry nor Diamond afforded Archer any assistance
+whatever, and that Archer preceded all the other claimants in his
+application of collodion. In support of the first part of this
+statement, I shall give extracts from Mrs. Archer's letter, now in my
+possession, which, I think, will set that matter at rest for ever. Mrs.
+Archer, writing from Bishop Stortford on December 7th, 1857, says, "When
+Mr. A. prepared pupils for India he always taught the paper process as
+well as the Collodion, for fear the chemicals should cause
+disappointment in a hot climate, as I believe that the negative paper he
+prepared differed from that in general use. I enclosed a specimen made
+in our glass house.
+
+"In Mr. Hunt's book, as well as Mr. Horne's, Mr. Fry's name is joined
+with Mr. Archer's as the originators of the Collodion process.
+
+"Should Mr. Hunt seem to require any corroboration of what I have stated
+respecting Mr. Fry, I can send you many of Mr. Fry's notes of
+invitation, when Mr. A. merely gave him lessons in the application of
+collodion, and Mr. Brown gave me the correspondence which passed between
+him and Mr. Fry on the subject at the time Mr. Home's book was
+published. I did not send up those papers, for, unless required, it is
+useless to dwell on old grievances, but I should like such a man as Mr.
+Hunt to understand _how_ the association of the two names originated."
+
+As to priority of application, the following letter ought to settle that
+point:--
+
+"_Alma Cottage, Bishop Stortford._
+
+"_9th December, 1857._
+
+"Sir,--My hunting has at length proved successful. In the enclosed book
+you will find notes respecting the paper pulp, albumen, tanno-gelatine,
+and collodion. You will therein see Mr. Archer's notes of iod-collodion
+in 1849. You may wonder that I could not find this note-book before, but
+the numbers of papers that there are, and the extreme disorder, defy
+description. My head was in such a deplorable state before I left that I
+could arrange nothing. Those around me were most anxious to destroy _all
+the papers_, and I had great trouble to keep all with Mr. Archer's
+handwriting upon them, however dirty and rubbishing they might appear,
+so they were huddled together, a complete chaos. I look back with the
+greatest thankfulness that my brain did not completely lose its balance,
+for I had not a single relative who entered into Mr. Archer's pursuits,
+so that they could not possibly assist me.
+
+"Mr. Archer being of so reserved a character, I had to _find out_ where
+everything was, and my search has been amongst different things. I need
+not tell you that I hope this dirty enclosure will be taken care of.
+
+"The paper pulp occupied much time; in fact, notes were only made of
+articles which had been much tried, which might probably be brought into
+use.--I am, sir, yours faithfully,
+
+"_J. Hogg, Esq._
+F. G. Archer."
+
+If the foregoing is not evidence sufficient, I have by me a very good
+_glass positive_ of Hever Castle, Kent, which was taken in the spring of
+1849, and two collodion negatives made by Mr. Archer in the autumn of
+1848; and these dates are all vouched for by Mr. Jabez Hogg, who was Mr.
+Archer's medical attendant and friend, and knew him long before he began
+his experiments with collodion--whereas I cannot find a trace even of
+the _suggestion_ of the application of collodion in the practice of
+photography either by Gustave Le Gray or J. R. Bingham prior to 1849;
+while Mr. Archer's note-book proves that he was not only iodizing
+collodion at that date, but making experiments with paper pulp and
+_gelatine_; so that Mr. Archer was not only the inventor of the
+collodion process, but was on the track of its destroyer even at that
+early date. He also published his method of bleaching positives and
+intensifying negatives with bichloride of mercury.
+
+Frederick Scott Archer was born at Bishop Stortford in 1813, but there
+is little known of his early life, and what little there is I will allow
+Mrs. Archer to tell in her own way.
+
+"Dear Sir,--I do not know whether the enclosed is what you require; if
+not, be kind enough to let me know, and I must try to supply you with
+something better. I thought you merely required particulars relating to
+photography. Otherwise Mr. Archer's career was a singular one: Losing
+his parents in childhood, he lived in a world of his own; I think you
+know he was apprenticed to a bullion dealer in the city, where the most
+beautiful antique gems and coins of all nations being constantly before
+him, gave him the desire to model the figures, and led him to the study
+of numismatics. He worked so hard at nights at these pursuits that his
+master gave up the last two years of his time to save his life. He only
+requested him to be on the premises, on account of his extreme
+confidence in him.
+
+"Many other peculiarities I could mention, but I dare say you know them
+already.
+
+"I will send a small case to you, containing some early specimens and
+gutta-percha negatives, with a copy of Mr. A.'s portrait, which I found
+on leaving Great Russell Street, and have had several printed from it.
+It is not a good photograph, but I think you will consider it a
+likeness. I am, yours faithfully,
+
+"_J. Hogg, Esq._
+F. G. Archer."
+
+Frederick Scott Archer pursued the double occupation of sculptor and
+photographer at 105, Great Russell Street. It was there he so
+persistently persevered in his photographic experiments, and there he
+died in May, 1857, and was interred in Kensal Green Cemetery. A
+reference to the report of the Committee will show what was done for his
+bereaved family--a widow and three children. Mrs. Archer followed her
+husband in March, 1858, and two of the children died early; but one,
+Alice (unmarried), is still alive and in receipt of the Crown pension of
+fifty pounds per annum.
+
+While the collodion episode in the history of photography is before my
+readers, and especially as the process is rapidly becoming extinct, I
+think this will be a suitable place to insert Archer's instructions for
+making a _soluble_ gun-cotton, iodizing collodion, developing, and
+fixing the photographic image.
+
+  _Gun-Cotton_ (_or Pyroxaline, as it was afterwards named_).
+
+    Take of dry nitre in powder         40 parts
+    Sulphuric acid                      60   "
+    Cotton                               2   "
+
+The sulphuric acid and the nitre were mixed together, and immediately
+the latter was all dissolved, the gun-cotton was added and well stirred
+with a glass rod for about two minutes; then the cotton was plunged into
+a large bowl of water and well washed with repeated changes of water
+until the acid and nitre were washed away. The cotton was then pressed
+and dried, and converted into collodion by dissolving 30 grains of
+gun-cotton in 18 fluid ounces of ether and 2 ounces of alcohol--putting
+the cotton into the ether first, and then adding the alcohol; the
+collodion allowed to settle and decanted prior to iodizing. The latter
+operation was performed by adding a sufficient quantity of iodide of
+silver to each ounce of the plain collodion. Mr. Archer tells how to
+make the iodide of silver, but the quantity is regulated by the quantity
+of alcohol in the collodion. When the iodized collodion was ready for
+use, a glass plate was cleaned and coated with it, and then sensitised
+by immersion in a bath of nitrate of silver solution--30 grains of
+nitrate of silver to each ounce of distilled water. From three to five
+minutes' immersion in the silver bath was generally sufficient to
+sensitise the plate. This, of course, had to be done in what is commonly
+called a _dark room_. After exposure in the camera, the picture was
+developed by pouring over the surface of the plate a solution of
+pyrogallic acid of the following proportions:--
+
+    Pyrogallic acid                    5 grains
+    Distilled water                   10 ounces
+    Glacial acetic acid               40 minims
+
+After the development of the picture it was washed and fixed in a
+solution of hyposulphite of soda, 4 ounces to 1 pint of water. The plate
+was then washed and dried. This is an epitome of the whole of Archer's
+process for making either negatives or positives on glass, the
+difference being effected by varying the time of exposure and
+development. Of course the process was somewhat modified and simplified
+by experience and commercial enterprise. Later on bromides were added to
+the collodion, an iron developer employed, and cyanide of potassium as a
+fixing agent; but the principle remained the same from first to last.
+
+When pyrogallic acid was first employed in photography, it was quoted
+at 21s. per oz., and, if I remember rightly, I paid 3s. for the first
+_drachm_ that I purchased. On referring to an old price list I find
+Daguerreotype plates, 2-1/2 by 2 inches, quoted at 12s. per dozen;
+nitrate of silver, 5s. 6d. per oz.; chloride of gold, 5s. 6d. for
+15 grains; hyposulphite of soda at 5s. per lb.; and a half-plate rapid
+portrait lens by Voightlander, of Vienna, at L60. Those were the days
+when photography might well be considered expensive, and none but the
+wealthy could indulge in its pleasures and fascinations.
+
+While I lived in Glasgow, competition was tolerably keen, even then,
+and amongst the best "glass positive men" were Messrs. Bibo, Bowman,
+J. Urie, and Young and Sun, as the latter styled himself; and in
+photographic portraiture, plain and coloured, by the collodion process,
+were Messrs. Macnab and J. Stuart. From the time that I relinquished the
+Daguerreotype process, in 1857, I devoted my attention to the production
+of high-class collodion negatives. I never took kindly to _glass
+positives_, though I had done some as early as 1852. They were never
+equal in beauty and delicacy to a good Daguerreotype, and their low tone
+was to me very objectionable. I considered the Ferrotype the best form
+of collodion positive, and did several of them, but my chief work was
+plain and coloured prints from collodion negatives, also small portraits
+on visiting cards.
+
+Early in January, 1860, my home and business were destroyed by fire, and
+I lost all my old and new specimens of Daguerreotypes and photographs,
+all my Daguerreotype and other apparatus, and nearly everything I
+possessed. As I was only partially insured, I suffered considerable
+loss. After settling my affairs I decided on going to America again and
+trying my luck in New York. Family ties influenced this decision
+considerably, or I should not have left Glasgow, where I was both
+prosperous and respected. To obtain an idea of the latest and best
+aspects of photography, I visited London and Paris.
+
+The carte-de-visite form of photography had not exhibited much vitality
+at that period in London, but in Paris it was beginning to be popular.
+While in London I accompanied Mr. Jabez Hughes to the meeting of the
+Photographic Society, Feb. 7th, 1860, the Right Honorable the Lord Chief
+Baron Pollock in the chair, when the report of the Collodion Committee
+was delivered. The committee, consisting of F. Bedford, P. Delamotte,
+Dr. Diamond, Roger Fenton, Jabez Hughes, T. A. Malone, J. H. Morgan, H.
+P. Robinson, Alfred Rosling, W. Russell Sedgefield, J. Spencer, and T.
+R. Williams, strongly recommended Mr. Hardwich's formula. That was my
+first visit to the Society, and I certainly did not think then that I
+should ever see it again, or become and be a member for twenty-two
+years.
+
+I sailed from Liverpool in the ss. _City of Baltimore_ in March, and
+reached New York safely in April, 1860. I took time to look about me,
+and visited all the "galleries" on Broadway, and other places, before
+deciding where I should locate myself. Many changes had taken place
+during the six years I had been absent. Nearly all the old
+Daguerreotypists were still in existence, but all of them, with the
+exception of Mr. Brady, had abandoned the Daguerreotype process, and Mr.
+Brady only retained it for small work. Most of the chief galleries had
+been moved higher up Broadway, and a mania of magnificence had taken
+possession of most of the photographers. Mr. Anson was the first to make
+a move in that direction by opening a "superb gallery" on the ground
+floor in Broadway right opposite the Metropolitan Hotel, filling his
+windows with life-sized photographs coloured in oil at the back, which
+he called Diaphanotypes. He did a large business in that class of work,
+especially among visitors from the Southern States; but that was soon to
+end, for already there were rumours of war, but few then gave it any
+serious consideration.
+
+Messrs. Gurney and Sons' gallery was also a very fine one, but not on
+the ground floor. Their "saloon" was upstairs, This house was one of the
+oldest in New York in connection with photography. In the very early
+days, Mr. Gurney, senr., was one of the most eminent "professors" of the
+Daguerreotype process, and was one of the committee appointed to wait
+upon the Rev. Wm. Hill, a preacher in the Catskills, to negotiate with
+the reverend gentlemen (?) for his vaunted secret of photography in
+natural colours. As the art progressed, or the necessity for change
+arose, Mr. Gurney was ready to introduce every novelty, and, in later
+years, in conjunction with Mr. Fredericks, then in partnership with Mr.
+Gurney, he introduced the "Hallotype," not Hillotype, and the
+"Ivorytype." Both these processes had their day. The former was
+photography spoiled by the application of Canada balsam and very little
+art; the latter was the application of a great deal of art to spoil a
+photograph. The largest of all the large galleries on Broadway was that
+of Messrs. Fredericks and Co. The whole of the ground and first floor
+were thrown into one "crystal front," and made a very attractive
+appearance. The windows were filled with life-sized portraits painted in
+oil, crayons, and other styles, and the walls of the interior were
+covered with life-sized portraits of eminent men and beautiful women.
+The floor was richly carpeted, and the furnishing superb. A gallery ran
+round the walls to enable the visitors to view the upper pictures, and
+obtain a general view of the "saloon," the _tout ensemble_ of which was
+magnificent. From the ground floor an elegant staircase led to the
+galleries, toilet and waiting rooms, and thence to the operating rooms
+or studios. Some of the Parisian galleries were fine, but nothing to be
+compared with Fredericks', and the finest establishment in London did
+not bear the slightest comparison.
+
+Mr. Brady was another of the early workers of the Daguerreotype process,
+and probably the last of his _confreres_ to abandon it. He commenced
+business in the early forties in Fulton Street, a long way down
+Broadway, but as the sea of commerce pressed on and rolled over the
+strand of fashion, he was obliged to move higher and higher up Broadway,
+until he reached the corner of Tenth Street, nearly opposite Grace
+Church. Mr. Brady appeared to set the Franklin maxim, "Three removes as
+bad as a fire," at defiance, for he had made three or four moves to my
+knowledge--each one higher and higher to more elegant and expensive
+premises, each remove entailing the cost of more and more expensive
+furnishing, until his latest effort in upholstery culminated in a superb
+suite of black walnut and green silk velvet; in short, Longfellow's
+"Excelsior" appeared to be the motto of Mr. Brady.
+
+Messrs. Mead Brothers, Samuel Root, James Cady, and George Adams ought
+to receive "honourable mention" in connection with the art in New York,
+for they were excellent operators in the Daguerreotype days, and all
+were equally good manipulators of the collodion process and silver
+printing.
+
+After casting and sounding about, like a mariner seeking a haven on a
+strange coast, I finally decided on buying a half interest in the
+gallery of Mead Brothers, 805, Broadway; Harry Mead retaining his, or
+his wife's share of the business, but leaving me to manage the "uptown"
+branch. This turned out to be an unfortunate speculation, which involved
+me in a lawsuit with one of Mead's creditors, and compelled me to get
+rid of a very unsatisfactory partner in the best way and at any cost
+that I could. Mead's creditor, by some process of law that I could never
+understand, stripped the gallery of all that belonged to my partner, and
+even put in a claim for half of the fixtures. Over this I lost my
+temper, and had to pay, not the piper, but the lawyer. I also found that
+Mrs. Henry Mead had a bill of sale on her husband's interest in the
+business, which I ended by buying her out. Husband and wife are very
+seldom one in America. Soon after getting the gallery into my own hands,
+refurnishing and rearranging, the Prince of Wales's visit to New York
+was arranged, and as the windows of my gallery commanded a good view of
+Broadway, I let most of them very advantageously, retaining the use of
+one only for myself and family. There were so many delays, however, at
+the City Hall and other places on the day of the procession, that it was
+almost dark when the Prince reached 805, Broadway, and all my guests
+were both weary of waiting so long, and disappointed at seeing so little
+of England's future King.
+
+When I recommenced business on Broadway on my own account there was only
+one firm taking cartes-de-visite, and I introduced that form of portrait
+to my customers, but they did not take very kindly to it, though a house
+not far from me was doing a very good business in that style at three
+dollars a dozen, and Messrs. Rockwood and Co. appeared to be
+monopolising all the carte-de-visite business that was being done in New
+York; but eventually I got in the thin edge of the wedge by exhibiting
+_four_ for one dollar. This ruse brought in sitters, and I began to do
+very well until Abraham Lincoln issued his proclamation calling for one
+hundred thousand men to stamp out the Southern rebellion. I remember
+that morning most distinctly. It was a miserably wet morning in April,
+1861, and all kinds of business received a shock. People looked
+bewildered, and thought of nothing but saving their money and reducing
+their expenses. It had a blighting effect on my business, and I, not
+knowing, like others, where it might land me, determined to get rid of
+my responsibilities at any cost, so I sold my business for a great deal
+less than it was worth, and at a very serious loss. The outbreak of that
+gigantic civil war and a severe family bereavement combined, induced me
+to return to England as soon as possible. Before leaving America, in all
+probability for ever, I went to Washington to bid some friends farewell,
+and while there I went into Virginia with a friend on Sunday morning,
+July 21st, and in the afternoon saw the smoke and heard the cannonading
+of the first battle of Bull Run, and witnessed, next morning, the rout
+and rush into Washington of the demoralised fragments of the Federal
+army. I wrote and sent a description of the stampede to a friend in
+Glasgow, which he handed over to the _Glasgow Herald_ for publication,
+and I have reason to believe that my description of that memorable rout
+was the first that was published in Great Britain.
+
+As soon as I could settle my affairs I left New York with my family, and
+arrived in London on the 15th of September, 1861. It was a beautiful
+sunny day when I landed, and, after all the trouble and excitement I had
+so recently seen and experienced, London, despite its business and
+bustle, appeared like a heaven of peace.
+
+Mr. Jabez Hughes was about the last to wish me "God speed" when I left
+England, so he was the first I went to see when I returned. I found, to
+my disappointment, that he was in Paris, but Mrs. Hughes gave me a
+hearty welcome. After a few days' sojourn in London I went to Glasgow
+with the view of recommencing in that city, where I had many friends;
+but while there, and on the very day that I was about to sign for the
+lease of a house, Mr. Hughes wrote to offer me the management of his
+business in Oxford Street. It did not take me long to decide, and by
+return post that same night I wrote accepting the offer. I concluded all
+other arrangements as quickly as possible, returned to London, and
+entered upon my managerial duties on the 1st November, 1861. I had long
+wished and looked out for an opportunity to settle in London and enlarge
+my circle of photographic acquaintance and experience, so I put on my
+new harness with alacrity and pleasure.
+
+Among the earliest of my new acquaintances was George Wharton Simpson,
+Editor of the Photographic News. He called at Oxford Street one evening
+while I was the guest of Mr. Hughes, by whom we were introduced, and we
+spent a long, chatty, and pleasant evening together, talking over my
+American experience and matters photographic; but, to my surprise, much
+of our conversation appeared in the next issue of his journal (_vide_
+Photographic News, October 11th, 1861, pp. 480-1). But that was a power,
+I afterwards ascertained, which he possessed to an eminent degree, and
+which he utilized most successfully at his "Wednesday evenings at home,"
+when he entertained his photographic friends at Canonbury Road, N. Very
+delightful and enjoyable those evenings were, and he never failed to
+cull paragraphs for the Photographic News from the busy brains of his
+numerous visitors. He was a genial host, and his wife was a charming
+hostess; and his daughter Eva, now the wife of William Black the
+novelist, often increased the charm of those evenings by the exhibition
+of her musical abilities. It is often a wonder to me that other editors
+of photographic journals don't pursue a similar plan, for those social
+re-unions were not only pleasant, but profitable to old friend Simpson.
+Through Mr. Simpson's "at homes," and my connection with Mr. Hughes, I
+made the acquaintance of nearly all the eminent photographers of the
+time, amongst whom may be mentioned W. G. Lacy, of Ryde, I.W. The latter
+was a very sad and brief acquaintanceship, for he died in Mr. Hughes's
+sitting-room on the 21st November, 1861, in the presence of G. Wharton
+Simpson, Jabez Hughes, and myself, and, strangely enough, it was
+entirely through this death that Mr. Hughes went to Ryde, and became
+photographer to the Queen. Mr. Lacy made his will in Mr. Hughes's
+sitting-room, and Mr. Simpson sole executor, who sold Mr. Lacy's
+business in the Arcade, Ryde, I.W., to Mr. Hughes, and in the March
+following he took possession, leaving me solely in charge of his
+business in Oxford Street, London.
+
+About this time Mr. Skaife introduced his ingenious pistolgraph, but it
+was rather in advance of the times, for the dry plates then in the
+market were not quite quick enough for "snap shots," though I have seen
+some fairly good pictures taken with the apparatus.
+
+At this period a fierce controversy was raging about lunar photography,
+but it was all unnecessary, as the moon had photographed herself under
+the guidance of Mr. Whipple, of Boston, U.S., as early as 1853, and all
+that was required to obtain a lunar picture was sufficient exposure.
+
+On December 3rd, 1861, Thomas Ross read a paper and exhibited a
+panoramic lens and camera at a meeting of the Photographic Society, and
+on the 15th October, 1889, I saw the same apparatus, in perfect
+condition, exhibited as a curiosity at the Photographic Society's
+Exhibition. No wonder the apparatus was in such good condition, for I
+should think it had never been used but once. The plates were 10 inches
+long, and curved like the crescent of a new moon. Cleaning board, dark
+slide, and printing-frame, were all curved. Fancy the expense and
+trouble attending the use of such an apparatus; I should think it had
+few buyers. Certainly I never sold one, and I never met with any person
+who had bought one.
+
+Amateurs have ever been the most restless and discontented disciples of
+the "Fathers of Photography," always craving for something new, and
+seeking to lessen their labours and increase their facilities, and to
+these causes we are chiefly indebted for the marvellous development and
+radical changes of photography. No sooner was the Daguerreotype process
+perfected than it was superseded by _wet_ collodion, and that was barely
+a workable process when it became the anxiety of every amateur to have a
+_dry_ collodion process, and multitudes of men were at work endeavouring
+to make, modify, or invent a means that would enable them to use the
+camera as a sort of sketch-book, and make their finished picture at home
+at their leisure. Hence the number of Dry Plate processes published
+about this period, and the controversies carried on by the many
+enthusiastic champions of the various methods. Beer was pitted against
+tea and coffee, honey against albumen, gin against gum, but none of them
+were equal to wet collodion.
+
+The International Exhibition of 1862 did little or nothing in the
+interests of photography. It is true there was a scattered and skied
+exhibition at the top of a high tower, but as there was no "lift," I
+suspect very few people went to see the exhibits. I certainly was not
+there more than once myself. Among the exhibitors of apparatus were the
+names of Messrs. McLean, Melhuish and Co., Murray and Heath, P. Meagher,
+T. Ottewill and Co., but there was nothing very remarkable among their
+exhibits. There was some very good workmanship, but the articles
+exhibited were not beyond the quality of the every-day manufacture of
+the best camera and apparatus makers.
+
+The chief contributors to the exhibition of photographs were Messrs.
+Mayall, T. R. Williams, and Herbert Watkins in portraiture; and in
+landscapes, &c., Messrs. Francis Bedford, Rejlander, Rouch, Stephen
+Thompson, James Mudd, William Mayland, H. P. Robinson, and Breeze. By
+some carelessness or stupidity on the part of the attendants or
+constructors of the Exhibition, nearly all Mr. Breeze's beautiful
+exhibits--stereoscopes and stereoscopic transparencies--were destroyed
+by the fall of a skylight. Perhaps the best thing that the International
+Exhibition did for photography was the issue of the Jurors' Report, as
+it was prefaced with a brief History of Photography up to date, not
+perfectly correct regarding the Rev. J. B. Reade's labours, but
+otherwise good, the authorship of which I attribute to the late Dr.
+Diamond; but the awards--ah! well, awards never were quite satisfactory.
+Commendees thought they should have been medalists, and the latter
+thought something else. Thomas Ross, J. H. Dallmeyer, and Negretti and
+Zambra were the English recipients of medals, and Voightlander and Son
+and C. Dietzler received medals for their lenses.
+
+Early in 1862 the Harrison Globe Lens was attracting attention, and, as
+much was claimed for it both in width of angle and rapidity, I imported
+from New York a 5 by 4 and a whole-plate as samples. The 5 by 4 was an
+excellent lens, and embraced a much wider angle than any other lens
+known, and Mr. Hughes employed it to photograph the bridal bed and suite
+of apartments of the Prince and Princess of Wales at Osborne, Isle of
+Wight, and I feel certain that no other lens would have done the work so
+well. I have copies of the photograph by me now. They are circular
+pictures of five inches in diameter, and every article and decoration
+visible in the chambers are as sharp and crisp as possible. I showed the
+lens to Mr. Dallmeyer, and he thought he could make a better one; his
+Wide-Angle Rectilinear was the result.
+
+Mr. John Pouncy, of Dorchester, introduced his "patent process for
+permanent printing" this year, but it never made much headway. It was an
+oleagenous process, mixed with bichromate of potash, or bitumen of
+Judea, and always smelt of bad fat. I possessed examples at the time,
+but took no care of them, and no one else did in all probability; but it
+appeared to me to be the best means of transferring photographic
+impressions to wood blocks for the engraver's purpose. Thomas Sutton,
+B.A., published a book on Pouncy's process and carbon printing, but the
+process had inherent defects which were not overcome, so nothing could
+make it a success. Sutton's "History of Carbon Printing" was
+sufficiently interesting to attract both readers and buyers at the time.
+
+I have previously stated that Daguerre introduced and left his process
+in an imperfect and uncommercial condition, and that it was John
+Frederick Goddard, then lecturer at the Adelaide Gallery, London, and
+inventor of the polariscope, who discovered the accelerating properties
+of bromine, and by which, with iodine, he obtained a bromo-iodide of
+silver on the surface of the silvered plate employed in the
+Daguerreotype process, thereby reducing the time of exposure from twenty
+minutes to twenty seconds, and making the process available for
+portraiture with an ordinary double combination lens. Somehow or other,
+this worthy gentleman had fallen into adverse circumstances, and was
+obliged to eat the bread of charity in his old age. The facts of this
+sad case coming to the knowledge of Mr. Hughes and others, an appeal,
+written by Mr. Hughes, was published in the Photographic News, December
+11th, 1863. As Mr. Hughes and myself had benefitted by Mr. Goddard's
+improvement in the practice of the Daguerreotype, we took an active
+interest in the matter, and, by canvassing friends and customers,
+succeeded in obtaining a considerable proportion of the sum total
+subscribed for the relief of Mr. Goddard. Enough was obtained to make
+him independent and comfortable for the remainder of his life. Mr. T. R.
+Williams was appointed almoner by the committee, but his office was not
+for long, as Mr. Goddard died Dec. 28th, 1866.
+
+On the 5th of April, 1864, I attended a meeting of the Photographic
+Society at King's College, and heard Mr. J. W. Swan read a paper on his
+new patent carbon process. It was a crowded meeting, and an intense
+interest pervaded the minds of both members and visitors. The examples
+exhibited were very beautiful, but at that early stage they began to
+show a weakness, which clung to the collodion support as long as it was
+employed. Some of the specimens which I obtained at the time left the
+mounting boards, and the films were torn asunder by opposing forces, and
+the pictures completely destroyed. I have one in my possession now in
+that unsatisfactory condition. Mr. Swan's process was undoubtedly an
+advance in the right direction, but it was still imperfect, and required
+further improvement. Many of the members failed to see where the patent
+rights came in, and Mr. Swan himself appeared to have qualms of
+conscience on the subject, for he rather apologetically announced in his
+paper, that he had obtained a patent, though his first intention was to
+allow it to be practised without any restriction. I think myself it
+would have been wiser to have adhered to his original intention;
+however, it was left to others to do more to advance the carbon process
+than he did.
+
+During this year (1865) an effort was made to establish a claim of
+priority in favour of Thomas Wedgwood for the honour of having made
+photographs on silver plates, and negatives on paper, and examples of
+such alleged early works were submitted to the inspection of members of
+the Photographic Society, but it was most satisfactorily determined that
+the photographs on the silver plates were weak Daguerreotypes of a
+posterior date, and that the photographic prints, on paper, of a
+breakfast table were from a calotype negative taken by Fox Talbot.
+Messrs. Henneman and Dr. Diamond proved this most conclusively. Other
+prints then exhibited, and alleged to be photographs, were nothing but
+prints from metal plates, produced by some process of engraving,
+probably Aquatint. I saw some of the examples at the time, and, as
+recently as Nov. 1st, 1889, I have seen some of them again, and I think
+the "Breakfast Table" and a view of "Wedgwood's Pottery" are silver
+prints, though very much faded, from calotype negatives. The other
+prints, such as the "Piper" and "A Vase," are from engraved plates. No
+one can desire to lessen Thomas Wedgwood's claims to pre-eminence among
+the early experimentalists with chloride of silver, but there cannot now
+be any denial to the claims of the Rev. J. B. Reade in 1837, and Fox
+Talbot in 1840, of being the earliest producers of photographic
+negatives on paper, from which numerous prints could be obtained.
+
+The Wothlytype printing process was introduced to the notice of
+photographers and the public this year: first, by a blatant article in
+the _Times_, which was both inaccurate and misleading, for it stated
+that both nitrate of silver and hyposulphite of soda were dispensed
+within the process; secondly, by the issue of advertisements and
+prospectuses for the formation of a Limited Liability Company. I went
+to the Patent Office and examined the specification, and found that
+both nitrate of silver and hyposulphite of soda were essential to the
+practice of the process, and that there was no greater guarantee of
+permanency in the use of the Wothlytype than in ordinary silver
+printing.
+
+On March 14th, 1865, George Wharton Simpson, editor and proprietor of
+the _Photographic News_, read a paper at a meeting of the Photographic
+Society on a new printing process with collodio-chloride of silver on
+paper. Many beautiful examples were exhibited, but the method never
+became popular, chiefly on account of the troubles of toning with
+sulpho-cyanide of ammonium. The same or a similar process, substituting
+gelatine for collodion, is known and practised now under the name of
+Aristotype, but not very extensively, because of the same defects and
+difficulties attending the Simpsontype. Another new method of positive
+printing was introduced this year by Mr. John M. Burgess, of Norwich,
+which he called "Eburneum." It was not in reality a new mode of
+printing, but an ingenious application of the collodion transfer, or
+stripping process. The back of the collodion positive print was coated
+with a mixture of gelatine and oxide of zinc, and when dry stripped from
+the glass. The finished picture resembled a print on very fine ivory,
+and possessed both delicate half-tones and brilliant shadows. I possess
+some of them now, and they are as beautiful as they were at first, after
+a lapse of nearly quarter of a century. It was a very troublesome and
+tedious process, and I don't think many people practised it. Certainly I
+don't know any one that does so at the present time.
+
+This was the year of the Dublin International Exhibition. I went to see
+it and report thereon, and my opinions and criticisms of the
+photographic and other departments will be found and may be perused in
+"Contributions to Photographic Literature." On the whole, it was a very
+excellent exhibition, and I thoroughly enjoyed the trip.
+
+A new carbon process by M. Carey Lea was published this year. The
+ingredients were similar to those employed by Swan and others, but
+differently handled. No pigment was mixed with the gelatine before
+exposure, but it was rubbed on after exposure and washing, and with care
+any colour or number of colours might be applied, and so produce a
+polychromatic picture, but I don't know any one that ever did so. I
+think it could easily be applied to making photographic transfers to
+blocks for the use of wood engravers.
+
+December 5th, 1865, Mr. Walter Woodbury demonstrated and exhibited
+examples of the beautiful mechanical process that bears his name to the
+members of the Photographic Society. The process was not entirely
+photographic. The province of photography ceased on the production of
+the gelatine relief. All that followed was strictly mechanical. It is
+somewhat singular that a majority of the inventions and modifications of
+processes that were introduced this year related to carbon and
+permanency.
+
+Thursday, January 11th, 1866, I read, at the South London Photographic
+Society, a paper on "Errors in Pictorial Backgrounds." As the paper, as
+well as the discussion thereon, is published _in extenso_ in the
+journals of the period, it is not necessary for me to repeat it here,
+but I may as well state briefly my reasons for reading the paper. At
+that time pictorial backgrounds and crowded accessories were greatly in
+use, and it was seldom, if ever, that the horizontal line of the painted
+background, and the horizontal line indicated by the position of the
+camera, coincided. Consequently the photographic pictures obtained under
+such conditions invariably exhibited this incongruity, and it was with
+the hope of removing these defects, or violations of art rules and
+optical laws, that I ventured to call attention to the subject and
+suggest a remedy. A little later, I wrote an article, "Notes on Pictures
+in the National Gallery," which was published in the _Photographic News_
+of March 29th, in support of the arguments already adduced in my paper
+on "Errors in Pictorial Backgrounds," and I recommend every portrait
+photographer to study those pictures.
+
+February 13th I was elected a member of the Photographic Society of
+London.
+
+Quite a sensation was created in the Spring of this year by the
+introduction of what were termed "Magic Photographs." Some one was
+impudent enough to patent the process, although it was nothing but a
+resurrection of what was published in 1840 by Sir John Herschel, which
+consisted of bleaching an ordinary silver print to invisibility with
+bichloride of mercury, and restoring it by an application of
+hyposulphite of soda. I introduced another form of magic photograph, in
+various monochromatic colours, similar to Sir John Herschel's
+cyanotype, and I have several of these pictures in my possession now,
+both blue, purple, and red, dated 1866, as bright and beautiful as they
+were the day they were made. But the demand for these magic photographs
+was suddenly stopped by someone introducing indecent pictures. In all
+probability these objectionable pictures came from abroad, and the most
+scrupulous of the home producers suffered in consequence, as none of the
+purchasers could possibly know what would appear when the developer or
+redeveloper was applied.
+
+On June 14th Mr. F. W. Hart read a paper, and demonstrated before the
+South London Photographic Society, on his method of rendering silver
+prints permanent. "A consummation devoutly to be wished," but
+unfortunately some prints in my possession that were treated to a bath
+of his eliminator show unmistakable signs of fading. In my opinion,
+there is nothing so efficacious as warm water washing, and some prints
+that I toned, fixed, and washed myself over thirty years ago, are
+perfect.
+
+The "cabinet" form of portrait was introduced this year by Mr. F. R.
+Window, and it eventually became the fashionable size, and almost wiped
+out the carte-de-visite. The latter, however, had held its position for
+about nine years, and the time for change had arrived. Beyond the
+introduction of the cabinet portrait, nothing very novel or ingenious
+had been introduced, but a very good review of photography up to date
+appeared in the October issue of the _British Quarterly Review_. This
+was a very ably written article from the pen of my old friend, Mr.
+George Wharton Simpson.
+
+No radical improvement or advance in photography was made in 1867, but
+M. Adam-Salomon created a little sensation by exhibiting some very fine
+samples of his work in the Paris Exhibition. They were remarkable
+chiefly for their pose, lighting, retouching, and tone. A few of them
+were afterwards seen in London, and that of Dr. Diamond was probably the
+most satisfactory. M. Salomon was a sculptor in Paris, and his art
+training and feeling in that branch of the Fine Arts naturally assisted
+him in photography.
+
+The Duc de Luynes's prize of 8,000 francs for the best mechanical
+printing process was this year awarded to M. Poitevin. In making the
+award, the Commission gave a very excellent resume of all that had
+previously been done in that direction, and endeavoured to show why they
+thought M. Poitevin entitled to the prize; but for all that I think it
+will be difficult to prove that any of M. Poitevin's mechanical
+processes ever came into use.
+
+On June 13th, in the absence of Mr. Jabez Hughes, I read his paper,
+"About Leptographic Printing," before the South London Photographic
+Society. This Leptographic paper was claimed to be the invention of two
+photographers in Madrid, but it was evidently only a modification of Mr.
+Simpson's collodio-chloride of silver process.
+
+About this period I got into a controversy--on very different subjects,
+it is true--but it made me determine to abandon for the future the
+practice of writing critical notices under the cover of a _nom de
+plume_. I had, under the _nom de plume_ of "Union Jack," written in
+favour of a union of _all_ the photographic societies then in London.
+This brought Mr. A. H. Wall down on me, but that did not affect me very
+much, nor was I personally distressed about the other, but I thought it
+best to abandon a dangerous practice. Under the _nom de plume_ of "Lux
+Graphicus" I had contributed a great many articles to the _Photographic
+News_, and, in a review of the Society's exhibition, published Nov.
+22nd, 1867, I expressed an honest opinion on Mr. Robinson's picture
+entitled "Sleep." It was not so favourable and flattering, perhaps, as
+he would have liked, but it was an honest criticism, and written without
+any intention of giving pain or offence.
+
+The close of this year was marked by a very sad catastrophe intimately
+associated with photography, by the death of Mr. Mawson at
+Newcastle-on-Tyne; he was killed by an explosion of nitro-glycerine.
+Mr. Mawson, in conjunction with Mr. J. W. Swan, was one of the earliest
+and most successful manufacturers of collodion, and, as early as 1852, I
+made negatives with that medium, though I did not employ collodion
+solely until 1857, when I abandoned for ever the beautiful and
+fascinating Daguerreotype.
+
+On Friday, December 27th, Antoine Jean Francois Claudet, F.R.S., &c.,
+&c., died suddenly in the 71st year of his age. He was one of the
+earliest workers and improvers of the Daguerreotype process in this
+country, and one of the last to relinquish its practice in London. Mr.
+Claudet bought a share of the English patent of Mr. Berry, the agent,
+while he was a partner in the firm of Claudet and Houghton in 1840, and
+commenced business as a professional Daguerreotypist soon afterwards.
+Before the introduction of bromine as an accelerator by Mr. Goddard, Mr.
+Claudet had discovered that chloride of iodine increased the
+sensitiveness of the Daguerreotype plate, and he read a paper on that
+subject before the Royal Society in 1841. He was a member of the council
+of the Photographic Society for many years, and a copious contributor to
+its proceedings, as well as to photographic literature. In his
+intercourse with his _confreres_ he was always courteous, and when I
+called upon him in 1851 he received me most kindly, I met him again in
+Glasgow, and many times in London, and always considered him the best
+specimen of a Frenchman I had ever met. Towards his clients he was firm,
+respectful, and sometimes generous, as the following characteristic
+anecdote will show. He had taken a portrait of a child, which, for some
+reason or other, was not liked, and demurred at. He said, "Ah! well, the
+matter is easily settled. I'll keep the picture, and return your money";
+and so he thought the case was ended; but by-and-by the picture was
+asked for, and he refused to give it up. Proceedings were taken to
+compel him to surrender it, which he defended. In stating the case, the
+counsel remarked that the child was dead. Mr. Claudet immediately
+stopped the counsel and the case by exclaiming, "Ah! they did not tell
+me that before. Now, I make the parents a present of the portrait." I am
+happy to say that I possess a good portrait of Mr. Claudet, taken in
+November, 1867, with his _Topaz lens_, 5/8-inch aperture. Strangely
+enough, Mr. Claudet's studio in Regent Street was seriously damaged by
+fire within a month of his death, and all his valuable Daguerreotypes,
+negatives, pictures, and papers destroyed.
+
+On April 9th, 1868, I exhibited, at the South London Photographic
+Society, examples of nearly all the types of photography then known,
+amongst them a Daguerreotype by Daguerre, many of which are now in the
+Science Department of the South Kensington Museum, and were presented by
+me to form the nucleus of a national exhibition of the rise and progress
+of photography, for which I received the "thanks of the Lords of the
+Council on Education," dated April 22nd, 1886.
+
+There was nothing very remarkable done in 1868 to forward the interests
+or development of photography, yet that year narrowly escaped being made
+memorable, for Mr. W. H. Harrison, now editor of the _Photographic
+News_, actually prepared, exposed, and developed a gelatino-bromide
+dry plate, but did not pursue the matter further. 1869 also passed
+without adding much to the advancement of photography, and I fear the
+same may be said of 1870, with the exception of the publication, by
+Thos. Sutton, of Gaudin's gelatino-iodide process.
+
+On February 21st, 1870, Robert J. Bingham died in Brussels. When the
+Daguerreotype process was first introduced to this country, Mr. Bingham
+was chemical assistant to Prof. Faraday at the Royal Institution. He
+took an immediate interest in the wonderful discovery, and made an
+improvement in the application of bromine vapour, which entitled him to
+the gratitude of all Daguerreotypists. When Mr. Goddard applied bromine
+to the process, he employed "bromine water," but, in very hot weather,
+the aqueous vapour condensed upon the surface of the plate, and
+interrupted the sensitising process. Mr. Bingham obviated this evil by
+charging hydrate of lime with bromine vapour, which not only removed the
+trouble of condensation, but increased the sensitiveness of the prepared
+plate. This was a great boon to all Daguerreotypists, and many a time I
+thanked him mentally long before I had the pleasure of meeting him in
+London. Mr. Bingham also wrote a valuable manual on the Daguerreotype
+and other photographic processes, which was published by Geo. Knight and
+Sons, Foster Lane, Cheapside. Some years before his death, Mr. Bingham
+settled in Paris, and became a professional photographer, but chiefly as
+a publisher of photographic copies of paintings and drawings.
+
+Abel Niepce de St. Victor, best known without the Abel, died suddenly on
+April 6th, 1870. Born at St. Cyr, July 26th, 1805. After passing through
+his studies at the Military School of Saumur, he became an officer in a
+cavalry regiment. Being studious and fond of chemistry, he was fortunate
+enough to effect some saving to the Government in the dyeing of fabrics
+employed in making certain military uniforms, for which he received
+compensation and promotion. His photographic fame rests upon two
+achievements: firstly, his application of iodized albumen to glass for
+negative purposes in 1848, a process considerably in advance of Talbot's
+paper negatives, but it was quickly superseded by collodion; secondly,
+his researches on "heliochromy," or photography in natural colours.
+Niepce de St. Victor, like others before and since, was only partially
+successful in obtaining some colour reproductions, but totally
+unsuccessful in rendering those colours permanent. In proof of both
+these statements I will quote from the Juror's Report, on the subject,
+of the International Exhibition, 1862:--"The obtaining of fixed natural
+colours by means of photography still remains, as was before remarked,
+to be accomplished; but the jurors have pleasure in recording that some
+very striking results of experiments in this direction were forwarded
+for their inspection by a veteran in photographic research and
+discovery, M. Niepce de St. Victor. These, about a dozen in number, 3-1/2
+by 2-1/2 inches, consisted of reproductions of prints of figures with
+parti-coloured draperies. Each tint in the pictures exhibited, they were
+assured, was a faithful reproduction of the original. Amongst the
+colours were blues, yellows, reds, greens, &c., all very vivid. Some of
+the tints gradually faded and disappeared in the light whilst under
+examination, and a few remained permanent for some hours. The
+possibility of producing natural colour thus established is a fact most
+interesting and important, and too much praise cannot be awarded to the
+skilful research which has been to this extent crowned with success. The
+jury record their obligations to their chairman, Baron Gross, at whose
+personal solicitation they were enabled to obtain a sight of these
+remarkable pictures." Such was the condition of photography in natural
+colours towards the close of 1862, and so it is now after a lapse of
+twenty-eight years. In 1870 several examples of Niepce de St. Victor's
+heliochromy were sent to the Photographic Society of London, and I had
+them in my hands and examined them carefully in gas-light; they could
+not be looked at in daylight at all. I certainly saw _faint_ traces of
+colour, but whether I saw them in their original vigour, or after they
+had faded, I cannot say. All I can say is that the tints were very
+feeble, and that they had not been obtained _through the lens_. They
+were, at their best, only contact impressions of coloured prints
+obtained after many hours of exposure. The examples had been sent to the
+Photographic Society with the hope of selling them for the benefit of
+the widow, but the Society was too wise to invest in such evanescent
+property. However, a subscription was raised both in England and France
+for the benefit of the widow and orphans of Niepce de St. Victor.
+
+December, 1870, was marked by the death of one of the eminent pioneers
+of photography. On the 12th, the Rev. J. B. Reade passed away at
+Bishopsbourne Rectory, Canterbury, in the sixty-ninth year of his age. I
+have already, I think, established Mr. Reade's claim to the honour of
+being the first to produce a photographic negative on paper developed
+with gallic acid, and I regret that I am unable to trace the existence
+of those two negatives alluded to in Mr. Reade's published letter. Mr.
+Reade told me himself that he gave those two historic negatives to Dr.
+Diamond, when Secretary to the Photographic Society, to be lodged with
+that body for safety, proof, and reference; but they are not now in the
+possession of the Photographic Society, and what became of them no one
+knows. Several years ago I caused enquiries to be made, and Dr. Diamond
+was written to by Mr. H. Baden Pritchard, then Secretary, but Dr.
+Diamond's reply was to the effect that he had no recollection of them,
+and that Mr. Reade was given to hallucinations. Considering the
+positions that Mr. Reade held, both in the world and various learned and
+scientific societies, I don't think that he could ever have been
+afflicted with such a mental weakness. He was a clergyman in the Church
+of England, an amateur astronomer and microscopist, one of the fathers
+of photography, and a member of Council of the Photographic Society, and
+President of the Microscopical Society at the time of his death. I had
+many a conversation with him years ago, and I never detected either
+weakness or wandering in his mind; therefore I could not doubt the truth
+of his statement relative to the custodianship of the first paper
+negative that was taken through the lens of a solar microscope. Mr.
+Reade was a kind and affable man; and, though a great sufferer on his
+last bed of sickness, he wrote loving, grateful, and Christian like
+letters to many of his friends, some of which I have seen, and I have
+photographed his signature to one of them to attach to his portrait,
+which I happily possess.
+
+In 1871 the coming revolution in photography was faintly heralded by Dr.
+R. L. Maddox, publishing in the _British Journal of Photography_, "An
+Experiment with Gelatino-Bromide." Successful as the experiment was it
+did not lead to any extensive adoption of the process at the time, but
+it did most unquestionably exhibit the capabilities of gelatino-bromide.
+
+As that communication to the _British Journal of Photography_ contained
+and first made public the working details of a process that was destined
+to supersede collodion, I will here insert a copy of Dr. Maddox's letter
+_in extenso_.
+
+"An Experiment with Gelatino-Bromide.
+
+"The collodio-bromide processes have for some time held a considerable
+place in the pages of the _British Journal of Photography_, and obtained
+such a prominent chance of being eventually the process of the day in
+the dry way, that a few remarks upon the application of another medium
+may perhaps not be uninteresting to the readers of the journal, though
+little more can be stated than the result of somewhat careless
+experiments tried at first on an exceedingly dull afternoon. It is not
+for a moment supposed to be new, for the chances of novelty in
+photography are small, seeing the legion of ardent workers, and the
+ground already trodden by its devotees, so that for outsiders little
+remains except to take the result of labours so industriously and
+largely circulated through these pages, and be thankful.
+
+"Gelatine, which forms the medium of so many printing processes, and
+which doubtless is yet to form the base of many more, was tried in the
+place of collodion in this manner:--Thirty grains of Nelson's gelatine
+were washed in cold water, then left to swell for several hours, when
+all the water was poured off, and the gelatine set in a wide-mouthed
+bottle, with the addition of four drachms of pure water, and two small
+drops of _aqua regia_, and then placed in a basin of hot water for
+solution. Eight grains of bromide of cadmium dissolved in half a drachm
+of pure water were now added, and the solution stirred gently. Fifteen
+grains of nitrate of silver were next dissolved in half a drachm of
+water in a test tube, and the whole taken into the dark room, when the
+latter was added to the former slowly, stirring the mixture the whole
+time. This gave a fine milky emulsion, and was left for a little while
+to settle. A few plates of glass well cleaned were next levelled on a
+metal plate put over a small lamp; they were, when fully warmed, coated
+by the emulsion spread to the edges by a glass rod, then returned to
+their places, and left to dry. When dry, the plates had a thin
+opalescent appearance, and the deposit of bromide seemed to be very
+evenly spread in the substance of the substratum.
+
+"These plates were printed from, in succession, from different
+negatives, one of which had been taken years since on albumen with
+oxgall and diluted phosphoric acid, sensitised in an acid nitrate, and
+developed with pyrogallic acid, furnishing a beautiful warm brown tint.
+
+"The exposure varied from the first plate thirty seconds to a minute and
+a half, as the light was very poor. No vestige of an outline appeared on
+removal from the printing-frame. The plates were dipped in water to the
+surface, and over them was poured a plain solution of pyrogallic acid,
+four grains to the ounce of water. Soon a faint but clean image was
+seen, which gradually intensified up to a certain point, then browned
+all over; hence, the development in the others was stopped at an early
+stage, the plate washed, and the development continued with fresh pyro,
+with one drop of a ten-grain solution of nitrate of silver, then
+re-washed and cleared by a solution of hyposulphite of soda.
+
+"The resulting tints were very delicate in detail, of a colour varying
+between a bistre and olive tint, and after washing dried with a
+brilliant surface. The colour of the print varied greatly according to
+the exposure. From the colour and delicacy it struck me that with care
+to strain the gelatine, or use only the clearest portion, such a process
+might be utilised for transparencies for the lantern, and the sensitive
+plates be readily prepared.
+
+"Some plates were fumed with ammonia; these fogged under the pyro
+solution. The proportions set down were only taken at random, and are
+certainly not as sensitive as might be procured under trials. The
+remaining emulsion was left shut up in a box in the dark room, and tried
+on the third day after preparation; but the sensibility had, it seems,
+greatly diminished, though the emulsion, when rendered fluid by gently
+warming, appeared creamy, and the bromide thoroughly suspended. Some of
+this was now applied to some pieces of paper by means of a glass rod,
+and hung up to surface dry, then dried fully on the warmed level plate,
+and treated as sensitised paper.
+
+"One kind of paper, that evidently was largely adulterated by some earthy
+base, dried without any brilliancy, but gave, under exposure of a
+negative for thirty seconds, very nicely toned prints when developed
+with a weak solution of pyro. Some old albumenized paper of Marion's was
+tried, the emulsion being poured both on the albumen side, and, in other
+pieces, on the plain side; but the salting evidently greatly interfered,
+the resulting prints being dirty-looking and greyed all over.
+
+"These papers, fumed with ammonia, turned grey under development. They
+printed very slowly, even in strong sunlight, and were none of them left
+long enough to develop into a full print. After washing they were
+cleared by weak hypo solution. It is very possible the iron developer
+may be employed for the glass prints, provided the acidification does
+not render the gelatine soft under a development.
+
+"The slowness may depend in part on the proportions of bromide and
+nitrate not being correctly balanced, especially as the ordinary, not
+the anhydrous, bromide was used, and on the quantities being too small
+for the proportion of gelatine. Whether the plates would be more
+sensitive if used when only surface dry is a question of experiment;
+also, whether other bromides than the one tried may not prove more
+advantageous in the presence of the neutral salt resulting from the
+decomposition, or the omission or decrease of the quantity of _aqua
+regia_. Very probably also the development by gallic acid and acetate of
+lead developer may furnish better results than the plain pyro.
+
+"As there will be no chance of my being able to continue these
+experiments, they are placed in their crude state before the readers of
+the Journal, and may eventually receive correction and improvement under
+abler hands. So far as can be judged, the process seems quite worth more
+carefully conducted experiments, and, if found advantageous, adds
+another handle to the photographer's wheel.
+
+R. L. Maddox, M.D."
+
+After perusing the above, it will be evident to any one that Dr. Maddox
+very nearly arrived at perfection in his early experiments. The slowness
+that he complains of was caused entirely by not washing the emulsion to
+discharge the excess of bromide, and the want of density was due to the
+absence of a restrainer and ammonia in the developer. He only made
+positive prints from negatives; but the same emulsion, had it been
+washed, would have made negatives in the camera in much less time. Thus,
+it will be seen, that Dr. Maddox, like the Rev. J. B. Reade, threw the
+ball, and others caught it; for the gelatine process, as given by Dr.
+Maddox, is only modified, not altered, by the numerous dry plate and
+gelatino-bromide paper manufacturers of to-day.
+
+Meanwhile collodion held the field, and many practical men thought it
+would never be superseded.
+
+In this year Sir John Herschel died at a ripe old age, seventy-nine.
+Photographers should revere his memory, for it was he who made
+photography practical by publishing his observation that hyposulphite of
+soda possessed the power of dissolving chloride and other salts of
+silver.
+
+
+  [Illustration: FOURTH PERIOD.
+  GELATINE.
+
+  Dr. R. L. MADDOX.
+  _From Photograph by J. Thomson._
+  GELATINO-BROMIDE EMULSION 1871.
+
+  R. KENNETT.
+  _From Photograph by J. Werge, 1887._
+  GELATINO-BROMIDE PELLICLE 1873 DRY-PLATES 1874]
+
+
+
+
+FOURTH PERIOD.
+
+GELATINE SUCCESSFUL.
+
+
+In 1873, Mr. J. Burgess, of Peckham, London, advertised his
+gelatino-bromide emulsion, but as it would not keep in consequence of
+decomposition setting in speedily, it was not commercial, and therefore
+unsuccessful. It evidently required the addition of some preservative,
+or antiseptic, to keep it in a workable condition, and Mr. J. Traill
+Taylor, editor of the _British Journal of Photography_, made some
+experiments in that direction by adding various essential oils; but Mr.
+Gray--afterwards the well-known dry plate maker--was most successful in
+preserving the gelatine emulsion from decomposition by the addition of a
+little oil of peppermint, but it was not the emulsion form of
+gelatino-bromide of silver that was destined to secure its universal
+adoption and success.
+
+At a meeting of the South London Photographic Society, held in the large
+room of the Society of Arts, John Street, Adelphi, Mr. Burgess
+endeavoured to account for his emulsion decomposing, but he did not
+suggest a remedy, so the process ceased to attract further attention.
+Mr. Kennett was present, and it was probably Mr. Burgess's failure with
+emulsion that induced him to make his experiments with a sensitive
+pellicle. Be that as it may, Mr. Kennett did succeed in making a
+workable gelatino-bromide pellicle, and obtained a patent for it on the
+20th of November, 1873. I procured some, and tried it at once. It gave
+excellent results, but preparing the plates was a messy and sticky
+operation, which I feared would be prejudicial to its usefulness and
+success. This I reported to Mr. Kennett immediately, and found that
+his own experience corroborated mine, for he had already received
+numerous complaints of this objection, while others failed through
+misapprehension of his instruction; and very comical were some of these
+misinterpretations. One attempted to coat the plates with the _end_ of
+the stirring-rod, while another set them to drain in a rack, and those
+that did succeed in coating the plates properly, invariably spoiled
+them by over-exposure or in development. He was overwhelmed with
+correspondence and visitors, and to lessen his troubles I strongly
+advised him to prepare the plates himself, and sell them in that form
+ready for use. He took my advice, and in March, 1874, issued his first
+batch of gelatino-bromide dry plates; but even that did not remove his
+vexation of spirit, nor lessen his troublesome correspondence. Most of
+his clients were sceptical, and exposed the plates too long, or worked
+under wet-plate conditions in their dark rooms, and fog and failure were
+the natural consequences. Most, if not all, of his clients at that time
+were amateurs, and it was not until years after, that professional
+photographers adopted the dry and abandoned the wet process. In fact, it
+is doubtful if the profession ever tried Mr. Kennett's dry plates at
+all, for it was not until J. W. Swan and Wratten and Wainwright issued
+their dry plates, that I could induce any professional photographer to
+give these new plates a trial, and I have a very vivid recollection
+of the scepticism and conservatism exhibited by the most eminent
+photographers on the first introduction of gelatino-bromide dry plates.
+
+For example, when I called upon Messrs. Elliott and Fry to introduce to
+their notice these rapid plates, I saw Mr. Fry, and told him how rapid
+they were. He was incredulous, and smilingly informed me that I was an
+enthusiast. It was a dull November morning, 1878, and I challenged him,
+not to fight, but to give me an opportunity of producing as good a
+picture in quarter the time they were giving in the studio, no matter
+what that time was. This rather astonished him, and he invited me up to
+the studio to prove my statement. I ascertained that they were giving
+_ninety_ seconds--a minute and a half!--on a wet collodion plate, 10 by
+8. I knew their size, and had it with me, as well as the developer. Mr.
+Fry stood and told the operator, Mr. Benares, to take the time from me.
+Looking at the quality of the light, I gave _twenty_ seconds, but Mr.
+Benares was disposed to be incredulous also, and, after counting twenty,
+went on with "one for the plate, and one more for Mr. Werge," but I told
+him to stop, or I would have nothing more to do with the business. The
+plate had twenty-two or three seconds' exposure, and when I developed in
+their dark room, it was just those two or three seconds over-exposed.
+Nevertheless, Mr. Fry brought me a print from that negative in a few
+days, and acknowledged that it was one of the finest negatives he had
+ever seen. They were convinced, and adopted the new dry plates
+immediately. But it was not so with all, for many of the most prominent
+photographers would not at first have anything to do with gelatine
+plates, and remained quite satisfied with collodion; but the time came
+when they were glad to change their opinion, and give up the wet for
+the dry plates; but it was a long time, for Mr. Kennett introduced his
+dry plates in 1874, and it was not until 1879 and 1880 that professional
+photographers had adopted and taken kindly to gelatine plates generally.
+
+With amateurs it was very different, and many of their exhibits in the
+various exhibitions were from gelatine negatives obtained upon plates
+prepared by themselves, or commercial makers. In the London Photographic
+Society's exhibition of 1874, and following, several prints from
+gelatine negatives were exhibited, and in 1879 they were pretty general.
+Among the many exhibited that year was Mr. Gale's swallow-picture,
+which created at the time a great deal of interest and controversy, and
+Mr. Gale was invited over and over again to acknowledge whether the
+appearance of the bird was the result of skill, accident, or "trickery;"
+but I don't think that he ever gratified anyone's curiosity on the
+subject. I can, however, state very confidently that he was innocent of
+any "trickery" in introducing the bird by double printing, for the late
+Mr. Dudley Radcliffe told me at the time that he (Mr. Radcliffe) not
+only prepared the plate, but developed the negative, and was surprised
+to see the bird there. This may have been the reason why Mr. Gale was so
+reticent on the subject; but I am anticipating, and must go back to
+preserve my plan of chronological progression.
+
+In 1875 a considerable impetus was given to carbon printing, both for
+small work and enlarging by the introduction of the Lambertype process.
+Similar work had been done before, but, as Mr. Leon Lambert used to say,
+he made it "facile"; and he certainly did so, and induced many
+photographers to adopt his beautiful, but troublesome, chromotype
+process. There were two Lamberts in the tent--one a very clever
+manipulator, the other a clever advertiser--and between the two they
+managed to sell a great many licences, and carry away a considerable sum
+of money. I was intimate with them both while they remained in England,
+and they were both pleasant and honourable men.
+
+On January 18th, 1875, O. G. Rejlander died, much to the regret of all
+who took an interest in the art phase of photography. Rejlander has
+himself told us how, when, and where he first fell in love with
+photography. In 1851 he was not impressed with the Daguerreotypes at the
+great exhibition, nor with "reddish landscape photographs" that he saw
+in Regent Street; but when in Rome, in 1852, he was struck with the
+beauty of some photographs of statuary, which he bought and studied,
+and made up his mind to study photography as soon as he returned to
+England. How he did that will be best told by himself:--"In 1853, having
+inquired in London for the best teacher, I was directed to Henneman. We
+agreed for so much for three or five lessons; but, as I was in a hurry
+to get back to the country, I took all the lessons in one afternoon!
+Three hours in the calotype and waxed-paper process, and half-an-hour
+sufficed for the collodion process!! He spoke, I wrote; but I was too
+clever. It would have saved me a year or more of trouble and expense had
+I attended carefully to the rudiments of the art for a month." His first
+attempt at "double printing" was exhibited in London in 1855, and was
+named in the catalogue, _group printed from three negatives_. Again, I
+must allow Mr. Rejlander to describe his reasons for persevering in the
+art of "double printing":--"I had taken a group of two. They were
+expressive and composed well. The light was good, and the chemistry of
+it successful. A very good artist was staying in the neighbourhood,
+engaged on some commission. He called; saw the picture; was very much
+delighted with it, and so was I. Before he left my house he looked at
+the picture again, and said it was 'marvellous,' but added, 'Now, if I
+had drawn that, I should have introduced another figure between them, or
+some light object, to keep them together. You see, there is where you
+photographers are at fault. Good morning!' I snapped my fingers after he
+left--but not at him--and exclaimed aloud, 'I can do it!' Two days
+afterwards I called at my artist-friend's hotel as proud as--anybody. He
+looked at my picture and at me, and took snuff twice. He said, 'This is
+another picture.' 'No,' said I, 'it is the same, except with the
+addition you suggested.' 'Never,' he exclaimed; 'and how is it possible?
+You should patent that!'" Rejlander was too much of an artist to take
+anything to the Patent Office.
+
+When I first saw his celebrated composition picture, "The Two Ways of
+Life," in the Art Treasures Exhibition at Manchester in 1857, I
+wondered how he could have got so many men and women to become models,
+and be able to sit or stand in such varied and strained positions for
+the length of time then required by the wet collodion process; but my
+wonder ceased when I became acquainted with him in after years, and
+ascertained that he had the command of a celebrated troupe, who gave
+_tableaux vivants_ representations of statues and groups from paintings
+under the direction and name of "Madame Wharton's _pose plastique_
+troupe." What became of the original "Two Ways of Life" I do not know,
+but the late Henry Greenwood possessed it at the time of Rejlander's
+death, for I remember endeavouring to induce Mr. Greenwood to allow it
+to be offered as a bait to the highest contributor to the Rejlander
+fund; but Mr. Greenwood's characteristic reply was, "Take my purse, but
+leave me my 'Two Ways of Life.'" Mr. Rejlander kindly gave me a reduced
+copy of his "Two Ways of Life," and many other examples of his works,
+both in the nude and semi-nude. Fortunately Rejlander did not confine
+himself to such productions, but made hundreds of draped studies, both
+comic and serious, such as "Ginx's Baby," "Did She?," "Beyond the Bible,"
+and "Homeless." Where are they all now? I fear most of them have faded
+away, for Rejlander was a somewhat careless operator, and he died before
+the more permanent process of platinum printing was introduced. When
+Rejlander died, his widow tried to make a living by printing from his
+negatives, but I fear they soon got scattered. Rejlander was a genial
+soul and a pleasant companion, and he had many kind friends among
+members of the Solar Club, as well as other clubs with which he was
+associated.
+
+There is one more death in this year to be recorded, that of Thomas
+Sutton, B.A., the founder and for many years editor of _Photographic
+Notes_, and the inventor of a panoramic camera of a very clumsy
+character that bore his name, and that was all. Mr. Sutton was a very
+clever man with rather warped notions, and in the management of his
+_Photographic Notes_ he descended to the undignified position of a
+caricaturist, and published illustrations of an uncomplimentary
+description, some of which were offensive in the extreme, and created a
+great deal of irritation in some minds at the time.
+
+In 1877 Carey Lea gave his ferrous-oxalate developer to the world, but
+it was not welcomed by many English photographers for negative
+development, though it possessed many advantages over alkaline pyro. It
+was, however, generally employed by foreign photographers, and is now
+largely in use by English photographers, especially for the development
+of bromide paper, either for contact printing or enlargements. In the
+early part of this year, Messrs. Wratten and Wainwright commenced to
+make gelatino-bromide dry plates, and during the hot summer months Mr.
+Wratten found it necessary to precipitate the gelatine emulsion with
+alcohol. This removed the necessity of dialysing, and helped to lessen
+the evils of decomposition and "frilling."
+
+The most noticeable death in the photographic world of this year was
+that of Henry Fox Talbot. He was born on February the 11th, 1800, and
+died September 17th, 1877, thus attaining a ripe old age. I am not
+disposed to deny his claims to the honour of doing a great deal to
+forward the advancement of photography, but what strikes me very much is
+the mercenary spirit in which he did it, especially when I consider the
+position he occupied, and the pecuniary means at his command. In the
+first place, he rushed to the Patent Office with his gallo-nitrate
+developer, and then every little improvement or modification that he
+afterwards made was carefully protected by patent rights. With a
+churlishness of spirit and narrow-mindedness it is almost impossible to
+conceive or forgive, he tried his utmost to stop the formation of the
+London Photographic Society, and it was only after pressing
+solicitations from Sir Charles Eastlake, President of the Royal Academy,
+and first President of the London Photographic Society, that he
+withdrew his objections. The late Peter le Neve Foster, Secretary of the
+Society of Arts, told me this years after, and when it was proposed to
+make Fox Talbot an honorary member of the Photographic Society, Mr.
+Foster was opposed to the proposition. Then the action that he brought
+against Sylvester Laroche was unjustifiable, for there really was no
+resemblance between the collodion and calotype means of making a
+negative, except in the common use of the camera, and the means of
+making prints was the same as that employed by Thomas Wedgwood, while
+the fixing process with hyposulphite of soda was first resorted to by
+the Rev. J. B. Reade, on the published information of Sir John Herschel.
+
+On March 29th, 1878, Mr. Charles Bennett published his method of
+increasing the sensitiveness of gelatino-bromide plates. It may be
+briefly described as a prolonged cooking of the gelatine emulsion at a
+temperature of 90 deg., and, according to Mr. Bennett's experience, the
+longer it was cooked the more sensitive it became, with a corresponding
+reduction of density when the prepared plates were exposed and
+developed.
+
+April 20th of this year Mr. J. A. Spencer died, after a lingering
+illness, of cancer in the throat. Mr. Spencer was, at one period in the
+history of photography, the largest manufacturer of albumenized paper in
+this country, and carried on his business at Shepherd's Bush. In 1866 he
+told me that he broke about 2,000 eggs daily, merely to obtain the
+whites or albumen. The yolks being of no use to him, he sold them, when
+he could, to glove makers, leather dressers, and confectioners, but they
+could not consume all he offered for sale, and he buried the rest in his
+garden until his neighbours complained of the nuisance, so that it
+became ultimately a very difficult thing for him to dispose of his waste
+yolks in any manner. After the introduction of Swan's improved carbon
+process, he turned his attention to the manufacture of carbon tissue,
+and in a short time he became one of the partners in the Autotype
+Company, and the name of the firm at that period was Spencer, Sawyer,
+and Bird; but he ceased to be a partner some time before his death.
+
+At the South London Technical Meeting, held in the great hall of the
+Society of Arts, I exhibited my non-actinic developing tray, and
+developed a gelatine dry plate in the full blaze of gas-light. A short
+extract from a leader in the _Photographic News_ of November 14th, 1879,
+will be sufficient to satisfy all who are interested in the matter.
+"Amongst the many ingenious appliances exhibited at the recent South
+London meeting, none excited greater interest than the developing tray
+of Mr. Werge, in which he developed in the full gas-light of the room a
+gelatine plate which had been exposed in the morning, and exhibited to
+the meeting the result in a clean transparency, without fog, or any
+trace of the abnormal action of light.... We can here simply record the
+fact, interesting to many, that the demonstration before the South
+London meeting was a perfect success."
+
+1880 had a rather melancholy beginning, for on January the 15th, Mr.
+George Wharton Simpson died suddenly, which was a great shock to every
+one that knew him. I had seen him only a few days before in his usual
+good health, and he looked far more like outliving me than I him;
+besides, he was a year my junior. The extract above quoted was the last
+time he honoured me by mentioning my name in his writings, though he had
+done so many times before, both pleasantly and in defending me against
+some ill-natured and unwarrantable attacks in the journal which he so
+ably conducted for twenty years.
+
+Mungo Ponton died August 3rd, 1880. Though his discovery did little or
+nothing towards the development of photography proper, it is impossible
+to allow him to pass out of this world without honourable mention, for
+his discovery led to the creation and development of numerous and
+important photo-mechanical industries, which give employment to numbers
+of men and women. When Mungo Ponton announced his discovery in the
+_Edinburgh New Philosophical Journal_ in 1839, he probably never dreamt
+that it would be of any commercial value, or he might have secured
+rights and royalties on all the patent processes that grew out of it;
+for Poitevin's patent, 1855, Beauregard's, 1857, Pouncy's, 1858 and
+1863, J. W. Swan's, 1864, Woodbury's, 1866, all the Autotype and
+Lambertype and kindred patents, as well as all the forms of Collotype
+printing, are based on Ponton's discovery. But so it is: the originator
+of anything seldom seeks any advantage beyond the honour attached to the
+making of a great invention or discovery. It is generally the petty
+improvers that rush to the Patent Office to secure rights and
+emoluments, regardless of the claims of the founders of their patented
+processes.
+
+On March 2nd, 1880, I delivered a lecture on "The Origin, Progress, and
+Practice of Photography" before the Lewisham and Blackheath Scientific
+Association, in which I reviewed the development of photography from its
+earliest inception up to date, exhibited examples, and gave
+demonstrations before a very attentive and apparently gratified
+audience.
+
+On the 27th May, 1880, Professor Alfred Swaine Taylor died at his
+residence, 15, St. James's Terrace, Regent's Park, in his seventy-fourth
+year. He was born on the 11th December, 1806, at Northfleet in Kent, and
+in 1823 he entered as a student the united hospitals of Guy's and St.
+Thomas's, and became the pupil of Sir Astley Cooper and Mr. Joseph Henry
+Green. His success as a student and eminence as a professor, lecturer,
+and author are too well-known to require any comment from me on those
+subjects, but it is not so generally known how much photography was
+indebted to him at the earliest period of its birth. In 1838 Dr. Taylor
+published his celebrated work, "The Elements of Medical Jurisprudence,"
+and in 1840 he published a pamphlet "On the Art of Photogenic Drawing,"
+in which he advocated the superiority of ammonia nitrate of silver over
+chloride of silver as a sensitiser, and hyposulphite of lime over
+hyposulphite of soda as a fixer, and the latter he advocated up to the
+year of his death, as the following letter will show:--
+
+"_St. James's Terrace, February 10th, 1880._
+
+"Mr. Werge.
+
+"Dear Sir,--I have great pleasure in sending you for the purpose of your
+lecture some of my now ancient photographs. They show the early
+struggles which we had to make. The mounted drawings were all made with
+the _ammonia nitrate_ of silver; I send samples of the paper used. In
+general the paper selected contained chloride enough to form ammonia
+chloride. I send samples of unused paper, procured in 1839--some salted
+afterwards.
+
+"All these drawings (which are dated) have been preserved by the
+hyposulphite of _lime_ (not soda). The hypo of lime does not form a
+definite compound with silver, like soda; hence it is easily washed
+away, and this is why the drawings are tolerably preserved after forty
+years. All are on plain paper. Ammonia nitrate does not answer well on
+albumenized paper. The art of toning by gold was not known in those
+ancient days, but the faded drawings on _plain paper_, as you will see,
+admit of restoration, in dark purple, by placing them in a very dilute
+solution of chloride of gold, and putting them in the dark for
+twenty-four hours. The gold replaces the reduced silver and sulphide of
+silver. I send you the only copy I have of my photogenic drawing. Five
+hundred were printed, and all were sold or given away. Please take care
+of it. The loose photographs in red tape are scenes in Egypt and Greece,
+taken about 1850 from wax-paper negatives (camera views) made by Mr. D.
+Colnaghi, now English Consul at Florence. If you can call here I shall
+be glad to say more to you on the matter.--Yours truly,
+
+"Alfred S. Taylor."
+
+The above was the last of many letters on photographic matters that I
+had received from Dr. Taylor, and the last time I had the pleasure of
+seeing him was when I returned the photographs and pamphlet alluded to
+therein, only a short time before his death. Dr. Taylor never lost his
+interest in photography, and was always both willing and pleased to
+enter into conversation on the subject. He had worked at photography
+through all its changes, despite his many professional engagements, from
+its dawn in 1839, right up to the introduction of gelatino-bromide
+dry plates, and in 1879 he came and sat to me for his portrait on one
+of what he called "these wonderful dry plates," and watched the process
+of development with as much interest as any enthusiastic tyro would have
+done, and I am proud to say that I had the pleasure of taking the
+portrait and exhibiting the process of development of the latest aspect
+of photography to one of its most enthusiastic and talented pioneers.
+
+Dr. Taylor was a man of remarkable energy and versatility. He was a
+prolific writer and an admirable artist. On his walls were numerous
+beautiful drawings, and his windows were filled with charmingly illusive
+transparencies, all the work of his own hands; and once, when expressing
+my wonder that he could find time to do so many things, he remarked that
+"a man could always find time to do anything he wished if his heart was
+with his work." Doubtless it is so, and his life and what he did in it
+were proofs of the truth and wisdom of his observation.
+
+Hydroquinone as a developer was introduced this year by Eder and Toth,
+but it did not make much progress at first. It is more in use now, but I
+do not consider it equal to oxalate of iron.
+
+A considerable fillip was, this year, given to printing on
+gelatino-bromide paper by the issue of "The Argentic Gelatino-Bromide
+Worker's Guide," published by W. T. Morgan and Co. The work was written
+by John Burgess, who made and sold a bromide emulsion some years
+before, and it contained some excellent working instructions. In the
+book is a modification and simplification of J. M. Burgess's Eburneum
+Process, though that process was the invention of Mr. J. Burgess, of
+Norwich; but a recent application of the gelatino-bromide emulsion to
+celluloid slabs by Mr. Fitch has made the Ivorytype process as simple
+and certain as the exposure and development of gelatino-bromide paper.
+
+On January 30th, 1881, died Mr. J. R. Johnson, of pantascopic celebrity.
+Mr. Johnson was the inventor of many useful things, both photographic
+and otherwise. He was the chief promoter of the Autotype Company, in
+which the late Mr. Winsor was so deeply interested; and his double
+transfer process, published in 1869, contributed greatly to the
+successful development and practice of the Carbon process. The invention
+of the Pantascopic Camera, and what he did to forward the formation of
+the Autotype Company and simplify carbon printing, may be considered the
+sum total of his claim to photographic recognition.
+
+The chief photographic novelty of 1881 was Mr. Woodbury's Stannotype
+process, a modification and simplification of what is best known as the
+Woodburytype. Instead of forcing the gelatine relief into a block of
+type-metal by immense pressure to make the matrix, he "faced" a reversed
+relief with tin-foil, thus obtaining a printing matrix in less time and
+at less expense. I have seen some very beautiful examples of this
+process, but somehow or other it is not much employed.
+
+The man who unquestionably made the first photographic portrait died on
+the 4th of January, 1882, and I think it is impossible for me to notice
+that event without giving a brief description of the circumstance, even
+though I incur the risk of telling to some of my readers a tale twice
+told. When Daguerre's success was first announced in the Academy of
+Science in 1839, M. Arago stated that Daguerre had not yet succeeded in
+taking portraits, but that he hoped to do so soon. The details of the
+process were not published until July, and in the autumn of that year
+Dr. Draper succeeded in obtaining a portrait of his assistant, and that
+was the first likeness of a human being ever known to have been secured
+by photography. It would be interesting to know if that Daguerreotype is
+in existence now. Dr. Draper was Professor of Chemistry in the
+University of New York, and as soon as the news of the discovery reached
+New York he fitted an ordinary spectacle lens into a cigar case, and
+commenced his experiments first by taking views out of a window, and
+afterwards by taking portraits. To shorten the time of exposure for the
+latter, he whitened the faces of his sitters. In April, 1840, Dr. Draper
+and Professor Morse opened a portrait gallery on the top of the
+University Buildings, New York, and did a splendid business among the
+very best people of the City at the minimum price of five dollars a
+portrait, and they would be very small even at that price.
+
+One more of the early workers in photography died this year on the 4th
+of March. Louis Alphonse Poitevin was not a father of photography in a
+creative sense, but, like Walter Woodbury, an appropriater of
+photography in furthering the development of photo-mechanical printing.
+His first effort in that direction was to obtain copper plates, or
+moulds, from Daguerreotype pictures by the aid of electrical deposits,
+and he discovered a method of photo-chemical engraving, for which he was
+awarded a silver medal by the Societe d'Encouragement des Arts, but the
+process was of no practical value. His chief and most valuable
+experiments were with gelatine and bichromates, and his labours in that
+direction were rewarded by the receipt of a considerable portion of the
+Duc de Luynes's prize for permanent photographic printing processes,
+which consisted of photo-lithography and Collotype printing. Born in
+1819, he was sixty-three years old when he died.
+
+A useful addition to the pyrogallic acid developer was this year given
+by Mr. Herbert B. Berkeley. Hitherto, nearly all pyro-developed gelatine
+plates were stained a deep yellow colour by the action of ammonia, but
+the use of sulphite of soda, as suggested by Mr. Berkeley, considerably
+lessened this evil.
+
+In 1883, Captain Abney rendered a signal service to the members of the
+Photographic Society, and photographers in general, by publishing in the
+Journal of the Society a translation of Captain Pizzighelli and Baron A.
+Hubl's booklet on platinotype. After giving a _resume_ of the early
+experiments with platinum by Herschel, Hunt, and others, the theory and
+practice of platinotype printing are clearly explained, and it was
+undoubtedly due to the publication of this translation that platinotype
+printing was very much popularised. In proof of the accuracy of this
+opinion, every following photographic exhibition showed an increasing
+number of exhibits in platinotype.
+
+No great novelty was brought into the world of photography in 1884, but
+there were signs of a steady advance, and an increasing number of
+workers with dry plates. I should not, however, neglect allusion to the
+publication of Dr. H. W. Vogel's experiments with eosine, cyanocine, and
+other kindred bodies by which he increased the sensitiveness of both wet
+collodion and gelatine plates to the action of the yellow rays
+considerably (_vide_ Journal of Society, May 30th). The Berlin Society
+for the Advancement of Photography acquired and published these
+experiments for the general good, and yet Tailfer and Clayton obtained
+patent right monopolies for making eosine gelatine plates in France,
+Austria, and England. This proceeding seems very much akin to the sharp
+practice displayed by Mr. Beard in securing a patent right monopoly in
+the Daguerreotype process which was _given to the world_ by the French
+Government in 1839. Germany very properly refused to grant a patent
+under these circumstances.
+
+On April 14th, 1885, Mr. Walter Bird read a paper at the meeting of the
+Photographic Society of Great Britain, "On the Photographic
+Reproductions of Pictures in the National Gallery," by A. Braun et Cie.
+I was present, and it appeared to me that the "effects" in some of the
+pictures exhibited were not produced by any chemical mode of translation
+of colour, but by some method of after-treatment of the negative which
+was more likely to be by skilled labour than by any chemical process.
+This belief induced me to read a paper at the next meeting--May
+12th--"On the After-Treatment of Negatives," in which I showed what
+could be done both by chemical means and art-labour to assist
+photography in translating the monographic effects of colour more in
+accordance with the scale of luminosity adopted and adhered to by the
+most eminent engravers both in line and mezzotint.
+
+At the next meeting--June 9th--Mr. J. R. Sawyer reopened the discussion
+on the above subject by reading a paper and exhibiting examples of his
+own experiments, and Mr. Sawyer admitted that he was "bound to confess
+that while every effort should be made to discover chemical combinations
+which will give the utmost value that can be practicably obtained in the
+reproduction (?) of colours, yet that, in all probability, art--and art
+not inferior to that of a competent engraver--will be necessary to
+assist photography in rendering the very subtle combinations of colour
+that present themselves in a fine painting;" and Colonel H. Stuart
+Wortley proved that the copy of Turner's "Old Temeraire" was not only
+"retouched," but wrongly translated, as the various shades of yellow in
+the original picture were represented in the copy as if they had been
+all of the same tint. Mr. Sawyer made use of the phrase "reproduction of
+colours," but that was an error. He should have said--and undoubtedly
+meant--translation of colours, for photography is, unfortunately,
+incapable of reproducing colours. Among Mr. Sawyer's examples was a
+curious and contradictory evidence that isochromatic plates translated
+yellow tints better than ordinary bromide plates, yet wrongly, for
+three different shades of yellow were translated as if they had been all
+one tint. I had noticed this myself when copying paintings and coloured
+prints, but in photographing the natural colours of fruits and flowers
+the result was different, and I attributed the mal-translation of
+pigment yellows to the amount of white with which they had been mixed by
+the painter. Be that as it may, I always obtained the best translation
+from natural colours, and a group of flowers which contained a beautiful
+sulphur coloured dahlia illustrates and confirms this statement in a
+most remarkable and satisfactory manner. It is, therefore, the more to
+be regretted that there is any restriction placed upon the individual
+experiment and development of this interesting aspect of photography.
+
+This was the year of The International Inventions Exhibition, and the
+photographic feature of which was the historical collection exhibited by
+some of the members of the Photographic Society of Great Britain, and I
+think that collection was sufficiently interesting to justify my giving,
+in these pages, the entire list as published in the _Photographic
+Journal_:--
+
+"We subjoin a full and complete statement of the whole of the exhibits,
+with the names of the contributors:--
+
+"Capt. Abney, R.E., F.R.S.--Papyrotype process, executed at the School
+of Military Engineering, Chatham.
+
+"W. Andrews--Wet collodion negatives, intensified by the Schlippes salt
+method.
+
+"T. and R. Annan--Calotype process (negative and print), taken by D. O.
+Hill.
+
+"F. Beasley, jun.--Collodio-albumen negatives.
+
+"W. Bedford--One of Archer's first cameras for collodion process,
+stereoscopic arrangement by Archer to fit a larger camera.
+
+"Valentine Blanchard--Instantaneous views, wet collodion, 1856-65.
+Illustrations of a method of enlargement, as proposed by V. Blanchard,
+1873. Modification of the Brewster stereoscope by Oliver Wendell
+Holmes.
+
+"Bullock (Bros.)--Photo-lithography, 1866 (Bullock's patent).
+
+"T. Bolas, F.C.S.--Detective camera, 1876. Negative photograph on
+bitumen, made insoluble by the action of light. Carbon negatives
+stripped by Wenderoth's process.
+
+"E. Clifton--Portrait of Daguerre. Crystallotype by J. R. Whipple, 1854.
+Specimens from "Pretsch" photo-galvano-graphic plates, 1856.
+
+"T. S. Davis, F.C.S.--A combined preparation and wash bottle for
+gelatine emulsion. Adjustable gauge for cutting photographic glasses.
+
+"De la Rue and Co.--Surface printing from blocks executed by Paul
+Pretsch, 1860.
+
+"W. England--Old Daguerreotype developing box. Old ditto sensitising
+box. Old camera, 1860, with rapid inside shutter. Instantaneous views in
+Paris, wet collodion, 1856-65.
+
+"Edinburgh Photographic Society--Archer's water lens.
+
+"James Glaisher, F.R.S.--Nature printing, taken over thirty years ago.
+
+"G. Fowler Jones--Prints from negatives by Le Gray's ceroline process.
+
+"R. Kennett--Skaife's pistolgraph. Globe lens.
+
+"Dr. Maddox--Some of the earliest gelatino-bromide negatives, by the
+originator of the process, 1871.
+
+"Mudd and Son--Collodio-albumen negatives.
+
+"R. C. Murray--Early Talbotype photographs, 1844-45.
+
+"H. Neville--Camera with Sutton's patent panoramic lens.
+
+"Mrs. H. Baden Pritchard--Impressions from pewter plates of heliographic
+drawing, by Nicephore Niepce, 1827. Original letter, by Nicephore
+Niepce, sent to the Royal Society, 1827. View of Kew, taken by Nicephore
+Niepce, 1827.
+
+"H. P. Robinson--Heliographic picture, by Nicephore Niepce, 1826.
+Photo-etched plate (from a print), by Niepce in 1827. Heliograph (from a
+print), by Niepce, 1827. One of the earliest printing-frames, made for
+Fox Talbot's photogenic drawing, 1839. The first nitrate of silver bath
+used by Scott Archer in his discovery of the collodion process, 1850.
+
+"Ross and Co.--One of Archer's earliest fluid lenses. The first
+photographic compound portrait lens, made by Andrew Ross, 1841.
+Photographic camera, believed to be the first made in England.
+
+"Sands and Hunter--Old lens, with adjustable diaphragm, by Archer, 1851.
+Old stereoscopic camera, with mechanical arrangement for transferring
+plates to and from the dark slide.
+
+"T. L. Scowen--Parallel bar stereoscopic camera. Latimer Clarke.
+
+"John Spiller, F.C.S., F.I.C.--The first preserved plates (three to
+twenty-one days), 1854. Illustrations of the French Pigeon Post.
+
+"J. W. Swan, F.C.S.--Electro intaglios from carbon reliefs
+(Thorwalsden's "Night and Morning"). Photo-mezzotints were taken from
+these in gelatinous inks, 1860, by J. W. Swan, by the process now known
+as Woodburytype. Plaster cast from a carbon print of Kenilworth, showing
+the relief, taken in 1864, by J. W. Swan. Carbon prints twenty years old
+(photographed and printed in various colours by J. W. Swan). Old print
+(in red) by T. and R. Annan, by Swan's process. Carbon print, twenty
+years old (printed in 1864) by double transfer.
+
+"B. B. Turner--Talbotype. Negatives and prints from same. Single lens
+made by Andrew Ross, 1851.
+
+"J. Werge--Examples of printing with various metals on plain paper,
+1839-42. The Fathers of Photography. Examples and dates of the
+introduction of early photographs. Daguerreotype, 1839. Collodion
+positive, 1851. Ambrotype, 1853. Ferrotype, 1855.
+
+"W. Willis, Jun.--Specimen of aniline process. Historical illustrations
+of the development of the platinotype process.
+
+"W. B. Woodbury--Photo-relief printing process. Woodbury mould and
+Woodburytype print from same, 1866. Stannotype printing-press, with
+mould. Machine for measuring reliefs. Woodbury lantern slides. Early
+Daguerreotype on copper. Positive photograph on glass. Woodbury balloon
+camera. Microscopical objects in plaster from gelatine reliefs. Woodbury
+collographic process. Woodbury photo-chromograph system, coloured from
+the back, 1869. Woodbury actinometer. Despatch-box camera. Watermark or
+photo-filigrain process. Transparency on gelatine. The first specimen of
+Woodbury printing exhibited, including the first mould printed from, and
+also proofs backed with luminous paint.
+
+"Colonel H. Stuart Wortley--Early photo-zincographs, 1861-2.
+Experimental prints with uranium collodion, 1867 (modification of
+Wothly's process). Set of apparatus complete for making gelatine
+emulsion, and preparing gelatine plates, 1877-8. No. 1. Apparatus for
+cutting gelatine plates either by hand-turning or treadle. No. 2. Stove
+for keeping emulsion warm for any time at a fixed temperature in pure
+air, and for the final drying of the plates. No. 3. Apparatus for
+squeezing emulsion out into water. No. 4. Apparatus for mixing emulsion.
+Instantaneous shutter, with horizontal motion by finger or pneumatic
+tube; adjustable wings for cutting off sky, and varying length of
+exposure."
+
+It is a very remarkable circumstance that none of the contributors to
+that historical collection could include among their interesting
+exhibits portraits of either Nicephore Niepce or Frederick Scott Archer.
+Among my "Fathers of Photography" were portraits of Daguerre, Rev. J. B.
+Reade, Fox Talbot, Dr. Alfred Swaine Taylor, and Sir John Herschel. It
+was suggested that those historical exhibits should be left at the close
+of the exhibition to form a nucleus to a permanent photographic
+exhibition in Kensington Museum. I readily contributed my exhibits
+towards such a laudable object. They were accepted, and these exhibits
+may be seen at any time in the West Gallery of the Science Department
+of the South Kensington Museum.
+
+At the exhibition of the Photographic Society of Great Britain this
+year, I exhibited "Wollaston's Diaphragmatic Shutter," in my opinion the
+best snap shutter that ever was invented, but it had two very serious
+drawbacks, for it was both _heavy_ and _expensive_.
+
+In 1886 more than usual interest was exhibited by photographers in what
+was misnamed as the isochromatic, or orthochromatic process, and this
+interest was probably created by the papers read and discussions that
+followed at the meetings of the Photographic Society in the previous
+year. Messrs. Dixon and Gray--the latter a young man in the employ of
+Messrs. Dixon and Son--commenced a series of experiments with certain
+dyes with the hope of obtaining a truer translation of colour when
+copying oil paintings or water-colour drawings, a class of work in which
+they were largely interested, and had obtained a considerable reputation
+for such reproductions as photography was then capable of rendering, and
+one of the results of these experiments was exhibited, and obtained a
+medal, at the exhibition of the Photographic Society in October. Messrs.
+Dixon and Sons' exhibit was a very surprising one, and created quite a
+sensation, as nothing equal to it had ever been shown before. The
+subject was a drawing of a yellow flower and green leaves against a blue
+ground--the yellow the most luminous, the green next, and the blue the
+darkest. In ordinary wet or dry plate photography these effects would
+have been reversed, but by Dixon and Gray's process the relative
+luminosities of these three colours were almost perfectly translated.
+Messrs. Dixon and Gray did not publish their process, but prepared
+existing gelatine dry plates by their method, and sold them at an
+enhanced price. They were not, however, permitted to supply anyone long,
+for B. J. Edwards, who had obtained a monopoly of Tailfer and Clayton's
+patent rights in England, served them with an injunction, or threatened
+them with legal proceedings, so they discontinued preparing their
+orthochromatic plates for sale. By some special arrangement they were
+allowed to prepare plates for their own use, provided they used Edwards'
+XL dry plates.
+
+It so happened, however, that this proviso was not a hardship, for Mr.
+Dixon told me himself that he had found Edwards' plates the most
+suitable for their process. The hardship lay in not being able to apply
+their own discovery or preparation to any dry plates for sale for the
+public use and benefit. This prohibition was the more to be regretted
+because no other commercial isochromatic or orthochromatic plates had or
+have appeared to possess the same qualities of translation. The
+suppression of the Dixon and Gray preparation of plates is the more
+surprising when I find eosine is mentioned in the Clayton and Tailfer
+claim, whereas Mr. Dixon assured me that eosine was not employed by
+them. Mr. Edwards only acquired his monopoly and right to interfere with
+the commercial application of an independent discovery on Nov. 18th,
+1886, and there is little to be gained in England by the publication of
+the experiments of such men as Vogel, Eder, Ives, and Abney, if one man
+can prevent all others making use of them.
+
+This year death removed from our midst one, and perhaps the greatest, of
+the martyrs of photography--Sylvester Laroche. This was the man that
+fought the battle for freedom from the shackles of monopoly. He won the
+fight, but lost his money, and the photographers of the day failed to
+make him a suitable recompense. There was one honourable exception, and
+Mr. Sylvester told me himself that Mr. J. E. Mayall gave him L100
+towards his legal expenses. Laroche's surname was Sylvester, but as
+there was a whole family of that name photographers, he added Laroche to
+distinguish himself from his brothers. Sylvester Laroche was an artist,
+and worked very cleverly in pastel, but somehow or other he never
+appeared to prosper.
+
+Nothing particular marked the photographic record of 1887, but death was
+busy in removing men who had made their mark both in the early and later
+days of photography. First, on March 19th, Robert Hunt, the most copious
+writer on photography in its earlier period. As early as 1844 he
+published the first edition of his "Researches on Light," in which he
+was considerably assisted by Sir John Herschel, and it is astonishing to
+find what a mine of photographic information that early work contains.
+
+The next was Colonel Russell, better known, photographically, as Major
+Russell. He was born in 1820, and died on May 16th, 1887. He was best
+known for his tannin process and alkaline developer, with a bromide
+solution as a restrainer. For a long time his tannin process was very
+popular among collodion dry plate workers, and very beautiful pictures
+were taken on Russell's Tannin Plates, but it is many years since they
+were ruthlessly brushed aside, like all other collodion dry plates, by
+the now universally employed gelatino-bromide plates or films.
+
+A revival of interest in pinhole photography was awakened this year, and
+several modes of constructing a pinhole camera were published; but I
+remember seeing a wonderful picture by a _keyhole_ camera long before I
+became a photographer. I had called to see an old lady who lived
+opposite a mill and farm. It was a bright, sunny afternoon, and, when I
+was leaving, I was astonished to see a beautiful picture of the mill and
+farm on the wall of the hall. "Ah!" said the old lady; "that's my
+camera-obscura. When the sun shines on the mill at this time of day, I
+am sure to have a picture of the mill brought through the keyhole." It
+was something like this that suggested the camera-obscura to Roger Bacon
+and Baptista Porta. So it is not necessary to have such a small hole to
+obtain a picture, but it is necessary to have the smallest hole possible
+to obtain the _sharpest_ picture.
+
+Pizzighelli's visible platinotype printing paper was introduced this
+year, and I welcomed it as a boon, for the double reasons of its
+simplicity and permanency. I had been longing for years for such a
+process, for I, like Roger Fenton, had come to the conclusion that there
+was no future for photography, in consequence of the instability of
+silver prints. They would be much more durable than they are if they
+were only washed in several changes of warm water, but few people will
+be at the trouble to do that, some because they don't know the efficacy
+of warm water, and others because it lowers the tone. An eminent
+photographer once asked me how to render silver prints permanent; but
+when I told him there was nothing equal to warm water washing, he
+exclaimed, "Oh! but that spoils the tone." When a photographer
+sacrifices durability to tone, he is scarcely acting honestly towards
+his customers. Admitted that there is nothing so beautiful in
+photography as a good silver print when it has its first bloom on it,
+neither is there anything so grievously disappointing as a silver print
+in its last stage of decay. It is quite time that the _durability_ of a
+photograph should be the first consideration of every photographer, as
+well as the amateur. Years ago I proposed and published a plan of
+raising a fund to induce chemists and scientists to consider the
+subject, but not a single photographer responded by subscribing his
+guinea.
+
+A very simple and interesting means of making photographs at night was
+introduced this year by Dr. Piffard, an amateur photographer of New
+York, and the extreme simplicity and efficacy of his method was
+surprising. For good portraiture it is not equal to the electric light,
+but for family groups, at home occupations or amusements, it is
+superior, and I have taken such groups with Piffard's magnesium
+flash-light, which no other means of lighting would have enabled me to
+produce. I have taken groups of people playing at cards, billiards, and
+other games in their own homes with the simplest of apparatus, the
+ordinary lens and camera, plus an old tea tray--but to obtain the best
+results, the quickest lens and the quickest dry plates should be
+employed, and I have always found the best position for the light to be
+on the top of the camera.
+
+1888 is chiefly remarkable for the attempted revival of the stereoscope,
+and Mr. W. F. Donkin read an interesting and instructive paper on the
+subject, in which he endeavoured to account for its disappearance,
+explain its principles, and give an historical account of its early
+construction, and modern or subsequent improvements. As to its immense
+popularity thirty to thirty-five years ago, that was due to its novelty,
+and the marvellous effect of solidity the pictures assumed when viewed
+in the stereoscope; but it soon ceased to be popular when the views
+became stale, and people grew tired of looking at them; to keep up the
+interest they had to be continually buying fresh ones, and of this they
+soon got tired also; and when hosts saw that their guests were bored
+with sights so often seen, they put them out of sight altogether, and I
+fear that nothing will, for the same reasons, bring about a revival of
+the revolving or any other form of stereoscopes, for views. It is
+becoming much the same now with lantern slides--possessors and their
+friends grow weary of the subjects seen so frequently, and hiring
+instead of buying slides is becoming the practice of those who own an
+optical lantern.
+
+With stereoscopic portraits it was not so, for there was always a
+personal and family interest attached to them, and I made a great many
+stereoscopic portraits by the Daguerreotype process; but even they were
+somewhat ruthlessly and precipitately displaced when the carte-de-visite
+mania took possession of the public mind. However, I see no reason why
+stereoscopic portraiture should not be revived if good pictures were
+produced on ivoryine, and it appears to me that substance is most
+suitable for the purpose, as the pictures can be examined either by
+reflected or transmitted light. Everyone interested in stereoscopic
+photography should "read, mark, learn, and inwardly digest," the late
+Mr. Donkin's able and instructive paper on "Stereoscopes and Binocular
+Vision," published in the journal of the Photographic Society, January
+27th, 1888. This was unhappily the last paper that Mr. Donkin read at
+the Photographic Society, for he was unfortunately lost in the Caucasus
+the following autumn. W. F. Donkin, M.A., F.C.S., F.I.C., was for
+several years Honorary Secretary of the Photographic Society and of the
+Alpine Club, and, at the November meeting of the Photographic Society,
+the President, James Glaisher, F.R.S., made the following remarks on the
+melancholy event:--"There is, I am sure, but one feeling in regard to
+the fact that the gentleman who usually sits on my right is not here
+to-night. Our Secretary, W. F. Donkin, is, I fear, irretrievably lost in
+the Caucasus. The feeling of every member of this Society is one of
+respect and esteem towards him. During the time he held the post of
+Secretary, his uniform courtesy won him the respect of all. I fear we
+shall see him no more." This fear was afterwards confirmed by the search
+party, which was headed by Mr. C. T. Dent, President of the Alpine Club.
+The late Mr. Donkin was both an expert Alpine climber and photographer,
+and many of his photographs of Alpine scenery have been published and
+admired.
+
+Every year compels me to record the death of some old and experienced
+photographer, or some artist associated with photography from its
+earliest introduction. Among the latter was Norman Macbeth, R.S.A., an
+eminent portrait painter, who was quick to see and ready to avail
+himself of the invaluable services of a new art, or means of improving
+art, both in drawing and detail, and make the newly-discovered power a
+help in his own labours, and an economiser of the time of his sitters.
+The first time I had the pleasure of meeting him was in Glasgow in 1855,
+when he brought one of his sitters to me to be Daguerreotyped, and he
+preferred a Daguerreotype as long as he could get one, on account of its
+extreme delicacy and details in the shadows; but he could not obtain any
+more Daguerreotypes after 1857, for at that time I abandoned the
+Daguerreotype for ever, and was the last to practise the process in
+Glasgow, and probably throughout Great Britain.
+
+From the time that Mr. Macbeth commenced taking photographs himself, he
+took a keen interest in photography to the last, and only about a month
+before he died, he read an able, instructive, and interesting paper on
+the "Construction and Requirements of Portrait Art" before the members
+of the London and Provincial Photographic Association; and that paper
+should be in the possession, and frequent perusal, of every student of
+photographic portraiture. Although an artist in feeling and by
+profession, Mr. Macbeth was no niggard in his praises of artistic
+photography, and I have frequently heard him expatiate lovingly on the
+artistic productions of Rejlander, Robinson, and Hubbard; but, like all
+artists, he abominated retouching, and denounced it in the strongest
+terms, and regretted its prevalence and practice as destructive of
+truth, and "truth in photography," he used to say, "was its greatest
+recommendation."
+
+The annals of 1889--the jubilee year of published and commercial
+photography--commence with the record of death. On the 21st of January,
+Mr. John Robert Sawyer died at Naples in the 61st year of his age. Mr.
+Sawyer had been for many years a member of the Autotype Company, and his
+foresight and indefatigability were largely instrumental in making that
+Company a commercial success. It was anything but a success from the
+time that it was commenced by the late Mr. Winsor and Mr. J. R. Johnson,
+but from the moment that Mr. J. R. Sawyer became "director of works,"
+the company rapidly became a flourishing concern, and possesses now a
+world-wide reputation. Mr. Sawyer was one of the early workers in
+photography, and for several years conducted a photographic business in
+the city of Norwich. It was there that circumstances induced him to give
+his attention to some form of permanent photography with the view of
+employing it to illustrate a work on the carving and sculpture in
+Norwich Cathedral, particularly the fine work in the roof of the nave.
+Mr. Sawyer naturally turned his attention, in the first place, to the
+autotype process, but it was then in its infancy, and the price
+prohibitory. The collotype process then became his hope and refuge, but
+that also was in its infancy, and not practised in England. Mr. Sawyer
+therefore started for Berlin early in 1869, and there met a certain Herr
+Ghemoser, a clever expert in the collotype process, from whom he
+obtained valuable information and working instructions. On his return
+home, Mr. Sawyer laboured at the collotype process until he overcame
+most of its difficulties, and on January 1st, 1871, he entered into
+partnership with Mr. Walter Bird, and removed to London with the
+intention of making the collotype process a feature in the business.
+Messrs. Sawyer and Bird commenced their London experiences in Regent
+Street, but on January 1st, 1872, they entered into an agreement with
+the Autotype Fine Art Company to work the collotype process as a branch
+of their business. Meanwhile, another partner, Mr. John Spencer, had
+joined the firm, and at the end of that year Messrs. Spencer, Sawyer,
+Bird and Co. purchased the Autotype patents, plant, and stock at Ealing
+Dene, and all its interest in the wholesale trade; and, in 1874, they
+bought up the whole of the Fine Art business, including the stock in
+Rathbone Place, and became the Autotype Company.
+
+The great photographic feature of this year was the Convention held on
+August 19th in St. James's Hall, Regent Street, London, in celebration
+of the jubilee of practical photography, which was inaugurated by the
+delivery of an address by the president, Mr. Andrew Pringle. The address
+was a fairly good resume of all that had been done for the advancement
+of photography during the past fifty years.
+
+The exhibition of photographs was somewhat of a failure; little was
+shown that possessed any historical interest, and that little was
+contributed by myself. There was a considerable display of apparatus of
+almost every description, but there was nothing that had not been seen,
+or could have been seen, in the shops of the exhibitors.
+
+The papers that were read were of considerable interest, and imparted no
+small amount of information, especially Mr. Thos. R. Dallmeyer's on
+"False Rendering of Photographic Images by the Misapplication of
+Lenses"; Mr. C. H. Bothamley's on "Orthochromatic Photography with
+Gelatine Plates"; Mr. Thomas Bolas's on "The Photo-mechanical Printing
+Methods as employed in the Jubilee Year of Photography"; but by far the
+most popular, wonderful, and instructive, was Professor E. Muybridge's
+lecture, with illustrations, on "The Movements of Animals." The sight of
+the formidable batteries of lenses was startling enough, but when the
+actions of the horse, and other animals, were shown in the
+"Zoopraxiscope," the effect on the sense of sight was both astounding
+and convincing, and I began to marvel how artists could have lived and
+laboured in the wrong direction for so many years, especially when the
+lecturer showed that a prehistoric artist had scratched on a bone a rude
+but truthful representation of an animal in motion. Both the sight and
+intelligence of that prehistoric artist must have been keener than the
+senses of animal painters of the nineteenth century.
+
+Taking it all in all, the Jubilee Convention was an immense success, and
+brought photographers and amateurs to London from the most distant parts
+of the country. Looking round the Hall on the opening night, and
+scanning the features of those present, I was coming to the conclusion
+that I was the oldest photographer present, when I espied Mr. Baynham
+Jones, a man of eighty-three winters, and certainly the oldest amateur
+photographer living; so I willingly ceded the honour of seniority to
+him, and as soon as he espied me he clambered over the rails to come and
+sit at my side and talk over the past, and quite unknown to many
+present, aspects and difficulties of photography. Mr. Baynham Jones was
+an enthusiastic photographer from the very first, for in 1839, as soon
+as Daguerre's process was published, he made himself a camera out of a
+cigar-box and the lens of his opera-glass, and, being unable to obtain a
+Daguerreotype plate in the country, he cut up a silver salver and worked
+away on a solid silver plate until he succeeded in making a
+Daguerreotype picture. Mr. Baynham Jones was not the first photographer
+in this country, for the Rev. J. B. Reade preceded him by about two
+years; but I have not the slightest doubt of his being the first
+_Daguerreotypist_ in England, and in that jubilee year of 1889 he was
+working with gelatine plates and films, and enthusiastic enough to come
+all the way from Cheltenham to London to attend the meetings of the
+Jubilee Convention of Photography.
+
+With this brief allusion to the doings and attractions of the Jubilee
+Convention, I fear I must bring my reminiscences of photography to a
+close; but before doing so I feel it incumbent on me to call attention
+to the fact that _two years_ after celebrating the jubilee of
+photography we should, paradoxical as it may appear, celebrate its
+centenary, for in 1791 the first photographic _picture_ that ever was
+made, seen, or heard tell of, was produced by Thomas Wedgwood, and
+though he was unable to fix it and enable us to look upon _that_ wonder
+_to-day_, the honour of being the first photographer, in its truest
+sense, is unquestionably due to an Englishman. Thomas Wedgwood made
+photographic pictures on paper, and there they remained until light or
+time obliterated them; whereas J. H. Schulze, a German physician, only
+obtained impressions of letters on a semi-liquid chloride of silver in a
+bottle, and at every shake of the hand the meagre impression was
+instantly destroyed. If we consider such men as Niepce, Reade, Daguerre,
+and Fox Talbot the fathers of photography, we cannot but look upon
+Thomas Wedgwood as the Grand Father, and the centenary of his first
+achievement should be celebrated with becoming honour as the English
+centenary of photography.
+
+
+
+
+CHRONOLOGICAL RECORD
+
+OF
+
+INVENTIONS, DISCOVERIES, PUBLICATIONS, AND APPLIANCES, FORMING
+FACTORS IN THE INCEPTION, DISCOVERY, AND DEVELOPMENT OF PHOTOGRAPHY.
+
+
+1432 B.C. Iron said to have been first discovered.
+
+424 B.C. Lenses made and used by the Greeks. And a lens has been found
+in the ruins of Nineveh.
+
+79 A.D. Glass known and used by the Romans.
+
+697. Glass brought to England.
+
+1100. Alcohol first obtained by the alchemist, Abucasis.
+
+1287. Nitric acid first obtained by Raymond Lully. Present properties
+made known by Dr. Priestley, 1785.
+
+1297. Camera-obscura constructed by Roger Bacon.
+
+1400. Chloride of gold solution known to Basil Valentine.
+
+1500. Camera-obscura improved by Baptista Porta.
+
+1555. Chloride of silver blackening by the action of light. Doubtless it
+was the knowledge of this that induced Thomas Wedgwood and Sir Humphry
+Davy to make their experiments.
+
+1590. Paper first made in England, at Dartford, Kent, by Sir John
+Speilman. It is said that the Chinese made paper 170 years B.C.
+
+1646. Magic lantern invented by Athanasius Kircher.
+
+1666. Sir Isaac Newton divided a sunbeam into its seven component parts,
+and re-constructed the camera-obscura.
+
+1670. Salt mines of Staffordshire discovered.
+
+1727. J. H. Schulze, a German physician, observed that light blackened
+chalk impregnated with nitrate of silver solution and gold chloride.
+
+1737. Solution of nitrate of silver applied to paper, by Hellot.
+
+1739. Chloride of mercury made by K. Neumann.
+
+1741. Platinum first known in Europe: M. H. St. Claire Deville's new
+method of obtaining it from the ore, 1859.
+
+1750. J. Dolland, London, first made double achromatic compound lenses.
+
+1757. Chloride of silver made by J. B. Beccarius.
+
+1774. Dr. Priestly discovered ammonia to be composed of nitrogen and
+hydrogen; but ammonia is as old as the first decomposition of organic
+matter.
+
+1777. Charles William Scheele observed that the violet end of the
+spectrum blackened chloride of silver more rapidly than the red end.
+Chlorine discovered.
+
+1779. Oxalate of silver made by Bergmann.
+
+1789. Uranium obtained from pitch-blende by Klaproth.
+
+1791. Thomas Wedgwood commenced experiments with a solution of nitrate
+of silver spread upon paper and white leather, and obtained impressions
+of semi-transparent objects and cast shadows. Sir Humphry Davy joined
+him later.
+
+1797. Nitrate of silver on silk by Fulhame.
+
+1799. Hyposulphite of soda discovered by M. Chaussier.
+
+1800. John William Ritter, of Samitz, in Silesia, observed that chloride
+of silver blackened beyond the violet end of the spectrum, thus
+discovering the action of the ultra violet ray.
+
+1801. Potassium discovered by Sir Humphry Davy.
+
+1802. Examples of Heliotypes, by Wedgwood and Davy, exhibited at the
+Royal Institution, and process published.
+
+1803. Palladium discovered in platinum by Dr. Wollaston.
+
+1808. Strontium obtained from carbonate of strontia by Sir Humphry Davy.
+
+1812. Iodine discovered by M. D. Curtois, of Paris.
+
+-- Nitrate of silver and albumen employed by D. Fischer.
+
+1813. Ditto investigated by M. Clement.
+
+1814. Joseph Nicephore de Niepce commenced experiments with the hope of
+securing the pictures as seen in the camera-obscura.
+
+-- Iodide of silver made by Sir H. Davy.
+
+1819. Sir John Herschel published the fact that hyposulphite of soda
+dissolved chloride and other salts of silver.
+
+1824. Niepce obtained pictures in the camera-obscura upon metal plates
+coated with asphaltum, or bitumen of Judea.
+
+-- L. G. M. Daguerre commenced his researches.
+
+-- Permanganate of potash. Fromenkerz.
+
+1826. Bromine discovered in sea-water by M. Balard.
+
+-- Bromine of silver made.
+
+1827. Niepce exhibited his pictures in England, and left one or more,
+now in the British Museum.
+
+1829. Niepce and Daguerre entered into an alliance to pursue their
+researches mutually.
+
+1832. Evidence of Daguerre employing iodine.
+
+1837. Rev. J. B. Reade, of Clapham, London, obtained a photograph in the
+solar microscope, and employed tannin as an accelerator and hyposulphite
+of soda as a fixer for the first time in photography.
+
+1838. Reflecting stereoscope exhibited by Charles Wheatstone.
+
+-- Mungo Ponton observed that light altered and hardened bichromate of
+potash, and produced yellow photographs with that material. This
+discovery led to the invention of the Autotype, Woodburytype, Collotype,
+and other methods of photo-mechanical printing.
+
+1839. Daguerre's success communicated to the Academy of Science, Paris,
+by M. Arago, January 7th.
+
+-- Electrotype process announced.
+
+-- Professor Faraday described Fox Talbot's new method of photogenic
+drawing to the members of the Royal Institution, January 25th.
+
+-- Fox Talbot read a paper, giving a full description of his process,
+before the Royal Society, January 31st.
+
+-- Sir John Herschel introduced hyposulphite of soda as a fixing agent,
+February 14th.
+
+-- Dr. Alfred Swaine Taylor employed ammonia nitrate of silver in
+preference to chloride of silver for making photogenic drawings, and
+employed hyposulphite of lime in preference to hyposulphite of soda for
+fixing.
+
+-- Daguerre's process published in August, and patent, for England,
+granted to Mr. Beard, London, August 14th.
+
+-- "History and Practice of Photogenic Drawing"; L. S. M. Daguerre.
+Published September.
+
+-- First photographic portrait taken on a Daguerreotype plate by
+Professor. J. W. Draper, New York, U.S., in the autumn of this year.
+
+1840. "On the Art of Photogenic Drawing," by Alfred S. Taylor, lecturer
+on chemistry, &c., at Guy's Hospital. Published by Jeffrey, George Yard,
+Lombard Street, London.
+
+-- "The Handbook of Heliography, or the Art of Writing or Drawing by the
+Effect of Sunlight, with the Art of Dioramic Painting, as practised by
+M. Daguerre." Anon.
+
+-- Wolcott's reflecting camera brought from America to England and
+secured by Mr. Beard, patentee of the Daguerreotype process.
+
+-- The moon photographed for the first time by Dr. J. W. Draper, of New
+York, on a Daguerreotype plate.
+
+-- John Frederick Goddard, of London, inventor of the polariscope and
+lecturer on chemistry, employed chlorine added to iodine, and
+afterwards bromine, as accelerators in the Daguerreotype process.
+
+1840. Antoine F. J. Claudet, F.R.S., of London, employed chlorine for
+the same purpose.
+
+-- M. Fizeau, of Paris, deposited a film of gold over the Daguerreotype
+picture after the removal of the iodine, which imparted increased
+brilliancy and permanency.
+
+-- Chloride of platinum employed by Herschel.
+
+-- Fox Talbot's developer published September 20th.
+
+1841. Calotype process patented by Fox Talbot, September 20th.
+
+-- First photographic compound portrait lens made by Andrew Ross,
+London.
+
+-- Towson, of Liverpool, noted that chemical and visual foci did not
+coincide. Defect corrected by J. Petzval, of Vienna, for Voightlander.
+
+-- "A Popular Treatise on the Art of Photography, including
+Daguerreotype and all the New Methods of Producing Pictures by the
+Chemical Agency of Light," by Robert Hunt, published by R. Griffin,
+Glasgow.
+
+-- Daguerre announced an instantaneous process, but it was not
+successful.
+
+1842. Sir John Herschel exhibited blue, red, and purple photographs at
+the Royal Institution.
+
+-- "Photography Familiarly Explained," by W. R. Baxter, London.
+
+1843. "Photogenic Manipulation," by G. T. Fisher Knight, Foster Lane.
+
+-- Treatise on Photography by N. P. Lerebours, translated by J. Egerton.
+
+1844. Fox Talbot issued "The Pencil of Nature," a book of silver prints
+from calotype negatives.
+
+-- C. Cundell, of London, employed and published the use of bromide of
+potassium in the calotype process.
+
+1844. "Researches on Light and its Chemical Relations," by Robert Hunt.
+First edition; second ditto, 1854.
+
+-- Robert Hunt recommended proto-sulphate of iron as a developer for
+Talbot's calotype negatives; also oxalate of iron and acetate of lead
+for other purposes.
+
+-- A. F. J. Claudet patented a red light for "dark room," but at that
+date a red light was not necessary, so the old photographers continued
+the use of yellow lights.
+
+1845. "Photogenic Manipulations:" Part 1, Calotype, &c.; Part 2,
+Daguerreotype. By George Thomas Fisher, jun. Published by George Knight
+and Sons, London.
+
+-- "Manual of Photography," including Daguerreotype, Calotype, &c., by
+Jabez Hogg. First edition. Second ditto, including Archer's collodion
+process, bichloride of mercury bleaching and intensifying, and
+gutta-percha transfer process, 1856.
+
+1845. "Practical Hints on the Daguerreotype; Willats's Scientific
+Manuals."
+
+-- "Plain Directions for Obtaining Photographic Pictures by the Calotype
+and other processes, on paper; Willats's Scientific Manuals." Published
+by Willats, 98, Cheapside; and Sherwood, Gilbert, and Piper, Paternoster
+Row.
+
+1846. Gun-cotton made known by Professor Schoenbein, of Basel.
+
+1847. Collodion made by dissolving gun-cotton in ether and alcohol, by
+Mr. Maynard, of Boston, U.S.
+
+1848. "Photogenic Manipulation:" Part II., Daguerreotype, by Robert
+Bingham. Published by George Knight and Sons, London.
+
+-- Albumen on glass plates first employed for making negatives by M.
+Niepce de Saint Victor. Process published June 13th.
+
+-- Frederick Scott Archer experimented with paper pulp, tanno-gelatine,
+and iodised collodion, and made collodion negatives in the autumn.
+
+1849. Collodion _positive_ of Hever Castle, Kent, made by Frederick
+Scott Archer _early_ in the year.
+
+-- M. Gustave Le Gray _suggested_ the application of collodion to
+photography.
+
+1850. "A Practical Treatise on Photography upon Paper and Glass," by
+Gustave Le Gray. Translated from the French by Thomas Cousins, and
+published by T. and R. Willats. This book is said to contain the first
+printed notice of collodion being used in photography.
+
+-- R. J. Bingham, London, suggested the use of collodion and gelatine in
+photography.
+
+-- M. Poitevin's gelatine process, published January 25th.
+
+1851. Frederick Scott Archer published his collodion process in the
+March number of _The Chemist_, and introduced pyrogallic acid as a
+developer December 20th.
+
+-- Fox Talbot announced his instantaneous process, and obtained, at the
+Royal Institution, a copy of the _Times_ newspaper, while revolving
+rapidly, by the light of an electric spark.
+
+-- Niepce de St. Victor's heliochromic process, published June 22nd.
+Examples sent to the judges of the International Exhibition of 1862. See
+Jurors' Report thereon, pp. 88-9.
+
+-- Sir David Brewster's improved stereoscope applied to photography.
+
+1851. "Photography, a Treatise on the Chemical Changes produced by Solar
+Radiation, and the Production of Pictures from Nature, by the
+Daguerreotype, Calotype, and other Photographic Processes," by Robert
+Hunt. Published by J. J. Griffin and Co., London and Glasgow.
+
+1852. "Archer's Hand-Book of Collodion Process." Published May 14th.
+Second edition, enlarged; published 1854.
+
+-- "Archer's Collodion _Positive_ Process." Published July 20th.
+
+-- Fox Talbot's photo-engraving on steel process; patented October
+29th.
+
+1853. A Manual of Photography, by Robert Hunt, published.
+
+-- Photographic Society of London founded. Sir Charles Eastlake, P.R.A.,
+President; Roger Fenton, Esq., Secretary. First number of the Society's
+Journal published March 3rd.
+
+-- Cutting's American patent for use of bromides in collodion obtained
+June 11th, and his Ambrotype process introduced in America.
+
+-- "The Waxed-Paper Process," by Gustave Le Gray. Translated from the
+French with a supplement, by James How. Published by G. Knight and Co.,
+Foster Lane, Cheapside.
+
+-- Frederick Scott Archer introduced a triple lens to shorten the focus
+of a double combination lens.
+
+1854. E. R., of Tavistock, published directions for the use of isinglass
+as a substitute for collodion.
+
+-- First series of photographic views of Kenilworth Castle, &c., from
+collodion negatives, published by Frederick Scott Archer.
+
+-- Liverpool Photographic Journal, first published by Henry Greenwood,
+bi-monthly.
+
+-- First roller-slide patented by Messrs. Spencer and Melhuish, May
+22nd.
+
+-- Fox Talbot first applied albumen to paper to obtain a finer surface
+for photographic printing.
+
+-- Photo-Enamel process; first patent December 13th.
+
+-- Dry collodion plates first introduced.
+
+1855. M. Poitevin's helioplastic process patented February 20th.
+
+-- Dr. J. M. Taupenot's dry plate process introduced.
+
+-- Photo-galvanic process patented June 5th.
+
+-- "Hardwich's Photographic Chemistry." First edition, published March
+12th.
+
+-- Ferrotype process introduced in America by Mr. J. W. Griswold.
+
+1856. "Photographic Notes." Edited by Thomas Sutton. Commenced January
+1st; bi-monthly.
+
+1856. Sutton's Calotype process, published March.
+
+1856. Dr. Hill Norris's dry plate process. Patented September 1st.
+
+1856. Caranza published method of toning silver prints with chloride of
+platinum.
+
+1857. Moule's photogene, artificial light for portraiture. Patented
+February 18th.
+
+-- Carte-de-visite portraits introduced by M. Ferrier, of Nice.
+
+-- Kinnear Camera introduced. Made by Bell, Edinburgh.
+
+1858. Pouncy's Carbon process patented April 10th.
+
+-- Skaife's Pistolgraph camera introduced.
+
+1858. J. C. Burnett exposed the back of the carbon paper and obtained
+half-tones.
+
+-- Fox Talbot's photo-etching process, patented April 20th.
+
+-- Paul Pretsch's photo-engraving process introduced.
+
+-- "Sutton's Dictionary of Photography," published August 17th.
+
+-- _The Photographic News_, founded, weekly. First number published
+September 10th, by Cassell, Petter, and Galpin, London.
+
+-- "Fothergill Dry Process," by Alfred Keene, published August.
+
+1859. Sutton's panoramic camera patented, September 28th.
+
+-- Photo-lithographic Transfer process patented by Osborne, in
+Melbourne, Australia.
+
+-- Wm. Blair, of Perth, secured half-tone in carbon printing by allowing
+the light to pass through the back of the paper on which the pigment was
+spread.
+
+-- Asser, of Amsterdam, also invented a photo-lithographic transfer
+process about this time.
+
+1860. "Principles and Practice of Photography," by Jabez Hughes. First
+edition published; fourteenth edition, 1887.
+
+-- Fargier coated carbon surface with collodion, exposed, and
+transferred to glass to develop.
+
+-- Spectroscope invented by Kertchoff and Bunsen.
+
+1860. "Year-Book of Photography," edited by G. Wharton Simpson, first
+published.
+
+-- Improved Kinnear camera with swing front and back by Meagher.
+
+1861. Captain Dixon's iodide emulsion process patented, April 29th.
+
+-- M. Gaudin, of Paris, employed gelatine in his photogene, and
+published in _La Lumiere_ his collodio-iodide and collodio-chloride
+processes.
+
+-- H. Anthony, New York, discovered that Tannin dry plates could be
+developed by moisture and ammonia vapour.
+
+1862. "Alkaline Development," published by Major Russell.
+
+-- Meagher's square bellows camera, with folding bottom board, exhibited
+at the International Exhibition. Noticed in Jurors' Report.
+
+-- Parkesine, the forerunner of celluloid films, invented by Alexander
+Parkes, of Birmingham.
+
+1863. Pouncy's fatty ink process; patented January 29th.
+
+-- Toovey's photo-lithographic process; patented June 29th.
+
+-- "Tannin Process," published by Major Russell.
+
+-- "Popular Treatise on Photography," by D. Van Monckhoven. Translated
+from the French by W. H. Thornthwaite, London.
+
+1864. Swan's improved carbon process; patented August 27th.
+
+-- "Collodio-Bromide Emulsion," by Messrs. B. J. Sayce and W. B. Bolton;
+published September 9th.
+
+-- "Collodio-Chloride Emulsion," by George Wharton Simpson; published in
+_The Photographic News_, October 28th.
+
+-- Willis's aniline process; patented November 11th.
+
+-- Obernetter's chromo-photo process; published.
+
+-- Instantaneous dry collodion processes by Thomas Sutton, B.A. Sampson,
+Low, Son, and Marston, London.
+
+1865. Paper read on "Collodio-Chloride Emulsion," by George Wharton
+Simpson, at the Photographic Society, March 14th.
+
+1865. Photography, a lecture, by the Hon. J. W. Strutt, now Lord
+Rayleigh, delivered April 18th; and afterwards published.
+
+-- Eburneum process; published by J. Burgess, Norwich, in _The
+Photographic News_, May 5th.
+
+-- Bromide as a restrainer in the developer; published by Major Russell.
+
+1865. Interior of Pyramids of Egypt, photographed by Professor Piazzi
+Smyth with the magnesium light.
+
+-- W. H. Smith patented a gelatino-bromide or gelatino-chloride of
+silver process for wood blocks, &c.
+
+1866. Magic photographs revived and popularised.
+
+-- Woodburytype process patented by Walter Bentley Woodbury, of
+Manchester, July 24th.
+
+-- Photography reviewed, in _British Quarterly Review_, by George
+Wharton Simpson, October 1st.
+
+1867. M. Poitevin obtained the balance of the Duc de Luynes's prize for
+permanent printing.
+
+-- Cabinet portraits introduced by F. R. Window, photographer, Baker
+Street, London.
+
+1868. W. H. Harrison experimented with gelatino-bromide of silver and
+obtained results, though somewhat rough and unsatisfactory.
+
+1869. John Robert Johnson's carbon process double transfer patented.
+
+-- "Pictorial Effect in Photography," by H. P. Robinson, first edition.
+London: Piper and Carter.
+
+1870. Thomas Sutton described Gaudin's gelatino-iodide process.
+
+-- Jabez Hughes toned collodion transfers with chloride of palladium.
+
+-- John Robert Johnson's single transfer process for carbon printing
+patented.
+
+1871. Dr. R. L. Maddox, of Southampton, published his experiments with
+gelatino-bromide of silver in the _British Journal of Photography_,
+September 8th.
+
+1872. "Emaux Photographiques" (photographic enamels), second edition, by
+Geymet and Alker, Paris.
+
+1873. J. Burgess, of Peckham, advertised his gelatino-bromide of silver
+emulsion, but it would not keep, so had to be withdrawn.
+
+-- Ostendo non Ostento published a gelatino-bromide of silver formula
+with alcohol.
+
+-- Platinotype process patented by W. Willis, junior, June 1st.
+
+1873. R. Kennett's gelatino-bromide of silver pellicle patented November
+20th.
+
+-- "The Ferrotypers' Guide" published by Scovill Manufacturing Company,
+New York.
+
+1874. R. Kennett issued his gelatino-bromide of silver dry plates in
+March.
+
+-- Gelatino-bromide of silver paper first announced by Peter Mawdsley,
+of Liverpool Dry Plate Company.
+
+-- "Backgrounds by Powder Process" published by J. Werge, London.
+
+-- Flexible supports in carbon printing patented by John Robert Sawyer,
+of the Autotype Company.
+
+-- Leon Lambert's carbon printing process patented.
+
+1875. Demonstrations in carbon printing by L. Lambert given in London
+and elsewhere.
+
+-- Eder and Toth intensified collodion negatives and toned lantern
+slides with chloride of platinum.
+
+1876. "Practical Treatise on Enamelling and Retouching," by P. Piquepe,
+Piper and Carter, London.
+
+1877. Ferrous oxalate developer published June 29th.
+
+-- Wratten precipitated the gelatine emulsion with alcohol, and so
+avoided the necessity of dialysing.
+
+1878. Improvement in platinotype patented by W. Willis, junior, July.
+
+-- Abney's "Treatise on Photography" published.
+
+-- Abney's "Emulsion Process" published.
+
+1879. J. Werge's non-actinic developing tray introduced at the South
+London Photographic Society.
+
+1880. "Principles and Practice of Photography," by Jabez Hughes,
+comprising instructions to make and manipulate gelatino dry plates, by
+J. Werge. London: Simpkin and Marshall, and J. Werge.
+
+-- Gelatino-bromide of silver paper introduced by Messrs. Morgan and
+Kidd.
+
+-- Platinotype improvement patent granted.
+
+-- Iodides added to gelatino-bromide of silver emulsions by Captain W.
+de W. Abney.
+
+1880. Warnerke's sensitometer introduced.
+
+-- "The Argentic Gelatino-Bromide Workers' Guide," by John Burgess. W.
+T. Morgan and Co., Greenwich.
+
+-- "Photography; its Origin, Progress, and Practice," by J. Werge.
+London: Simpkin, Marshall, and Co.
+
+-- Hydroquinone developer introduced by Dr. Eder and Captain Toth.
+
+1881. Stannotype process introduced by Walter Woodbury.
+
+-- Photographers in Great Britain and Ireland 7,614 as per census
+returns.
+
+-- "Modern Dry Plates; or Emulsion Photography," by Dr. J. M. Eder,
+translated from the German by H. Wilmer, edited by H. B. Pritchard.
+London: Piper and Carter.
+
+-- "Pictorial Effect in Photography," by H. P. Robinson (cheap edition).
+Piper and Carter.
+
+-- "The Art and Practice of Silver Printing," by H. P. Robinson and
+Captain Abney. Piper and Carter.
+
+1882. Herbert B. Berkeley recommended the use of sulphite of soda with
+pyrogallic acid to prevent discolouration of film.
+
+-- "Recent Advances in Photography" (Cantor Lectures, Society of Arts),
+Captain Abney. London: Piper and Carter.
+
+1882. "The A B C of Modern Photography," comprising practical
+instructions for working gelatine dry plates, by W. K. Burton. London:
+Piper and Carter.
+
+1882. "Elementary Treatise on Photographic Chemistry," by A. Spiller.
+London: Piper and Carter.
+
+1883. Translation of Captain Pizzighelli and Baron A. Hubl's booklet on
+"Platinotype;" published in _The Photographic Journal_.
+
+-- Orthochromatic dry plates; English patent granted to Tailfer and
+Clayton, January 8th.
+
+-- "The Chemical Effect of the Spectrum," by Dr. J. M. Eder. (Translated
+from the German by Captain Abney). London: Harrison and Sons.
+
+1883. "The Chemistry of Light and Photography," by Dr. H. Vogel. London:
+Kegan Paul.
+
+1884. "Recent Improvements in Photo-Mechanical Printing Methods," by
+Thomas Bolas, Society of Arts, London.
+
+-- "Picture-Making by Photography," by H. P. Robinson. London: Piper and
+Carter.
+
+1885. "Photography and the Spectroscope," by Capt. Abney, Society of
+Arts.
+
+-- "The Spectroscope and its Relation to Photography," by C. Ray Woods.
+London: Piper and Carter.
+
+-- "Photo-Micrography," by A. C. Malley; second edition. London: H. K.
+Lewis.
+
+1886. Orthochromatic results exhibited by Dixon and Sons at the
+photographic exhibition in October.
+
+-- English patent rights of Tailfer and Clayton's orthochromatic process
+secured by B. J. Edwards and Co., Nov. 18th.
+
+1887. Platinotype improvements; two patents.
+
+1888. Pizzighelli's visible platinotype printing paper put on the market
+in June.
+
+1889. Eikonogen developer patented by Dr. Andresen, of Berlin, Germany,
+March 26th.
+
+-- Wire frames and supports in camera extensions patented by Thomas
+Rudolph Dallmeyer and Francis Beauchamp, November 6th.
+
+
+
+
+CONTRIBUTIONS TO PHOTOGRAPHIC LITERATURE.
+
+BY
+
+JOHN WERGE.
+
+_Originally published in the "Photographic News," "British Journal
+of Photography," Photographic Year-Book, and Photographic Almanac._
+
+
+PICTURES OF NIAGARA.
+
+Taken with Camera, Pen, and Pencil.
+
+Many very beautiful and interesting photographic views of Niagara Falls,
+and other places of romantic and marvellous interest, have been taken
+and exhibited to the world. Indeed, they are to be seen now in almost
+every print-seller's window; and in the albums, stereoscopes, or folios
+of almost every private collector. But I question very much if it ever
+occurred to the mind of anyone, while looking at those pictures, what an
+amount of labour, expense, and danger had to be endured and encountered
+to obtain them--"the many hairbreadth 'scapes by flood and field," of a
+very "positive" character, which had to be risked before some of the
+"negatives" could be "boxed." Doubtless Mr. England, Mr. Stephen
+Thompson, and Mr. Wilson have many very vivid recollections of the
+critical situations they have been in while photographing the
+picturesque scenery of the Alpine passes of Switzerland, and the
+Highlands and glens of Scotland.
+
+Mr. Stephen Thompson has narrated to me one or two of his "narrow
+escapes" while photographing his "Swiss scenes," and I am sure Mr.
+England did not procure his many and beautiful "points of view" of
+Niagara Falls without exposing himself to considerable risk.
+
+I had the good fortune to be one of the earlier pioneers, in company
+with a Yankee friend, Mr. Easterly, in taking photographs of the Falls;
+and my recollections of the manner in which we "went about," poised
+ourselves and cameras on "points of rock" and "ledges of bluffs," and
+felled trees, and lopped off branches overhanging precipices, to "gain a
+point," even at the distant date are somewhat thrilling. To take a
+photograph of what is called "Visitors' View" is safe and easy enough.
+You might plant a dozen cameras on the open space at the brink of the
+"American Fall," and photograph the scene, visitors and all, as they
+stand, "fixed" with wonder, gazing at the Falls, American, Centre, and
+Horseshoe, Goat Island, and the shores of Canada included, for this
+point embraces in one view all those subjects. But to get at the
+out-of-the-way places, to take the Falls in detail, and obtain some of
+the grandest views of them, is a very different matter.
+
+I remember, when we started, taking a hatchet with us, like
+backwoodsmen, to take a view of Prospect Tower, on the American side of
+the great Horseshoe Fall, how we had to hew down the trees that
+obstructed the light; how we actually hung over the precipice, holding
+on to each other's hands, to lop off a branch still in sight where it
+was not wanted. The manner in which we accomplished this was what some
+bystanders pronounced "awful." I hugged a sapling of a silver birch,
+growing on the brink of the precipice, with my left arm, while friend
+Easterly, holding my right hand with one of the Masonic grips--I won't
+say which--_hung over_ the precipice, and stretching out as far as he
+could reach, lopped off the offending branch. Yet in this perilous
+position my lively companion must crack his joke by punning upon my
+name, and a Cockney weakness at the same time, for he "guessed he was
+below the _w_erge of the precipice." The branch down, and we had resumed
+our perpendicular positions, he simply remarked, if that was not
+holding on to a man's hand in _friendship_, he did not know what was.
+
+But the _work_ was not done yet; to get the view of the Tower we wanted,
+we had to make a temporary platform over the precipice. This we managed
+by laying a piece of "lumber" across a fallen tree, and, unshipping the
+camera, shoved it along the plank until it was in position, balancing
+the shore end of the plank with heavy stones. When all was ready for
+exposure, I went round and stood on the point of a jutting rock to give
+some idea of the great depth of the Fall, but I very nearly discovered,
+and just escaped being myself the plummet. In the excitement of the
+moment, and not thinking that the rock would be slimy and slippery with
+the everlasting spray, I went too rapidly forward, and the rock having a
+slight decline, I slipped, but was fortunately brought up by a juniper
+bush growing within a foot of the edge. For a second or two I lay on my
+back wondering if I could slide out of my difficulty as easily as I had
+slidden into it. In a moment I determined to go backwards on my back,
+hands, and feet, until I laid hold of another bush, and could safely
+assume a perpendicular position. After giving the signal that "all was
+right," the plate was exposed, and I _cautiously_ left a spot I have no
+desire to revisit. But it is astonishing how the majesty and grandeur of
+the scene divest the mind of all sense of fear, and to this feeling, to
+a great extent, is attributed the many accidents and terrible deaths
+that have befallen numerous visitors to the Falls.
+
+The Indians, the tribe of the Iroquois, who were the aboriginal
+inhabitants of that part of the country, had a tradition that the "Great
+Spirit" of the "Mighty Waters" required the sacrifice of two human lives
+every year. To give rise to such a tradition, doubtless, many a red man,
+in his skiff, had gone over the Falls, centuries before they were
+discovered by the Jesuit missionary, Father Hennepin, in 1678; and, even
+in these days of Christian civilization, and all but total extirpation
+of the aboriginals, the "Great Spirit" does not appear to be any less
+exacting. Nearly every year one or more persons are swept over those
+awful cataracts, making an average of at least one per annum. Many
+visitors and local residents have lost their lives under the most
+painful and afflicting circumstances, the most remarkable of which
+occurred just before my visit. One morning, at daylight, a man was
+discovered in the middle of the rapids, a little way above the brink of
+the American Fall. He was perched upon a log which was jammed between
+two rocks. One end of the log was out of the water, and the poor fellow
+was comparatively dry, but with very little hope of being rescued from
+his dreadful situation. No one could possibly reach him in a boat. The
+foaming and leaping waters were rushing past him at the rate of eighteen
+or twenty miles an hour, and he knew as well as anyone that to attempt a
+rescue in a boat or skiff would be certain destruction, yet every effort
+was made to save him. Rafts were made and let down, but they were either
+submerged, or the ropes got fast in the rocks. The life-boat was brought
+from Buffalo, Lake Erie, and that was let down to him by ropes from the
+bridge, but they could not manage the boat in that rush of waters, and
+gave it up in despair. One of the thousands of agonized spectators, a
+Southern planter, offered a thousand dollars reward to anyone that would
+save the "man on the log." Another raft was let down to him, and this
+time was successfully guided to the spot. He got on it, but being weak
+from exposure and want, he was unable to make himself fast or retain his
+hold, and the doomed man was swept off the raft and over the Falls
+almost instantly, before the eyes of thousands, who wished, but were
+powerless and unable, to rescue him from his frightful death. His name
+was Avery. He and another man were taking a pleasure sail on the Upper
+Niagara river, their boat got into the current, was sucked into the
+rapids, and smashed against the log or the rock. The other man went over
+the Falls at the time of the accident; but Avery clung to the log, where
+he remained for about eighteen hours in such a state of mind as no one
+could possibly imagine. None could cheer him with a word of hope, for
+the roar of the rapids and thunder of the cataracts rendered all other
+sounds inaudible. Mr. Babbitt, a resident photographer, took several
+Daguerreotypes of the "man on the log," one of which he kindly presented
+to me. Few of the bodies are ever recovered. One or two that went over
+the Great Horse Shoe Fall were found, their bodies in a state of
+complete nudity. The weight or force of the water strips them of every
+particle of clothing; but that is not to be wondered at, considering the
+immense weight of water that rolls over every second, the distance it
+has to fall, and the depth of the foaming cauldron below. The fall of
+the Horse Shoe to the surface of the lower river is 158 feet, and the
+depth of the cauldron into which the Upper Niagara leaps about 300 feet,
+making a total of 458 feet from the upper to the lower bed of the
+Niagara River at the Great Horse Shoe Fall. It has been computed that
+one hundred million, two hundred thousand tons of water pass over the
+Falls every hour. The depth of the American Fall is 164 feet; but that
+falls on to a mass of broken rocks a few feet above the level of the
+lower river.
+
+Our next effort was to get a view of the Centre Fall, or "Cave of the
+Winds," from the south, looking at the Centre and American Falls, down
+the river as far as the Suspension Bridge, about two miles below, and
+the Lower or Long Rapids, for there are rapids both above and below the
+Falls. In this we succeeded tolerably well, and without any difficulty.
+Then, descending the "Biddle Stairs" to the foot of the two American
+cataracts, we tried the "Cave of the Winds" itself; but, our process
+not being a "wet" one, had no sympathy with the blinding and drenching
+spray about us. However, I secured a pencil sketch of the scene we
+could not photograph, and afterwards took one of the most novel and
+fearful shower-baths to be had in the world. Dressed--or, rather,
+undressed--for the purpose, and accompanied by a guide, I passed down
+by the foot of the precipice, under the Centre Fall, and along a wet and
+slippery pole laid across a chasm, straddling it by a process I cannot
+describe--for I was deaf with the roar and blind with the spray--we
+reached in safety a flat rock on the other side, and then stood erect
+between the two sheets of falling water. To say that I saw anything
+while there would be a mistake; but I know and felt by some
+demonstrations, other than ocular, that I was indulging in a bath of the
+wildest and grandest description. Recrossing the chasm by the pole, we
+now entered the "Cave of the Winds," which is immediately under the
+Centre Fall. The height and width of the cave is one hundred feet, and
+the depth sixty feet. It takes its name from the great rush of wind into
+the cave, caused by the fall of the waters from above. Standing in the
+cave, which is almost dry, you can view the white waters, like
+avalanches of snow, tumbling over and over in rapid succession. The
+force of the current of the rapids above shoots the water at least
+twenty feet from the rock, describing, as it were, the segment of a
+circle. By this circumstance only are you able to pass under the Centre
+Fall, and a portion of the Horse Shoe Fall on the Canadian side. To
+return, we ascended the "Biddle Stairs," a spiral staircase of 115
+steps, on the west side of Goat Island, crossed the latter, and by a
+small bridge passed to Bath Island, which we left by the grand bridge
+which crosses the rapids about 250 yards above the American Fall.
+Reaching the American shore again in safety, after a hard day's work, we
+availed ourselves of Mr. Babbitt's kindness and hospitality to develop
+our plates in his dark room, and afterwards developed ourselves,
+sociably and agreeably, refreshing the inner man, and narrating our
+day's adventures.
+
+I shall now endeavour to describe our next trip, which was to the
+Canadian side--how we got there, what we did, and what were the
+impressions produced while contemplating those wonderful works of
+nature. In the first place, to describe how we descended to the "ferry"
+and crossed the river. On the north side of the American Fall a railway
+has been constructed by an enterprising American, where the "cars" are
+let down a steep decline by means of water-power, the proprietor of the
+railway having utilized the very smallest amount of the immense force so
+near at hand. Placing our "traps" in the car, and seating ourselves
+therein, the lever was moved by the "operator," and away we went down
+the decline as if we were going plump into the river below; but at the
+proper time the water was turned off, and we were brought to a
+standstill close by the boat waiting to ferry us across. Shifting our
+traps and selves into the boat and sitting down, the ferryman bent to
+the oars and off we dashed into the dancing and foaming waters, keeping
+her head well to the stream, and drawing slowly up until we came right
+abreast of the American Fall; then letting her drop gently down the
+stream, still keeping her head to the current, we gained the Canadian
+shore; our course on the river describing the figure of a cone, the apex
+towards the "Horse Shoe." Ascending the banks by a rather uphill road,
+we reached the Clifton Hotel, where we took some refreshments, and then
+commenced our labours of photographing the Grand Rapids and the Falls,
+from Table Rock, or what remained of it. On arriving at the spot, we set
+down our traps and looked about bewildered for the best point. To
+attempt to describe the scene now before us would be next to folly, nor
+could the camera, from the limited angle of our lens, possibly convey an
+adequate idea of the grandeur and terrific beauty of the Grand Rapids,
+as you see them rushing and foaming, white with rage, for about two and
+a half miles before they make their final plunge over the precipice.
+Many years ago an Indian was seen standing up in his canoe in the midst
+of these fearful rapids. Nearing the brink of the terrible Fall, and
+looking about him, he saw that all hope was lost, for he had passed
+Gull Island, his only chance of respite; waving his hand, he was seen
+to lie down in the bottom of his canoe, which shot like an arrow into
+the wild waters below, and he was lost for ever. Neither he nor his
+canoe was ever seen again. In 1829 the ship _Detroit_, loaded with a
+live buffalo, bear, deer, fox, &c., was sent over the Falls. She was
+almost dashed to pieces in the rapids, but many persons saw the remains
+of the ship rolled over into the abyss of waters. No one knew what
+became of the animals on board. And in 1839, during the Canadian
+Rebellion, the steamer _Caroline_ was set fire to in the night and cast
+adrift. She was drawn into the rapids, but struck on Gull Island, and
+was much shattered by the collision. The bulk of the burning mass was
+swept over the Falls, but few witnessed the sight. Doubtless no fire on
+board a ship was ever extinguished so suddenly. The view from Table Rock
+is too extensive to be rendered on one plate by an ordinary camera; but
+the pantascopic camera would give the very best views that could
+possibly be obtained.
+
+Taking Table Rock as the centre, the entire sweep of the Fall is about
+180 degrees, and stretching from point to point for nearly
+three-quarters of a mile--from the north side of the American Fall to
+the termination of the Horse Shoe Fall on the west side. The American
+and Centre Falls present a nearly straight line running almost due north
+and south, while the Great Horse Shoe Fall presents a line or figure
+resembling a sickle laid down with the left hand, the convex part of the
+bow lying direct south, the handle lying due east and west, with the
+point or termination to the west; the waters of the two American Falls
+rushing from east to west, and the waters of the Canadian Fall bounding
+towards the north. By this description it will be seen that but for the
+intervention of Goat and Luna Islands the three sheets of water would
+embrace each other like mighty giants locked in a death struggle, before
+they fell into the lower river. The whole aspect of the Falls from
+Table Rock is panoramic. Turning to the left, you see the American
+rapids rushing down furiously under the bridge, between Bath Island and
+the American shore, with a force and velocity apparently great enough to
+sweep away the bridge and four small islands lying a little above the
+brink, and pitch them all down on to the rocks below. Turning slowly to
+the right, you see the Centre Fall leaping madly down between Luna and
+Goat Islands, covering the Cave of the Winds from view. A little more to
+the right, the rocky and precipitous face of Goat or Iris Island, with
+the "Biddle Stairs" like a perpendicular line running down the
+precipice; and to the extreme right the immense sweeps of the Great
+Horse Shoe.
+
+Doubtless this fall took its name from its former resemblance to the
+shape of a horse shoe. It is, however, nothing like that now, but is
+exactly the figure of a sickle, as previously described. Looking far up
+the river you observe the waters becoming broken and white, and so they
+continue to foam and rush and leap with increasing impetuosity, rushing
+madly past the "Three Sisters"--three islands on the left--and "Gull
+Island" in the middle of the rapids, on which it is supposed no man has
+ever trodden, until, with a roar of everlasting thunder, which shakes
+the earth, they fall headlong into the vortex beneath. At the foot of
+this Fall, and for a considerable distance beyond, the river is as white
+as the eternal snows, and as troubled as an angry sea. Indeed, I never
+but once saw the Atlantic in such a state, and that was in a storm in
+which we had to "lay to" for four days in the Gulf Stream.
+
+The colours and beauty of Niagara in sunlight are indescribable. You may
+convey _some_ idea of its form, power, and majesty, by describing lines
+and giving figures of quantity and proportion, but to give the faintest
+impression of its beauty and colours is almost hopeless. The rich,
+lovely green on the very brink of the Horse Shoe Fall is beyond
+conception. All the emeralds in the world, clustered together and bathed
+in sunlight, would fall far short of the beauty and brilliancy of that
+pure and dazzling colour. It can only be compared to an immense, unknown
+brilliant of the emerald hue, in a stupendous setting of the purest
+frosted, yet sparkling silver. Here, too, is to be seen the marvellous
+beauty of the prismatic colours almost daily. Here you might think the
+"Covenant" had been made, and set up to shine for ever and ever at the
+Throne of the Most Mighty, and here only can be seen the complete
+_circle_ of the colours of the rainbow. I saw this but once, when on
+board the _Maid of the Mist_, and almost within the great vortex at the
+foot of the Falls. A brilliant sun shining through the spray all round,
+placed us in a moment as it were in the very centre of that beautiful
+circle of colour, which, with the thunder of the cataract, and the
+sublimity of the scene, made the soul feel as if it were in the presence
+of the "Great Spirit," and this the sign and seal of an eternal compact.
+Here, also, is to be seen the softer, but not the less beautiful Lunar
+Rainbow. Whenever the moon is high enough in the heavens, the lunar bow
+can be seen, not fitful as elsewhere, but constant and beautiful as long
+as the moon is shedding her soft light upon the spray. On one occasion I
+saw two lunar bows at once, one on the spray from the American Fall, and
+the other on the spray of the great Horse Shoe Fall. This I believe is
+not usual, but an eddy of the wind brought the two clouds of spray under
+the moon's rays. Yet these are not all the "beauties of the mist." One
+morning at sunrise I saw one of the most beautiful forms the spray could
+possibly assume. The night had been unusually calm, the morning was as
+still as it could be, and the mist from the Horse Shoe had risen in a
+straight column to a height of at least 300 feet, and then spread out
+into a mass of huge rolling clouds, immediately above the cataracts. The
+rising sun shed a red lustre on the under edges of the cloud, which was
+truly wonderful. It more resembled one huge, solitary column supporting
+a canopy of silvery grey cloud, the edges of which were like burnished
+copper, and highly suggestive of the Temple of the Most High, where man
+must bow down and worship the great Creator of all these wondrous works.
+It is not in a passing glance at Niagara that all its marvellous
+beauties can be seen. You must stay there long enough to see it in all
+its aspects--in sunshine and in moonlight, in daylight and in darkness,
+in storm and in calm. No picture of language can possibly convey a just
+conception of the grandeur and vastness of these mighty cataracts. No
+poem has ever suggested a shadow of their majesty and sublimity. No
+painting has ever excited in the mind, of one that has not seen those
+marvellous works of God, the faintest idea of their dazzling beauties.
+Descriptive writers, both in prose and verse, have failed to depict the
+glories of this "Sovereign of the World of Floods." Painters have
+essayed with their most gorgeous colours, but have fallen far short of
+the intense beauty, transparency, and purity of the water, and the
+wonderful radiance and brilliancy of the "Rainbow in the Mist." And I
+fear the beauties of Niagara in natural colours can never be obtained in
+the camera; but what a glorious triumph for photography if they were.
+Mr. Church's picture, painted a few years ago, is the most faithful
+exponent of nature's gorgeous colouring of Niagara that has yet been
+produced. Indeed, the brilliant and harmonious colouring of this grand
+picture can scarcely be surpassed by the hand and skill of man.
+
+After obtaining our views of the Grand Rapids and the Falls from Table
+Rock, we put up our traps, and leaving them in charge of the courteous
+proprietor of the Museum, we prepared to go _under_ the great Horse Shoe
+Fall. Clothing ourselves in india-rubber suits, furnished by our guide,
+we descended the stairs near Table Rock, eighty-seven steps, and, led by
+a negro, we went under the great sheet of water as far as we could go to
+Termination Rock, and standing there for a while in that vast cave of
+watery darkness, holding on to the negro's hand, we felt lost in wonder
+and amazement, but not fear. How long we might have remained in that
+bewildering situation it would be impossible to say, but being gently
+drawn back by our sable conductor, we returned to the light and
+consciousness of our position. The volume of water being much greater
+here than at the Cave of the Winds, and the spray being all around, we
+could not see anything but darkness visible below, and an immense moving
+mass before, which we knew by feeling to be water. There is some
+fascination about the place, for after coming out into the daylight I
+went back again alone, but the guide, hurrying after me, brought me
+back, and held my hand until we reached the stairs to return to the
+Museum. On our way back our guide told us that more than "twice-told
+tale" of Niagara and Vesuvius. If I may be pardoned for mixing up the
+ridiculous with the sublime, I may as well repeat the story, for having
+just come from under the Falls we were prepared to believe the truth of
+it, if the geographical difficulty could have been overcome. An Italian
+visiting the Falls and going under the Horse Shoe, was asked, on coming
+out, what he thought of the sight. The Italian replied it was very grand
+and wonderful, but _nothing_ to the sight of Mount Vesuvius in a grand
+eruption. The guide's retort was, "I guess if you bring _your_ Vesuvius
+here, _our_ Niagara will soon put his fires out." I do not vouch for the
+truth of the story, but give it as nearly as possible as I was told.
+Returning to the Museum and making ourselves "as we were," and
+comforting ourselves with something inside after the wetting we had got
+out, we took up our traps, and wending our way back to the ferry,
+recrossed the river in much the same manner that we crossed over in the
+morning; and sending our "baggage" up in the cars we thought we would
+walk up the "long stairs," 290 steps, by the side of the railway. On
+nearing the top, we felt as if we must "cave in," but having trodden so
+far the back of a "lion," we determined to see the end of his tail, and
+pushing on to the top, we had the satisfaction of having accomplished
+the task we had set ourselves. Perhaps before abandoning the Canadian
+side of Niagara, I should have said something about Table Rock, which,
+as I have said, is on the Canadian side, and very near to the Horse Shoe
+Fall. It took its name from the table-like form it originally presented.
+It was formerly much larger than it is now, but has, from time to time,
+fallen away. At one time it was very extensive and projected over the
+precipice fifty or sixty feet, and was about 240 feet long and 100 feet
+thick. On the 26th of June, 1850, this tremendous mass of rock, nearly
+half an acre, fell into the river with a crash and a noise like the
+sound of an earthquake. The whole of that immense mass of rock was
+buried in the depths of the river, and completely hidden from sight. No
+one was killed, which was a miracle, for several persons had been
+standing on the rock just a few minutes before it fell. The vicinity is
+still called Table Rock, though the projecting part that gave rise to
+the name is gone. It is, nevertheless, the best point on the Canada side
+for obtaining a grand and comprehensive view of Niagara Falls.
+
+The next scenes of our photographic labours were Suspension Bridge, the
+Long Rapids, The Whirlpool, and Devil's Hole. These subjects, though not
+so grand as Niagara, are still interestingly and closely associated with
+the topographical history and legendary interest of the Falls. And we
+thought a few "impressions" of the scenes, and a visit to the various
+places, would amply repay us for the amount of fatigue we should have to
+undergo on such a trip under the scorching sun of _August in America_.
+Descending to the shore, and stepping on board the steamer _Maid of the
+Mist_, which plies up and down the river for about two miles, on the
+tranquil water between the Falls and the Lower Rapids, we were "cast
+off," and in a little time reached the landing stage, a short distance
+above the Long Rapids. Landing on the American side, we ascended the
+steep road, which has been cut out of the precipice, and arriving at
+Suspension Bridge, proceeded to examine that wonderful specimen of
+engineering skill. It was not then finished, but the lower level was
+complete, and foot passengers and carriages could go along. They were
+busy making the railway "track" overhead, so that, when finished (which
+it is now), it would be a bridge of two stories--the lower one for
+passengers on foot and carriages, the upper one for the "cars." I did
+not see a "snorting monster" going along that spider's-web-like
+structure, but can very well imagine what must be the sensations of
+"railway passengers" as they pass along the giddy height. The span of
+the bridge, from bank to bank, is 800 feet, and it is 230 feet from the
+river to the lower or carriage road. The estimated cost was two hundred
+thousand dollars, about L40,000. A boy's toy carried the first wire
+across the river. When the wind was blowing straight across, a wire was
+attached to a kite, and thus the connecting thread between the two sides
+was secured, and afterwards by means of a running wheel, or traveller,
+wire after wire was sent across until each strand was made thick enough
+to carry the whole weight of the bridge, railway trains, and other
+traffic which now pass along. We went on to the bridge, and looked down
+on the rapids below, for the bridge spans the river at the narrowest
+point, and right over the commencement of the Lower Rapids. It was more
+of a test to my nerves to stand at the edge of the bridge and look down
+on those fearful rapids than it was to go under the Falls. To us, it
+seemed a miracle of ingenuity and skill how, from so frail a connection,
+a mere wire, so stupendous a structure could have been formed; and yet,
+viewing it from below, or at a distance, it looked like a bridge of
+threads. During its erection several accidents occurred. On one
+occasion, when the workmen were just venturing on to the cables to lay
+the flooring, and before a plank was made fast, one of those sudden
+storms, so peculiar to America, came up and carried away all the
+flooring into the Rapids. Four of the men were left hanging to the
+wires, which were swaying backwards and forwards in the hurricane in
+the most frightful manner. Their cries for help could scarcely be heard,
+from the noise of the Rapids and the howling of the wind, but the
+workmen on shore, seeing the perilous condition of their comrades, sent
+a basket, with a man in it, down the wire to rescue them from death.
+Thus, one by one, they were saved. Leaving the Bridge, and proceeding to
+the vicinity of the Whirlpool, still keeping the American side of the
+river, we pitched the camera, not _over_ the precipice, as I heard of
+one brother photographer doing, but on it, and took a view of the Bridge
+and the Rapids looking up towards the Falls, but a bend in the river
+prevented them being seen from this point. Not very far above the angry
+flood we saw the _Maid of the Mist_ lying quietly at her moorings.
+
+We next turned our attention to the great Whirlpool, which is about a
+mile below Suspension Bridge. Photographically considered, this is not
+nearly of so much interest as the Falls; but it is highly interesting,
+nevertheless, as a connecting link between their present and past
+history. It is supposed that ages ago--probably before the word went
+forth, "Let there _be_ light, and there _was_ light"--the Falls were as
+low down as the Whirlpool, a distance of over three miles below where
+they now are, or even lower down the river still. Geological observation
+almost proves this; and, that the present Whirlpool was once the great
+basin into which the Falls tumbled. In fact, that this was, in former
+ages, what the vortex at the foot of the Great Horse Shoe Fall is now.
+There seems to be no doubt whatever that the Falls are gradually though
+slowly receding, and they were just as likely to have been at the foot
+of the Long Rapids before the deluge, as not; especially when it is
+considered that the general aspect of the Falls has changed
+considerably, by gradual undermining of the soft shale and frequent
+falling and settling of the harder rocks during the last fifty years.
+Looking at the high and precipitous boundaries of the Long Rapids, it is
+difficult to come to any other conclusion than that, ages before the
+red man ever saw the Falls of Niagara, they rolled over a precipice
+between these rocky barriers in a more compact, but not less majestic
+body. The same vast quantity of water had to force its way through this
+narrower outlet, and it doubtless had a much greater distance to fall,
+for the precipices on each side of the river at this point are nearly
+250 feet high, and the width of the gorge for a mile above and below the
+Whirlpool is not more than 700 feet. Considering that the Falls are now
+spread over an area of nearly three-quarters of a mile, and that this is
+the only outlet for all the superfluous waters of the great inland seas
+of Canada and America--Lakes Superior, Michigan, Huron, and Erie--and
+the hundreds of tributaries thereto, it may easily be conceived how
+great the rush of waters through so narrow a defile must necessarily be;
+their turbulence and impatience rather aptly reminding you of a spoilt
+child--not in size or form, but in behaviour. They have so long had
+their own way, and done as they liked on the upper river and at the
+Falls, they seem as if they could not brook the restraint put upon them
+now by the giant rocks and lofty precipices that stand erect, on either
+side, hurling them back defiantly in tumultuous waves, seething, and
+hissing, and roaring in anger, lashing themselves into foam, and
+swelling with rage, higher in the middle, as if they sought an
+unpolluted way to the lake below, where they might calm their angry and
+resentful passions, and lay their chafed heads on the soft and gently
+heaving bosom of their lovely sister Ontario. It is a remarkable
+circumstance that the waters of the Rapids, both above and below the
+Whirlpool, in this defile are actually higher in the middle, by eight or
+nine feet, than at the sides, as if the space afforded them by their
+stern sentinels on each side were not enough to allow them to pass
+through in order and on a level. They seem to come down the upper part
+of the gorge like a surging and panic-stricken multitude, until they are
+stopped for a time by the gigantic precipice forming the lower boundary
+of the Whirlpool, which throws them back, and there they remain whirling
+and whirling about until they get away by an under current from the
+vortex; and, rising again in the lower part of the gorge, which runs off
+at right angles to the upper, they again show their angry heads, and
+rush madly and tumultuously away towards Lake Ontario. The bed of these
+rapids must be fearfully rugged, or the surface of the waters could not
+possibly be in such a broken state, for the water is at least 100 feet
+deep, by measurement made above and below the Rapids. But nobody has
+ventured to "heave the lead" either in the Rapids themselves or in the
+Whirlpool, the depth of which is not known. There is not much
+picturesque beauty at this point. Indeed, the Whirlpool itself is rather
+of a fearful and horrible character, with little to see but the mad
+torrent struggling and writhing in the most furious manner, to force its
+way down between its rocky boundaries. I saw logs of wood and other
+"wreck," probably portions of canal boats that had come down the river
+and been swept over the Falls, whirling around but not coming to the
+centre. When they are seen to get to the vortex they are tipped up
+almost perpendicularly and then vanish from sight, at last released from
+their continually diminishing and circular imprisonment. It has
+sometimes happened that the dead bodies of people drowned in the upper
+part of the river have been seen whirling about in this frightful pool
+for many days. In 1841, three soldiers, deserters from the British army,
+attempting to swim across the river above these rapids, were drowned.
+Their bodies were carried down to the Whirlpool, where they were seen
+whirling about for nearly a fortnight. Leaving _this_ gloomy and
+soul-depressing locality we proceeded for about half a mile further down
+the river, and visited that frightful chasm called Devil's Hole, or
+Bloody Run. The former name it takes from a horrible deed of fiendish
+and savage ferocity that was committed there by the Indians, and the
+latter name from the circumstance of that deed causing a stream of
+human blood to run through the ravine and mingle with the fierce water
+of the Rapids. Exactly one hundred years ago, during the French and
+Canadian wars, a party of 250 officers, men, women, and children, were
+retreating from Fort Schlosser, on the Upper Niagara River, and, being
+decoyed into an ambush, were driven over into this dreadful chasm, and
+fell to the bottom, a distance of nearly 200 feet. Only two escaped. A
+drummer was caught by one of the trees growing on the side of the
+precipice, and the other, a soldier named Steadman, escaped during the
+conflict, at the commencement of the treacherous onslaught. He was
+mounted, and the Indians surrounding him, seized the bridle, and were
+attempting to drag him off his horse; but, cutting the reins, and giving
+his charger the "rowels deep," the animal dashed forward, and carried
+him back in safety to Fort Schlosser. The Indians afterwards gave him
+all the land he encircled in his flight, and he took up his abode among
+them. In after years he put the goats on Goat Island--hence its name--by
+dropping carefully down the middle of the upper stream in a boat. After
+landing the goats he returned to the mainland, pushing his boat up the
+stream where the Rapids divide, until he reached safe water. The events
+of the foregoing episode occurred in 1765, and it is to be hoped that
+the Indians were the chief instigators and perpetrators of the massacre
+of Bloody Run.
+
+While we were looking about the chasm to see if there were any fossil
+remains in the place, an unlooked-for incident occurred. I saw two men
+coming up from the bottom of the ravine carrying _fish_--and the oddest
+fish and the whitest fish I ever saw. The idea of anyone fishing in
+those headlong rapids had never occurred to us; but probably these men
+knew some _fissures_ in the rocks where the waters were quiet, and where
+the fish put into as a place of refuge from the stormy waters into which
+they had been drawn. No wonder the poor finny creatures were white, for
+I should think they had been frightened almost out of their lives
+before they were seized by their captors. I don't think I should have
+liked to have partaken of the meal they furnished, for they were very
+"shy-an'-hide" looking fishes. But soon we were obliged to give up both
+our geological studies and piscatorial speculations, for black clouds
+were gathering overhead, shutting off the light, and making the dark
+ravine too gloomy to induce us to prolong our stay in that fearful
+chasm, with its melancholy associations of dark deeds of bloodshed and
+wholesale murder. Before we gained the road the rain came down, the
+lightning flashed, and the thunder clapped, reverberating sharp and loud
+from the rocks above, and we hurried away from the dismal place. On
+reaching the landing stage, we took refuge from the storm and rain by
+again going on board the _Maid of the Mist_. She soon started on her
+last trip for the day, and we reached our hotel, glad to get out of a
+"positive bath," and indulge in a "toning mixture" of alcohol, sugar,
+and _warm_ water. We had no "_gold_" but our "paper" being _good_, we
+did not require any.
+
+After a delightful sojourn of three weeks at the Falls, and visiting
+many other places of minor interest in their neighbourhood, I bade adieu
+to the kind friends I had made and met, with many pleasant recollections
+of their kindness, and a never-to-be-forgotten remembrance of the charms
+and beauties, mysteries and majesty, power and grandeur, and terror and
+sublimity of Niagara.--_Photographic News_, 1865.
+
+
+PICTURES OF THE ST. LAWRENCE.
+
+Taken in Autumn.
+
+Photographs of the River St. Lawrence conveying an adequate idea of its
+extent and varied aspects, could not be taken in a week, a month, or a
+year. It is only possible in this sketch to call attention to the most
+novel and striking features of this great and interesting river, passing
+them hurriedly, as I did, in the "express boat," by which I sailed from
+the Niagara River to Montreal. Lake Ontario being the great head waters
+of the St. Lawrence, and the natural connection between that river and
+Niagara, I shall endeavour to illustrate, with pen and pencil, my sail
+down the Niagara River, Lake Ontario, and the St. Lawrence. Stepping on
+board the steamer lying at Lewiston, seven miles below Niagara, and
+bound for Montreal, I went to the "clerk's office," paid seven and
+a half dollars--about thirty shillings sterling--and secured my bed,
+board, and passage for the trip, the above small sum being all that is
+charged for a first-class passage on board those magnificent steamers. I
+don't remember the name of "our boat," but that is of very little
+consequence, though I dare say it was the _Fulton_, that being in
+steamboat nomenclature what "Washington" is to men, cities, and towns,
+and even territory, in America. But she was a splendid vessel,
+nevertheless, with a handsome dining saloon, a fine upper saloon running
+the whole length of the upper deck, about two hundred feet, an elegant
+"ladies' saloon," a stateroom cabin as well, and a powerful "walking
+engine." "All aboard," and "let go;" splash went the paddle-wheels, and
+we moved off majestically, going slowly down the river until we passed
+Fort Niagara on the American side, and Fort George on the British, at
+the foot of the river, and near the entrance to the Lake. On Fort
+Niagara the "Star Spangled Banner" was floating, its bright blue field
+blending with the clear blue sky of an autumn afternoon, its starry
+representatives of each State shining like stars in the deep blue vault
+of heaven, its red and white bars, thirteen in number, as pure in colour
+as the white clouds and crimson streaks of the west. The mingled crosses
+of St. Andrew and St. George were waving proudly over the fort opposite.
+Brave old flag, long may you wave! These forts played their respective
+parts amidst the din of battle during the wars of 1812 and 1813; but
+with these we have neither time nor inclination to deal; we, like the
+waters of the Niagara, are in a hurry to reach the bosom of Lake
+Ontario. Passing the forts, we were soon on the expanse of waters, and
+being fairly "at sea," we began to settle ourselves and "take stock," as
+it were, of our fellow travellers. It is useless to describe the aspect
+of the Lake; I might as well describe the German Ocean, for I could not
+see much difference between that and Lake Ontario, except that I could
+not sniff the iodine from the weeds drying in the sun while we "hugged
+the shore," or taste salt air after we were out in mid ocean--"the land
+is no longer in view."
+
+To be at sea is to be at sea, no matter whether it is on a fresh water
+ocean or a salt one. The sights, the sensations, and consequences are
+much the same. There, a ship or two in full sail; here, a passenger or
+two, of both sexes, with the "wind taken out of their sails." The "old
+salts" or "old freshes" behave themselves much as usual, and so do the
+"green" ones of both atmospheres--the latter by preparing for a "bath"
+of perspiration and throwing everything down the "sink," or into the
+sea; and the former by picking out companions for the voyage. Being
+myself an "old salt," and tumbling in with one or two of a "fellow
+feeling wondrous kind," we were soon on as good terms as if we had known
+each other for years. After "supper," a sumptuous repast at 6 p.m., we
+went on to the "hurricane deck" to enjoy the calm and pleasant evening
+outside. There was a "gentle swell" on the Lake--not much, but enough to
+upset a few. After dark, we went into the "ladies' cabin"--an elegant
+saloon, beautifully furnished, and not without a grand piano, where the
+"old freshes" of the softer sex--young and pretty ones too--were amusing
+themselves with playing and singing. An impromptu concert was soon
+formed, and a few very good pieces of music well played and sung. All
+went off very well while nothing but English, or, I should more properly
+say, American and Canadian, were sung, but one young lady,
+unfortunately, essayed one of the sweetest and most plaintive of Scotch
+songs--"Annie Laurie." Now fancy the love-sick "callant" for the sake of
+Annie Laurie lying down to _die_; just fancy Annie Laurie without the
+Scotch; only fancy Annie Laurie in a sort of mixture of Canadianisms and
+Americanisms; fancy "toddy" without the whisky, and you have some idea
+of "Annie Laurie" as sung on board the _Fulton_ while splashing away on
+Lake Ontario, somewhere between America and Canada. There being little
+more to induce us to remain there, and by the ship's regulations it was
+getting near the time for "all lights out" in the cabins, we took an
+early "turn in," with the view of making an early "turn-out," so as to
+be alive and about when we should enter the St. Lawrence, which we did
+at 6 o'clock a.m., on a fine bright morning, the sun just rising to
+light up and "heighten" all the glorious tints of the trees on the
+Thousand and One Islands, among which we were now sailing.
+
+It is impossible to form a correct idea of the width of the St. Lawrence
+at the head of the river. The islands are so large and numerous, it is
+difficult to come to a conclusion whether you are on a river or on a
+lake. Many of these islands are thickly wooded, so that they look more
+like the mainland on each side of you as the steamer glides down "mid
+channel" between them. The various and brilliant tints of the foliage of
+the trees of America in autumn are gorgeous, such as never can be seen
+in this country; and their "chromotones" present an insurmountable
+difficulty to a photographer with his double achromatic lens and camera.
+Imagine our oaks clothed with leaves possessing all the varieties of red
+tints, from brilliant carmine down to burnt sienna--the brightest copper
+bays that grow in England are cool in tone compared with them; fancy our
+beeches, birches, and ashes thick with leaves of a bright yellow colour,
+from gamboge down to yellow ochre; our pines, firs, larches, and
+spruces, carrying all the varieties of green, from emerald down to terra
+verte; in fact, all the tints that are, can be seen on the trees when
+they are going into "the sere and yellow leaf" of autumn, excepting
+_blue_, and even that is supplied by the bluebirds (Sialia wilsonii)
+flitting about among the leaves, and in the deep cool tint of the sky,
+repeated and blended with the reflection of the many-coloured trees in
+the calm, still water of the river. Some of the trees--the maples, for
+instance--exhibit in themselves, most vividly, the brightest shades of
+red, green, and yellow; but when the wind blows these resplendent
+colours about, the atmosphere is like a mammoth kaleidoscope that is
+never allowed to rest long enough to present to the eye a symmetrical
+figure or pattern, a perfect chaos of the most vivid and brilliant
+colours too gorgeous to depict. Long before this we had got clear of the
+islands at the foot of the lake and head of the river, and were steaming
+swiftly down the broad St. Lawrence. It is difficult to say how broad,
+but it varied from three to five or six miles in width; indeed, the
+river very much resembles the Balloch End, which is the broadest of
+Lochlomond; and some of the passages between the islands are very
+similar to the straits between the "Pass of Balmaha" and the island of
+Inchcailliach. The river is not hemmed in with such mountains as Ben
+Lomond and Ben Dhu, but, in many respects, the St. Lawrence very much
+resembles parts of our widest lakes, Lochlomond and Windermere. Having
+enjoyed the sight of the bright, beautiful scenery and the fresh morning
+air for a couple of hours, we were summoned to breakfast by the sound of
+the steward's "Big Ben." Descending to the lower cabin, we seated
+ourselves at the breakfast table, and partook of a most hearty meal. All
+the meals on board these steamers are served in the most sumptuous
+style. During the repast some talked politics, some dollars and cents,
+others were speculating on how we should get down the Rapids, and when
+we should make them. Among the latter was myself, for I had seen rapids
+which I had not the slightest desire to be in or on; and, what sort of
+rapids we were coming to was of some importance to all who had not been
+on them. But everybody seemed anxious to be "on deck," and again "look
+out" for the quickening of the stream, or when the first "white
+lippers," should give indication of their whereabouts. My fellow
+passengers were from all parts of the Union; the Yankee "guessed," the
+Southerner "reckoned," and the Western man "calculated" we should soon
+be among the "jumpers." Each one every now and then strained his eyes
+"ahead," down stream, to see if he could descry "broken water." At last
+an old river-man sung out, "There they are." There are the Longue Sault
+Rapids, the first we reach. Having plenty of "daylight," we did not feel
+much anxiety as we neared them, which we quickly did, for "the stream
+runs fast." We were soon among the jumping waters, and it is somewhat
+difficult to describe the sensation, somewhat difficult to find a
+comparison of a suitable character. It is not like being at sea in a
+ship in a "dead calm." The vessel does not "roll" with such solemn
+dignity, nor does she "pitch" and rise again so buoyantly as an Atlantic
+steamer (strange enough, I once crossed the Atlantic in the steamship
+_Niagara_), as she ploughs her way westward or eastward in a "head
+wind," and through a head sea. She rather kicks and jerks, and is let
+"down a peg" or two, with a shake and a fling. Did you ever ride a
+spavined horse down a hill? If so, you can form some idea of the manner
+in which we were let down the Longue Sault and Cedar Rapids and the St.
+Louis Cascades. One of our fellow passengers--a Scotchman--told that
+somewhat _apropos_ and humorous story of the "Hielandman's" first trip
+across the Firth of Forth in a "nasty sea." Feeling a little uneasy
+about the stomach, and his bile being rather disturbed, the prostrate
+mountaineer cried out to the man at the "tiller" to "stop tickling the
+beast's tail--what was he making the animal kick that way for?" And so,
+telling our stories, and cracking our jokes, we spent the time until our
+swift vessel brought us to a landing, where we leave her and go on board
+a smaller boat, one more suitable for the descent of the more dangerous
+rapids, which we have yet to come to.
+
+"All aboard," and away we go again as fast as steam and a strong current
+can take us, passing an island here and there, a town or a village half
+French and English, with a sprinkling of the Indian tribes, on the banks
+of the river now and then. But by this time it is necessary to go below
+again and dine. Bed, board, and travelling, are all included in the
+fare, so everyone goes to dinner. There is, however, so much to see
+during this delightful trip, that nobody likes to be below any longer
+than can be avoided. Immediately after dinner most are on deck again,
+anxious to see all that is to be seen on this magnificent river. The
+sights are various and highly interesting to the mind or "objectives" of
+either artist or photographer. Perhaps one of the most novel subjects
+for the camera and a day's photographing would be "Life on a Raft," as
+you see them drifting down the St. Lawrence. There is an immense raft--a
+long, low, flat, floating island, studded with twenty or thirty sails,
+and half a dozen huts, peopled with men, women, and children, the little
+ones playing about as if they were on a "plank road," or in a garden. It
+is "washing day," and the clean clothes are drying in the sun and
+breeze--indicative of the strictest domestic economy, and scrupulous
+cleanliness of those little huts, the many-coloured garments giving the
+raft quite a gay appearance, as if it were decked with the "flags of all
+nations." But what a life of tedious monotony it must be, drifting down
+the river in this way for hundreds of miles, from the upper part of Lake
+Ontario to Montreal or Quebec. How they get down the rapids of the St.
+Lawrence I do not know, but I should think they run considerable risk of
+being washed off; the raft seems too low in the water, and if not
+extremely well fastened, might part and be broken up. We passed two or
+three of these rafts, one a very large one, made up of thousands of
+timbers laid across and across like warp and weft; yet the people seemed
+happy enough on these "timber islands;" we passed them near enough to
+see their faces and hear their voices, and I regretted I could not
+"catch their shadows," or stop and have an hour or two's work among them
+with the camera or the pencil; but we passed them by as if they were a
+fixture in the river, and they gave us a shout of "God speed," as if
+they did not envy our better pace in the least.
+
+There is abundance of work for the camera at all times of the year on
+the St. Lawrence; I have seen it in summer and autumn, and have
+attempted to describe some of its attractions. And I was told that when
+the river--not the rapids--is ice-bound, the banks covered with snow,
+and the trees clad in icicles, they present a beautiful scene in the
+sunshine. And in the spring, when the ice is breaking up, and the floes
+piling high on one another, it is a splendid sight to see them coming
+down, hurled about and smashed in the rapids, showing that the water in
+its liquid state is by far the most powerful. But now we are coming to
+the most exciting part of our voyage. The steam is shut off, the engine
+motionless, the paddle-wheels are still, and we are gliding swiftly and
+noiselessly down with the current. Yonder speck on the waters is the
+Indian coming in his canoe to pilot us down the dangerous rapids. We
+near each other, and he can now be seen paddling swiftly, and his canoe
+shoots like an arrow towards us. Now he is alongside, he leaps lightly
+on board, his canoe is drawn up after him, and he takes command of the
+"boat." Everybody on board knows the critical moment is approaching. The
+passengers gather "forward," the ladies cling to the arms of their
+natural protectors, conversation is stopped, the countenances of
+everyone exhibit intense excitement and anxiety, and every eye is "fixed
+ahead," or oscillating between the pilot and the rushing waters which
+can now be seen from the prow of the vessel. The Indian and three other
+men are at the wheel in the "pilot house," holding the helm "steady,"
+and we are rushing down the stream unaided by any other propelling power
+than the force of the current, at a rate of twenty miles an hour. Now we
+hear the rushing and plunging sound of the waters, and in a moment the
+keen eye of the Indian catches sight of the land mark, which is the
+signal for putting the helm "hard a port;" the wheel flies round like
+lightning, and we are instantly dropped down a perpendicular fall of ten
+or twelve feet, the vessel careening almost on her "beam ends," in the
+midst of these wild, white waters, an immense rock or rocky island right
+ahead. But that is safely "rounded," and we are again in comparatively
+quiet water. The steam is turned into the cylinders, and we go on our
+course in a sober, sensible, and steamboat-like fashion. When we were
+safely past the rapids and round the rock, a gentleman remarked to me
+that "once in a lifetime was enough of that." It was interesting to
+watch the countenances of the passengers, and mark the difference of
+expression before and after the passage of the rapids. Before, it was
+all excitement and anxiety, mingled with a wish-it-was-over sort of
+look; and all were silent. After, everybody laughed and talked, and
+seemed delighted at having passed the _Lachine_ Rapids in safety; yet
+most people are anxious to undergo the excitement and incur the risk and
+danger of the passage. You can, if you like, leave the boat above
+Lachine and proceed to Montreal by the cars, but I don't think any of
+our numerous passengers ever thought of doing such a thing. As long as
+ever this magnificent water way is free from ice, and the passage can be
+made, it is done. I don't know that more than one accident has ever
+occurred, but the risk seems considerable. There is a very great strain
+on the tiller ropes, and if one of them were to "give out" at the
+critical time, nothing could save the vessel from being dashed to pieces
+against the "rock ahead," and scarcely a life could be saved. No one can
+approach the spot except from above, and then there is no stopping to
+help others; you must go with the waters, rushing madly down over and
+among the rocks. The Indians often took these rapids, in their canoes,
+to descend to the lower part of the St. Lawrence; and one of them
+undertook to pilot the first steamer down in safety. His effort was
+successful, and he secured for his tribe (the Iroquois) a charter
+endowing them with the privileges and emoluments in perpetuity. I wish I
+could have obtained photographic impressions of these scenes and groups,
+but the only lens I could draw a "focus" with was the eye, and the only
+"plate" I had ready for use was the _retina_. However, the impressions
+obtained on that were so "vigorous and well-defined," I can at any
+moment call them up, like "spirits from the vasty deep," and reproduce
+them in my mental camera.
+
+The remaining nine miles of the voyage were soon accomplished. Passing
+the first abutment of the Victoria Bridge, which now crosses the St.
+Lawrence, at this point two miles wide, we quickly reached the fine quay
+and canal locks at Montreal, where we landed just as it was growing
+dark, after a delightful and exciting voyage of about thirty hours'
+duration, and a distance of more than four hundred miles. Quick work;
+but it must be borne in mind how much our speed was accelerated by the
+velocity of the current, and that the return trip by the canal, past the
+rapids, cannot be performed in anything like the time.
+
+On reaching the quay I parted with my agreeable fellow travellers, and
+sought an hotel, where once more, after a long interval, I slept under a
+roof over which floated the flag which every Englishman is proud of--the
+Union Jack.
+
+Next morning I rose early, and, with a photographic eye, scanned the
+city of Montreal. The streets are narrow, but clean, and well built of
+stone. Most of the suburban streets and villa residences are "frame
+buildings," but there are many handsome villas of stone about the base
+of the "mountain." I visited the principal buildings and the Cathedral
+of Notre Dame, ascended to the top of the Bell Tower, looked down upon
+the city, and had a fine view of its splendid quays and magnificent
+river frontage, and across the country southwards for a great distance,
+as far as the Adirondack Mountains, where the Hudson River bubbles into
+existence at Hendrick Spring, whence it creeps and gathers strength as
+it glides and falls and rushes alternately until it enters the Atlantic
+below New York, over three hundred miles south of its source. But the
+mountain at the back of Montreal prevented my seeing anything beyond the
+city in that direction. I afterwards ascended the mountain, from the
+summit of which I could see an immense distance up the river, far beyond
+Lachine, and across the St. Lawrence, and southwards into the "States."
+Being homeward bound, and having no desire at that time to prolong my
+stay in the western hemisphere, I did not wait to obtain any photographs
+of Montreal or the neighbourhood; but, taking ship for old England, I
+leave the lower St. Lawrence and its beauties; Quebec, with its glorious
+associations of Wolfe and the plains of Abraham, its fortifications,
+which are now being so fully described and discussed in the House of
+Commons, and the Gulf of the St. Lawrence, where vessels have sometimes
+to be navigated from the "masthead," in consequence of the low-lying sea
+fog which frequently prevails there. A man is sent up "aloft" where he
+can see over the fog, which lies like a stratum of white cloud on the
+gulf, and pilot the ship safely through the fleet of merchantmen which
+are constantly sailing up and down while the river is open. The fog may
+not be much above the "maintop," but is so dense it is impossible to see
+beyond the end of the "bowsprit" from the deck of the ship you are
+aboard; but from the "masthead" the "look-out" can see the highland and
+the masts and sails of the other ships, and avoid the danger of going
+"ashore" or coming into collision by crying out to the man at the wheel
+such sea phrases as "Port," "Starboard," "Steady," &c.; and when
+"tacking" up or down the gulf, such as "luff," "higher," "let her off."
+Indeed, the whole trip of the St. Lawrence--from Lake Ontario to the
+Atlantic--is intensely exciting. While off the coast of Newfoundland, I
+witnessed one of those beautiful sights of nature in her sternest mood,
+which I think has yet to be rendered in the camera--icebergs in the
+sunlight. A great deal has been said about their beauty and colour, but
+nothing too much. Anyone who saw Church's picture of "The Icebergs,"
+exhibited in London last year, may accept that as a faithful reflection
+of all their beautiful colours and dreadful desolation. All sailors like
+to give them as wide a "berth" as possible, and never admire their
+beauty, but shun them for their treachery. Sometimes their base extends
+far beyond their perpendicular lines, and many a good ship has struck on
+the shoal of ice under water, when the Captain thought he was far enough
+away from it. The largest one I saw was above a hundred feet above the
+water-line, and as they never exhibit more than one-third of their
+ponderous mass of frozen particles, there would be over two hundred feet
+of it below water, probably shoaling far out in all directions. We had a
+quick run across the Atlantic, and I landed in Liverpool, in the month
+of November, amid fog, and smoke, and gloom. What a contrast in the
+light! Here it was all fog and darkness, and photography impossible.
+There--on the other side of the waters--the light is always abundant
+both in winter and summer; and it is only during a snow or rain storm
+that our transatlantic brother photographers are brought to a
+standstill.--_Photographic News_, 1865.
+
+
+PHOTOGRAPHIC IMPRESSIONS.
+
+The Hudson, Developed on the Voyage.
+
+"We'll have a trip up the Hudson," said a friend of mine, one of the
+best operators in New York; "we'll have a trip up the Hudson, and go and
+spend a few days with the 'old folk' in Vermont, and then you will see
+us 'Yankees'--our homes and hospitalities--in a somewhat different light
+from what you see them in this Gotham."
+
+So it was arranged, and on the day appointed we walked down Broadway,
+turned down Courtland Street to the North River, and went on board the
+splendid river steamer _Isaac Newton_, named, in graceful compliment,
+after one of England's celebrities. Two dollars (eight and fourpence)
+each secured us a first-class passage in one of those floating palaces,
+for a trip of 144 miles up one of the most picturesque rivers in
+America.
+
+Wishing for a thorough change of scene and occupation, and being tired
+of "posing and arranging lights" and "drawing a focus" on the faces of
+men, women, and children in a stifling and pent-up city, we left the
+camera with its "racks and pinions" behind, determined to revel in the
+beautiful and lovely only of nature, and breathe the fresh and
+exhilarating air as we steamed up the river, seated at the prow, and
+fanned by the breeze freshened by the speed of our swift-sailing boat.
+
+Leaving New York, with its hundred piers jutting out into the broad
+stream, and its thousand masts and church spires on the one side, and
+Jersey City on the other, we are soon abreast of Hoboken and the
+"Elysian Fields," where the Germans assemble to drink "lager beer" and
+spend their Sundays and holidays. On the right or east side of the river
+is Spuyten Duyvil Creek, which forms a junction with the waters of the
+Sound or East River, and separates the tongue of land on which New York
+stands from the main, making the island of Manhattan. This island is a
+little over thirteen miles long and two and a half miles wide. The Dutch
+bought the whole of it for L4 16s., and that contemptible sum was not
+paid to the poor, ignorant, and confiding Indians in hard cash, but in
+toys and trumpery articles not worth half the money. Truly it may be
+said that the "Empire City" of the United States did not cost a cent. an
+acre not more than two hundred and fifty years ago, and now some parts
+of it are worth a dollar a square foot. At Spuyten Duyvil Creek Henry
+Hudson had a skirmish with the Indians, while his ship, the _Half Moon_,
+was lying at anchor.
+
+Now we come to the picturesque and the beautiful, subjects fit for the
+camera of the photographer, the pencil of the artist, and the pen of the
+historian. On the western side of the Hudson, above Hoboken, we catch
+the first glimpse of that singular and picturesque natural river wall
+called the "Palisades," a series of bold and lofty escarpments,
+extending for about thirty-five miles up the river, and varying in an
+almost perpendicular height from four to over six hundred feet, portions
+of them presenting a very similar appearance to Honister Craig, facing
+the Vale of Buttermere and Salisbury Craigs, near Edinburgh.
+
+About two and a half miles above Manhattan Island, on the east bank of
+the Hudson, I noticed a castellated building of considerable
+pretensions, but somewhat resembling one of those stage scenes of
+Dunsinane in _Macbeth_, or the Castle of Ravenswood in the _Bride of
+Lammermoor_. On enquiring to whom this fortified-looking residence
+belonged, I was told it was Fort Hill, the retreat of Edwin Forest, the
+celebrated American tragedian. It is built of blue granite, and must
+have been a costly fancy.
+
+Now we come to the pretty village of Yonkers, where there are plenty of
+subjects for the camera, on Sawmill River, and the hills behind the
+village. Here, off Yonkers, in 1609, Henry Hudson came to the premature
+conclusion, from the strong tidal current, that he had discovered the
+north-west passage, which was the primary object of his voyage, and
+which led to the discovery of the river which now bears his name.
+
+At Dobb's Ferry there is not much to our liking; but passing that, and
+before reaching Tarrytown, we are within the charming atmosphere of
+Sunnyside, where Washington Irving lived and wrote many of his
+delightful works. Tarrytown is the next place we make, and here, during
+the war for independence, the enthusiastic but unfortunate soldier,
+Major Andre, was captured; and at Tappan, nearly opposite, he was hung
+as a spy on the 2nd of October, 1780.
+
+All the world knows the unfortunate connection between Benedict Arnold,
+the American traitor, and Major Andre, the frank, gallant, and
+enterprising British officer; so I shall leave those subjects to the
+students of history, and pass on as fast as our boat will carry us to
+the next place of note on the east bank of the river, Sing Sing, which
+is the New York State prison, where the refractory and not over honest
+members of State society are sent to be "operated" upon by the salutary
+treatment of confinement and employment. Some of them are "doing time"
+in _dark rooms_, which are very unsuitable for photographic operations,
+and where _a little more light_, no matter how yellow or non-actinic,
+would be gladly received. The "silent cell" system is not practised so
+much in this State as in some of the others; but the authorities do
+their best to _improve the negative_ or refractory character of the
+_subjects_ placed under their care. It is, however, very questionable
+whether their efforts are not entirely _negatived_, and the bad
+character of the subject more _fully developed_ and _intensified_ by
+contact with the more powerful _reducing agents_ by which they are
+surrounded. Their prison is, however, very pleasantly situated on the
+banks of the Hudson, about thirty-three miles above New York City.
+
+Opposite Sing Sing is Rockland Lake, one hundred and fifty feet above
+the river, at the back of the Palisades. This lake is celebrated for
+three things--leeches and water lilies in summer, and ice in winter.
+Rockland Lake ice is prized by the thirsty denizens of New York City in
+the sultry summer months, and even in this country it is becoming known
+as a cooler and "refresher."
+
+Nearly opposite Sing Sing is the boldest and highest buttress of the
+Palisades; it is called "Vexatious Point," and stands six hundred and
+sixty feet above the water.
+
+About eleven miles above Sing Sing we come to Peekskill, which is at the
+foot of the Peekskill Mountains. Backed up by those picturesque hills it
+has a pretty appearance from the river. This was also a very important
+place during the wars. At this point the Americans set fire to a small
+fleet rather than let it fall into the hands of the British.
+
+A little higher up on the west side is the important military station of
+West Point. This place, as well as being most charmingly situated, is
+also famous as the great military training school of the United States.
+Probably you have noticed, in reading the accounts of the war now raging
+between North and South, that this or that general or officer was a
+"West Point man." General George M'Clellan received his military
+education at West Point; but, whatever military knowledge he gained at
+this college, strengthened by experience and observation at the Crimea,
+he was not allowed to make much use of while he held command of the army
+of the Potomac. His great opponent, General Lee, was also a "West Point
+man," and it does not require much consideration to determine which of
+the "Pointsmen" was the smarter. Washington has also made West Point
+famous in the time of the war for independence. Benedict Arnold held
+command of this point and other places in the neighbourhood, when he
+made overtures to Sir Henry Clinton to hand over to the British, for a
+pecuniary consideration of L10,000, West Point and all its outposts.
+
+A little higher up is Cold Spring, on the east side of the Hudson; but
+we will pass that by, and now we are off Newburg on the west bank. This
+is a large and flourishing town also at the foot of high hills--indeed,
+we are now in the highlands of the Hudson, and it would be difficult to
+find a town or a village that is not _backed up_ by hills. At the time I
+first visited these scenes there was a large photographic apparatus
+manufactory at Newburg, where they made "coating boxes," "buff wheels,"
+"Pecks blocks," &c., on a very extensive scale, for the benefit of
+themselves and all who were interested in the "cleaning," "buffing," and
+"coating" of Daguerreotype plates.
+
+Opposite Newburg is Fishkill; but we shall pass rapidly up past
+Poughkeepsie on the right, and other places right and left, until we
+come to Hudson, on the east side of the river. Opposite Hudson are the
+Catskill Mountains, and here the river is hemmed in by mountains on all
+sides, resembling the head of Ullswater lake, or the head of Loch Lomond
+or Loch Katrine; and here we have a photographic curiosity to descant
+upon.
+
+Down through the gorges of these mountains came a blast like the sound
+from a brazen trumpet, which electrified the photographers of the day.
+Among these hills resided the Rev. Levi Hill, who lately died in New
+York, the so-called inventor or discoverer of the Hillotype, or
+Daguerreotypes in natural colours. So much were the "Daguerreans" of New
+York startled by the announcement of this wonderful discovery, that they
+formed themselves into a sort of company to buy up the _highly coloured_
+invention. A deputation of some of the most respectable and influential
+Daguerreotypists of New York was appointed to wait upon the reverend
+discoverer, and offer him I don't remember how many thousand dollars for
+his discovery as it stood; and it is said that he showed them specimens
+of "coloured Daguerreotypes,"--but refused to sell or impart to them the
+secret until he had completed his discovery, and made it perfect by
+working out the mode of producing the only lacking colour, chrome
+yellow. But in that he never succeeded, and so this wonderful discovery
+was neither given nor sold to the world. Many believed the truth of the
+man's statements--whether he believed it himself or not, God only knows.
+One skilful Daguerreotypist, in the State of New York, assured me he had
+seen the specimens, and had seen the rev. gentleman at work in his
+laboratory labouring and "buffing" away at a mass of something like a
+piece of lava, until by dint of hard rubbing and scrubbing the colours
+were said to "appear like spirits," one by one, until all but the
+stubborn chrome yellow showed themselves on the surface. I could not
+help laughing at my friend's statement and evident credulity, but after
+seeing "jumping Quakers," disciples of Joe Smith, and believers in the
+doctrine of Johanna Southcote, I could not be much surprised at any
+creed either in art or religion, or that men should fall into error in
+the Hillotype faith as easily as into errors of ethics or morality. I
+was assured by my friend (not my travelling companion) that they were
+beautiful specimens of colouring. Granted; but that did not prove that
+they were not done by hand. Indeed, a suspicion got abroad that the
+specimens shown by Mr. Hill were _hand-coloured_ pictures brought from
+Europe. And from all that I could learn they were more like the
+beautifully coloured Daguerreotypes of M. Mansion, who was then
+colourist to Mr. Beard, than anything else I could see or hear of. Being
+no mean hand myself at colouring a Daguerreotype in those days, I was
+most anxious to see one of those wonderful specimens of "photography in
+natural colours," but I never could; and the inventor lived in such an
+out-of-the way place, among the Catskills, that I had no opportunity of
+paying him a visit. I have every reason to believe that the
+hand-coloured pictures by M. Mansion and myself were the only Hillotypes
+that were ever exhibited in America. Many of my coloured Daguerreotypes
+were exhibited at the State Fair in Castle Garden, and at the Great
+Exhibition at New York in 1853. But perhaps the late Rev. Levi Hill was
+desirous of securing a posthumous fame, and may have left something
+behind him after all; for surely, no man in his senses would have made
+such a noise about Daguerreotypes in "natural colours" as he did if he
+had not some reason for doing so. If so, and if he has left anything
+behind him that will lead us into nature's hidden mine of natural
+colours, now is the time for the "heirs and administrators" of the
+deceased gentlemen to secure for their deceased relative a fame as
+enduring as the Catskill Mountains themselves.
+
+The Katzbergs, as the Dutch called the Catskill Mountains, on account of
+the number of wild cats they found among them, have more than a
+photographic interest. The late Washington Irving has imparted to them
+an attraction of a romantic character almost as bewitching as that
+conferred upon the mountains in the vicinity of Loch Lomond and Loch
+Katrine by Sir Walter Scott. It is true that the delicate fancy of
+Irving has not peopled the Katzbergs with such "warriors true" as stood
+
+    "Along Benledi's living side;"
+
+nor has he "sped the fiery cross" over "dale, glen, and valley;" neither
+has he tracked
+
+    "The antler'd monarch of the waste"
+
+from hill to hill; but the war-whoop of the Mohegans has startled the
+wild beasts from their lair, and the tawny hunters of the tribe have
+followed up the trail of the panther until with bow and arrow swift they
+have slain him in his mountain hiding place. And Irving's quaint fancy
+has re-peopled the mountains again with the phantom figures of Hendrick
+Hudson and his crew, and put Rip van Winkle to sleep, like a big baby,
+in one of nature's huge cradles, where he slept for _twenty years_, and
+slept away the reign of good King George III. over the colonies, and
+awoke to find himself a bewildered citizen of the United States of
+America. And the place where he slept, and the place where he saw the
+solemn, silent crew of the "Half Moon" playing at ninepins, will be
+sought for and pointed out in all time coming. And why should these
+scenes of natural beauty and charming romance not be photographed on the
+spot? It has not been done to my knowledge, yet they are well worthy the
+attention of photographers, either amateur or professional. We leave the
+Catskill Mountains with some regret, because of the disappointment of
+their not yielding us the promised triumph of chemistry, "photography in
+natural colours," and because of their beauty and varying effects of
+_chiaroscuro_ not having been sufficiently rendered in the monochromes
+we have so long had an opportunity of obtaining in the camera.
+
+Passing Coxsackie, on the west bank of the Hudson, and many pleasant
+residences and places on each side of the river, we are soon at Albany,
+the capital of the State of New York, and the termination of our voyage
+on board the _Isaac Newton_. And well had our splendid steamer performed
+her part of the contract. Here we were, in ten hours, at Albany, 144
+miles from New York City. What a contrast, in the rate of speed, between
+the _Isaac Newton_ and the first boat that steamed up the Hudson! The
+_Claremont_ took over thirty-six hours, wind and weather permitting, to
+perform the voyage between New York and Albany; and we had done it in
+ten. What a contrast, too, in the size, style, and deportment of the
+two boats! The _Claremont_ was a little, panting, puffing, half-clad,
+always-out-of-breath sort of thing, that splashed and struggled
+and groaned through the water, and threw its naked and diminutive
+paddle-wheels in and out of the river--like a man that can neither
+swim nor is willing to be drowned, throwing his arms in and out of the
+water in agony--and only reached her destination after a number of
+stoppings-to-breathe and spasmodic start-agains. The _Isaac Newton_
+had glided swiftly and smoothly through the waters of the Hudson, her
+gigantic paddle-wheels performing as many revolutions in a minute as
+the other's did in twenty.
+
+But these were the advanced strides and improvements brought about by
+the workings and experiences of half a century. If the marine steam
+engine be such a wonderfully-improved machine in that period of time,
+what may not photography be when the art-science is fifty years old?
+What have not the thousands of active brains devoted to its advancement
+done for it already? What have not been the improvements and wonderful
+workings of photography in a quarter of a century? What improvements
+have not been effected in the lifetime of any old Daguerreotypist?
+When I first knew photography it was a ghostly thing--a shimmering
+phantom--that was flashed in and out of your eyes with the rapidity of
+lightning, as you tried to catch a sight of the image between the total
+darkness of the black polish of the silvered plate, and the blinding
+light of the sky, which was reflected as from a mirror into your eyes.
+
+But how these phantom figures vanished! How rapidly they changed from
+ghostly and almost invisible shadows to solid, visible, and all but
+tangible forms under the magical influence of Goddard's and Claudet's
+"bromine accelerator," and Fizeau's "fixing" or gilding process! How
+Mercury flew to the lovely and joint creations of chemistry and optics,
+and took kindly to the timid, hiding beauties of Iodine, Bromine,
+Silver, and Light, and brought them out, and showed them to the world,
+proudly, as "things of beauty," and "a joy for ever!" How Mercury clung
+to these latent beauties, and "developed" their charms, and became
+"attached" to them, and almost immovable; and consented, at last, to be
+tinted like a Gibson's Venus to enhance the charms and witcheries of his
+proteges! Anon was Mercury driven from Beauty's fair domain, and bright
+shining Silver, in another form, took up with two fuming, puffy fellows,
+who styled themselves Ether and Alcohol, with a villainous taint of
+methyl and something very much akin to gunpowder running through their
+veins. A most abominable compound they were, and some of the vilest of
+the vile were among their progeny; indeed, they were all a "hard lot,"
+for I don't know how many rods--I may say tons--of iron had to be used
+before they could be brought into the civilized world at all. But,
+happily, they had a short life. Now they have almost passed away from
+off the face of the earth, and it is to be hoped that the place that
+knew them once will know them no more; for they were a dangerous
+set--fragile in substance, frightful abortions, and an incubus on the
+fair fame of photography. They bathed in the foulest of baths, and what
+served for one served for all. The poisonous and disgusting fluid was
+used over and over again. Loathsome and pestiferous vapours hovered
+about them, and they took up their abode in the back slums of our
+cities, and herded with the multitude, and a vast majority of them were
+not worth the consideration of the most callous officer of the sanitary
+commission. Everything that breathes the breath of life has its moments
+of agony, and these were the throes that agonised Photography in that
+fell epoch of her history.
+
+From the ashes of this burning shame Photography arose, Phoenix-like,
+and with Silver, seven times purified, took her ethereal form into the
+hearts and _ateliers_ of artists, who welcomed her sunny presence in
+their abodes of refinement and taste. They treated her kindly and
+considerately, and lovingly placed her in her proper sphere; and, by
+their kind and delicate treatment, made her forget the miseries of her
+degradation and the agonies of her travail. Then art aided photography
+and photography aided art, and the happy, delightful reciprocity has
+brought down showers of golden rain amidst the sunshine of prosperity to
+thousands who follow with love and devotion the chastened and purified
+form of Photography, accompanied in all her thoughts and doings by her
+elder sister--Art.
+
+I must apologise for this seeming digression. However, as I have not
+entirely abandoned my photographic impressions, I take it for granted
+that I have not presumed too much on the good nature of my readers, and
+will now endeavour to further develop and redevelop the Hudson, and
+point out the many phases of beauty that are fit subjects for the camera
+which may be seen on the waters and highland boundaries of that
+beautiful river in all seasons of the year.
+
+Albany is the capital of the State. It is a large and flourishing city,
+and one of the oldest, being an early Dutch settlement, which is
+sufficiently attested by the prevalence of such cognomens as
+"Vanderdonck" and "Onderdunk" over the doors of the traders.
+
+About six or eight miles above Albany the Hudson ceases to be navigable
+for steamers and sailing craft, and the influence of the tide becomes
+imperceptible. Troy is on the east bank of the river; and about two
+miles above, the Mohawk River joins the Hudson, coming down from the
+Western part of the State of New York. For about two hundred miles the
+Hudson runs almost due north and south from a little below Fort Edward;
+but, from the Adirondack Mountains, where it takes its spring, it comes
+down in a north-westerly direction by rushing rapids, cascades, and
+falls innumerable for about two hundred miles more through some of the
+wildest country that can possibly be imagined.
+
+We did not proceed up the Upper Hudson, but I was told it would well
+repay a trip with the camera, as some of the wildest and most
+picturesque scenery would be found in tracking the Hudson to its source
+among the Adirondack Mountains.
+
+I afterwards sailed up and down the navigable part of the Hudson many
+times and at all periods of the year, except when it was ice-bound, by
+daylight and by moonlight, and a more beautiful moonlight sail cannot
+possibly be conceived. To be sailing up under the shadow of the
+Palisades on a bright moonlight night, and see the eastern shore and
+bays bathed in the magnesium-like light of a bright western moon, is in
+itself enough to inspire the most ordinary mind with a love of all that
+is beautiful and poetical in nature.
+
+Moonlight excursions are frequently made from New York to various points
+on the Hudson, and Sleepy Hollow is one of the most favourite trips. I
+have been in that neighbourhood, but never saw the "headless horseman"
+that was said to haunt the place; but that may be accounted for by the
+circumstance of some superior officer having recently commanded the
+trooper without a head to do duty in Texas.
+
+My next trip up the Hudson was in winter, when the surface of the river
+was in the state of "glacial," solid at 50 deg. for two or three feet
+down, but the temperature was considerably lower, frequently 15 deg. and
+20 deg. below zero--and that was nipping cold "and no mistake," making
+the very breath "glacial," plugging up the nostrils with "chunks" of ice,
+and binding the beard and moustache together, making a glacier on your
+face, which you had to break through every now and then to make a
+breathing hole.
+
+On this arctic trip the whole aspect of the river and its boundaries is
+marvellously changed, without losing any of its picturesque attractions.
+Instead of the clear, deep river having its glassy surface broken by the
+splash of paddle-wheels, it is converted into a solid highway. Instead
+of the sound of the "pilot's gong," and the cries of "a sail on the port
+bow," there is nothing to be heard but the jingling sound of the sleigh
+bells, and the merry laugh and prattle of the fair occupants of the
+sleighs, as they skim past on the smooth surface of the ice, wrapped
+cosily up in their gay buffalo robes.
+
+The great excitement of winter in Canada or the States is to take a
+sleigh ride; and I think there is nothing more delightful, when the wind
+is still, than to skim along the ice in the bright, winter sunshine,
+behind a pair of spanking "trotters." The horses seem to enjoy it as
+much as the people, arching their necks a little more proudly than
+usual, and stepping lightly to the merry sound of the sleigh bells.
+
+At this time of the year large sleighs, holding fifteen to twenty
+people, and drawn by four horses, take the place of steamers, omnibuses,
+and ferry boats. The steam ferries are housed, except at New York, and
+there they keep grinding their way through the ice "all winter," as if
+they would not let winter reign over their destinies if they could help
+it. Large sleighs cross and recross on the ice higher up the Hudson, and
+thus keep up the connection between the various points and opposite
+shores. As the mercury falls the spirits of the people seem to rise, and
+they shout and halloo at each other as they pass or race on the ice.
+These are animated scenes for the skill of a Blanchard or any other
+artist equally good in the production of instantaneous photographs.
+
+Another of the scenes on the Hudson worthy of the camera is "ploughing
+the ice." It is a singular sight to an Englishman to see a man driving a
+team of horses on the ice, and see the white powder rising before the
+ice-plough like spray from the prow of a vessel as she rushes through
+the water, cutting the ice into blocks or squares, to stow away in
+"chunks," and afterwards, when the hot sultry weather of July and August
+is prostrating you, have them brought out to make those wonderful
+mixtures called "ice-creams," "sherry-cobblers," and "brandy-cocktails."
+
+The Hudson is beautiful in winter as well as in summer, and I wonder its
+various and picturesque beauties have not been photographed more
+abundantly. But there it is. Prophets are never honoured in their own
+country, and artists and photographers never see the beauties of their
+country at home. I am sure if the Hudson were photographed from the sea
+to its source it would be one of the most valuable, interesting, and
+picturesque series of photographs that ever was published. Its aspects
+in summer are lovely and charming, and the wet process can then be
+employed with success. And in winter, though the temperature is low, the
+river is perfectly dry on the surface, the hills and trees are
+glistening with snow and icicles, the people are on the very happiest
+terms with one another, and frequently exhibit an abundance of dry, good
+humour. This is the time to work the "dry process" most successfully,
+and, instead of the "ammonia developers," try the "hot and strong" ones.
+
+With these few hints to my photographic friends, I leave the beauties of
+the Hudson to their kind consideration.--_British Journal of
+Photography_, 1865.
+
+
+PICTURES OF THE POTOMAC IN PEACE AND WAR.
+
+When first I visited that lovely region which has so recently been torn
+and trampled down--blackened and defaced by the ruthlessness of
+war--peace lay in the valleys of the Potomac. Nothing was borne on the
+calm, clear bosom of the broad and listless river but the produce of the
+rich and smiling valleys of Virginia. Its banks were peaceful, silent,
+and beautiful. The peach orchards were white with the blossoms that
+promised a rich harvest of their delicious fruit. The neat and pretty
+houses that studded the sloping boundaries of the river were almost
+blinding with their dazzling whiteness as the full blaze of the sun fell
+upon them. Their inhabitants were happy, and dreamt not of the storm so
+soon to overtake them. The forts were occupied by only a few, very few
+soldiers. The guns were laid aside, all rusty and uncared for; and
+pilgrims to the tomb of Washington, the good and great, stopped on their
+return at Fort Washington to examine the fortifications in idleness and
+peaceful curiosity. The Capitol at Washington echoed nothing but the
+sounds of peace and good will. The senators of both North and South sat
+in council together, and considered only the welfare and prosperity of
+their great confederation.
+
+The same harmonious fellowship influenced the appearance and actions of
+all; and at that happy conjuncture I made my first acquaintance with
+Washington, the capital of the United States. I shall not attempt a
+description of its geographical position: everybody knows that it is in
+the district of Columbia, and on the banks of the Potomac. It is a city
+of vast and pretentious appearance, straggling over an unnecessary
+amount of ground, and is divided into avenues and streets. The avenues
+are named after the principal States, and take their spring from the
+Capitol, running off in all directions in angular form, like the spokes
+of a wheel, the Capitol being the "angular point." The streets running
+between and across the avenues rejoice in the euphonious names of First,
+Second, and Third, and A, B, and C streets, the straight lines of which
+are broken by trees of the most luxurious growth all along the
+side-walks. These trees form a delightful sun-shade in summer, and have
+a very novel and pleasing effect at night, when their green and leafy
+arches are illuminated by the gas lamps underneath.
+
+Excepting the Capitol, White House, Court House, Post Office, Patent
+Office, and Smithsonian Institute, there is nothing in the city of
+photographic interest. The "United States," the "National," and
+"Willards," are large and commodious hotels on Pennsylvania Avenue; but
+not worth a plate, photographically speaking, unless the landlords wish
+to illustrate their bar bills. The Capitol is out of all proportion the
+largest and most imposing structure in Washington--it may safely be said
+in the United States. Situated on an elevated site, at the top of
+Pennsylvania Avenue, it forms a grand termination to that noble
+thoroughfare at its eastern extremity. The building consists of a grand
+centre of freestone painted white, surmounted by a vast dome of
+beautiful proportions. Two large wings of white marble complete the
+grand facade. Ascending the noble flight of marble steps to the
+principal entrance, the great portico is reached, which is supported by
+about eighteen Corinthian columns. The pediment is ornamented with a
+statue of America in the centre, with the figures of Faith on her left,
+and Justice on her right. On each side of the entrance is a group of
+statuary. On one side an Indian savage is about to massacre a mother and
+her child, but his arm is arrested by the figure of Civilization. On the
+other side the group consists of a man holding up a globe, representing
+Columbus and the figure of an Indian girl looking up to it.
+
+The large rotunda, immediately underneath the dome, is divided into
+panels, which are filled with paintings, such as the "Landing of the
+Pilgrim Fathers," "The Baptism of the Indian Princess Pocahontas," and
+other subjects illustrative of American history. On either side of the
+Rotunda are passages leading to the House of Representatives on the one
+side, and the Senate Chamber on the other. Congress being assembled, I
+looked in to see the collective wisdom of the "States" during a morning
+sitting. In many respects the House of Representatives very much
+resembled our own House of Commons. There was a Mr. Speaker in the
+chair, and one gentleman had "the floor," and was addressing the House.
+Other members were seated in their desk seats, making notes, or busying
+themselves with their own bills. In one essential point, however, I
+found a difference, and that was in the ease of access to this assembly.
+No "member's order" was required. Strangers and "citizens" are at all
+times freely admitted. There is also a magnificent library, which is
+free to everyone.
+
+During the Session there is Divine service in the Senate Chamber on
+Sunday mornings. On one occasion I attended, and heard a most excellent
+discourse by the appointed chaplain. The President and his family were
+there.
+
+In some side offices, connected with the Capitol, I found a government
+photographer at work, copying plans, and photographing portions of the
+unfinished building, for the benefit of the architects and others whose
+duty it was to examine the progress of the works. From this gentleman I
+received much courteous attention, and was shown many large and
+excellent negatives, all of which were developed with the ordinary iron
+developer.
+
+I next visited the Patent Office, and the museum connected therewith,
+which contains a vast collection of models of all kinds of inventions
+that have received protection--among them several things, in apparatus
+and implements, connected with photography. The American patent laws
+require a model of every new invention to be lodged in this museum,
+which is of immense value to inventors and intending patentees; for
+they can there see what has already been protected; and as the Patent
+Office refuses to grant protection to anything of a similar form, use,
+or application, much litigation, expense, and annoyance are saved the
+patentees. Our Government would do well to take a leaf out of "Brother
+Jonathan's" book on this subject; for not only is there increased
+protection given to inventors, but the fees are considerably less than
+in this country.
+
+The presidential residence, called the White House, was the next
+interesting subject of observation. It is situated at the west end of
+Pennsylvania Avenue, and a good mile from the Capitol. The building is
+of white marble, and of very unpretending size and architectural
+attractions, but in every respect sufficient for the simple wants of the
+chief magistrate of the United States, whose official salary is only
+twenty-five thousand dollars per annum.
+
+During congressional session the President holds weekly _levees_; and
+one of these I determined to attend, prompted as much by curiosity to
+see how such things were done, as desire to pay my respects.
+Accordingly, on a certain night, at eight o'clock precisely, I went to
+the White House, and was admitted without hesitation. On reaching the
+door of the reception room, I gave my card to the district marshal, who
+conducted me to President Pierce, to whom I was introduced. I was
+received with a hearty welcome, and a shake of the hand. Indeed, I
+noticed that he had a kindly word of greeting for all who came. Not
+having any very important communication to make that would be either
+startling or interesting to the President of the United States, I bowed,
+and retired to the promenade room, where I found numbers of people who
+had been "presented" walking about and chatting in groups on all sorts
+of subjects--political, foreign, and domestic, and anything they liked.
+Some were in evening dress, others not; but all seemed perfectly easy
+and affable one with another. There was no restraint, and the only
+passport required to these _levees_ was decent behaviour and
+respectability. There was music also. A band was playing in the
+vestibule, and everyone evidently enjoyed the _reunion_, and felt
+perfectly at home. Never having been presented at court, I am not able
+to make any comparison _pro_ or _con_.
+
+There is also an observatory at Washington, which I visited;
+but not being fortunate enough to meet the--what shall I say?
+"astronomer-royal," comes readiest, but that is not correct: well,
+then, the--"astronomer republic," I did not see the large telescope
+and other astronomical instruments worked.
+
+The photographic galleries were all situated on Pennsylvania Avenue, and
+they were numerous enough. At that time they rejoiced in the name of
+"Daguerrean Galleries;" and the proprietor, or operator, was called a
+"Daguerrean." Their reception rooms were designated "saloons," which
+were invariably well furnished--some of them superbly--and filled with
+specimens. Their "studios" and workshops behind the scenes were fitted
+with all sorts of ingenious contrivances for "buffing" and "coating" and
+expediting the work. Although the greatest number of mechanical
+appliances were employed in the Daguerreotype branch of photography, art
+was not altogether ignored in its practice. One house made a business
+feature of very beautifully coloured Daguerreotypes, tinted with dry
+colours, quite equal to those done in Europe. Another house made a
+feature of "Daguerreotypes painted in oil;" and the likeness was most
+admirably preserved. I saw one of the President, and several of the
+members of Congress, which I knew to be unmistakable portraits. Although
+the Daguerreotype was most tenaciously adhered to as the best means of
+producing photographic portraits, the collodion process--or the
+"crystaltype," as they then called it--was not neglected. It was used by
+a few for portraits, but chiefly for views.
+
+Having seen all that was worth seeing in the city, I made excursions
+into the country, in search of subjects for the camera or pencil.
+
+Georgetown, a little way from Washington, and its picturesque cemetery,
+offer several pretty bits for the camera. Arlington Heights, the Long
+Bridge, and many nooks about there, are sufficiently tempting; but of
+all the excursions about Washington, Mount Vernon--a few miles down the
+Potomac, on the Virginia side--is by far the most interesting. Mount
+Vernon is the name of the place where General George Washington lived
+and died, and is the "Mecca" of the Americans. Nearly every day there
+are pilgrims from some or all parts of the States to the tomb of
+Washington, which is in the grounds of Mount Vernon. They visit this
+place with a kind of religious awe and veneration, and come from far and
+wide to say they have seen it. For, in truth, there is little to see but
+the strangest-looking and ugliest brick building I ever beheld, with
+open iron gates that allow you to look into the darkness of the
+interior, and see nothing. I took a view of the tomb, and here it is:--A
+red brick building, squat and low, of the most unsightly design and
+proportions imaginable--resembling one of our country "deadhouses" more
+than anything else I could compare it to. It was stuck away from the
+house among trees and brushwood, and in an advanced state of
+dilapidation--a disgrace to the nation that had sprung from that great
+man's honest devotion! Over the Gothic entrance is a white slab, with
+the following inscription on it:--
+
+   "Within this Enclosure
+           Rest
+      the remains of
+  General George Washington."
+
+The remains of "Lady Washington" lie there also; and there are several
+white obelisks about to the memory of other members of the family.
+
+The house itself is a "frame building" of two storeys, with a piazza
+running along the front of it, and is on the whole a mean-looking
+edifice; but was probably grand enough for the simple tastes of the man
+who dwelt in it, and has hallowed the place with the greatness and
+goodness of his life. The interior of the house looked as if it had once
+been a comfortable and cozy habitation. In the hall was put up a desk,
+with a "visitors' book," wherein they were expected to enter their
+names; and few failed to pay such a cheap tribute to the memory of the
+father of their country.
+
+The grounds, which were full of natural beauties, had been allowed to
+run into a state of wild tangle-wood; and I had some trouble to pick my
+way over broken paths down to the riverside again, where I took the
+"boat," and returned to the city, touching at Fort Washington on the
+way. The day had been remarkably fine; the evening was calm and lovely;
+the silence of the river disturbed only by the splash of our paddles,
+and the song of the fishermen on shore as they drew in their laden nets;
+and the moon shone as only she can shine in those latitudes. Nothing
+could denote more peace and quietude as I sailed on the Potomac on that
+lovely evening. There was such a perfect lull of the natural
+elements--such a happy combination of all that was beautiful and
+promising--it seemed impossible for such a hurricane of men's
+passions--such yells of strife and shouts of victory, such a swoop of
+death as afterwards rushed down those valleys--ever to come to pass.
+
+Such sad reverse was, however, seen on my second visit to the Potomac.
+The narration of the stirring scenes then presented will form a picture
+less peaceful and happy, but unfortunately intensely real and painfully
+true.
+
+My second visit to the Potomac was paid after the lapse of several
+years, and under very different circumstances. When the Capitol echoed
+loudly the fierce and deadly sentiments of the men of the North against
+the men of the South. When both had shouted--
+
+  "Strike up the drums, and let the tongue of war
+   Plead for our int'rest."
+
+When the deliberations of the senators were "war estimates," arming of
+troops, and hurrying them to the "front" with all possible despatch.
+When the city of Washington presented all the appearance of a place
+threatened with a siege. When every unoccupied building was turned into
+barracks, and every piece of unoccupied land was made a "camp ground."
+When the inhabitants were in terror and dismay, dreading the approach of
+an invading host. When hasty earth-works were thrown up in front of the
+city, and the heights were bristling with cannon. When the woods and
+peach orchards on the opposite side of the Potomac were red with the
+glare of the camp fires at night, and the flashing of bayonets was
+almost blinding in the hot sun at noon. When the vessels sailing on the
+river were laden with armed men, shot, shell, and "villainous
+saltpetre." When the incessant roll of drums and rattle of musketry
+deadened almost every other sound. When sentinels guarded every road and
+access to the capital, and passports were required from the military
+authorities to enable you to move from one place to another. In short,
+when the whole atmosphere was filled with sounds of martial strife, and
+everything took the form of desolating war.
+
+In spite of all these untoward events, I found photography actively
+engaged in the city, in the camp, and on the field, fulfilling a mission
+of mercy and consolation in the midst of carnage and tumult--fulfilling
+such a mission of holy work as never before fell to the lot of any art
+or art-science to perform. For what aspect of life is photography not
+called upon to witness?--what phase of this world's weal or woe is
+photography not required to depict? Photography has become a handmaiden
+to the present generation--a ministering angel to all conditions of
+life, from the cradle to the grave. An _aide-de-camp_ of the loveliest
+character to the great "light of the world," humanizing and elevating
+the minds of all, administering consolation to the sorrowing, increasing
+the joy of the joyous, lessening the pangs of separation caused by
+distance or death, strengthening the ties of immediate fellowship,
+helping the world to know its benefactors, and the world's benefactors
+to know the world. When grim death stalks into the gilded palaces of the
+great and powerful, or into the thatched cottages and miserable
+dwellings of the poor, photography is the assuager of the griefs of the
+sorrowing survivors, and the ameliorator of their miseries, by
+preserving to them so faithful a resemblance of the lost one. When the
+bride, in her youth and loveliness, is attired for the bridal,
+photography is the recorder of her trustful looks and April smiles, the
+fashion of her dress, the wreath and jewels that she wore; and, come
+what change in her appearance that may, the husband can look upon his
+bride whene'er he likes in after years, as vividly and as distinctly as
+on that day, connecting the present with the past with a kind of running
+chord of happy recollections. Photography is now the historian of earth
+and animated nature, the biographer of man, the registrar of his growth
+from childhood to "man's estate," the delineator of his physical, moral,
+and social progress, the book of fashion, and the mirror of the times.
+The uses and applications of photography are almost indescribable;
+scarcely an art, or a science, or a trade or profession that does not
+enlist photography into its service. Photography does not merely pander
+to the gratification of earthly vanity, but is an alleviator of human
+misery. Photography enters our hospitals and registers faithfully the
+progress of disease, its growth and change from day to day, until it is
+cured, or ripe for the knife of the surgeon; its pictures are lessons to
+the professor, and a book of study for the students, charts for their
+guidance through the painful and tedious cases of others similarly
+afflicted, teaching them what to do and what to avoid, to relieve the
+suffering of other patients. Photography is dragged into our criminal
+law courts, and sits on the right hand of Justice, giving evidence of
+the most undeniable character, without being under oath, and free from
+the suspicion of perjury, convicting murderers and felons, and
+acquitting the innocent without prejudice; and in our courts of equity,
+cases are frequently decided by the truth-telling evidence of
+photography.
+
+Astronomers, geographers, and electricians freely acknowledge how much
+they are indebted to photography in making their celestial and
+terrestrial observations. Engineers, civil and military, employ
+photography largely in their plans and studies. Art, also, has recourse
+to photography, and is the only one of the liberal professions that is
+half ashamed to admit the aid it gains from the camera. If art admits it
+at all, it is done grudgingly, apologetically, and thanklessly. But
+there it is the old, old story of family quarrels and family jealousies.
+Old art might be likened to an old aunt that has grown withered and
+wrinkled, and peevish with disappointment, who, in spite of all her
+long-studied rules and principles of light and shade, harmony of colour,
+painting, "glazing," and "scumbling," has failed to win the first
+prize--that prize which a woman's ambition pants after from the moment
+she enters her teens until her dream is realized--that living model,
+moulded after God's own image, which, not having won in her mature age,
+she becomes jealous of the growing graces, the fresh and rollicking
+charms, the unstudied and ingenuous truthfulness of form exhibited by
+her niece. Old Art the aunt, Photography the niece. Readers, draw the
+moral for yourselves.
+
+I have digressed, but could not help it. Photography is so young and
+lovely, so bewitchingly beautiful in all her moods, so fascinating and
+enslaving--and she has enslaved thousands since she first sprung from
+the source that gives her life. But to return to my theme.
+
+The practice of photography, like the aspects of the country and
+condition of the people, was changed. "Old things had passed away, and
+all things had become new." The shining silver plates, buffing wheels,
+coating boxes, mercury pans, &c., of the old dispensation had given
+place to the baths, nitrate of silver solutions, and iron developers of
+the new. Ambrotypes, or glass positives, and photographs on paper, had
+taken the place of the now antiquated Daguerreotype. Mammoth photographs
+were the ambition of all photographers. The first full-length life-sized
+photograph I ever saw was in Washington, and was the work of Mr.
+Gardner, the manager of Mr. Brady's gallery. But a more republican idea
+of photography, which, strange to say, originated in an empire not
+remarkable for freedom of thought, soon became the dominant power.
+Cartes-de-visite, the many, ruled over mammoth, the few. The price of
+mammoth photographs was beyond the reach of millions, but the prices of
+cartes-de-visite were within the grasp of all; and that, combined with
+their convenient size and prettiness of form, made them at once popular,
+and created a mania.
+
+The carte-de-visite form of picture became the "rage" in America about
+the time the civil war commenced, and as the young soldiers were proud
+of their new uniforms, and those who had been "in action" were prouder
+still of their stains and scars, the photographers did a good business
+among them, both in the city and in the camp. I saw a little of this
+"camp work" and "camp life" myself, and some of the havoc of war as
+well. Photographers are adventurous, and frequently getting into odd
+kinds of "positions," as well as their "sitters."
+
+It was my destiny, under the guidance of the Great Source of Light, to
+witness the results of the first great conflict between the opposing
+armies of the Federals and Confederates; to hear the thunder of their
+artillery, and see the clouds of smoke hovering over the battle field,
+without being in the battle itself. To see the rout and panic of the
+Northern troops, who had so recently marched proudly on to fancied
+victory; to witness the disgraceful and disastrous stampede of the
+Northern army from the field of Bull Run; to listen to the agonized
+groans of the "severely wounded" as they were hurried past to the
+temporary hospitals in Washington and Georgetown; to be an eye-witness
+to the demoralized condition of men who, naturally brave, were under the
+influence of a panic caused by the vague apprehension of a danger that
+did not exist; to hear the citizens exclaim, "What shall we do?" and
+"For God's sake don't tell your people at home what you have seen!" and
+comparing the reverse of their national arms to a "regular Waterloo
+defeat," which was anything but a happy simile. To see the
+panic-stricken men themselves, when they discovered their error, and
+began to realize their shame, weeping like women at the folly they had
+committed. But they atoned for all this, afterwards, by deeds of
+glorious valour which were never surpassed, and which ended in restoring
+their country to peace and reunion.
+
+The 21st of July, 1861, was a Sunday, and as calm and beautiful a day as
+could be wished for. From its associations it ought to have been a day
+of rest and peace to all; but it was not. There was terrible slaughter
+among men that Sunday in Virginia. During the morning, I took advantage
+of an opportunity offered me to go down to Alexandria, in Virginia,
+about five or six miles below Washington, which was then occupied by a
+portion of the Federal Army. Everything in the place had the appearance
+of war. There were more soldiers than civilians about. Hotels were
+turned into barracks and military storehouses. The hotel where Colonel
+Ellsworth, of the New York Fire Zouaves, was shot by the proprietor for
+hauling down the Confederate flag--which the latter had hoisted over his
+house--had been taken possession of by the military authorities, and
+the whole place was under martial law. It was there I first heard
+rumours of a battle being fought in the neighbourhood of Manassas
+Junction. These rumours were soon confirmed by the roar of cannon in the
+distance, and the hurrying of fresh troops from Washington to the field
+of battle. But they were not needed. Before they could reach the field
+the "stampede" had commenced, and the retreating hosts came like a
+rushing tide upon the advancing few, and carried them back, absorbed in
+the unshapen mass of confusion.
+
+The night came, and little was known by the inhabitants of Washington of
+the rout and rush of terrified men towards the city; but the next
+morning revealed the fact.
+
+Wet and wretched was the morning after the battle. The heavens seemed to
+weep over the disgrace as the men poured into the city, singly and in
+groups, unofficered, and without their firearms, which many had lost, or
+thrown away in their flight. The citizens gathered round them, anxious
+to learn all about the defeat, and the whereabouts of the Confederate
+army, and invited them into their houses to take refreshment and rest.
+Several instances of this impromptu hospitality and sympathy I witnessed
+myself; and many of the weary and wounded soldiers I talked to. They
+that were only slightly wounded in the hands and arms had their wounds
+washed and dressed by the wives and daughters of many of the residents.
+The hotels were crowded, and the "bars" were besieged by the drenched
+and fatigued soldiers, whom the curious and sympathizing citizens
+invited to "liquor." The men all told wonderful stories of the fight and
+of their own escape, but none could tell satisfactorily what had created
+the panic. Some said that a few "teamsters" took the alarm, and, riding
+to the rear in hot haste, conveyed the impression that an exterminating
+pursuit by the Confederates had commenced.
+
+In a day or two the majority of the men were mustered together again,
+and occupied their old camping grounds, where I visited them, and heard
+many of their stories, and got some of the relics of the battle field.
+Fresh troops were raised, and placed under the command of another
+general. But it was long before another "onward march to Richmond" was
+attempted. The North had learned something of the strength and prowess
+of the South, and began to prepare for a longer and fiercer struggle
+with "Secession."
+
+Such are the two pictures of the Potomac which I have endeavoured to
+reproduce, and which fell under my observation during my professional
+peregrinations in connection with the practice of photography.
+
+
+RAMBLES AMONG THE STUDIOS OF AMERICA.
+
+
+Boston.
+
+My impressions of America, from a photographic point of observation,
+were taken at two distinct periods--which I might call the two epochs of
+photographic history--the dry and the wet; the first being the
+Daguerreotype, and the second what may be termed the present era of
+photography, which includes the processes now known and practised.
+
+I take Boston as my starting point for several reasons. First, because
+it was the first American city I visited; secondly, it was in Boston
+that the change first came over photography which wrought such a
+revolution in the art all over the United States; thirdly and severally,
+in Boston I noticed many things in connection with photography which
+differed widely from what I had known and practised in England.
+
+Visiting the gallery of Mr. Whipple, then in Washington Street, the
+busiest thoroughfare in Boston, I was struck with the very large
+collection of Daguerreotype portraits there exhibited, but particularly
+with a large display of Daguerreotypes of the moon in various aspects.
+I had heard of Mr. Whipple's success in Daguerreotyping the moon before
+I left Europe, but had no idea that so much had been achieved in lunar
+photography at that early date until I saw Mr. Whipple's case of
+photographs of the moon in many phases. Those Daguerreotypes were
+remarkable for their sharpness and delicacy, and the many trying
+conditions under which they were taken. They were all obtained at
+Cambridge College under the superintendance of Professor Bond, but in
+what manner I had better allow Mr. Whipple to speak for himself, by
+making an extract from a letter of his, published in _The Photographic
+Art Journal_ of America, July, 1853. Mr. Whipple says: "My first attempt
+at Daguerreotyping the moon was with a reflecting telescope; the mirror
+was five feet focus, and seven inches diameter. By putting the prepared
+plate directly in the focus of the reflector, and giving it an exposure
+of from three to five seconds, I obtained quite distinct impressions;
+but owing to the smallness of the image, which was only about
+five-eighths of an inch in diameter, and the want of clockwork to
+regulate the motion of the telescope, the results were very far from
+satisfactory.
+
+"Having obtained permission of Professor Bond to use the large Cambridge
+reflector for that purpose, I renewed my experiments with high hopes of
+success, but soon found it no easy matter to obtain a clear,
+well-defined, beautiful Daguerreotype of the moon. Nothing could be more
+interesting than its appearance through that _magnificent_ instrument:
+but to transfer it to the silver plate, to make something tangible of
+it, was quite a different thing. The "governor," that regulates the
+motion of the telescope, although sufficiently accurate for observing
+purposes, was entirely unsuitable for Daguerreotyping; as when the plate
+is exposed to the moon's image, if the instrument does not follow
+exactly to counteract the earth's motion, even to the nicety of a
+hair's breadth, the beauty of the impression is much injured, or
+entirely spoiled. The governor had a tendency to move the instrument a
+little too fast, then to fall slightly behind. By closely noticing its
+motion, and by exposing my plates those few seconds that it exactly
+followed between the accelerated and retarded motion, I might obtain one
+or two perfect proofs in the trial of a dozen plates, other things being
+right. But a more serious obstacle to my success was the usual state of
+the atmosphere in the locality--the sea breeze, the hot and cold air
+commingling, although its effects were not visible to the eye; but when
+the moon was viewed through the telescope it had the same appearance as
+objects when seen through the heated air from a chimney, in a constant
+tremor, precluding the possibility of successful Daguerreotyping. This
+state of the atmosphere often continued week after week in a greater or
+less degree, so that an evening of perfect quiet was hailed with the
+greatest delight. After oft-repeated failures, I finally obtained the
+Daguerreotype from which the crystallotypes I send for your journal were
+copies; it was taken in March, 1851. The object glass only of the
+telescope was used. It is fifteen inches in diameter, and about
+twenty-three feet focal length; the image it gives of the moon varies
+but little from three inches, and the prepared plate had an exposure of
+thirteen seconds."
+
+Copies of several of these "crystallotypes" of the moon I afterwards
+obtained and exhibited at the Photographic Exhibition in connection
+with the British Association which met in Glasgow in 1855. The
+"crystallotypes" were simply enlarged photographs, about eight or nine
+inches in diameter, and conveyed to the mind an excellent idea of the
+moon's surface. The orange-like form and the principal craters were
+distinctly marked. Indeed, so much were they admired as portraits of the
+moon, that one of the _savans_ bought the set at the close of the
+exhibition.
+
+Mr. Whipple is still a successful practitioner of our delightful art in
+the "Athens of the Western World," and has reaped the reward of his
+continuity and devotion to his favourite art. The late decision of the
+American law courts on the validity of Mr. Cutting's patent for the use
+of bromides in collodion must have laid Mr. Whipple under serious
+liabilities, for he used bromo-iodized negative collodion for iron
+development as far back as 1853.
+
+There were many other professional photographers in the chief city of
+Massachusetts; but I have described the characteristics of the principal
+and oldest concerns. Doubtless there are many new ones since I visited
+the city where Benjamin Franklin served his apprenticeship as a printer;
+where the "colonists" in 1773, rather than pay the obnoxious "tea tax,"
+pitched all the tea out of the ships into the waters of Boston Bay, and
+commenced that long struggle against oppression and unjust taxation
+which eventually ended in severing the North American Colonies from the
+mother country. With the knowledge of all this, it is the more
+surprising that they should now so quietly submit to what must be an
+obnoxious and troublesome system of taxation; for, not only have
+photographers to pay an annual licence of about two guineas for carrying
+on their trade, but also to affix a government stamp on each picture
+sent out, which is a further tax of about one penny on each. Surely the
+patience of our brother photographers on the other side of the Atlantic
+must be sorely tried, what with the troubles of their business, the
+whims and eccentricities of their sitters, Mr. Cutting's unkind cut, and
+the prowling visitations of the tax-collector.
+
+
+New York.
+
+What a wonderful place New York is for photographic galleries! Their
+number is legion, and their size is mammoth. Everything is "mammoth."
+Their "saloons" are mammoth. Their "skylights" are mammoth. Their
+"tubes," or lenses, are mammoth. Their "boxes," or cameras, are mammoth;
+and _mammoth_ is the amount of business that is done in some of those
+"galleries." The "stores" of the dealers in photographic "stock" are
+mammoth; and the most mammoth of all is the "store" of Messrs. E. & H.
+T. Anthony, on Broadway. This establishment is one of the many palaces
+of commerce on that splendid thoroughfare. The building is of iron, tall
+and graceful, of the Corinthian order, with Corinthian pilasters,
+pillars, and capitals. It is five storeys high, with a frontage of about
+thirty feet, and a depth of two hundred feet, running right through the
+"block" from Broadway to the next street on the west side of it. This is
+the largest store of the kind in New York; I think I may safely say, in
+either of the two continents, east or west, containing a stock of all
+sorts of photographic goods, from "sixpenny slides" to "mammoth tubes,"
+varying in aggregate value from one hundred and fifty thousand to two
+hundred thousand dollars. The heads of the firm are most enterprising,
+one taking the direction of the commercial department, and the other the
+scientific and experimental. Nearly all novelties in apparatus and
+photographic requisites pass through this house into the hands of our
+American _confreres_ of the camera, and not unfrequently find their way
+to the realms of Queen Victoria on both sides of the Atlantic.
+
+When the carte-de-visite pictures were introduced, the oldest and
+largest houses held aloof from them, and only reluctantly, and under
+pressure, took hold of them at last. Why, it is difficult to say, unless
+their very small size was too violent a contrast to the mammoth pictures
+they were accustomed to handle. Messrs. Rockwood and Co., of Broadway,
+were the first to make a great feature of the carte-de-visite in New
+York. They also introduced the "Funnygraph," but the latter had a very
+short life.
+
+In the Daguerreotype days there was a "portrait factory" on Broadway,
+where likenesses were turned out as fast as coining, for the small
+charge of twenty-five cents a head. The arrangements for such rapid work
+were very complete. I had a dollar's worth of these "factory"
+portraits. At the desk I paid my money, and received four tickets, which
+entitled me to as many sittings when my turn came. I was shown into a
+waiting room crowded with people. The customers were seated on forms
+placed round the room, sidling their way to the entrance of the
+operating room, and answering the cry of "the next" in much the same
+manner that people do at our public baths. I being "the next," at last
+went into the operating room, where I found the operator stationed at
+the camera, which he never left all day long, except occasionally to
+adjust a stupid sitter. He told the next to "Sit down" and "Look thar,"
+focussed, and, putting his hand into a hole in the wall which
+communicated with the "coating room," he found a dark slide ready filled
+with a sensitised plate, and putting it into the camera, "exposed," and
+saying "That will dew," took the dark slide out of the camera, and
+shoved it through another hole in the wall communicating with the
+mercury or developing room. This was repeated as many times as I wanted
+sittings, which he knew by the number of tickets I had given to a boy in
+the room, whose duty it was to look out for "the next," and collect the
+tickets. The operator had nothing to do with the preparation of the
+plates, developing, fixing, or finishing of the picture. He was
+responsible only for the "pose" and "time," the "developer," checking
+and correcting the latter occasionally by crying out "Short" or "Long"
+as the case might be. Having had my number of "sittings," I was
+requested to leave the operating room by another door which opened
+into a passage that led me to the "delivery desk," where, in a few
+minutes, I got all my four portraits fitted up in "matt, glass, and
+preserver,"--the pictures having been passed from the developing room to
+the "gilding" room, thence to the "fitting room" and the "delivery
+desk," where I received them. Thus they were all finished and carried
+away without the camera operator ever having seen them. Three of the
+four portraits were as fine Daguerreotypes as could be produced
+anywhere. Ambrotypes, or "Daguerreotypes on glass" as some called them,
+were afterwards produced in much the same manufacturing manner.
+
+There were many other galleries on Broadway: Canal Street; the Bowery;
+the Avenues, 1, 2, and 3; A, B, and C, Water Street; Hudson Street, by
+the shipping, &c., the proprietors of which conducted their business in
+the style most suited to their "location" and the class of customers
+they had to deal with; but in no case was there any attempt at that "old
+clothesman"--that "Petticoat Lane"--style of touting and dragging
+customers in by the collar. All sorts of legitimate modes of advertising
+were resorted to--flags flying out of windows and from the roofs of
+houses; handsome show cases at the doors; glowing advertisements in the
+newspapers, in prose and verse; circulars freely distributed among the
+hotels, &c.; but none of that "have your picture taken," annoying, and
+disreputable style adopted by the cheap and common establishments in
+London.
+
+Unhappily, "Sunday trading" is practised more extensively in New York
+than in London. Nearly all but the most respectable galleries are open
+on Sundays, and evidently do a thriving trade. The authorities
+endeavoured to stop it frequently, by summoning parties and inflicting
+fines, but it was no use. The fines were paid, and Sunday photography
+continued.
+
+The "glass houses" of America differ entirely from what we understand by
+the name here; indeed, I never saw such a thing there, either by chance,
+accident, or design--for chance has no "glass houses" in America, only
+an agency; there are no accidental glass houses, and the operating rooms
+built by design are not "glass houses" at all.
+
+The majority of the houses in New York and other American cities are
+built with nearly flat roofs, and many of them with lessening storeys
+from front to back, resembling a flight of two or three steps. In one of
+these roofs, according to circumstances, a large "skylight" is fixed,
+and pitched usually at an angle of 45 deg., and the rooms, as a rule, are
+large enough to allow the sitter to be placed anywhere within the radius
+of the light, so that any effect or any view of the face can easily be
+obtained.
+
+The light is not any more actinic there than here in good weather, but
+they have a very great deal more light of a good quality _all the year
+round_ than we have.
+
+The operators work generally with a highly bromized collodion, which, as
+a rule, they make themselves, but not throughout. They buy the
+gun-cotton of some good maker--Mr. Tomlinson, agent for Mr. Cutting,
+generally supplied the best--then dissolve, iodize, and bromize to suit
+their working.
+
+Pyrogallic acid as an intensifier is very little used by the American
+operators, so little that it is not kept in stock by the dealers.
+Requiring some once, I had quite a hunt for it, but found some at last,
+stowed away as "Not Wanted," in Messrs. Anthony's store. The general
+intensifier is what they laconically call "sulph.," which is sulphuret
+of potassium in a very dilute solution, either flowed over the plate, or
+the plate is immersed in a dipping bath, after fixing, which is by far
+the _pleasantest_ way to employ the "sulph. solution." Throwing it about
+as some of them do is anything but agreeable. In such cases, "sulph."
+was the first thing that saluted my olfactories on putting my head
+inside one of their "dark rooms."
+
+Up to 1860 the American photographic prints were all on plain paper, and
+obtained by the ammonia nitrate of silver bath, and toned and fixed with
+the hyposulphite of soda and gold. The introduction of the
+cartes-de-visite forced the operators to make use of albumenized paper;
+but even then they seemed determined to adhere to the ammonia process if
+possible, for they commenced all sorts of experiments with that volatile
+accelerator, both wet and dry, some by adding ammonia and ether to an
+80-grain silver bath, others by fuming, and toning with an acetate and
+gold bath, and fixing with hypo afterwards.
+
+With the following "musings" on "wrappers" (not "spirit wrappers," nor
+railway wrappers, but "carte-de-visite wrappers"), I shall conclude my
+rambles among the galleries of New York. Wrappers generally afford an
+excellent opportunity for ornamental display. Many of the wrappers of
+our magazines are elegantly and artistically ornamented. Nearly every
+pack of playing cards is done up in a beautiful wrapper. The French have
+given their attention to the subject of "carte-de-visite wrappers," and
+turned out a few unique patterns, which, however, never came much into
+use in this country. The Americans, more alive to fanciful and tasteful
+objects of ornamentation, and close imitators of the French in these
+matters, have made more use of carte-de-visite wrappers than we have.
+Many wrappers of an artistic and literary character are used by the
+photographers in America--some with ornamental designs; some with the
+address of the houses tastefully executed; others with poetical
+effusions, in which the cartes-de-visite are neatly wrapped up, and
+handed over to the sitter.
+
+Surely a useful suggestion is here given, for wrappers are useful things
+in their way, and, if made up tastefully, would attract attention to the
+photographic establishments that issue them. Photography is so closely
+allied to art that it is desirable to have everything in connection with
+it of an elegant and artistic description. The plain paper
+envelopes--gummed up at the ends, and difficult to get open again--are
+very inartistic, and anything but suitable to envelop such pretty little
+pictures as cartes-de-visite. Let photography encourage art and art
+manufactures, and art will enter into a treaty of reciprocity for their
+mutual advancement.--_Photographic News_, 1865.
+
+
+TO DUBLIN AND BACK, WITH A GLANCE AT THE EXHIBITION.
+
+The bell rings; a shrill shriek; puff, puff goes the engine, and we dart
+away from the station at Euston Square, provided with a return ticket to
+Dublin, issued by the London and North Western Railway, available for
+one month, for the very reasonable charge of L3, first-class and cabin;
+L2 7s. 6d. second class and cabin; or forty shillings third class and
+steerage, via Holyhead. These charges include steamboat fare and
+steward's fee. The Exhibition Committee have made arrangements with the
+railway companies to run excursion trains once a fortnight at still
+lower rates; twenty-one shillings from London to Dublin and back, and
+from other places in proportion. This ticket will be good for a
+fortnight, and will entitle the holder to another ticket, giving him two
+admissions to the Exhibition for one shilling. With the ordinary monthly
+ticket, which is issued daily, it is quite optional whether you go by
+the morning or evening train; but by all means take the morning train,
+so that you may pass through North Wales and the Island of Anglesea in
+daylight. Passing through England by Rugby, Stafford, Crewe, and
+Chester, nothing remarkable occurs during our rapid run through that
+part of the country. But an "Irish Gentleman," a fellow traveller,
+learning our destination, kindly volunteered to enlighten us how we
+could best see Dublin and its lions in the shortest possible time, and
+advised us by all "manes" not to "lave" Dublin without seeing "Faynix
+Park," and taking a car drive to Howth and other places round the "Bee
+of Dublin." Accordingly we agreed to take his advice; but as our primary
+object in visiting Dublin is to see the Exhibition, we will first attend
+to that on our arrival in the Irish capital; and if, after that, time
+will permit, the extraneous lions will receive our attention. First of
+all, we must describe how we got there, what we saw on the way, and what
+were our impressions on entering Dublin Bay.
+
+As we said before, nothing particular occurred during our journey
+through England to excite our attention or curiosity; but on passing
+into Wales--Flintshire--our attention is at once arrested by the
+difference of the scenery through which we pass. Soon after leaving
+Chester, we get a sight of the river Dee on our right, and continue to
+run down by its side past Flint, Bagillt, Holywell, and Mostyn, then we
+take a bend to the left and skirt a part of the Irish Channel past Rhyl,
+Abergele, and Colwyn to Conway, with its extensive ruins of a once vast
+and noble castle, through, under, and about the ruins of which the
+double lines of iron rails twist and twine and sinuously encoil
+themselves like a boa constrictor of civilization and demolisher of
+wrecks, ruins, and vestiges of the feudal ages and semi-barbarism. Our
+iron charger dashes up to the very walls of the ancient stronghold,
+close past the base of a tower, and right under the hanging ruins of
+another, which is in truth a "baseless fabric," but no "vision," for
+there it is suspended in mid air, a fabric without a base, holding on to
+its surroundings by the cohesive power of their early attachments. We
+rush into the very bowels of the keep itself, snorting and puffing
+defiance to the memoried sternness of the grim warriors who once held
+the place against all intruders. Anyone who has not had an opportunity
+before of visiting North Wales should keep a sharp look-out right and
+left, and they will get a peep at most of the principal places on the
+route: the Welsh mountains on the left, their summits illuminated by the
+sun sinking towards the west, and the mass of them thrown into shadow in
+fine contrast.
+
+Now we are at Penmaenmawr, that pretty little watering place, with its
+neat-looking houses snugly nestling in the laps of the hills, and we
+pass along so close to the sea, we can feel the spray from the waves as
+they break on the shore.
+
+Passing Llanfairfechan and Aber we are at Bangor, and almost immediately
+afterwards make a dive into the long, dark chamber of the Tubular
+Bridge, with a shriek and rumbling rattle that is almost startling. In
+a few seconds we are out into the daylight again, and get a view of the
+Straits of Menai; and on the right-hand side, looking back, get an
+excellent sight of the Tubular Bridge. At the moment of our passing, a
+ship in full sail was running before the wind through the Straits, which
+added considerably to the picturesque beauty of the scene. On the left a
+fine view of the "Suspension Bridge" is obtained. We are soon past
+Llanfair, and across that bleak and desolate part of the island of
+Anglesea between the Menai Straits and the Valley. Arriving at Holyhead,
+we go on board the steamer which is to carry us across the Channel to
+Dublin. The boat not starting immediately, but giving us a little time
+to look around, we go on shore again, and saunter up and down the narrow
+hilly streets of Holyhead, listening in vain for the sound of a word
+spoken in our mother tongue. Not a word could we hear, not a word of
+English could we get without asking for it. The most of the people can
+speak English with a foreign-like accent, but you seldom hear it unless
+you address them in English. Even the urchins in the streets carry on
+their games and play in the Welsh and unintelligible sounds resembling
+language.
+
+We also had time to examine the stupendous breakwater which the
+Government is building at Holyhead to form a harbour of refuge. The wall
+is a mile and three-quarters in length, and of immense thickness, in the
+form of three terraces, the highest towards the sea. At one place we
+noticed that the solid slatey rocks were hewn and dressed into shape,
+and thus formed part of the wall itself, a mixture of Nature's handiwork
+and the work of man.
+
+Time to go on board again, and as the wind was blowing rather strong, we
+expected to have a rough voyage of it; and sure enough we had, for we
+were scarcely clear of the sheltering kindliness of the sea wall and the
+"north stack" till our vessel began to "pitch and toss," and roll and
+creak, and groan in agony; and so highly sympathetic were we that we
+did the same, and could not help it, do what we could. Strong tea,
+brandy and water, were all no use. Down we went, like prostrate sinners
+as we were, on our knees, with clasped hands, praying for the winds and
+the waves "to be still;" but they did not heed our prayer in the least,
+and kept up their inhumane howling, dancing, and jumbling until, by the
+time we reached the middle of the Channel, we began to think that the
+captain had lost his course, and that we were somewhere between Holyhead
+and purgatory, if not in purgatory itself, being purged of our sins, and
+becoming internally pure and externally foul. But we discovered that we,
+and not the captain, had lost the course and the even tenour of our way,
+for we fancied--perhaps it was only fancy--that we could hear him
+humming snatches of old song, among them "Oh! steer my bark to Erin's
+Isle!" and soon the mountains of Wicklow are in sight. As we near, and
+get under the lee of the land--for it was a stiff "sou'-wester" that
+bothered us--our sensations and feelings begin to improve, and we pick
+ourselves up out of the mire, and turn our eyes eagerly and hopefully
+towards the Emerald Isle, and Dublin Bay more particularly.
+
+As we approach the Bay, the Carlingford Hills can be seen on the right,
+and a little more southwards Lambay and Ireland's Eye. The latter island
+is rugged and precipitous, seaward, in the extreme--a barren and
+desolate-looking spot, possessing an unenviable notoriety on account of
+the murder of a lady by her husband having been committed there a few
+years ago: Howth, the light-house, and the Bailey Rock, where the _Queen
+Victoria_ steamer was wrecked, now attract our attention. And, as nearly
+as we can remember, these are the most striking features on the north
+side of the Bay. On the south the Harbour of Kingstown is distinctly
+visible, and we saw the mail steamer which crosses from Holyhead to
+Kingstown, a distance of sixty miles, in three and a half hours, blowing
+off her steam. By paying a little extra you can cross in the mail
+steamers, if you wish, but it is not worth while paying the difference,
+as the ordinary steamers cross from Holyhead to Dublin in about five and
+a half hours. All round the south side of the Bay we could trace the
+Kingstown and Dublin railway, which is the oldest line but one in the
+United Queendoms of Great Britain and Ireland. An obelisk commemorates
+the visit of the last of the four Georges to Ireland in 1821. Right
+over Kingstown the Killinny Hills are to be seen, and all along the
+water-line the Bay is studded with pretty little villas, and the scene
+is truly beautiful. If possible, arrange your entrance into the Bay of
+Dublin in the early morning, for then the sun, rising in the east,
+lights up the subjects to the very best advantage, and throws a charm
+about them which they do not exhibit at any other time of the day. By
+waiting at Holyhead for the early morning boat you can easily manage
+this. But now we are at the North Wall, and on landing are besieged by
+Carmen to have a "rowl," and jumping on to one of those light,
+odd-looking, jaunting cars which are one of the institutions of the
+country, we are "rowled" up the North Wall for nearly a mile, past the
+Docks, over the drawbridges, and past the Custom House--a large stone
+building, too large for the business of the port--along Carlisle Bridge,
+down Westmoreland Street, past the Bank of Ireland--once the Houses of
+Parliament--and up Dame Street, leaving the College on our left, and
+passing King William's statue, representing a mounted Roman with
+_gilded_ laurels and ornamental toga, we arrive at Jury's Hotel, a
+commercial and family house of superior arrangements which was well
+recommended to us before we left London; and here we rest.
+
+After breakfast, and having made ourselves internally and externally
+comfortable, we start for the Exhibition, which is within easy walking
+distance of the hotel; but the car fares are so very moderate that we
+prefer a "rowl." The fare is sixpence a "set down;" that is, you may
+ride from one end of the city to the other for sixpence, but if you get
+off to post a letter, or buy an umbrella to keep the rain off--for the
+cars have no covering--that is a "set down;" and so every time you get
+down and get up again you have sixpence to pay, no matter how short the
+distance you are taken each time. So we hailed a car at the door of the
+hotel, determined to be "rowled" to the Exhibition for sixpence each. We
+go down Dame Street, across College Green, up Grafton Street, along the
+west and south sides of St. Stephen's Green or Square to Earlsfort
+Terrace and the principal entrance to the Dublin Exhibition, which
+occupies the site of what was formerly Coburg Gardens.
+
+Arriving at the entrance-hall, we pay our admission fee, and on passing
+the registering turnstiles we are at once in the sculpture hall on the
+ground floor, the contents of which we shall notice more particularly
+by-and-by. Passing through the Sculpture Hall we are within the western
+transept, or winter garden portion of the Exhibition. This transept is
+500 feet long and of lofty proportions, with galleries on each side, and
+tastefully hung with the banners and flags of the nations exhibiting.
+The northern court is about 300 feet long, also of iron and glass, with
+galleries running round both sides similar to the western transept. The
+ground floor and part of the galleries of the northern court are devoted
+to the productions of the United Kingdom. On the north side of the
+northern court is the machinery department, both at rest and in motion.
+Here machines of the most delicate and ponderous nature are at work.
+There a forge-hammer daintily cracking nuts, or coming down with a
+crushing force at the will of the attendant. In another place a delicate
+curving-machine is at work; and another can be seen making steel pens.
+There are high pressure engines, sewing machines, and photographic
+rolling-presses. Indeed, there is almost everything to be seen and
+everything going on that is instructive, edifying, and amusing. The
+Exhibition building is small, but well arranged and compact, and
+partakes of the character of an art and industrial exhibition and place
+of amusement and recreation, like our Crystal Palace at Sydenham, with
+ornamental gardens and archery grounds attached. The gardens are
+small--a little larger than the area of the building itself--but most
+tastefully laid out. And there are fountains and grottoes, and rockeries
+and cascades, with flowers growing about them, which give the whole
+place a pleasant, healthy, and delightful appearance. Stepping out of
+the western transept into the gardens, we found the band of the 78th
+Highlanders playing in the centre, and their pipers walking about the
+grounds ready to take up the strains of music in another key, for
+presently we saw them marching about, playing "Hielan' Skirls," and
+sounding the loud pibroch, with a five-bag power that was more stunning
+than the nocturnal wailings of a dozen or two Kilkenny cats. The
+directors furnish music and offer other inducements to secure a good
+attendance, and their efforts ought to be successful, and it is to be
+hoped they will be so.
+
+On the first day of our visit there was a grand archery meeting, and the
+turn-out of Dublin belles was double in numbers. There was a large
+attendance of bowmen, too, and belles and beaux were banging away at the
+targets most unmercifully in keen contest for the prize; whether it was
+a medal, a ring, or an heiress, we could not learn; but if nothing more
+than the privilege of entering the lists against such lovely
+competitors, the bowmen ought to have been satisfied; but we don't
+suppose they were, for men are both ambitious and avaricious, and
+probably some of them hoped to win a prize medal, kill a beauty, and
+catch an heiress all at once, with one swift arrow sent whizzing and
+quivering into the very heart and gilded centre of the gaily-painted
+target.
+
+Perched up on the top of the cascades we noticed a double sliding-front
+stereoscopic camera, and doubtless Mr. York was busy photographing the
+scene we have been describing--impressions of which the London
+Stereoscopic Company will probably issue ere long. We must, however,
+leave this gay scene and turn our attention to other things, certainly
+not more attractive; but duty calls us away from beauty, and we must
+submit.
+
+Re-entering the Exhibition building, we seek the photographic
+department, which we readily find on the ground floor, between the music
+hall and the first-class refreshment-room. Entering from the Belgian
+department in the western transept, we find three rooms in the main
+building devoted to the exhibition of photographs, and a lobby between
+the rooms pretty well filled with apparatus. To Sir J. Jocelyn Coghill
+are photographers indebted for obtaining so much space for their works,
+and in such a get-at-able situation; but it is a pity the rooms are not
+better lighted. Many of the pictures on the screens are very
+indistinctly seen, and some are in dark corners scarcely to be seen at
+all.
+
+The foreign department, which is the first room we enter, is mainly made
+up of reproductions of old and modern engravings, and copies of drawings
+and paintings. One very remarkable photograph on the wall of this room
+is an immense magnification of a flea, by A. Duvette. What a subject for
+the camera!--one that suggests in sporting phraseology something more
+than the "find," the "chase," and the "death."
+
+A panoramic view of Rome, by M. Petagna, is a great achievement in
+panoramic photography. There are seven impressions from 15 by 12 plates,
+all carefully joined, and of equal tone. The point of view is "Tasso's
+Oak," and the panorama gives us an excellent idea of Rome at the present
+day.
+
+The British part of the Photographic Exhibition in Dublin might be very
+properly denominated an enlargement of the Society's exhibition now open
+in Conduit Street, London. Nearly all the principal exhibitors there
+have sent duplicates of their chief works to the Dublin Exhibition.
+There is Robinson's beautiful picture of "Brenda," his "May Gatherers,"
+"Sunshine," "Autumn," "Somebody Coming," "Bringing home the May," &c.,
+all old and familiar pictures, every one of which we have seen before.
+Robinson himself in his study--a beautiful piece of photography, even to
+his black velvet coat. Blanchard also repeats his "Zealot," and other
+subjects, and sends a frame full of his exquisite stereographs. England
+also sends some of his charming stereoscopic pictures of Switzerland and
+Savoy. Bedford's contribution is much the same as his pictures in the
+London exhibition. Among them are his lovely Warwickshire pictures.
+Wet-plate photography is well represented, both in landscape,
+portraiture, and composition. Among the latter, Rejlander is most
+prominent. One frame containing some pictures showing the "expression"
+of the hands, illustrates Rejlander's artistic knowledge and ability
+more than many of his other pictures. None but a thoughtful and
+accomplished artist could have disposed of those members in such a
+skilful manner. His pictures of "Grief," "The Mote," "The Wayfarer,"
+"'Tis Light within--Dark without," and his "Home, Sweet Home," reveal
+exquisite feeling in his treatment of such subjects. Thurston Thompson
+also exhibits some of his fine reproductions of Turner. There is
+"Crossing the Brook," and "Childe Harold's Pilgrimage;" but a much
+larger collection of these beautiful copies of Turner's pictures are now
+on view at Marion's, in Soho Square.
+
+Dry plate photography is exemplified in all its phases, from the oldest
+form of albumen alone, to the latest modifications with collodion,
+collodio-albumen, Fothergill, tannin, malt, &c. The most prominent and
+largest contributor to this department is Mr. Mudd. In addition to the
+duplicates in the London Exhibition, he sends a few others, the most
+remarkable of which is a large view of "Borrowdale," a noble picture,
+exquisitely treated, showing masses of light and shade and pleasing
+composition which stamp it at once as a work of art.
+
+Mr. G. S. Penny exhibits some very fine examples of the tannin and malt
+process. They are soft and delicate, and possess sufficient force to
+give powerful contrasts when necessary. Mr. Bull's tannin and malt
+pictures are also very good; his "Menai Bridge" particularly so.
+
+The amateur photographers, both wet and dry, make a good show. And
+among the Irish followers of our delightful art are Sir J. J. Coghill,
+who exhibits twelve very pretty views of the neighbourhood of
+Castletownsend. Dr. Hemphill, of Clonmel, also exhibits a variety of
+subjects, many of them pretty compositions and excellent photography.
+
+Dr. Bailey, of Monaghan, contributes both landscapes and portraits of
+very good quality. Mr. T. M. Brownrigg shows seventeen photographs all
+excellent examples of the wet collodion process. Many of them are
+exquisite bits of photography, and evince an amount of thought and care
+in selecting the best point of view, arranging the lines of the subject,
+and catching the best effect of light so as to make them pictures, which
+is seldom attended to by professional photographers.
+
+Amongst the Irish professional photographers in landscape work, Mr. F.
+Mares, of Dublin, stands pre-eminent. His pictures of Killarney, and
+views in the county of Wicklow, are very beautiful, and give evidence of
+a cultivated eye and artistic taste in the selection of his subjects and
+points of view. There are other excellent views and architectural
+subjects by Irish photographers; but we are sorry to observe some that
+really ought not to have been admitted. They are not even average
+photography, being utterly destitute of manipulative skill, and as
+deficient in art-excellence as they can well be.
+
+One branch of landscape, or, we should say, marine photography, is
+without competition. We refer to those exquisite and charming
+transparencies by Mr. C. S. Breese. His moonlight effect is wonderfully
+managed; the water looks "alive," and the moonlight is dancing on the
+waves just as we have seen it far away upon the sea. His "Breaking Wave"
+is marvellous, coming to shore with its cavernous curl; we almost fancy
+we hear its angry howl as it dashes itself into foam on the beach. We
+have seen such a wave sweep the deck of a ship before now, and know well
+with what a ponderous weight and velocity it comes; and we wonder the
+more at Mr. Breese's success in catching the wave in such a position. We
+cannot, however, speak so highly of the "Sunlight" effects by the same
+artist. The transparencies as photographs are inimitable; but there is
+colour introduced into the skies which ought to have been taken up by
+the rocks, and so carried into the foregrounds of the pictures, to be
+natural. Such warm skies and cold middle distances and foregrounds are
+too antagonistic for the harmony of nature.
+
+In portraiture, our Irish brethren of the camera contribute somewhat
+liberally. In that branch we noticed the works of Messrs. Robertson and
+Co., S. Lawrence, and G. Schroeder, of Grafton Street; Millard and
+Robinson, Nelson and Marshall, and S. Chancellor, of Sackville Street,
+Dublin. T. Cranfield, Grafton Street, also exhibits some photographs
+beautifully coloured in oil.
+
+The most eminent English photographers also show up well. We saw the
+well-known works of Mayall, Silvy, Claudet, Maull and Co., and others,
+eminent in plain photography. Messrs. Lock and Whitfield exhibit a Royal
+case of exquisitely coloured photographs of the Prince and Princess of
+Wales, and Prince Albert Victor. Mr. G. Wharton Simpson also exhibits a
+few specimens of his beautiful collodio-chloride of silver printing
+process. There are some lovely specimens of that process with such a
+frightfully ugly name, but which, in plain parlance, are pictures on
+opal glass, though Mr. Helsby has christened them "Helioaristotypia
+miniatures." As a set-off to this, the next dry process that is
+discovered should be called "Hydrophobiatypia."
+
+In amateur portraiture, Mr. H. Cooper, Jun., exhibits a large number of
+his clever life studies, as well as those quiet and charming
+representations of his friends in their habits as they live.
+
+Solar camera enlargements are very numerously contributed. Mr. Claudet
+sends some good pictures enlarged by solar camera, and developed with
+gallic acid. Mr. Salomon also has some very good examples of enlarging.
+Dr. D. Van Monckhoven is an exhibitor of the capabilities of his direct
+printing camera. Mr. Mayall exhibits two series of very interesting
+enlargements by the Monckhoven camera, printed direct on albumenized
+paper; one is Tennyson, in eight different sizes, from a one-ninth to a
+life-size head on a whole sheet of paper; of the other, Captain Grant,
+there are seven similar pictures. These photographs are all bold and
+vigorous and uniform in colour, and come nearer to our idea of what an
+enlargement should be than anything we have yet seen. Of the two, that
+of the Poet-Laureate is the best; the other is harsher, which is in all
+probability due to the difference in the subjects themselves. We can
+easily imagine that the face of Captain Grant, bronzed and
+weather-beaten as it must be, will present more obstacles to the
+obtaining of a soft negative than that of Tennyson. Specimens of
+photo-sculpture are also to be seen at the Dublin Exhibition, many of
+which are very pretty and life-like statuettes; but some of the figures
+seem much too large in the _busts_, and the plinths on which the figures
+of ladies stand are in very bad taste; being diminishing beads of a
+circular form, they suggest the idea of a huge crinoline just dropped.
+
+Nearly all the denominations of photography have their representative
+forms and impressions in this Exhibition; and the history of the art,
+from the early days of the Daguerreotype to the latest vagary of the
+present day, may be traced in the collection of photographs spread
+before you on the walls and screens of the Dublin International
+Exhibition. There is the Daguerreotype, the Ambrotype, and the
+collodiotype, which ought to have been known as the Archertype; for the
+wet collodion process, although it is the most important of all the
+discoveries in photography that have been made since the first pictures
+were obtained by Wedgwood, is without a name conferring honour on the
+man who first applied collodion to photography. Archer's name is
+generally associated with it, but without taking that definite and
+appellative form it ought to. We know that another claimant has been
+"cutting in" for the honour, but unless that claim can be "backed up" by
+data, we are not disposed to believe that it was anterior to 1851--the
+year of the first exhibition; at that date we know that Mr. Archer took
+photographs on collodionized glass plates. Then why should we not honour
+Archer as the French honoured Daguerre, and call the wet collodion
+process the Archertype?
+
+In printing and toning, there are samples of nearly all the formulae that
+have been discovered since the days of printing on plain salted paper
+and fixing in "hypo" only. There are prints on plain paper and on
+albumenized paper, toned and fixed in every conceivable way. There are
+prints on glass, porcelain, and ivory; prints in carbon, from the
+negative direct; and impressions in printer's ink from plates, blocks,
+and lithographic stones, which have had the subjects transferred to them
+by the aid of photography. There are Wothlytypes, and Simpsontypes, and
+Tooveytypes, and all the other types that have sprung from a desire to
+introduce novelties into the art.
+
+In graphs and the various forms and fanciful applications of photography
+to portraiture, &c., there are stereographs and micrographs, and the
+old-fashioned "sit-on-a-chair" graphs, the "stand-not-at-ease" graphs,
+the "small carte" graph, the "large carte" graph, the "casket gem"
+graph, the "magnesium" graph, the "cameo" graph, the "double-stupid"
+graph, and the latest of all novelties, the "turn-me-round" graph. The
+latter is a great curiosity, and must have been suggested by a
+recollection of that "scientific toy" of ancient manufacture with which
+we used to awaken the wonder of our little brothers and sisters at
+Christmas parties when we were boys, by twirling before their
+astonished eyes a piece of cardboard with a bird painted on one side and
+a cage on the other, both pictures being seen at the same time during
+the rapid revolution of the card.
+
+In apparatus there is not much to talk about, the Pantascopic camera
+being the chief novelty. There are several of the manufacturers
+exhibiting in the photographic department, but we could not reconcile
+ourselves to the circumstance of Mr. Dallmeyer not exhibiting in the
+right place. His name is honoured by photographers, and he should have
+honoured Photography by going in under her colours. If he must go to the
+"scientific department," he ought to have gone there with his scientific
+instruments alone, and shown his photographic apparatus in the place
+assigned for that purpose. True, he makes a handsome show, but that does
+not atone for his mistake. Photographers are queer animals--jealous of
+their rights, and as sensitive to slight as their plates are to light;
+and we fear we are ourselves not much better. A large majority of
+photographers stand by Mr. Dallmeyer, and very justly believe in his
+1 and 2 B's as shippers do in A 1's at Lloyd's; and _his_ stand should
+have been in the photographic department.
+
+In other parts of the Exhibition building there are various subjects
+highly interesting to photographers.
+
+The chemical department has its attractions in samples of
+collodio-chloride of silver, prepared by Messrs. Mawson and Swan, for
+the opal printing process and the Simpsontype. Specimens of each type
+are also to be seen there; and there are other chemicals used in
+photography, even to dextrine and starch: the purity of the latter is
+known by the size and length of its crystals.
+
+In metallurgy there is also something to interest photographers. Messrs.
+Johnson and Sons exhibit some very fine samples of nitrate of silver,
+double and treble crystallized, silver dippers, chloride of gold,
+nitrate of uranium, and other scarce metals.
+
+Messrs. Johnson, Matthey, and Co. also exhibit some fine samples of
+nitrate of silver and chloride of gold; and some wonderful specimens of
+magnesium, in various forms, in wire and ribbon. One coil of ribbon is
+4,800 feet long, and weighs 40 ounces; and there is an obelisk of
+magnesium about 20 inches high, and weighing 162 ounces.
+
+There are many other things in this case of great value which have a
+photographic bearing--amongst these a platinum boiler, valued at L1,500,
+for the concentration and rectification of sulphuric acid; a platinum
+alembic, value L350, for the separation and refining of gold and silver;
+also an ingot of platinum, weighing 3,200 ounces, and valued at L3,840.
+The exhibitors say that "such a mass of fused platinum is never likely
+to be again produced." The whole of the contents of Messrs. Johnson,
+Matthey, and Co.'s case of precious metals, most of which have a direct
+or indirect application to photography, are estimated at the enormous
+value of L16,000!
+
+Mining, too, has its attractions for us; and as we near the Nova Scotia
+division of the Exhibition building the needle of our observation dips
+towards a bar of pure gold, weighing 48 pounds, and valued at L2,200
+sterling.
+
+By the gentlemanly courtesy of the Rev. Dr. Honeyman, Honorary Secretary
+and Commissioner in Dublin, from the province of Nova Scotia, we were
+favoured with a "lift" of this valuable lump of gold, and we could not
+help exclaiming, "What a lot of chloride this would make!" But we had to
+"drop it" very quickly, for the muscles of our fingers could not bear
+the strain of holding it more than a few seconds. This bar of gold was
+obtained from very rich quartz, specimens of which are to be seen near
+it; and Dr. Honeyman informed us that the average daily remuneration
+from such quartz was thirty shillings sterling per man.
+
+It is not generally known that the province of Nova Scotia is so rich in
+gold; but, from statistics by the Chief Commissioner of Mines for the
+province, we find that the average yield of the Nova Scotia quartz is
+over 19 dwt. per ton, and richer than the quartz of Australia; and the
+deeper the shafts are sunk the richer the quartz becomes. In 1864 the
+total yield from all the gold districts of Nova Scotia was 20,022
+ounces, 18 dwts., 13 grs. Gold dust and scales have also been found in
+the sands on the sea coast of the province, and in the sands of Sable
+Island, which is eighty miles distant, in the Atlantic Ocean. Having in
+our own colonies such an abundance of one of the precious metals so
+extensively used in the practice of our art, photographers need not be
+under any apprehension of having their supplies cut off.
+
+Continuing our general survey, we stumble upon many things of
+considerable interest. But, as our space will only allow us to
+particularize those articles which have a photographic attraction,
+direct or indirect, we must as far as possible imagine ourselves
+something like animated photometers for the time being, registering the
+aspects, changes, and remarkable phenomena connected with our art, and
+whatever can be applied to photography and the use of photographers; or
+whatever photography can be applied to, artistically or commercially
+considered.
+
+Of some things non-photographic, but of interest to photographers as
+well as others, we may be induced to say a little; but of most subjects
+foreign to our profession we shall simply say to our readers, "We have
+seen such wondrous things, go ye and do likewise."
+
+We finished our last paper with a few comments on what was
+photographically interesting in the province of Nova Scotia. Passing
+from that to the provinces of the Lower and Upper Canadas, which are
+very properly placed next door to each other, we are struck with some
+very good and interesting photographs of Canadian scenery, both plain
+and in colours, and a frame of portraits of the delegates of the British
+North American Confederation. Samples of all kinds of native and Indian
+manufactures, and specimens of mineral ores, chiefly iron and copper,
+are also displayed here.
+
+Pursuing our way southwards from the Colonial division of the galleries,
+we come to China and Japan. The geographical and relative positions of
+the countries exhibiting are not strictly adhered to in the plan of the
+Exhibition, so we must, of necessity, make some "long legs," and
+experience some imaginary transitions of temperature during our journey
+of observation. In Japan we stop to look at a life-size group of female
+figures, representing a princess at her toilette, attended by four
+female slaves, books illustrated with wood-cuts, plain and coloured,
+bronzes, and many other articles of art and manufacture, by the
+Japanese, of much interest.
+
+In China, there is a State bedstead of great beauty, books of paintings
+upon rice-paper, and many beautiful bronzes, carvings, and other
+specimens of Chinese art.
+
+We pass through Turkey, and next come to Siam, but the latter country
+does not exhibit much, except of a "seedy" character. We admit we are
+sometimes addicted to making puns, but the Siamese send puns for
+exhibition. There is an article called "pun," which is "prepared lime,
+coloured pink with turmeric," but to what use it is applied we have not
+been enlightened.
+
+Passing through France, Austria, Prussia, Belgium, and Holland, without
+stopping to notice anything particularly, and turning into the south
+corridor, we enter the Water Colour Gallery, which we quickly leave,
+sighing, "How unlike that beautiful and attractive section of the Art
+Treasure Exhibition at Manchester in 1857!" Hastening into the Central
+Picture Gallery, we are much struck with the different appearance it
+presents, and find numbers of ladies and gentlemen admiring the numerous
+productions by painters belonging to the various foreign schools. Among
+these works are some grand subjects, both in historical and ideal
+composition, and landscape representations. This gallery has a
+particularly noble and handsome appearance. It is oblong, well-lighted,
+and open in the middle, by which means the Sculpture Hall, which is
+underneath, is lighted. The sides of the gallery next the open space are
+handsomely railed round, and pedestals, with marble busts and statuettes
+on them, are tastefully arranged at intervals, leaving room enough for
+you to look down into the Sculpture Hall below. What with the fine
+pictures on the walls and staircase, and the noble statues in marble
+about and below, you cannot but come to the conclusion that this is a
+noble temple of art.
+
+We next enter the east front room, which contains the works of the
+Belgian artists. Many of these paintings are very finely conceived and
+executed. The largest and most striking of them is the "Defeat of the
+Duke of Alencon's Troops by the Citizens of Antwerp," painted by A.
+Dillens.
+
+Now we enter the Great Picture Gallery, which is devoted to the painters
+belonging to the British school. Here we find many of the well-known
+works from the National Gallery and Kensington Museum. There are
+examples of the works of Callcott, Collins, Wilkie, Wilson, Turner,
+Landseer, Mulready, Etty, Egg, Ward, Leslie, and a host of others. Her
+Majesty the Queen also sends several pictures from her private
+collection, as examples of the works of Winterhalter, Thomas, and
+Stanfield. Nearly all the British artists are creditably represented in
+the Dublin International Art Exhibition.
+
+We next come to the Collection of Ancient Masters in the North Gallery,
+which we enter from the North Corridor. To this part of the Fine Art
+Exhibition the Earl of Portarlington is the most liberal contributor. He
+sends examples of Titian, Rubens, Carlo Dolci, Tintoretto, Canalette,
+Claude, Watteau, Rembrandt, Gerard Dow, Schneiders, Vandevelde, Sir
+Joshua Reynolds, Sir Peter Lely, and others. The Marquis of Drogheda
+also sends several examples of the same masters, some of them very fine
+ones. Sir Charles Coote sends a great many paintings; among them a
+Murillo, a Guido, and a Gainsborough.
+
+Thence we pass into the Mediaeval Court, where we find nothing but
+croziers, sacramental cups and plates, carved panels for pulpits and
+clerks' desks, reminding us of "responses" and "amens." These we leave
+to Churchmen, enthusiastic Puseyites, and devotees of Catholicism. And
+we wend our way round the galleries, passing through Switzerland and
+Italy into the United Kingdom, where we stop to examine some of the art
+manufactures peculiar to Ireland, and are particularly interested in the
+specimens of Irish bog oak, carved most tastefully into various
+ornaments, such as brooches, pins, paper-knives, &c., and sculptured
+into humorous and characteristic statuettes. The most noticeable of that
+class of Irish art and industry is a clever group, entitled, "Where's
+the man that dare tread on my coat?" This really humorous and artistic
+statuette is one of a group of two. One is a rollicking Irishman
+brandishing his shillelagh over his head and trailing his coat on the
+ground, which is the Irishman's challenge for a fight at such places as
+Donnybrook Fair. The other Irishman, who is equally ready for a "row,"
+is in the act of treading on the coat, as an acceptance of the
+challenge. The story is so cleverly told, that we almost fancy we see
+the fight begin, and hear the shillelaghs cracking crowns in a genuine
+Irish row.
+
+Pushing on through India to the British Colonies again, whence we
+started, we descend to the ground floor, and resume our survey of
+Sweden, Norway, Italy, and Rome, and turn into the Music Hall, which is
+on the south side of the entrance and Statuary Hall. Here we find the
+organ builders at work on the grand organ, blowing up one pipe after
+another, and producing such volumes of inharmonious sounds that we are
+glad to leave them to the full and hearty enjoyment of their pipes,
+chords, discords, and bellows-blowing. The walls of the Music Hall are
+nearly covered with cartoons and paintings of a high-class, some of
+them so high that we require an opera-glass to bring them within the
+range of our visual organs.
+
+We next enter the Sculpture Hall with a view of examining the statues
+and describing them carefully. But they are so numerous that we can only
+find space to call attention to the most striking. There are over three
+hundred pieces of sculpture from various countries, comprising colossal
+and life-size figures, groups, busts, statuettes, and alto-relievos in
+marble and bronze. The most attractive of the marble statues are
+"Michael Angelo, when a child, sculpturing the head of a Faun" (his
+first work), by Emilio Zocchi, of Florence. The earnestness of purpose
+and devotion to his task are wonderfully expressed in the countenance of
+the boy-sculptor. Plying the hammer and chisel actively and vigorously,
+every part of the figure betokens a thorough abandonment to his
+occupation. A very remarkable work by a lady sculptor--Miss Harriett
+Hosmer--entitled "The Sleeping Faun," is the very opposite to the other,
+in its complete abandonment to repose. This fine statue has been
+purchased by Mr. Guiness, and we were told he had given a munificent sum
+for it. Another piece of exquisite beauty and daring skill in marble
+working is "The Swinging Girl," by Pietro Magni, of Milan, the sculptor
+of "The Reading Girl," which attracted so much attention in the
+International Exhibition of 1862. The figure of the girl swinging is
+beautifully modelled, and entirely free from contact with the base; and
+is supported only by the swing attached to the branch of a tree, and the
+hand of a boy giving action to the subject. "Ophelia," by W. C.
+Marshall, is perhaps the most poetic conception of the loveliest and
+most mournful of Shakespeare's creations that has ever been sculptured.
+It is almost impossible to look at this touching representation of
+Ophelia in her madness without exclaiming, in a modified quotation of
+her own description of Hamlet--
+
+  "O, what a gentle mind is here o'erthrown."
+
+But we must stop. To go on in this way describing all the beautiful
+works of art in the Dublin Exhibition would fill a volume. Already we
+have allowed our admiration to carry us beyond the limits we had
+assigned ourselves. We have been tempted to describe more than
+photographic works, but none that have not a value artistically or
+otherwise to photographers. We recommend all our readers that possibly
+can to go and see for themselves. The trip is a very pleasant one, and
+need not be expensive; nor need much time be spent unnecessarily. A
+week's absence from business will give you five clear days in Dublin,
+the other two only being occupied in travelling. Five days will be amply
+sufficient to see the Exhibition and the "extraneous lions" of Dublin
+also. If your time is limited, give a carman a job to "rowl" you to the
+principal places of interest. But "by all means" select a rough, ragged,
+red-headed, laughing-faced Irishman for your jarvey, and depend upon it
+he will keep you in good humour during the whole of your trip. And every
+time you come to a public-house he will say his "horse wants a dthrink,"
+and "Won't yer honours have a dthrop?" as if he was going to stand
+treat; but of course you know what he means; besides, the idea of
+allowing a carman to treat his fare is not to be entertained for a
+moment, nor can you resist the good-humoured intimation of his desire to
+drink your health, for which honour, as a matter of course, you pay
+costs.
+
+Having endeavoured to conduct our readers to Dublin, and give them a
+glance at the Exhibition, photographically and generally, we shall now
+take our leave of the capital of Ireland, and return to town in much the
+same manner as we went. We leave the Irish capital at 1.30 in the
+afternoon, and, after a pleasant and quiet run across the Channel, enter
+Holyhead harbour about seven o'clock. This arrangement gives you an
+opportunity of seeing the Welsh coast to the best advantage as you
+approach. Stepping into the train which is waiting our arrival, we are
+speedily on our way home. At Rugby we have to change, and wait a little;
+but before leaving there we pass the sign which only old masons and
+travellers know, and are provided with a first-class bed and _board_,
+and so make ourselves comfortable for the night. We know nothing more of
+the remainder of the journey. Old Somnus has charge of us inside, and an
+old kind-hearted guard takes care of us outside, until we are aroused by
+the guard's "Good morning, gentlemen!" about six o'clock, a.m., within a
+few miles of Euston Square. In conclusion, we sincerely recommend as
+many of our readers as can to take a trip "to Dublin and back," and a
+glance at the Dublin International Exhibition.
+
+
+PHOTOGRAPHY IN THE NORTH.
+
+On a recent journey northwards, I was tempted to stop at York, take a
+look at the Exhibition there, and see if there were anything worth
+notice in the Photographic Department. That part of the Exhibition is
+exceedingly scanty, but the best Yorkshire photographers are well
+represented, both in landscape and portraiture. Among the contributors
+are the names of Sarony, Glaisby, Holroyd, Gowland, and other well-known
+names. Mr. Sarony exhibits a couple of frames containing several "new
+photo-crayons," cartes-de-visite vignettes, which are very sketchy and
+effective, exhibiting those free and "dashy lines" and "hatchings" so
+characteristic of the "softening off" of artistic crayon drawings. This
+effect may be produced by a process of double printing, but it is more
+likely to have been obtained direct in the camera from a screen, having
+the edges of the aperture "softened off" with some free touches, the
+screen, in all probability, being placed between the lens and the
+sitter. Mr. Sarony also exhibits some large photographs very beautifully
+finished in colours. Messrs. Gowland exhibit, in a revolving case, a
+very unique collection of medallions and vignettes, both plain and
+coloured, mounted on tinted grounds, which give the pictures a very
+chaste and delicate appearance. The photographs themselves are exquisite
+bits of artistic pose and careful manipulation. They also exhibit a
+charming vignette of twenty-nine young ladies, all cleverly arranged,
+each figure sharp and distinct, and evidently recognisable portraits.
+This picture reminds one of Watteau, for the figures are in the woods,
+only, instead of semi-nude nymphs, the sitters are all properly and
+fashionably dressed young ladies. Messrs. Holroyd contribute some very
+excellent cartes-de-visite and enlargements. Mr. E. C. Walker, of
+Liverpool, exhibits some very beautiful opalotypes, or "photographs on
+enamelled glass." Mr. Swan, Charing Cross, London, also sends specimens
+of his crystal cube portraits. Mr. A. H. Clarke, a deaf and dumb
+photographer, exhibits some very good groups of the Princess of Wales,
+Lady Wharncliffe, Lady Maud Lascelles, Countess Granville, and the Hon.
+Mrs. Hardinge, taken in the conservatory, when the Princess and suite
+were on a visit to Studley Royal, Yorkshire.
+
+Amongst the landscape photographs are to be found some of Bedford's
+finest views of Egypt and Jerusalem, Devonshire and Warwickshire, the
+beauties of which are so well-known to everyone interested in
+photography. Some of the local views by local artists are very fine; W.
+P. Glaisby's views of York Minster are capital, especially the
+interiors. Messrs. Jackson Brothers, of Oldham, exhibit some very fine
+views, and show what atmospheric effects the camera is capable of
+rendering. That view of "Birstall Church" is a perfect master-piece of
+photo-aerial perspective. There are also a considerable number of
+photographic productions from the South Kensington Museum. Mr. Gregson,
+of Halifax, exhibits some excellent photographs of machinery. In
+apparatus there is nothing novel or striking, there being but one case
+of cameras, &c., exhibited by a London maker. There is a "water
+agitator" in the machinery "annexe," for washing photographic prints,
+but the invention is more ingenious than effective, for the water is not
+agitated sufficiently, except in the immediate neighbourhood of the fan
+or "agitator," which moves backwards and forwards in the water, in a
+manner somewhat similar to the motion of the pendulum of a clock, and so
+laves the water to and fro; but the force is not sufficient to prevent
+the prints from lying close together at the extremities of the trough,
+and imperfect washing is sure to be the result. The motion is given to
+the "agitator" by the water falling on a small wheel, something like
+"Williams's revolving print washing machine."
+
+To describe the Exhibition itself: It is rather like a "compound
+mixture" of the church, the shop, and the show. The "Great Hall" is
+something like the nave of a wooden cathedral, with galleries running
+all round, and a grand organ at the end, peeling forth, at intervals,
+solemn strains of long measure. Over the organ, in white letters on a
+red ground, is the quotation, "He hath made all things beautiful in his
+time."
+
+The show cases on the floor of the Grand Hall are arranged as
+indiscriminately as the shops in Oxford Street. In one case there are
+exhibited samples of Colman's mustard, in that next to it samples of
+"Elkington and Co.'s plated goods," and in another close by are samples
+of saddlery, which give the place more the business aspect of a bazaar
+than the desirable and advantageous classification of an exhibition.
+Then you are reminded of the show by the frequent ringing of a loud
+bell, and cries of "This way to the fairy fountain, just going to begin,
+only twopence." Such things jar on the ears and nerves of quiet
+visitors, and are only expected in such a place as the Polytechnic in
+London.
+
+The great features of the York Exhibition are the picture galleries; and
+here a better order of things prevails. The collections are classified;
+one gallery, or part of it, being devoted to the works of the old
+masters, another to the modern, and another to the water-colours. Among
+the old masters are some fine portraits by Velasquez, Tintoretto,
+Rembrandt, Vandyke, Sir Joshua Reynolds, Gainsborough, Sir Peter Lely,
+and others. And some of those grand old landscapes by Salvator Rosa,
+Rubens, Claude, Wilson, the English Claude, and George Morland, such
+pictures as are rarely seen out of private collections. The modern
+masters are abundantly represented by Wilkie, Etty, Frith, Westall,
+Faed, Cope, E. Nicol, Stanfield, Linnell, and a host of others. Amongst
+the water-colours are many fine examples of the works of Turner, the
+Richardsons (father and sons), Birket Foster, &c., &c.
+
+Sculpture is very faintly represented, but there is a charming little
+Canova, Dirce, exhibited by Lord Wenlock; an antique bust of Julius
+Caesar, which seems to have been found in fragments and carefully joined
+together. This bust is exhibited by the Hon. P. Downay, and was found in
+Rome amongst some rubbish, while some excavations were being made. There
+is also an interesting series of marble busts of the Twelve Caesars,
+exhibited by Lord Londesborough. The Exhibition is open in the evening,
+and brilliantly lighted with gas till ten o'clock; and, taking it "all
+in all," it is a very creditable effort in the right direction, and does
+honour to York and Yorkshiremen.
+
+Further north still, at Newcastle-on-Tyne, there is another exhibition
+of "Arts and Manufactures," the chief photographic feature of which is a
+considerable display of "Swan's Carbon Prints," from several well-known
+negatives by Bedford and Robinson. The promise of this process is very
+great, and its commercial advantages were singularly demonstrated to me
+when visiting the printing establishment of Mr. Swan, which I happened
+to do on a dark and unfavourable day--one totally unfit for silver
+printing; and yet I saw several very beautiful carbon prints that had
+been produced that day, the rate of production being about eight to one
+over silver printing. As a proof of the certainty and commercial
+application to which Mr. Swan has reduced his beautiful process, I need
+only mention that he has undertaken the printing of two thousand copies
+of the celebrated picture of "The First General Assembly of the Church
+of Scotland," painted by D. O. Hill. This historical picture contains
+four hundred and fifty portraits: the negatives were taken from the
+original painting by Mr. Annan, photographer, Glasgow, and are 32 by 14
+inches, and 24 by 9 inches; and Mr. Swan has to turn off one thousand
+copies of each within a given time. The publishers of the work give a
+guarantee to their subscribers that every print shall be of a high
+standard, for each one has to pass the examination of two competent
+judges. They also very justly pride themselves on being the very first
+to translate and multiply such noble works of art by a process "so
+beautiful, and, at the same time, _imperishable_." I saw several of the
+prints, both in process of development and complete; and anything more
+like rich, soft, and brilliant impressions of a fine mezzotint engraving
+I never saw, by any process of photography.
+
+Mr. Swan's arrangements for conducting the various parts of his process
+are very extensive and complete; and his mode of "developing and
+transferring" seems to be the very acme of perfection. But, as Mr. Swan
+is about to publish a work containing a full description of the process,
+with a beautiful specimen print as frontispiece, I will not anticipate
+him, or mar his own comprehensive account of the details of a process
+which he has brought to such a state of beauty and perfection, by an
+amount of patient perseverance and thoughtful application rarely
+exhibited or possessed by one individual.
+
+I also visited the photographic establishment of Messrs. Downey in
+Newcastle, and there saw some _cabinet pictures_ of the Princess of
+Wales, taken recently at Abergeldie Castle. Messrs. Downey have just
+returned from Balmoral with upwards of two hundred negatives, including
+whole-plate, half-plate, and _cabinet_ size, which will be published in
+one or all those sizes, as soon as the orders of Her Majesty have been
+executed. From the well-known reputation of the Messrs. Downey as
+photographers, it is, in all probability, a treat in store for the
+lovers of photography, to get a sight of their latest works at Balmoral
+and Abergeldie.
+
+Mr. Parry, another excellent photographer in Newcastle, was also making
+arrangements to introduce the new cabinet size picture in a style that
+will insure its success.
+
+Altogether, the movements of the best photographers in the North are
+highly commendable, and, with their notoriously practical minds, there
+is little doubt of their undertakings becoming a success. Let us hope
+that the same elements of energy and "push" will speedily impregnate the
+minds of all photographers, and create a combination that will develop a
+new form of popular beauty, and result in forming a salt that will
+savour their labours, produce deposits of gold, and create innumerable
+orders of merit.
+
+
+ERRORS IN PICTORIAL BACKGROUNDS.
+
+We have recently had a few papers on the necessity of art culture and
+art knowledge in relation to photography, but they have chiefly been of
+a theoretical and speculative character, few, if any, assuming a
+practical form. "Apply the rod to teach the child" is an old saying, and
+our artist friends and teachers _have_ applied the rod and belaboured
+photography most unmercifully, but they have _not_ taught the child.
+They have contented themselves with abusing photographers for not doing
+what was right, instead of teaching them how to avoid what was wrong.
+
+It will be my endeavour to point out, in this paper, some errors that
+have crept into photographers' and artists' studios, and I hope to be
+able to suggest a remedy that will lessen these evils, and elevate
+photography in the scale of art. The faults in pictorial backgrounds
+that I invite your attention to, arise from the neglect of the
+principles of linear and aerial perspective. I do not speak of the
+errors in perspective that may exist in the backgrounds themselves,
+viewing them as pictures; but I refer to the manifest fault of depicting
+the sitter--the principal object--according to one condition of
+perspective, and the background that is placed behind him according to
+another. An unpardonable error in any work of art, whether photograph or
+painting, is to represent a natural object in an unnatural position. By
+this I do not mean an awkward and constrained attitude, but a false
+position of the principal subject in relation to the other objects by
+which it is surrounded. We frequently see portraits, both full-length
+and three-quarter size, with landscape backgrounds--or a bit of
+landscape to be seen through a painted or actual window--of the most
+unnatural proportions in relation to the figure itself. The head of the
+subject is stuck high in the heavens--sometimes so high that, in
+relation to the painted landscape, nothing shorter than a church steeple
+could attain such an altitude. The trees and castles of the pretty
+landscape, supposed to be behind the sitter, are like children's toys;
+the mountains are like footballs in size, and the "horizon" is not so
+much in relation to the figure as the width of a fishpond is to a man
+standing on one side of it. It must be admitted that artists themselves
+have set this bad example of departing from truth to give increased
+importance to their subjects by placing their figures against diminutive
+backgrounds; but that is a liberty taken with nature which photographers
+should neither imitate nor allow. Photography is, in all other respects,
+so rigidly truthful that it cannot consistently sanction such a
+violation of natural laws.
+
+Pictorial backgrounds have usually been painted on the same principle as
+a landscape picture, and one of the earliest things the painter has to
+determine is, where he shall represent that line where the sky and
+earth appear to meet--technically, the _horizontal line_. This settled,
+all the lines, not vertical or horizontal in the picture, below this are
+made to appear to rise up to it, and those above descend, and if all
+these are in due proportion the perspective is correct, no matter
+whether this governing line is assumed to be in the upper, lower, or
+middle part of the picture. A painter can suppose this imaginary line to
+be at any height he pleases in his picture, and paint accordingly. In
+photography it is invariable, and is always on a level with the lens of
+the camera. To illustrate the relation of the horizontal line to the
+human figure, when a pictorial background is to be introduced, let us
+imagine that we are taking a portrait out-of-doors, with a free and open
+country behind the person standing for his carte-de-visite. The camera
+and the model are, as a matter of course, on the same level. Now focus
+the subject and observe the linear construction of the landscape
+background of nature. See how all the lines of the objects below the
+level of the lens run up to it, and the lines of the objects above run
+down to it. Right across the lens is the horizontal line, and the centre
+is the point of sight, where all the lines will appear to converge.
+Suppose the lens to be on a level with the face of the subject, the
+horizontal line of the picture produced on the ground glass will be as
+near as possible as high as the eyes of the subject. Trees and hills in
+the distance will be above, and the whole picture will be in harmony.
+This applies to interior views as well, but the ocular demonstration is
+not so conclusive, for the converging lines will be cut or stopped by
+the perpendicular wall forming the background. Nevertheless, all the
+converging lines that are visible will be seen to be on their way to the
+point of sight. Whether a natural background consisted of an interior,
+or comprised both--such as a portion of the wall of a room and a peep
+through a window on one side of the figure--the conditions would be
+exactly the same. All the lines above the lens must come down, and all
+that are below must go up. The following diagrams will illustrate this
+principle still more clearly.
+
+    [Illustration: Fig. 1.]
+
+    [Illustration: Fig. 2.]
+
+Fig. 1 is a section of the linear construction of a picture, and will
+show how the lines converge from the point of observation to the point
+of sight. Artists, in constructing a landscape of an ordinary form,
+allot to the sky generally about twice the space between the base and
+horizontal lines. But for portraits and groups, where the figures are of
+the greatest importance and nearer to the eye, the proportion of sky and
+earth is reversed, so as to give increased value to the principal
+figures, by making them apparently larger, and still preserving the
+proper relation between them and the horizontal line (see fig. 2). This
+diagram represents the conditions of a full-length carte portrait, where
+the governing horizontal line is on a level with the camera. If a
+pictorial background, painted in the usual way, with the horizontal line
+low in the picture, is now placed behind the sitter, the resulting
+photograph will be incongruous and offensive. It will be seen, on
+referring to fig. 2, that all the lines below the horizon must of
+necessity run up to it, no matter how high the horizontal line may be,
+for it is impossible to have two horizons in one picture; that is, a
+visible horizon in the landscape background, and an imaginary one for
+the figure, with the horizontal line of the background far below the
+head of the figure, and the head far up in the sky. The head of a human
+figure can only be seen so far above the horizontal line under certain
+conditions; such as being elevated above the observer by being mounted
+on horseback, standing on higher ground, or otherwise placed
+considerably above the base line, none of which conditions are present
+in a studio. Whenever the observed and observer are on the same level,
+as must be the case when a photographer is taking the portrait of a
+sitter in his studio, the head of the subject could not possibly be seen
+so high in the sky, if the lens included a natural background instead of
+a painted one. As, for convenience, the painted background is intended
+to take the place of a natural one, care should be taken that the linear
+and aerial perspectives should be as true to nature as possible, and in
+perfect harmony with the size of the figures. The lens registers, on the
+prepared plate, the relative proportions of natural objects as
+faithfully as the retina receives them through the eye, and if we wish
+to carry out the illusion of pictorial backgrounds correctly, we _must_
+have the linear construction of the picture, which is intended to
+represent nature, as true in every respect as nature is herself.
+
+Aerial perspective has not been sufficiently attended to by the painters
+of pictorial backgrounds. There are many other subjects in connection
+with art and photography that might be discussed with advantage--such as
+composition, arrangement of accessories, size, form, character, and
+fitness of the things employed; but I leave all these for another
+opportunity, or to someone more able to handle the subjects. For the
+present, I am content to point out those errors that arise from
+neglecting true perspective, and while showing the cause, distinctively
+supply a remedy.
+
+It is not the fault of perspective in the background where the lines are
+not in harmony with each other--these too frequently occur, and are
+easily detected--but it is the error of painting a pictorial background
+as if it were an independent picture, without reference to the
+conditions under which it is to be used. The conditions of perspective
+are determined by the situation of the lens and the sitter. If the
+actual objects existed behind the sitter, and were photographed
+simultaneously with the sitter, the same laws of perspective would
+govern the two. What I urge is, that if, instead of the objects, a
+representation of them be put behind the sitter, that representation be
+also a correct one. The laws of perspective teach how it may be made
+correctly, and the starting point is the position of the lens in
+relation to the sitter.
+
+Some may say that these conditions of painting a background cannot be
+complied with, as the lens and sitter are never twice exactly in the
+same relation to each other. There is less force in this objection than
+at first appears. Each photographer uses the same lens for all his
+_carte_ portraits--and pictorial backgrounds are very frequently used
+for these--and the height of his camera, as well as the distance from
+his sitter, are so nearly constant, that the small amount of errors thus
+caused need not be recognized. If the errors that exist were not far
+more grave, there would be no necessity for this paper. Exceptional
+pictures should have corresponding backgrounds.
+
+When a "sitter" is photographed standing in front of a pictorial
+background, the photograph will represent him either standing in a
+natural scene, or before a badly-painted picture. Nobody should
+wittingly punish his sitter by doing the latter when he could do the
+former, and the first step to form the desirable illusion is pictorial
+truth. There is no reason why the backgrounds should not be painted
+truthfully and according to correct principles, for the one is as easy
+as the other. I daresay the reason is that artists have not
+intentionally done wrong--it would be too bad to suppose that--but they
+have treated the backgrounds as independent pictures, and it is for
+photographers to make what use of them they think proper. The real
+principles are, however, now stated, by which they can be painted so as
+to be more photographically useful, and artists and photographers have
+alike the key to pictorial truth.
+
+In conclusion, I would suggest to photographers the necessity of
+studying nature more carefully--to observe her in their walks abroad, to
+notice the gradual decrease of objects both in size and distinctness, to
+remember that their lens is to their camera what their eye is to
+themselves, to give as faithful a transcript of nature as they possibly
+can, to watch the flow of nature's lines, as well as natural light and
+shade, and, by a constant study and exhibition of truth and beauty in
+their works, make photography eventually the teacher of art, instead of
+art, as is now the case, being the reviler of photography.
+
+
+PERSPECTIVE.
+
+_To the Editors._
+
+Gentlemen,--At the end of Mr. Alfred H. Wall's reply to Mr. Carey Lea's
+letter on _Artists and Photographers_, I notice that he cautions your
+readers not to receive the very simple rules of perspective laid down in
+my paper, entitled _Errors in Pictorial Backgrounds_, until they have
+acquired more information on the subject. Allow me to state that all I
+said on perspective in that paper only went to show that there should be
+but one horizon in the same picture; that the lines of all objects
+_below_ that horizon should run up to it; that the lines of all objects
+_above_ should run down, no matter where that _one_ horizon was placed;
+and that the horizon of the landscape background should be in due
+relation to the sitter and on a level with the eye of the observer, the
+observer being either the lens or the painter.
+
+If your correspondent considers that I was in error by laying down such
+plain and common sense rules, which everyone can see and judge for
+himself by looking down a street, then I freely admit that your
+correspondent knows a great deal more about _false_ perspective than I
+do, or should like to do.
+
+Again, if your correspondent cannot see why I "volunteered to instruct
+artists" or painters of backgrounds, perhaps he will allow me to inform
+him that I did so simply because background painters have hitherto
+supplied photographers with backgrounds totally unfit for use in the
+photographic studio.
+
+In spite of Mr. Wall's assumption of superior knowledge on subjects
+relating to art, I may still be able to give him a hint how to produce a
+pictorial background that will be much more natural, proportionate, and
+suitable for the use of photographers than any hitherto painted.
+
+Let Mr. Wall, or any other background painter, go _out_ with the camera
+and take a _carte-de-visite_ portrait out-of-doors, placing the subject
+in any well-chosen and suitable natural scene, and photograph the
+"sitter" and the natural scene at the same time. Then bring the picture
+so obtained into his studio and enlarge it up to "life-size," which he
+can easily do by the old-fashioned system of "squaring," or, better
+still, by the aid of a magic lantern, and with the help of a sketch of
+the scene as well, to enable him to fill in correctly that part of the
+landscape concealed by the figure taken on the spot; so that, when
+reproduced by the photographer in _his_ studio, he will have a
+representation of a natural scene, with everything seen in the
+background in correct perspective, and in natural proportions in
+relation to the "sitter." This will also show how _few_ objects can
+naturally be introduced into a landscape background; and if the distant
+scenery be misty and undefined, so much the better. It is the sharpness,
+hardness, and superabundance of subjects introduced into pictorial
+backgrounds generally that I object to, and endeavoured to point out in
+my paper; and I consider it no small compliment to have had my views on
+that part of my subject so emphatically endorsed by so good an authority
+as Mr. Wallis, in his remarks on backgrounds at the last meeting of the
+South London Photographic Society.
+
+I make no pretensions to the title of "artist," although I studied
+perspective, drawing from the flat and round, light and shade, and other
+things in connection with a branch of art which I abandoned many years
+ago for the more lucrative profession of a photographer. Were I so
+disposed, I could quote Reynolds, Burnett, and Ruskin as glibly as your
+correspondent; but I prefer putting my own views on any subject before
+my readers in language of my own.
+
+I endeavour to be in all my words and actions thoroughly independent and
+consistent, which is more than I can say for your correspondent "A. H.
+W." In proof of which, I should like to call the attention of your
+readers to a passage in his "Practical Art Hints," in the last issue of
+_The British Journal of Photography_, where he says:--"It is perversion
+and degradation to an art like ours to make its truth and unity
+subservient to conventional tricks, shams, and mechanical dodges," while
+at the last meeting of the South London Photographic Society, when
+speaking of backgrounds, he admitted they were _all conventional_.
+
+Now, that is just what we do not want, and which was the chief object I
+had in view when I wrote my paper. We have had too many of those
+art-conventional backgrounds, and want something more in accordance with
+natural truth and the requirements of photography.
+
+In conclusion, allow me to observe that I should be truly sorry were I
+to mislead anyone in the pursuit of knowledge relative to our
+profession, either artistically or photographically. But let it be borne
+in mind that it is admitted on all sides, and by the best authorities,
+that nearly all the pictorial backgrounds now in use are quite
+unnatural, and totally unsuited for the purposes for which they are
+intended. Therefore the paper I read will have done the good I intended,
+and answered the purpose for which it was written, if it has been the
+means of calling attention to such glaring defects and absurdities as
+are now being perpetrated by background painters, and bringing in their
+place more natural, truthful, and photographically useful backgrounds
+into the studios of all photographers.--I am, yours, &c.,
+
+J. Werge.
+
+_February 10th, 1866._
+
+
+PERSPECTIVE IN BACKGROUNDS.
+
+_To the Editors._
+
+Gentlemen,--I must beg of you to allow me to reply to Mr. Wall once
+more, and for the last time, on this subject, especially as that
+gentleman expects an answer from me.
+
+To put myself into a fair position with regard to Mr. Wall and your
+readers, I will reply to the latter part of his letter first, by stating
+that I endeavour to avoid all personality in this discussion, and should
+be sorry to descend to anything of the kind knowingly. When I spoke of
+"independency and consistency," I had not in view anything relative to
+his private character, but simply that kind of independence which
+enables a man to trust to his own powers of utterance for the
+expression of his ideas, instead of that incessant quoting the language
+of others, to which your correspondent, Mr. Wall, is so prone. As to his
+inconsistency, I mean that tendency which he exhibits to advocate a
+principle at one time, and denounce it at another. I shall prove that
+presently. Towards Mr. Wall, personally, I have neither animosity nor
+pique, and would take him by the hand as freely and frankly as ever I
+did were I to meet him at this moment. With his actions as a private
+gentleman I have nothing to do. I look upon him now as a controvertist
+only. So far, I hope I have made myself clearly understood by Mr. Wall
+and all concerned.
+
+I also should like to have had so important a question discussed without
+introducing so much of that frivolous smartness of style generally
+adopted by Mr. Wall. But, as he has introduced two would-be-funny
+similes, I beg to dispose of them before going into more serious matter.
+Taking the "butcher" first (see the fifth paragraph in Mr. Wall's last
+letter), I should say that, if I were _eating_ the meat, I should be
+able to judge of its quality, and know whether it was good or bad, in
+spite of all the butcher might say to the contrary; and surely, no man
+not an out-and-out vegetarian, or lacking one of the five senses--to say
+nothing of _common sense_--will admit that it is _necessary_ to be a
+"butcher" to enable him to be a judge of good meat. On the same ground,
+I contend that it is _not_ necessary for a man to be an artist to have a
+thorough knowledge of perspective; and I have known many artists who
+knew as little about perspective, practically, as their easel did. They
+had a vague and dreamy idea of some governing principles, but how to put
+those principles into practice they had not the slightest notion. I once
+met an artist who could not put a tesselated pavement into perspective,
+and yet he had some right to the title of artist, for he could draw and
+paint the human figure well. Perspective is based on geometrical
+principles, and can be as easily mastered by any man not an artist as
+the first book of Euclid, or the first four rules of arithmetic; and,
+for all that, it is astonishing how many artists know so little about
+the working rules of perspective.
+
+Again: Mr. Wall is surely not prepared to advance the dictum that no one
+can know anything about art but a professional artist. If so, how does
+he reconcile that opinion with the fact of his great and oft-quoted
+authority, Ruskin, not being an artist, but simply, in his public
+character, a voluminous writer on art, not always right, as many artists
+and photographers very well know.
+
+Mr. Wall objects to my use of the word "artist," but he seems to have
+overlooked the fact that I used the quotation marks to show that I meant
+to apply it to the class of self-styled artists, or men who arrogate to
+themselves a title they do not merit--not such men as Landseer, Maclise,
+Faed, Philips, Millais, and others of, and not of, the "Forty." Mr. Wall
+may be an artist. I do not say he is not. He also is, or was, a painter
+of backgrounds. So he can apply to himself whichever title he likes
+best; but whether he deserves either one or the other, depends on what
+he has done to merit the appellative.
+
+Mr. Wall questions the accuracy of the principles I advocated in my
+paper. I contend that I am perfectly correct, and am the more astonished
+at Mr. Wall when I refer to vol. v., page 123, of the _Photographic
+News_. There I find, in an article bearing his own name, and entitled
+"The Technology of Art as Applied to Photography," that he says:--
+
+"If you make use of a painted cloth to represent an interior or out-door
+view, the horizontal line must be at somewhere about the height which
+your lens is most generally placed at, and the vanishing point nearly
+opposite the spot occupied by the camera. * * * * I have just said that
+the horizon of a landscape background and the vanishing point should be
+opposite the lens; I may, perhaps, for the sake of such operators as
+are not acquainted with perspective, explain why. The figure and the
+background are supposed to be taken at one and the same time, and the
+camera has the place of the spectator by whom they are taken. Now,
+suppose we have a real figure before a real landscape: if I look up at a
+figure I obtain one view of it, but if I look down on it, I get another
+and quite a different view, and the horizon of the natural landscape
+behind the figure is always exactly the height of _my_ eye. To prove
+this, you may sit down before a window, and mark on the glass the height
+of the horizon; then rise, and, as you do so, you will find the horizon
+also rises, and is again exactly opposite your eye. A picture, then, in
+which the horizontal line of the background represents the spectator as
+looking up at the figure from a position near the base line, while the
+figure itself indicates that the same spectator is at that identical
+time standing with his eyes on a level with the figure's breast or
+chin--such productions are evidently false to art, and untrue to nature.
+* * * * The general fault in the painted screens we see behind
+photographs arises from introducing too many objects."
+
+Now, as I advanced neither more nor less in my paper, why does Mr. Wall
+turn round and caution your readers not to receive such simple truths
+uttered by me? I was not aware that Mr. Wall had forestalled me in
+laying down such rules; for at that date I was in America, and did not
+see the _News_; but, on turning over the volume for 1861 the other day,
+since this discussion began, I there saw and read, with surprise, the
+above in his article on backgrounds. I am perfectly aware that I did not
+say all that I might have said on perspective in my paper; but the
+little I did say was true in principle, and answered my purpose.
+
+When Mr. Wall (in the second paragraph of his last letter) speaks of the
+"principal visual ray going from the point of distance to the point of
+sight, and forming a right angle to the perspective plane," it seems to
+me that he is not quite sure of the difference between the points of
+_sight_, _distance_, and _observation_, or of the relation and
+application of one to the other. However, his coming articles on
+perspective will settle that. It also appears to me that he has
+overlooked the fact that my diagrams were _sections_, showing the
+perspective inclination and declination of the lines of a parallelogram
+towards the point of sight. In my paper I said nothing about the _point
+of distance_; with that I had nothing to do, as it was not my purpose to
+go into all the dry details of perspective. But I emphatically deny that
+anything like a "bird's eye view" of the figure could possibly be
+obtained by following any of the rules I laid down. In my paper I
+contended for the camera being placed on a level with the head of the
+sitter, and that would bring the line of the horizon in a pictorial
+background also as high as the head of the sitter. And if the horizon of
+the pictorial background were placed anywhere else, it would cause the
+apparent overlapping of _two_ conditions of perspective in the resulting
+photograph. These were the errors I endeavoured to point out. I maintain
+that my views are perfectly correct, and can be proved by geometrical
+demonstration, and the highest artistic and scientific testimony.
+
+I wish it to be clearly understood that I do not advocate the use of
+pictorial backgrounds, and think I pretty strongly denounced them; but
+if they _must_ be used by photographers, either to please themselves or
+their customers, let them, for the credit of our profession, be as true
+to nature as possible.
+
+I think I have now answered all the points worth considering in Mr.
+Wall's letter, and with this I beg to decline any further correspondence
+on the subject.--I am, yours, &c.,
+
+J. Werge.
+
+_March 5th, 1866._
+
+
+NOTES ON PICTURES IN THE NATIONAL GALLERY.
+
+In the following notes on some of the pictures in the National Gallery,
+it is not my intention to assume the character of an art-critic, but
+simply to record the impressions produced on the mind of a photographer
+while looking at the works of the great old masters, with the view of
+calling the attention of photographers and others interested in
+art-photography to a few of the pictures which exhibit, in a marked
+degree, the relation of the horizon to the principal figures.
+
+During an examination of those grand old pictures, two questions
+naturally arise in the mind: What is conventionality in art? and--In
+whose works do we see it? The first question is easily answered by
+stating that it is a mode of treating pictorial subjects by established
+rule or custom, so as to obtain certain pictorial effects without taking
+into consideration whether such effects can be produced by natural
+combinations or not. In answer to the second question, it may be boldly
+stated that there is very little of it to be seen in the works of the
+best masters; and one cannot help exclaiming, "What close imitators of
+nature those grand old masters were!" In their works we never see that
+photographic eye-sore which may be called a binographic combination of
+two conditions of perspective, or the whereabouts of two horizons in the
+same picture.
+
+The old masters were evidently content with natural combinations and
+effects for their backgrounds, and relied on the rendering of natural
+truths more than conventional falsehoods for the strength and beauty of
+their productions. Perhaps the simplest mode of illustrating this would
+be to proceed to a kind of photographic analysis of the pictures of the
+old masters, and see how far the study of their works will enable the
+photographer to determine what he should employ and what he should
+reject as pictorial backgrounds in the practice of photography. As a
+photographer, then--for it is the photographic application of art we
+have to consider--I will proceed to give my notes on pictures in the
+National Gallery, showing the importance of having the horizontal line
+in its proper relation to the sitter or figure.
+
+Perhaps the most beautiful example is the fine picture by Annibale
+Carracci of "Christ appearing to Peter." This admirable work of art as
+nearly as possible contains the proportions of a carte-de-visite or
+whole-plate picture enlarged, and is well worthy the careful attention
+and study of every photographer; not only for its proportions and the
+amount of landscape background introduced, showing the proper position
+of the horizon and the small amount of sky visible, but it is a
+wonderful example of light and shade, foreshortening, variety and
+contrast of expression, purity of colour, simplicity of design, and
+truthfulness to nature. Neither of the figures lose any of their force
+or dignity, although the horizontal line is as high as their heads, and
+the whole of the space between is filled in with the scene around them.
+In its linear perspective it is quite in keeping with the figures, and
+the scenery is in harmonious subjection, controlled and subdued by
+aerial perspective.
+
+The large picture of "Erminia takes refuge with the Shepherds," by the
+same artist, is also a fine example of a horizon high in the picture.
+The figure of Erminia is separated from the other figures, and could be
+copied or reproduced alone without any loss of beauty and dignity, or
+any violation of natural laws.
+
+Murillo's picture of "St. John and the Lamb" suggests an admirable
+background for the use of the photographer. It consists of dark masses
+of rock and foliage. Nothing distinct or painfully visible, the distant
+masses of foliage blend with the clouds, and there is nothing in the
+background but masses of light and shade to support or relieve the
+principal objects.
+
+In the picture of "Christ appearing to Mary Magdalene," by Titian, the
+water-line is above the head of Christ, but if the figure were standing
+upright, the head of the Saviour would break the horizontal line.
+
+Titian's "Bacchus and Ariadne" also has the water-line breast high,
+almost to the neck of Ariadne. The figure of Bacchus springing from the
+car, as a matter of course, is much higher in the sky. This picture
+presents the perspective conditions of the painter having been seated
+while painting such figures from nature, or similar to the results and
+effects obtained by taking a group with the lens on a level with the
+breast or lower part of the necks of figures standing.
+
+In Titian's portrait of Ariosto there is a dark foliated background
+which gives great brilliancy to the picture, but no sky is visible. The
+"Portrait of a Lady," by Paris Bardone, has an architectural background
+in which no sky is to be seen. The picture is very brilliant, and the
+monotony of a plain background is skilfully overcome.
+
+The picture of "St. Catharine of Alexandria," by Raphael, has a
+landscape background, with the horizon about as high as the breast, as
+if the artist had been seated and the model standing during the process
+of painting.
+
+Raphael's picture of "The Vision of a Knight" is another example of the
+fearlessness of that artist in putting in or backing up his figures with
+a large amount of landscape background.
+
+The proportions of Correggio's "Venus, Mercury, and Cupid," are as
+nearly as possible those of a carte-de-visite enlarged; and that picture
+has no sky in the background, but a very suitable dark, cool, rocky
+scene, well subdued, for the rocks are quite near to the figures. This
+background gives wonderful brilliancy to the figures, and contrasts
+admirably with the warm and delicate flesh tints.
+
+Correggio's "Holy Family" has a landscape and architectural background,
+with a very little sky visible in the right-hand corner.
+
+In the "Judgment of Paris," by Rubens, the horizontal line of the
+background cuts the waist of the first female figure, showing that the
+artist was seated. The other two female figures are placed against a
+background of rocks and dark masses of foliage. Rubens' picture of the
+"Holy Family and St. George" is also a good example of the kind of
+picture for the photographer to study as to the situation of the
+horizontal line.
+
+The picture of "The Idle Servant," by Nicolaes Maes, is also an
+excellent subject for study of this kind. It shows the due relation of
+the horizon of an interior in a very marked degree, and its shape and
+subject are very suitable to the size and form of a carte-de-visite. So
+are his pictures of "The Cradle" and "A Dutch Housewife."
+
+The picture of "John Arnolfini of Lucca and his Wife," painted by John
+Van Eyck in the fifteenth century, is an excellent specimen of an
+interior background, with a peep out of a window on one side of the
+room. This is a capital subject for the study of photographers who wish
+to use a background representing an interior.
+
+"The Holy Family at a Fountain," a picture of the Dutch school, painted
+by Schoorel in the sixteenth century, has an elaborate landscape
+background with the horizon above the heads of the figures, as if the
+artist had been standing and the models sitting.
+
+For an example of a portrait less than half-length, with a landscape
+background, look at the portrait of "An Italian Gentleman," by Andrea da
+Solario. This picture shows how very conscientiously the old masters
+worked up to the truth of nature in representing the right amount of
+landscape in proportion to the figure; but the background is much too
+hard and carefully worked out to be pleasing. Besides, it is very
+destructive to the force and power of the picture, which will be at once
+visible on going to the portraits by Rembrandt, which have a marvellous
+power, and seem to stand right before the dark atmospheric backgrounds
+which that artist generally painted in his portraits.
+
+There are other examples of half-length portraits with landscape
+backgrounds, wherein the horizontal line passes right through the eyes
+of the principal figure, one of which I will mention. It is that of the
+"Virgin and Child," by Lorenzo di Credi. In this picture the horizontal
+line passes right through the eyes of the Virgin without interfering
+with the interest of the chief object.
+
+Several examples of an opposite character are to be seen in the National
+Gallery, with the horizon of the landscape background much too low in
+the picture. It is needless to call special attention to them. After
+carefully examining the works already named, and comparing them with the
+natural effects to be observed daily, it will be quickly seen which is a
+truthful picture in this respect, and which is a false one.
+
+
+SHARPNESS AND SOFTNESS _V._ HARDNESS.
+
+The discussion on "Sharpness: what is it?" at the meeting of the South
+London Photographic Society in May, 1861, and the more recent discussion
+on "Focussing" at the last meeting of the same Society, seem to me to
+have lost much of their value and importance to photographers for want
+of a better definition of the term _hardness_ as applied to art, and as
+used by _artists_ in an _artistic sense_. Webster, in his second
+definition of the word "hardness," gives it as "difficulty to be
+understood." In that sense Mr. Wall succeeded admirably when he gave
+the term _concentration_, in reply to Mr. Hughes, who asked Mr. Wall
+what he meant by _hardness_. Fairholt gives the _art meaning_ of the
+word as "want of refinement; academic drawing, rather than artistic
+feeling." But even that definition would not have been sufficiently
+comprehensive to convey an adequate idea of the meaning of the term in
+contradistinction to the word _sharpness_, and I cannot but think that
+Mr. Wall failed in his object in both papers, and lost considerable
+ground in both discussions, by not giving more attention to the nice
+distinctions of the two terms as used in art, and explaining their
+artistic meanings more clearly.
+
+Sharpness need not be hardness; on the contrary, sharpness and softness
+can be harmoniously combined in the representation of any object
+desired. On the other hand, a subject may possess abundance of detail,
+and yet convey to the mind an idea of _hardness_ which the artist did
+not intend. This kind of hardness I should attribute to a miscarriage of
+thought, or a failure, from want of manipulative skill, to produce the
+desired effect. For example: one artist will paint a head, model it
+carefully, and carry out all the gradations of light and shade, and for
+all that it will be _hard_--hard as stone, resembling the transcript of
+a painted statue more than flesh. With the same brushes and colours
+another artist will paint a head that may be no better in its drawing,
+nor any more correct in its light and shade, but it will resemble
+_flesh_, and convey to the mind of the observer a correct impression of
+the substance represented--its flexibility and elasticity--that it is
+something that would be warm and pleasant to the touch, and not make you
+recoil from it as if it were something cold, hard, and repulsive, as in
+the former case. Again, two artists will paint a fabric or an article of
+furniture (say a table) with the same brushes, pigments, and mediums:
+the one artist will render it so faithfully in every respect that it
+would suggest to the mind the dull sound peculiar to wood when struck,
+and not the sharp, clear ring of metal which the work of the other
+artist would suggest.
+
+Another example: one artist paints a feather, and it appears to have all
+the feathery lightness and characteristics of the natural object; the
+other will paint it the same size, form, and colour, and yet it will be
+more like a painted chip, wanting the downy texture and float-in-the-air
+suggestiveness of the other. Thus it will be seen that both artists had
+similar ideas, had similar materials and means at their disposal to
+render on canvas the same or similar effects. The one succeeded, and the
+other failed, in giving a faithful rendering of the same subjects; but
+it was no fault in the materials with which they worked. The works of
+one artist will convey to the mind an idea of the thing itself; with its
+texture, properties, weight, and proportions; nothing undervalued;
+nothing overrated, nothing softer, nothing harder, than the thing in
+nature intended to be portrayed. The other gives the same idea of form
+and size, light and shade, and colour, but not the texture; it is
+something harder, as iron instead of wood, or hard wood instead of soft
+wood, or stone instead of flesh. This, then, is the artistic meaning of
+hardness (or concentration, as Mr. Wall said), and that is an apparent
+packing together, a compression or petrifaction of the atoms or fibre of
+which the natural materials are composed. This difference in the works
+of artists is simply the effects of _feeling_, of power over the
+materials employed, and ability to transfer to canvas effects that are
+almost illusions. And so it is with photographers in the production of
+the photographic image. There is the same difference in feeling and
+manipulative skill, the same difference of power over the materials
+employed, that enables one photographer to surpass another in rendering
+more truthfully the difference of texture. Photographers may and do use
+the same lenses and chemicals, and yet produce widely different results.
+One, by judgment in lighting and superior manipulation, will transfer to
+his plates more texture and suggestiveness of the different substances
+represented than the other. It is a fact well known to old photographers
+that in the best days of the Daguerreotype practice two widely
+different classes of pictures were produced by the most skilful
+_Daguerreotypists_, both sharp and full of exquisite detail; yet the one
+was _hard_, in an artistic sense, not that it wanted half-tone to link
+the lights and shades together, but because it was of a bronzy
+hardness, unlike flesh from which it was taken, and suggested to the
+mind a picture taken from a bronze or iron statue of the individual,
+rather than a picture taken from the warm, soft flesh of the original.
+The other would be equally sharp as far as focussing and _sharp lenses_
+could make it, and possess as much detail, but it would be different in
+colour and texture; the detail would be soft, downy, and fleshy, not
+irony, if I may use that word in such a sense; and this difference of
+effect arose entirely from a difference of feeling, lighting,
+preparation of the plate, and development of the pictures. They might
+all use the best of Voightlander's or C. C. Harrison's lenses, the
+favourite lenses of that day. They might all use the same make of
+plates, the same iodine, bromine, and mercury, yet there would be this
+difference in the character of the two classes of pictures. Both would
+be sharp and possess abundance of detail, still one would be _soft_ and
+the other hard in an artistic acceptation of the word _hardness_.
+
+Collodion positives exhibited a similar difference of character. The
+works of one photographer would be cold and metallic looking, while the
+works of another would be softer and less metallic, giving a better idea
+of the texture of flesh and the difference of fabrics, which many
+attributed to the superiority of the lens; but the difference was really
+due to manipulation, treatment, and intelligence. And so it is with the
+collodion negative. A tree, for instance, may be photographed, and its
+whole character changed by selecting a bad and unsuitable light, or by
+bad manipulation. The least over-development or "piling up" of a high
+light may give it a sparkling effect that would change it into the
+representation of a tree of cast iron, rather than a _growing tree_,
+covered with damp, soft, and moss-stained bark. Every object and every
+fabric, natural or manufactured, has its own peculiar form of "high
+light" or mode of reflecting light, and care must be taken by both
+artist and photographer not to exceed the amount of light reflected by
+each particular object, else a _hardness_, foreign to the natural
+object, will be represented. But not only should the artist and
+photographer possess this feeling for nature in all her subtle beauties
+and modes of expressing herself, to prevent a miscarriage in the true
+rendering of any object, the photographic printer should also have a
+sympathy for the work in hand, or he will, by over-fixing, or in various
+other ways, mar the successful labours of the photographer, and make a
+negative that is full of softness, and tenderly expresses the truth of
+nature, yield prints that are crude, and convey to the mind a sense of
+_hardness_ which neither the natural objects nor the negative really
+possess.
+
+Now, I think it will be seen that _hardness_ in a painting or a
+photograph does not mean sharpness; nor is the artistic meaning of the
+word _hardness_ confined to "rigid or severe drawing," but that it has a
+broader and more practical definition than concentration; and that the
+converse to the art meaning of _hardness_ is softness, tenderness,
+truthfulness in expressing the varied aspects of nature in all her
+forms, all of which are coincident with sharpness.--J. Werge
+(_Photographic News_).
+
+
+UNION OF THE NORTH AND SOUTH LONDON PHOTOGRAPHIC SOCIETIES.
+
+_To the Editors, British Journal._
+
+Gentlemen,--Allow me to express my opinion on the suggestion to unite
+the North and South London Societies, and to point out a few of the
+advantages which, I think, would accrue from a more extensive
+amalgamation.
+
+Though I am a member of all the three London photographic societies, I
+have long been of opinion that there are too many, and that the objects
+of all are considerably weakened by such a diffusion of interests. If
+the furtherance of the art and the free and mutual interchange of
+thought and experience among the members were the only things
+considered, there would be but one society in London; and with one
+society embodying all the members that now make the three, how much more
+good might be done!
+
+In the first place, the amounts now paid for rent by the three would, if
+united, secure an excellent meeting room or chambers, in a central
+position, for the _exclusive_ use of the society, where the ordinary and
+special meetings, annual exhibitions, and _soirees_ could be held much
+more independently than now, and at a cost little or no more than what
+is now paid for the privilege of holding the ordinary meetings alone.
+
+Secondly: If such a place of meeting were secured, then that laudable
+scheme of an art library, so strenuously advocated by Mr. Wall and Mr.
+Blanchard at the South London Photographic Society, might be
+successfully carried into effect. Then a library and a collection of
+works of art might be gradually gathered together, and one of the
+members could be chosen curator and librarian, to attend the rooms one
+evening in the week, or oftener, as circumstances might require, so as
+to give members access to the library to make exchanges, extracts from
+bulky books, &c.
+
+Thirdly: If the union were effected, and the place of meeting more
+central, there would be a larger attendance of members, and more
+spirited and valuable proceedings would be the result. Papers to be read
+at the regular meetings would be much more certain, and the discussions
+would be more comprehensive and complete. The members would become
+personally acquainted with each other, and a much better feeling would
+pervade the whole photographic community.
+
+These, gentlemen, are a few of the advantages which ought to accrue from
+a union of the three societies; but, if that cannot be effected, by all
+means let the triumvirate now existing be reduced to a biumvirate. If it
+be not possible for the "Parent Society" and her offspring to reunite
+their interests and affection for the common good, surely the other two
+can, and thereby strengthen themselves, and secure to their members a
+moiety of the advantages which would result from the triple alliance.
+
+But, before proceeding farther, let me ask--Has such a thing as a triple
+alliance ever been considered? Has it been ascertained that an amicable
+amalgamation with the Photographic Society of London is impossible? If
+so, what are the motives of the proposers of the union of the North and
+South London Societies? Do they wish to form a more powerful antagonism
+to the other society, or do they simply and purely wish to further the
+advancement of our art-science, and not to gratify personal pique or
+wounded pride? I do not wish to impute such unworthy motives to anyone;
+but it does seem singular that the proposition should come from the
+Chairman of the North London Photographic Association almost
+simultaneously with the resignation of his seat at the council board of
+the Parent Society.
+
+If, however, the motives are pure, honest, and earnest, I heartily
+approve of the suggestion as a step in the right direction, although I
+candidly admit that I would much rather see all the societies united in
+one, and fully believe that that would be the most advantageous
+arrangement that could possibly be made for all concerned.--I am,
+yours, &c.,
+
+Union Jack (J. Werge).
+
+_London, February 18th, 1867._
+
+
+UNION OF THE LONDON PHOTOGRAPHIC SOCIETIES.
+
+_To the Editors of the British Journal._
+
+Gentlemen,--Perhaps I am in courtesy bound to answer the questions of
+your correspondents, Mr. Homersham and "Blue Pendant," but in
+self-justification I do not think it necessary, for it turns out that my
+suspicions of antagonism to the Parent Society were well founded; and,
+from their remarks, and the observations of your contributor "D.," I
+learn that the disaffection is more widely spread than I at first
+thought it was.
+
+I may have been wrong in suspecting the Chairman of the North London
+Photographic Association of unworthy motives; if so, I frankly beg that
+gentleman's pardon. But I am not wrong in suspecting that antagonism is
+mixed up with the movement.
+
+Your contributor "D." chooses to construe my unwillingness to make a
+direct charge--my hope that there were no such unworthy motives--into
+timidity; but I beg to remind "D." that there is not much, if any, of
+that apparent in my putting the plain questions I did, which,
+by-the-by, have not yet been very satisfactorily answered.
+
+I flatter myself that I know when and how to do battle, and when to sue
+for peace, as well as any in the service under whose flag I have the
+honour to sail; and I, as much as anyone, admire the man that can fight
+courageously when in the right, or apologise gracefully when in the
+wrong; but, as the object of this correspondence is neither to make
+recriminations, nor indulge in personal abuse, I return to the primary
+consideration of the subject, and endeavour to sift the motives of the
+movers of the proposition to unite the North and South London Societies,
+and ascertain, if possible, whether they have the good of those
+societies and the furtherance of photography really at heart or not.
+
+_Imprimis_, then, let us consider the arguments of "D.," who cites the
+resignation of three gentlemen in proof of the management of the London
+Photographic Society being "out of joint." He might as well say,
+"because a man is sick, leave him and let him die." If there were
+anything they disliked in the government of the Society, or any evil to
+be corrected, their most manly course was to have held on, and fought
+the evils down. They all had seats at the Council board, and if they had
+wished well to the Society, they would not have resigned them, but
+battled for the right, and brought their grievances, real or imagined,
+before the members. A special meeting has been called before now to
+consider personal grievances which affected the honour of the Society,
+and I should think it could have been done again. I do not maintain that
+all is right in the Society, but I do think that they were wrong in
+resigning their seats because an article appeared in the Society's
+journal condemnatory of a process to which they happened to be devotedly
+attached.
+
+It can scarcely be supposed that the cause of reform, or the general
+good of the country, would have been forwarded had Gladstone, Bright,
+and Earl Russell resigned their seats as members of either House because
+they could not carry their ministerial bill of last session. From this I
+argue that men who have the object they advocate, and the "best
+interests" of the Society, thoroughly at heart, will stick to it
+tenaciously, whether in or out of office, and, by their watchfulness,
+prevent bad becoming worse, in spite of captious opposition, fancied
+insults, or journalistic abuse.
+
+The next paragraph by "D." on which I shall comment contains that bold
+insinuation of timidity, which I have already noticed as much as I
+intend to do. But I wish to discuss the question of "absorption" a
+little more fully. I cannot at all agree with the sentiments of "D." on
+that subject. Absorption is in many instances a direct and positive
+advantage to both the absorber and absorbed, as the absorption of Sicily
+by Italy, and Frankfort and Hanover by Prussia. Nitric acid absorbs
+silver, and how much more valuable and useful to the photographer is the
+product than either of the two in their isolated condition; and so, I
+hold, it would be with the Society were the two other Societies to join
+the old one, impart to it their chief characteristics, re-model the
+constitution, and elect the members of the Council by ballot. We should
+then have a society far more powerful and useful than could ever be
+obtained by the formation of a new one.
+
+In the foregoing, I think I have also answered the question of Mr.
+Homersham, as well as that part of "Blue Pendant's" letter relating to
+the establishment of a _fourth_ society. On that point my views
+harmonise with those of your contributor, "D."
+
+On the subject of "members of Council," I do not agree with either "D."
+or your correspondent "Blue Pendant." The Council should be elected from
+and by the body of members, and the only qualifications necessary should
+be willingness and ability to do the work required. No consideration of
+class should ever be admitted. The members are all recommended by
+"personal knowledge," and elected by ballot, and that alone should be
+test sufficient on the score of respectability.
+
+Concerning "papers written as puffs," I cordially agree with "Blue
+Pendant" as far as he goes; but I go further than that, and would insist
+on each paper being scrutinised, before it is read, by a committee
+appointed for the purpose, so as to prevent "trade advertisements" and
+such shamefully scurrilous papers as I have heard at the South London
+Photographic Society.
+
+With reference to the questions put by "Blue Pendant," I beg to decline
+answering his second, it not being pertinent; but I shall reply to his
+first more particularly. He seems to have forgotten or overlooked the
+fact that I thought the advantages I enumerated would result from a
+union of the _three_ societies--not from an alliance of the two only.
+That I still look upon suspiciously as antagonistic to the Parent
+Society; and "Blue Pendant's" antagonism is proved beyond doubt when he
+says it is "tottering to its fall," and he almost gloatingly looks
+forward to its dissolution coming, to use his own words, "sooner or
+later," and "perhaps the sooner the better." But I venture to think that
+"Blue Pendant" is not likely to be gratified by seeing the "aged Parent"
+decently laid in the ground in his time. There is too much "life in the
+old dog yet"--even since the secession--for that to come to pass. It
+cannot be denied that the Parent Society has amongst its members some
+of the best speakers, thinkers, writers, and workers in the whole
+photographic community.
+
+While discussing this subject, allow me, gentlemen, to advert to an
+article in your contemporary of Friday last. In the "Echoes of the
+Month," by an Old Photographer, the writer thinks that the advantages I
+pointed out as likely to accrue from a union of the societies are a
+"pleasant prospect that will not bear the test of figures." It is a fact
+that "figures" are subject to the rules of addition as well as of
+subtraction, and I wish to show by figures that my ideas are not so
+impracticable as he imagines. In addition to the eight guineas a year
+paid by the North and South London Photographic Societies for rent, I
+notice in the report of the London Photographic Society, published last
+month, two items in the "liabilities" which are worth considering. One
+is "King's College, rent and refreshment, L42 4s. 6d.," which, I
+presume, is for one year. The other is "King's College _soiree_ account,
+L20 15s. 6d.," part of which is undoubtedly for rent of rooms on that
+occasion. Now there is a clear showing of over L50 12s. 6d. paid in one
+year by the three societies for rent and refreshment, the latter not
+being absolutely necessary. I may be mistaken in my estimate of the
+value of central property; but I do think a sum exceeding L50 is
+sufficient to secure a room or chambers large enough for the purposes of
+meeting, and keeping a library, &c.; or, if not, would it not be worth
+while making a strain to pay a little more so as to secure the
+accommodation required? If the Coventry Street experiment were a failure
+from apathy or other causes, that is no proof that another attempt made
+by a more numerous, wealthy, and energetic body would also be abortive.
+In sea phraseology, "the old ship has made a long leg to-day!" but I
+hope, gentlemen, you will not grudge the space required for the full and
+careful consideration of this subject. The "developing dish" and the
+ordinary _modus operandi_ of photography can well afford to stand aside
+for awhile to have this question discussed to the end. I have not said
+all I can on the amalgamation project, and may return to it again with
+your kind permission, if necessary.--I am, yours, &c.,
+
+Union Jack (J. Werge).
+
+_London, March 4, 1867._
+
+
+THE SOCIETY'S EXHIBITION.
+
+Impressions and Convictions of "Lux Graphicus."
+
+The brief and all but impromptu Exhibition of the Photographic Society,
+recently held in the rooms of the Architectural Society, 9, Conduit
+Street, Regent Street, where the Society's meetings are to be held in
+future, was one of the pleasantest and most useful expositions in
+connection with photography that has been consummated for many years. In
+the first place the idea of an exhibition evening free from the
+formalities of a _soiree_ was a happy one; the _locale_ was happily
+chosen; and the whole arrangements most happily successful. Everybody
+seemed to be pleased; cordial expressions of agreeable surprise were
+freely exchanged; and there were abundance and variety enough of
+pictorial display to satisfy the most fastidious visitor.
+
+As might have been expected, the works of M. Salomon, exhibited by
+Mr. Wharton Simpson, were the chief objects of attraction, and
+during the whole of the evening an anxious group surrounded the
+collection; and it was curious to remark with what eagerness these
+pictures were scrutinized, so as to ascertain whether they were
+examples of photography "pure and undefiled," or helped by artistic
+labour afterwards. That they are the very finest specimens of
+art-photography--both in the broad and masterly treatment of light and
+shade, pose, manipulation, tone of print, and after finish--that have
+ever been exhibited, is unquestionable; but to suppose that they are
+photographs unaided by art-labour afterwards is, I think, a mistake. All
+of the heads, hands, and portions of the drapery bear unmistakable
+proofs of after-touching. Some of them give evidence of most elaborate
+retouching on the hands and faces, on the surface of the print. I
+examined the pictures by daylight most minutely with the aid of a
+magnifying glass, and could detect the difference between the retouching
+on the negative, and, after printing, on the positive. The faces of
+nearly all the ladies present that appearance of dapple or "stipple"
+which nothing in the texture of natural flesh can give, unless the
+sitter were in the condition of "goose flesh" at the moment of sitting,
+which is a condition of things not at all likely. Again, hatching is
+distinctly visible, which is not the photographic reproduction of the
+hatch-like line of the cuticle. In support of that I have two forms of
+evidence: first, _comparison_, as the hatchings visible on the surface
+of the print are too long to be a reproduction of the hatch-like
+markings of the skin, even on the hands, which generally show that kind
+of nature's handiwork the most. Besides, the immense reduction would
+render that invisible even under a magnifying glass, no matter how
+delicate the deposit of silver might be on the negative; or even if it
+were so, the fibre of the paper would destroy the effect. Again, the
+hatchings visible are not the form of nature's hatchings, but all
+partake of that art-technical form called "sectional hatchings." I could
+name several of the prints that showed most conclusive evidence of what
+I say, but that is not necessary, because others saw these effects as
+well as I did. But I wish it to be distinctly understood that I have not
+been at the pains to make these examinations and observations with the
+view of lessening the artistic merit of these pictures. I unhesitatingly
+pronounce them the most beautiful achievements of the camera that have
+ever been obtained by combining artistic knowledge and skill with the
+mechanical aid of the camera and ability to handle the compounds of
+photographic chemistry. There is unmistakable evidence of the keenest
+appreciation of art, and all that is beautiful in it in the production
+of the negative; and if the artist see or think that he can perfect his
+work by the aid of the brush, he has a most undoubted right to do it.
+This question of pure and simple photography has been mooted all the
+summer, ever since the opening of the French Exhibition, and I am glad
+that I, as well as others, have had an opportunity of seeing these
+wonderful pictures, and judging for myself. Photography is truth
+embodied, and every question raised about the purity of its productions
+should be discussed as freely and settled as quickly as possible.
+
+There was another picture in the exhibition very clever in its
+conception, but not so in its execution, and I am sorry to say I cannot
+endorse _all_ the good that has been said of it. I allude to Mr.
+Robinson's picture of "Sleep." How that clever photographer, with such a
+keen eye to nature as he generally manifests in his composition
+pictures, should have committed such a mistake I am at a loss to know.
+His picture of "Sleep" is so strangely untrue to nature, that he must
+have been quite overcome by the "sleep that knits up the ravell'd sleeve
+of _care_" when he composed it. In the centre of the picture he shows a
+stream of light entering a window--a ghost of a window, for it is so
+unsubstantial as not to allow a shadow to be cast from its _seemingly_
+massive bars. Now, if the moon shone through a window at all, it would
+cast shadows of everything that stood before it, and the shadows of the
+bars of the window would be cast upon the coverlet of the bed in broken
+lines, rising and falling with the undulations of the folds of the
+covering, and the forms of the figures of the children. In representing
+moonlight, or sunlight either, there is no departing from this truth. If
+the direct ray of either stream through a closed window and fall upon
+the bed, so will the shadows of the intervening bars. Any picture,
+either painted or photographed, that does not render those shadows is
+simply untrue to nature; and if the difficulty could not have been
+overcome, the attempt should have been abandoned. Then the beams are not
+sharp enough for moonlight, and the shadows on the coverlet and children
+are not deep enough, and the reflections on the shadow side of the
+children's faces are much too strong. In short, I do not know when Mr.
+Robinson more signally failed to carry out his first intentions. Wanting
+in truth as the composition is, it proves another truth, and that is,
+the utter inability of photography to cope with such a subject. Mr.
+Robinson exhibited other pictures that would bear a very different kind
+of criticism; but as they have been noticed at other times I shall not
+touch upon them here.
+
+Herr Milster's picture bears the stamp of truth upon it, and is a
+beautiful little gem, convincing enough that the effect is perfectly
+natural.
+
+Mr. Ayling's pictures of the Victoria Tower and a portion of Westminster
+Abbey are really wonderful, and the bit of aerial perspective "Across
+the Water" in the former picture is truly beautiful.
+
+Mrs. Cameron persists in sticking to the out-of-the-way path she has
+chosen, but where it will lead her to at last is very difficult to
+determine. One of the heads of Henry Taylor which she exhibited was
+undoubtedly the best of her contributions.
+
+The pictures of yachts and interiors exhibited by Mr. Jabez Hughes were
+quite equal to all that could be expected from the camera of that
+clever, earnest, and indefatigable photographer. The portrait
+enlargements exhibited by that gentleman were exquisite, and of a
+totally different character from any other exhibitor's.
+
+Mr. England's dry plate pictures, by his modified albumen process, are
+undoubtedly the best of the kind that have been taken. They lack that
+appearance of the representation of _petrified_ scenes that most, if
+not all, previous dry processes exhibited, and look as "juicy" as "humid
+nature" can well be rendered with the wet process.
+
+Mr. Frank Howard exhibited four little gems that would be perfect but
+for the unnatural effect of the artificial skies he has introduced. The
+"Stranded Vessels" is nicely chosen, and one of the wood scenes is like
+a bit of Creswick uncoloured.
+
+Messrs. Locke and Whitfield exhibited some very finely and sketchily
+coloured photographs, quite up to their usual standard of artistic
+excellence, with the new feature of being painted on a ground of carbon
+printed from the negative by the patent carbon process of Mr. J. W.
+Swan.
+
+Mr. Adolphus Wing's cabinet pictures were very excellent specimens, and
+I think it a great pity that more of that very admirable style of
+portraiture was not exhibited.
+
+Mr. Henry Dixon's copy of Landseer's dog "Pixie," from the original
+painting, was very carefully and beautifully rendered.
+
+Mr. Faulkner's portraits, though of a very different character, were
+quite equal in artistic excellence to M. Salomon's.
+
+Mr. Bedford's landscapes presented their usual charm, and the tone of
+his prints seemed to surpass the general beauty of his every-day work.
+
+Mr. Blanchard also exhibited some excellent landscapes, and displayed
+his usual happy choice of subject and point of sight.
+
+An immense number of photographs by amateurs, Mr. Brownrigg, Mr.
+Beasley, and others, were exhibited in folios and distributed about the
+walls, but it is impossible for me to describe or criticise more.
+
+I have already drawn my yarn a good length, and shall conclude by
+repeating what I said at starting, that a pleasanter evening, or more
+useful and instructive exhibition, has never been got up by the
+Photographic Society of London, and it is to be hoped that the success
+and _eclat_ attending it will encourage them to go and do likewise next
+year, and every succeeding one of its natural life, which I doubt not
+will be long and prosperous, for the exhibition just closed has given
+unmistakable evidence of there being "life in the old dog yet."
+
+_Photographic News, Nov. 22nd, 1867._
+
+
+THE USE OF CLOUDS IN LANDSCAPES.
+
+The subject of printing skies and cloud effects from separate negatives
+having been again revived by the reading of papers on that subject at
+the South London Photographic Society, I think it will not be out of
+place now to call attention to some points that have not been commented
+upon--or, at any rate, very imperfectly--by either the readers of the
+papers or by the speakers at the meetings, when the subject was under
+discussion.
+
+The introduction of clouds in a landscape by an artist is not so much to
+fill up the blank space above the object represented on the lower part
+of the canvas or paper, as to assist in the composition of the picture,
+both as regards linear and aerial perspective, and in the arrangement of
+light and shade, so as to secure a just balance and harmony of the
+whole, according to artistic principles.
+
+Clouds are sometimes employed to repeat certain lines in the landscape
+composition, so as to increase their strength and beauty, and to unite
+the terrestrial part of the picture with the celestial. At other times
+they are used to balance a composition, both in form and effect, to
+prevent the picture being divided into two distinct and diagonal
+portions, as evidenced in many of the pictures by Cuyp; on other
+occasions they are introduced solely for chiaroscuro effects, so as to
+enable the artist to place masses of dark upon light, and _vice versa_.
+Of that use I think the works of Turner will afford the most familiar
+and beautiful examples.
+
+In the instances cited, I make no allusion to the employment of clouds
+as repeaters of colour, but merely confine my remarks to their use in
+assisting to carry out form and effect, either in linear composition, or
+in the arrangement of light and shade in simple monochrome, as evidenced
+in the engraved translations of the works of Rembrandt, Turner, Birket
+Foster, and others, the study of those works being most applicable to
+the practice of photography, and, therefore, offering the most valuable
+hints to both amateur and professional photographers in the management
+of their skies.
+
+Before pursuing this part of my subject further, it may be as well,
+perhaps, to state my general opinions of the effects of so-called
+"natural skies," obtained by one exposure and one printing. Admitting
+that they are a vast improvement on the white-sky style of the early
+ages of photography, they fall far short of what they should be in
+artistic effect and arrangement. In nearly all the "natural skies" that
+I have seen, their office appears to be no other than to use up the
+white paper above the terrestrial portion of the picture. The masses of
+clouds, if there, seem always in the wrong place, and never made use of
+for breadth of chiaroscuro.
+
+No better illustrations of this can be adduced than those large
+photographs of Swiss and Alpine scenery by Braun of Dornach, which
+nearly all contain "natural clouds;" but, on looking them over, it will
+be seen that few (if any) really exhibit that artistic use of clouds in
+the composition of the pictures which evidence artistic knowledge. The
+clouds are taken just as they happen to be, without reference to their
+employment to enhance the effects of any of the objects in the lower
+portion of the view, or as aids to the composition and general effect.
+For the most part, the clouds are small and spotty, ill-assorting with
+the grandeur of the landscapes, and never assisting the chiaroscuro in
+an artistic sense. The most noticeable example of the latter defect may
+be seen in the picture entitled "Le Mont Pilate," wherein a bald and
+almost white mountain is placed against a light sky, much to the injury
+of its form, effect, and grandeur; indeed, the mountain is barely saved
+from being lost in the sky, although it is the principal object in the
+picture. Had an artist attempted to paint such a subject, he would have
+relieved such a large mass of light against a dark cloud. An example of
+a different character is observable in another photograph, wherein a
+dark conical mount would have been much more artistically rendered had
+it been placed against a large mass of light clouds. There are two or
+three fleecy white clouds about the summit of the mountain, but, as far
+as pictorial effect goes, they would have been better away, for the mind
+is left in doubt whether they are really clouds, or the sulphurous puffs
+that float about the crater of a slumbering volcano. That photographs
+possessing all the effects required by the rules of art are difficult,
+and almost impossible to obtain at one exposure in the camera, I readily
+allow. I know full well that a man might wait for days and weeks before
+the clouds would arrange themselves so as to relieve his principal
+object most advantageously; and, even if the desirable effects of light
+and shade were obtained, the chances are that the forms would not
+harmonize with the leading lines of the landscape.
+
+This being the case, then, it must be self-evident that the best mode of
+procedure will be to _print in skies_ from separate negatives, either
+taken from nature or from drawings made for the purpose by an artist
+that thoroughly understands art in all its principles. By these means,
+especially the latter, skies may be introduced into the photographic
+picture that will not only be adapted to each individual scene, but
+will, in every instance where they are employed, increase the artistic
+merit and value of the composition. But to return to the subject chiefly
+under consideration.
+
+Clouds in landscape pictures, like "man in his time," play many
+parts--"they have their exits and their entrances." And it is almost
+impossible to say enough in a short paper on a subject so important to
+all landscape photographers. I will, however, as briefly and lucidly as
+I can, endeavour to point out the chief uses of clouds in landscapes.
+Referring to their use for effects in light and shade, I wrote, at the
+commencement of this paper, that the engraved translations of Turner
+afford the most familiar and beautiful examples, which they undoubtedly
+do. But when I consider that Turner's skies are nearly all sunsets, the
+study of them will not be so readily turned to practical account by the
+photographer as the works of others,--Birket Foster, for instance. His
+works are almost equal to Turner's in light and shade; he has been
+largely employed in the illustration of books, and five shillings will
+procure more of his beautiful examples of sky effects than a guinea will
+of Turner's. Take, for example, Sampson Low and Son's five shilling
+edition of Bloomfield's "Farmer's Boy," or Gray's "Elegy in a
+Churchyard," profusely illustrated almost entirely by Birket Foster; and
+in them will be seen such a varied and marvellous collection of
+beautiful sky effects as seem almost impossible to be the work of one
+man, and all of them profitable studies for both artist and photographer
+in the varied uses made of clouds in landscapes. In those works it will
+be observed that where the lower part of the picture is rich in variety
+of subject the sky is either quiet or void of form, partaking of one
+tint only slightly broken up. Where the terrestrial part of the
+composition is tame, flat, and destitute of beautiful objects, the sky
+is full of beauty and grandeur, rich in form and masses of light and
+shade, and generally shedding a light on the insignificant object below,
+so as to invest it with interest in the picture, and connect it with the
+story being told.
+
+From both of these examples the photographer may obtain a suggestion,
+and slightly tint the sky of his picture, rich in objects of interest,
+so as to resemble the tint produced by the "ruled lines" representing a
+clear blue sky in an engraving. Hitherto that kind of tinting has
+generally been overdone, giving it more the appearance of a heavy fog
+lifting than a calm blue sky. The darkest part of the tint should just
+be a little lower than the highest light on the principal object. This
+tint may either be obtained in the negative itself at the time of
+exposure, or produced by "masking" during the process of printing. On
+the other hand, when the subject has little to recommend it in itself,
+it may be greatly increased in pictorial power and interest by a
+judicious introduction of beautiful cloud effects, either obtained from
+nature, or furnished by the skill of an artist. If the aid of an artist
+be resorted to, I would not recommend painting on the negative, but let
+the artist be furnished with a plain white-sky print; let him wash in a
+sky, in sepia or india ink, that will most harmonise, both in form and
+effect, with the subject represented, take a negative from that sky
+alone, and put it into each of the pictures by double printing. This may
+seem a great deal of trouble and expense, and not appear to the minds of
+some as altogether legitimate, but I strenuously maintain that any means
+employed to increase the artistic merit and value of a photograph is
+strictly legitimate; and that wherever and however art can be resorted
+to, without doing violence to the truthfulness of nature, the status of
+our art-science will be elevated, and its professional disciples will
+cease to be the scorn of men who take pleasure in deriding the,
+sometimes--may I say too often?--lame and inartistic productions of the
+camera.
+
+
+THE USE OF CLOUDS AS BACKGROUNDS IN PORTRAITURE.
+
+There has long been in the world an aphorism that everything in Nature
+is beautiful. Collectively this is true, and so it is individually, so
+far as the adaptability and fitness of the object to its proper use are
+concerned; but there are many things which are truly beautiful in
+themselves, and in their natural uses, which cease to be so when they
+are pressed into services for which they are not intended by the great
+Creator of the universe. For example, what can be more beautiful than
+that compound modification of cloud forms commonly called a "mackerel
+sky," which is sometimes seen on a summer evening? What can be more
+lovely, or more admirably adapted to the purposes of reflecting and
+conducting the last flickering rays of the setting sun into the very
+zenith, filling half the visible heavens with a fretwork of gorgeous
+crimson, reflecting a warm, mysterious light on everything below, and
+filling the mind with wonder and admiration at the marvellous beauties
+which the heavens are showing? Yet, can anything be more unsuitable for
+forming the background to a portrait, where everything should be
+subdued, secondary, and subservient to the features of the individual
+represented--where everything should be lower in tone than the light on
+the face, where neither colour nor light should be introduced that would
+tend to distract the attention of the observer--where neither accessory
+nor effect should appear that does not help to concentrate the mind on
+the grand object of the picture--the likeness? Still, how often do we
+see a photographic portrait stuck against a sky as spotty, flickering,
+and unsuitable as the one just described! How seriously are the
+importance and brilliancy of the head interfered with by the
+introduction of such an unsuitable background! How often is the interest
+of the spectator divided between the portrait and the "overdone" sky, so
+elaborately got up by the injudicious background painter! Such
+backgrounds are all out of place, and ought to be abandoned--expelled
+from every studio.
+
+As the photographer does not possess the advantages of the painter, to
+produce his effects by contrast of colour, it behoves him to be much
+more particular in his treatment of light and shade; but most
+particularly in his choice of a background that will most harmonise
+with the dress, spirit, style, and condition in life of his sitter. It
+is always possible for a member of any class of the community to be
+surrounded or relieved by a plain, quiet background; but it is not
+possible, in nine cases out of ten, for some individuals who sit for
+their portraits ever to be dwellers in marble halls, loungers in the
+most gorgeous conservatories, or strollers in such delightful gardens.
+In addition to the unfitness of such scenes to the character and
+every-day life of the sitter, they are the most unsuitable for pictorial
+effect that can possibly be employed. For, instead of directing
+attention to the principal object, they disturb the mind, and set it
+wandering all over the picture, and interfere most seriously with that
+quiet contemplation of the features which is so necessary to enable the
+beholder to discover all the characteristic points in the portrait. When
+the likeness is a very bad one, this may be advantageous, on the
+principle of putting an ornamental border round a bad picture with the
+view of distracting the attention of the observer, and preventing the
+eye from resting long enough on any one spot to discover the defects.
+
+When clouds are introduced as backgrounds to portraits, they should not
+be of that small, flickering character previously alluded to, but broad,
+dark, and "massy," so as to impart by contrast more strength of light to
+the head; and the lighter parts of the clouds should be judiciously
+placed either above or below the head, so as to carry the light into
+other parts of the picture, and prevent the strongly-lighted head
+appearing a spot. The best examples of that character will be found in
+the engraved portraits by Reynolds, Lawrence, Gainsborough, and others,
+many of which are easily obtained at the old print shops; some have
+appeared in the _Art Journal_.
+
+As guides for introducing cloud effects, accessories, and landscape bits
+into the backgrounds of carte-de-visite and cabinet pictures, no better
+examples can be cited than those exquisite little figure subjects by R.
+Westall, R.A., illustrating Sharpe's Editions of the Old Poets. The
+engravings are about the size of cartes-de-visite, and are in themselves
+beautiful examples of composition, light, and shade, and appropriateness
+of accessory to the condition and situation of the figures, affording
+invaluable suggestions to the photographer in the arrangement of his
+sitter, or groups, and in the choice of suitable accessories and
+backgrounds. Such examples are easily obtained. Almost any old bookstall
+in London possesses one or more of those works, and each little volume
+contains at least half-a-dozen of these exquisite little gems of art.
+
+Looking at those beautiful photographic cartes-de-visite by Mr. Edge, I
+am very strongly impressed with the idea that they were suggested by
+some such artistic little pictures as Westall's Illustrations of the
+Poets. They are really charming little photographs, and show most
+admirably how much the interest and artistic merit of a photograph can
+be enhanced by the skilful and judicious introduction of a suitable
+background. I may as well observe, _en passant_, that I have examined
+these pictures very carefully, and have come to the conclusion that the
+effects are not produced by means of any of the ingeniously contrived
+appliances for poly-printing recently invented and suggested, but that
+the effects are produced simply by double printing, manipulated with
+consummate care and judgment, the figure or figures being produced on a
+plain or graduated middle tint background in one negative, and the
+landscape effect printed on from another negative after the first print
+has been taken out of the printing-frame; the figures protected by a
+mask nicely adjusted. My impressions on this subject are strengthened
+almost to conviction when I look at one of Mr. Edge's photographs, in
+particular a group of two ladies, the sitting figure sketching. In this
+picture, the lower part of the added landscape--trees--being darker than
+the normal tint of the ground, shows a _line_ round the black dress of
+the lady, as if the mask had overlapped it just a hair's breadth during
+the process of secondary printing. Be that as it may, they are lovely
+little pictures, and afford ample evidence of what may be done by skill
+and taste to vary the modes of treating photography more artistically,
+by introducing natural scenery sufficiently subdued to harmonise with
+the portrait or group; and, by similar means, backgrounds of clouds and
+interiors may be added to a plain photograph, which would enrich its
+pictorial effect, and enable the photographer to impart to his work a
+greater interest and beauty, and, at the same time, be made the means of
+giving apparent occupation to his sitter. This mode of treatment would
+enable him, in a great measure, to carry out the practice of nearly all
+the most celebrated portrait painters, viz., that of considering the
+form, light, shade, and character of the background _after_ the portrait
+was finished, by adapting the light, shade, and composition of his
+background to the pose and condition of life of his sitter.
+
+I shall now conclude my remarks with a quotation from Du Fresnoy's "Art
+of Painting," bearing directly on my subject and that of light and
+shade:--
+
+   "Permit not two conspicuous lights to shine
+    With rival radiance in the same design;
+    But yield to one alone the power to blaze,
+    And spread th' extensive vigour of its rays;
+    There where the noblest figures are displayed,
+    Thence gild the distant parts and lessening fade;
+    As fade the beams which Phoebus from the east
+    Flings vivid forth to light the distant West,
+    Gradual those vivid beams forget to shine,
+    So gradual let thy pictured lights decline."
+
+       *       *       *       *       *
+
+"LUX GRAPHICUS" ON THE WING.
+
+Dear Mr. Editor,--I have often troubled you with some of my ideas and
+opinions concerning the progress and status of photography, and you have
+pretty often transferred the same to the columns of the _Photographic
+News_, and troubled your readers in much the same manner. This time,
+however, I am going to tell you a secret--a family secret. They are
+always more curious, interesting, and important than other secrets,
+state secrets and Mr. McLachlan's photographic secret not excepted. But
+to my subject: "_The_ Secret." Well, dear Mr. Editor, you know that my
+vocations have been rather arduous for some time past, and I feel that a
+little relaxation from pressing cares and anxieties would be a great
+boon to me. You know, also, that I am a great lover of nature, almost a
+stickler for it, to the exclusion of _prejudicial art_. And now that the
+spring has come and winter has fled on the wings of the fieldfares and
+woodcocks--that's Thomas Hood's sentiment made seasonable--I fain would
+leave the pent-up city, where the colour of the sky can seldom be seen
+for the veil of yellow smoke which so constantly obscures it, and betake
+myself to the country, and inhale the fresh breezes of early spring;
+gladden my heart and eyes with a sight of the bright blue sky, the
+glistening snowdrops and glowing yellow crocuses, and regale my ears and
+soul with the rich notes of the thrush and blackbird, and the earliest
+song of the lark at the gates of heaven.
+
+It is a pleasant thing to be able to shake off the mud and gloom of a
+winter's sojourn in a town, in the bright, fresh fields of the country,
+and bathe your fevered and enfeebled body in the cool airs of spring, as
+they come gushing down from the hills, or across the rippling lake, or
+dancing sea. I always had such a keen relish for the country at all
+seasons of the year, it is often a matter of wonder to me that I ever
+could bring my mind to the necessity of living in a town. But bread and
+butter do not grow in hedgerows, though "bread and cheese" do; still the
+latter will not support animal life of a higher order than grub or
+caterpillars. "There's the rub." The mind is, after all, the slave of
+the body, for the mind must bend to the requirements of the body; and,
+as a man cannot live by gazing at a "colt's foot," and if he have no
+appetite for horseflesh, he is obliged to succumb to his fate, and abide
+in a dingy, foggy, slushy, and bewildering world of mud, bricks, and
+mortar, instead of revelling in the bright fields, fresh air, and
+gushing melodies which God created for man, and gave man senses to enjoy
+his glorious works.
+
+But, Mr. Editor, I am mentally wandering among "cowslips," daises,
+buttercups, and wild strawberry blossoms, and forgetting the stern
+necessity of confining my observations to a subject coming reasonably
+within the range of a class journal which you so ably conduct; but it is
+pardonable and advantageous to allow mind to run before matter
+sometimes, for the latter is more frequently inert than the former, and
+when the mind has gone _ahead_, the body is sure to follow. Melancholy
+instances of that present themselves to our notice too frequently. For
+example, when a poor lady's or gentleman's wits are gone, _lettres des
+cachets_, and some kind or _un_kind friends, send the witless body to
+some retreat where the wits of all the inmates are gone. I must,
+however, in all sober earnestness, return to my subject, or I fear you
+will say: "He is going to Hanwell." Well, perhaps I am, for I know that
+photography is practised at that admirable institution; and now that I
+have struck a professional chord, I may as well play on it.
+
+Lenses and cameras, like birds and flowers, reappear in spring, and, as
+the season advances and the sun attains a higher altitude, amateurs and
+professionals are quickened into a surprising activity. Renewed life is
+imparted to them, and the gregarious habits of man are developed in
+another form, and somewhat in the manner that the swallows return to
+their old haunts. At first, a solitary scout or reconnoitering party
+makes his appearance, then another, and another, until a complete flock
+of amateur and professional photographers are abroad, seeking what food
+they can devour: some preferring the first green "bits of foliage" that
+begin to gem the woods with emeralds, others waiting till the leaf is
+fully out, and the trees are thickly clothed in their early summer
+loveliness: while others prefer a more advanced state of beauty, and
+like to depict nature in her russet hues, when the trees "are in their
+yellow leaf." Some are contented with the old-fashioned homesteads and
+sweet green lanes of England for their subjects; others prefer the
+ruined abbeys and castles of the feudal ages, with their deeply
+interesting associations; others choose the more mythical monuments of
+superstition and the dark ages, such as King Arthur's round tables,
+druidical circles, and remains of their rude temples of stone. Some
+delight in pictorializing the lakes and mountains of the north, while
+others are not satisfied with anything short of the sublime beauty and
+terrific grandeur of the Alps and Pyrenees. Truly, sir, I think it may
+be safely stated that photographers are lovers of nature, and, I think,
+they are also lovers of art. If some of them do not possess that art
+knowledge which is so necessary for them to pursue advantageously either
+branch of their profession, it is much to be regretted; but there is now
+no reason why they should continue in darkness any longer. I know that
+it requires years of study and practice to become an artist, but it does
+not require a very great amount of mental labour or sacrifice of time to
+become an artistic photographer. A little hard study of the subject as
+it appears in the columns of your journal and those of your
+contemporaries--for I notice that they have _all_ suddenly become alive
+to the necessity of imparting to photographers a knowledge of art
+principles--will soon take the scales off the eyes of a man that is
+blind in art, and enable him to comprehend the mysteries of lines,
+unity, and light and shade, and give him the power to compose his
+subject as readily as he could give a composing draught to an infant,
+and teach him to determine at a glance the light, shade, and atmospheric
+effects that would most harmonize with the scene to be represented.
+Supposing that he is master of the mechanical manipulations of
+photography, he has acquired half the skill of the artist; and by
+studying and applying the rules of composition and light and shade to
+his mechanical skill, he is then equal to the artist in the treatment of
+his subject, so far as the means he employs will or can enable him to
+give an art rendering of nature, fixed and immovable.
+
+I do not profess to be a teacher, but I do think it is much more genial
+in spirit, and becoming the dignity of a man, to impart what little
+knowledge he has to others, than to scoff at those who do not know so
+much. If, therefore, Mr. Editor, in the course of my peregrinations, I
+see an opportunity of calling your attention, and, through you, the
+attention of others, to any glaring defects or absurdities in the
+practice of our dearly beloved art, I shall not hesitate to do so; not,
+however, with any desire to carp and cavil at them for cavilling's sake,
+but with the more laudable desire of pointing them out, that they may be
+avoided. During the coming summer I shall have, or hope to have, many
+opportunities of seeing and judging, and will endeavour to keep you duly
+advised of what is passing before me.
+
+My letters may come from all parts--N., E., W., and S.--so that they
+will, in that sense at least, harmonize with the nomenclature of your
+periodical. Where I may be at the date of my writing, the post-mark will
+reveal to you. And now I must consider my signature: much is in a name,
+you know. I can hardly call myself your "Special Correspondent"--that
+would be too much _a la Sala_; nor can I subscribe myself an "Old
+Photographer," for that would be taking possession of another man's
+property, and might lead to confusion, if not to difficulties; neither
+can I style myself a "Peripatetic Photographer"--though I am one--for
+that name sometimes appears in the columns of a contemporary; and my own
+name is such a long one, consisting of nearly half the letters of the
+alphabet. Well, I think, all things considered, I cannot do better than
+retain my old _nom de plume_. And with many apologies for this long,
+roundabout paper, and every expression of regard, I beg to subscribe
+myself your obliged and humble servant,
+
+Lux Graphicus (J. Werge).
+
+_March 27th, 1868._
+
+       *       *       *       *       *
+
+"LUX GRAPHICUS" ON THE WING.
+
+Oxford and Cambridge--Cabinet Portraits--Mr. McLachlan's Secret.
+
+Dear Mr. Editor,--Do not let the above heading alarm you. I have no
+desire to convert the columns of your valuable journal into a kind of
+photographic _Bell's Life_ or _Sporting Chronicle_. Although the great
+University boat race has just been decided for the eighth consecutive
+time in favour of Oxford, it is not of that aquatic struggle that I am
+going to write, but of another matter in which the Cantabs seem to be
+behind the Oxonians in the race of life, or the pursuit of novelties.
+Not only are the Cantabs short in their stroke with the oars, and unable
+to obtain the first place in the contests on the Thames, they are also
+slow in giving their orders for a certain article of commerce which is
+of very great importance to professional photographers, especially those
+in the neighbourhood of the University of Cambridge. It is a remarkable
+fact, that while Oxford has gone in with a rush for those very charming
+portraits technically named "cabinets," Cambridge holds aloof. How is
+this, I wonder. There are as good photographers in Cambridge--Mr.
+Mayland, to wit, whose work is all of the first class--as in Oxford; the
+sun shines as brightly in the region of the Cam as he does in that of
+the Isis. Have the Cantabs made up their minds not to be _cabinet_ men
+in opposition to Oxford? or is the fact due to the lukewarmness of the
+Cambridge photographers themselves? It seems somewhat strange that two
+places likely to be so similar in tastes and a refined appreciation of
+the beautiful should so differ in this respect. Are the men of the two
+great seats of learning in this country opposed in matters of
+photographic proportion as they are in other matters of minor
+importance--as in the proper pronunciation of either and neither, for
+instance? Not having graduated at either, I do not know which is
+correct, neither do I care; but I am concerned in this question of
+photography. While at Oxford the cabinet picture has taken deep root,
+and has grown into a strong and vigorous article of demand, it is a
+well-known fact that at Cambridge it is "sicklied o'er with the pale
+cast of thought," and languishes on in a state trembling between life
+and death. Whether the producers or consumers are to blame for this
+langour in the demand for an article that is certainly worth being
+cultivated, is more than I can say. I know that the discrepancy exists,
+and the rest I leave to those most immediately interested. It cannot,
+however, be supposed that a demand for any particular size or style can
+spring up spontaneously; that must be created by the producer, by
+popularising the style in some attractive and judicious manner, and the
+cabinet size is well deserving of a very strenuous effort being made in
+its favour.
+
+Of all the photographic sizes that have been introduced to the public,
+the cabinet is the most artistic in its proportions. As nearly as
+possible it falls under that art rule of producing an oblong or
+parallelogram of the most agreeable proportions, which is as the
+diagonal is to the square. The size of the cabinet is 5-1/2 by 4, and if
+you measure the diagonal of the square of 4 inches, you will find that
+the length of the cabinet, 5-1/2 inches, is as near that as possible.
+Doubtless Mr. Window had this in view when he introduced the size, and
+whether for upright or horizontal pictures, such proportions are
+decidedly the best. Many of the sizes already in use are too long,
+others are too short and square. In addition to the beautiful
+proportions of the cabinet size, it gives the portrait photographer more
+room and opportunities to introduce harmonious forms and effects in the
+posing and arrangements of portraits and groups; and I have seen some
+very charming views on the cabinet size, 5-1/2 by 4 inches horizontally;
+as well as some very beautiful interiors of Westminster Abbey, by Mr. V.
+Blanchard, on the cabinet cards vertical, which proves pretty
+conclusively that the proportions of the diagonal to the square of any
+size will suit both vertical and horizontal pictures. I have not the
+least doubt but a much greater demand for those cabinet pictures, both
+portrait and landscape, could be created, if photographers would set
+about introducing them with a will: depend upon it if they will but put
+their heart into the matter, they would put money into their pockets. I
+know how much has been done by launching them fearlessly on the sea of
+public patronage in several localities, and I feel certain the demand
+would be much more general if the cabinet picture were judiciously
+introduced. Mr. H. P. Robinson and Mr. Nelson K. Cherrill, having
+entered into partnership, are on the point of opening a photographic
+establishment at Tunbridge Wells, where they intend to incur
+considerable expense to introduce the cabinet portrait, and give it that
+prominence it so justly merits.
+
+Since writing you last, I learn from a friend who is intimate with Mr.
+McLachlan that there is every possibility of his secret being revealed
+ere long. That this secret formula will be an immense boon to all
+photographers, there can be little doubt. If an absolute immunity from
+streaks in the direction of the dip, brain-markings, and pinholes--which
+are the advantages said to be derived from the process--can be
+guaranteed, then will the manipulatory part of photography be at once
+made easy; and Mr. McLachlan will have conferred a personal obligation
+on every photographic manipulator. Not only will photographers be
+benefitted by Mr. McLachlan's generous conduct, the whole world will
+participate in the advantages he intends to place as a gift in the hands
+of photographers; and even _art_, that is so afraid of a photographic
+amalgamation, will be _honoured_ by the revelation. But once let the
+mind of the operator be for ever free from the cares and anxieties of
+his negative being clean, spotless, and excellent in quality, he will
+then have more time and inclination to put his art knowledge, if he have
+any, into practice, by paying more attention to the pose of his sitters
+and the artistic choice and arrangement of accessories. If he be without
+art knowledge he will be obliged to acquire it and put it into practice,
+or be driven out of his field of operations. For, if the chemical
+difficulties and uncertainties are to be so summarily disposed of, and
+all the manipulations reduced to a certainty and dead level, a
+pre-eminence in the profession can only be maintained by him who
+exhibits a taste, feeling, and love for his labours superior to the
+desire to palm upon the public, for mere gain, works that are a disgrace
+and a scandal to the profession of which he is a member. That such a
+condition of things photographic may be quickly brought about is much to
+be desired, and if such be the result of Mr. McLachlan's very noble
+willingness to give to the photographic community experiences that have
+cost him much time and money in acquiring by close observation and
+experiment, he will, at the least, be entitled to the sincere and hearty
+acknowledgments of all well-wishers and lovers of our art-science.
+
+_Apropos_ of clean and easy development, I should like to know if any of
+your numerous readers have tried the effect of sulphate of zinc with the
+iron developer. I understand its use obviates the necessity of using
+acetic acid as a retardant; that the deposit of silver is much more
+delicate than that produced by iron alone; that the control over it is
+very great; that any amount of intensity can be obtained by one or more
+applications, without the aid of pyrogallic acid, and without producing
+harshness or hardness. With such recommendations it is certainly worth a
+trial. I have had no time to try it myself, but think it is of
+sufficient importance to give your readers an opportunity of
+experimenting with it, and judging for themselves.
+
+_Photographic News, April 10th, 1868._
+
+       *       *       *       *       *
+
+"LUX GRAPHICUS" ON THE WING.
+
+The Late Lord Brougham--New Fields for Photography--Natural Objects
+Coloured--The Monochrome and Autotype--Mr. McLachlan again.
+
+Death has just swept away one of the most gigantic intellects of the
+nineteenth century. For me to state what the late Lord Brougham was, or
+attempt to enumerate his vast attainments, or measure the strength of
+his colossal mind, would be a piece of intolerable presumption; but I
+think I may safely say that he was an enthusiastic admirer of
+photography. Years ago, in the midst of his parliamentary and other
+pressing duties, whenever he could find time to enjoy the quiet of
+Brougham Hall, near Penrith, his giant mind was not above indulging in
+the delightful relaxation it afforded; and many a pleasant hour he used
+to spend chatting with Mr. Jacob Thompson, an artist of great ability,
+and also a very early amateur photographer, on the wonderful results
+obtained by the new art. The late Lord Brougham began his literary
+career by publishing a treatise on "Light," before photography was known
+or thought to be practicable; in after life he interested himself in its
+marvellous productions, and his last literary labour was also about
+light. Not only did the great statesman "know a little of everything,"
+he did a little in everything. The deceased lord took a lively interest
+in the progress of photography during his lifetime, from its earliest
+introduction to within a short period of his death; and it would have
+been a graceful and fitting compliment to the memory of the great man of
+law, politics, literature, and science, if the English newspapers had
+embellished their memoirs of the late Lord Brougham with a photographic
+portrait of his lordship. Such a thing is quite practicable, and has
+been done successfully by our more enterprising confreres in Canada and
+the United States. The _Montreal Weekly Herald_ of April 18th
+illustrates its memoir of the late Mr. T. d'Arcy McGhee with a very
+excellent carte-de-visite portrait of the lamented and unfortunate
+Canadian Minister, mounted on the upper corner of the front page,
+surrounded with a deep black border. What an appropriate accompaniment
+such a presentation would have been to the able articles and memoirs
+which appeared in the daily press on Monday, May 11th, 1868! How much
+more interesting and valuable those clever biographical sketches of
+great men, as they pass away to their rest, which appear in the _Daily
+Telegraph_ and other daily and weekly papers, would appear if
+illustrated with a photograph from life! That it can be done the
+_Montreal Weekly Herald_ has recently and satisfactorily shown; and
+surely there is enterprise, spirit, and wealth enough among the British
+newspaper proprietors to follow the very laudable example of our
+transatlantic cousins. Negatives of great men are always attainable, and
+there need be no commercial difficulty between the photographer and
+newspaper proprietor on the score of supply. A multiplication of
+negatives or Woodbury's process, would afford all the necessary
+facilities for producing the prints in large numbers.
+
+Many new fields for the good of photography are opening up. Pathological
+works have been photographically illustrated with some amount of
+success. But far pleasanter fields are open to enterprising
+photographers in the faithful representation of natural objects, such as
+flowers, fruits, ferns, grasses, shrubs, trees, shells, seaweeds, birds,
+butterflies, moths, and every variety of animal life, from the lowest
+orders to the highest. I believe the time is not far distant when the
+best works on all the physical sciences will be illustrated by coloured
+photographs. Those very beautiful German photographs of flowers recently
+introduced show most conclusively of what photography is capable as a
+help to a study of the natural sciences. The flowers are not only
+photographed from nature, but exquisitely coloured after the same
+fountain of truth; and the sense of reality, roundness, and relief which
+they convey is truly wonderful.
+
+Hitherto the colouring of natural objects photographed from nature has
+been a very difficult thing to accomplish; but now it is done, and with
+a marvellous success.
+
+The monochromatic process is also making great strides in advance. Those
+very beautiful transparencies, cabinet size, of the Queen and Royal
+Family are now to be seen in most of the photographic picture
+shop-windows in town and country. These transparencies are the
+productions of the Disderi Company, by Woodbury's photo-relief process,
+and the results now obtained are really beautiful, both in effect and
+colour, and sold at a very low price. But the _chef d'oeuvre_ of all
+monochromatic effects has just been achieved by the triple labours of
+Mr. Macnee, the artist, and Mr. Annan, the photographer, of Glasgow, and
+Mr. J. W. Swan, of Newcastle. The subject in question is a work of art
+in every respect. The original is a full-length portrait of Lord
+Belhaven, painted by Daniel Macnee, and now in the Royal Academy
+Exhibition. A photograph taken from the painting by Mr. Annan was worked
+up in monochrome by the eminent artist, from which another negative was
+taken by the same skilful photographer, and placed in the hands of Mr.
+J. W. Swan to be printed in carbon, which the latter gentleman has done
+in the most admirable manner. Altogether, the result is the most
+satisfactory reproduction by photography that has ever been placed
+before the public, and is less like a photograph and more like a fine
+mezzotint engraving than anything I ever saw. Mr. Annan is now
+publishing the work on his own responsibility, and a specimen of it can
+be seen at the offices of "The Autotype Printing and Publishing Co.," 5,
+Haymarket, London. Mr. Hill, of Edinburgh, is also about to publish, in
+carbon, a photograph of that beautifully painted picture entitled "A
+Fairy Raid," which was exhibited last year in the rooms of the Royal
+Academy by Sir Noel Paton. As in the former case, Mr. Annan copied the
+painting, Sir Noel worked on a print in monochrome, which was again
+photographed by Mr. Annan, and the negative passed to Mr. J. W. Swan to
+be printed in carbon. I understand that Poynter's celebrated picture of
+"Israel in Egypt" is about to be published, in a similar manner, by the
+Autotype Company. It is therefore quite evident that photography is
+becoming, in reality, more and more "a foe to graphic art," and
+eclipsing the lights and deepening the shadows of the _unluxy_ engraver.
+
+Mr. McLachlan has again spoken without giving any very materially new
+facts, or throwing much more light on his mysterious mode of working.
+The great point is, to throw light on the concentrated solution of
+nitrate of silver; and until that has been done it will be impossible
+for any one to say from experience and practice that there is nothing in
+the principle. Mr. McLachlan attributes a chemical property to the
+action of light on the bath that has never been thought of before, and
+he seems to believe it so sincerely himself, and expresses his
+convictions so earnestly, that I think photographers are somewhat bound
+to wait patiently till time and light will enable them to comply with
+all the conditions he lays down, and make a series of careful
+experiments, before they can say whether they are under obligations to
+him or not. At any rate, natural justice suggests that they should not
+render a foregone verdict.
+
+_May 17th, 1868._
+
+       *       *       *       *       *
+
+The Exhibition of National Portraits--The Tintype of America--The Spirit
+of Photography in Canada--The "Wise Week," and the Total Eclipse of the
+Sun.
+
+Dear Mr. Editor,--From various causes I have been absent from your
+columns as a contributor for some time, but not as a reader. The chief
+reason for this was the weather, which of late has been so hot and
+prostrating as to dry up both my ink and my energies. Now that the
+atmosphere is more cool, moist, and pleasant, my ink and my thoughts may
+flow together, and the resulting epistle may find a place on some page
+of the Photographic News; if not, I shall not be angry. I know that the
+world--and photography is my world--is not always mindful of its atoms.
+The great and immortal Cicero discovered that even he could be absent
+from Rome, and all Rome not know it. How much easier, then, for your
+readers not to discover my absence from your pages. But my inability to
+write and attend to other duties entailed more serious losses to myself.
+Amongst others I missed seeing the Royal Academy Exhibition, but found a
+compensating pleasure in going to see the Exhibition of National
+Portraits at South Kensington. What a school it is for photographers!
+What a variety of pose, arrangement, management of light and shade, is
+to be seen in that glorious collection of Vandykes, Hogarths,
+Gainsboroughs, Reynolds, Opies, Wilkies, Raeburns, Northcotes,
+Lawrences, Phillips, Shees, Richmonds, Grants, and many others of the
+present day! I hope many photographers have seen the collection. None
+ought to have missed the opportunity. All that saw must have profited by
+the sight. Portraits of great men that have been familiar to me in black
+and white for years were there before me in the rich mellow colouring of
+Vandyke, Reynolds, Wilkie, and Lawrence, and the mind seemed carried
+back into the past while looking at the works of those great artists.
+
+The exhibition will soon close, and all that have not seen it should
+endeavour to do so at once. There may never again be seen such a
+gathering together of the great of England, painted by England's
+greatest portrait painters. The Manchester Art Treasures Exhibition was
+a great assemblage of the glory of England, but it was not so complete,
+nor so instructive, nor so comfortable to view as that now open at South
+Kensington. In addition to the paintings there is a large and valuable
+collection of rare engravings, both in mezzotints and in line. The
+latter collection alone would make a visit highly pleasing, and, in a
+sense, remunerative to every photographer. Art is beginning to take
+root in the minds of those who follow photography, either professionally
+or for amusement, and those exhibitions are the salt that "savoureth the
+earth," which in due time will bring forth rich fruits.
+
+The "Tintype" is now being largely practised in America, and is fitted
+into an envelope or slip, carte-de-visite size. The slip is formed of
+paper, with an aperture to show the picture, and a flap to fall over it
+as a protector. I had some of these shown to me a short time ago. The
+tintype is only another name for the ferrotype or melainotype, which is
+a collodion positive picture taken on a piece of tin or iron, coated
+with black japan on the front, and a varnish on the back, to prevent the
+metal from acting on the bath. The carte-de-visite form of the tintype
+fitted in the envelope or holder is a very good and ready way of
+supplying all portraits wanted in a hurry, and its adoption might be
+found very serviceable to many photographers in England. The American
+examples that I have seen are very brilliant and beautiful, and, to my
+mind, next in delicacy of detail and richness of colour to the long
+discarded but ever beautiful Daguerreotype. I must admit, _en passant_,
+that the Americans always excelled in producing fine, brilliant
+Daguerreotypes, and it is much the same with them in the production of
+glass positives, ferrotypes, or tintypes.
+
+The spirit of photography in America and Canada is admirable. Mr.
+Notman, of Montreal, has long been doing some excellent cabinet pictures
+representing out-of-door-life, pleasures, and pastimes. Now Mr. Inglis,
+of Montreal, also produces most beautiful carte-de-visite and cabinet
+pictures of indoor and out-of-door scenes, such as drawing-rooms,
+libraries, &c., with suitably arranged and occupied figures in the
+former, and boating, bathing, and fishing parties in the latter. Some of
+these pictures have recently been shown to me. They are all very fine
+examples of photography. The tone and quality of some are beautiful.
+Many of them are admirably arranged, and exhibit considerable knowledge
+of composition; but some of them, particularly the interiors, are sadly
+at fault in their chiaroscuro. They possess no dominant light, or, if
+they do, it is in the wrong place, leading the eye away from the
+principal object. In most cases the lights are too scattered, giving a
+spotty and flickering effect to the picture, which is painful to look
+at. With his out-of-door scenes Mr. Inglis is more happy, and probably,
+from his antecedents, more at home. For example, the "Boating Party" is
+very happily composed, embracing the double form of angular
+composition--the triangle and the lozenge--and just a little more skill
+or care would have made it perfect in its lines. The whole scene is well
+lighted and got up. The boat, foreground of pebbles, stones, shrubs, and
+trees are all real; the water is represented by tin-foil, wet black
+oilcloth, or something of the kind, which reflects the forms and colours
+of objects placed upon or above it. The reflections seem too sharp to be
+those of water. The plan adopted by Mr. Ross, of Edinburgh, is the best.
+That gentleman has a large shallow trough fitted up in his studio with
+water in it.
+
+Surely such pictures of groups of friends and families would take in
+London and the provinces if people only knew where to get them. At
+present I know there is not a place in London where photographic
+pictures possessing such a variety and interest can be obtained. Mr.
+Faulkner is the only photographer that has yet attempted to produce such
+rural subjects in London, but I am not aware that he has yet introduced
+"the boat" into his studio.
+
+This is the "Wise Week," and it is to be hoped that the gathering
+together of the wisdom of the world at Norwich will in some way be
+beneficial to photography. You, Mr. Editor, I presume, will attend the
+meetings, and I shall look forward with considerable interest to your
+gleanings from the harvest of science that will this year be garnered in
+the transactions of the British Association.
+
+As I think of the date to affix to my letter, I am reminded that this is
+the day of the great total eclipse, visible in India, and that several
+expeditions are engaged in taking observations. The photographic
+arrangements, I notice, are more than usually complete, and I most
+sincerely hope that the astronomical photographers are favoured with
+bright and calm weather, so that they may succeed in obtaining the best
+photographic representations of the phenomenon. In this I am not
+influenced by the mere photographic idea of getting a picture, but
+rather with the hope that photography may be the legitimate and
+honourable handmaiden to the savants, astronomers, and mathematicians in
+enabling them to ascertain the constitutional condition, mode of
+sustenance, and interminable length of life of the great source of all
+our labours and achievements. Then would the sun write his
+autobiography, and his amanuensis would be his favoured child,
+photography.
+
+_August 18th, 1868._
+
+       *       *       *       *       *
+
+The Harvest is over, the Granaries are Full, yet Famine is in our
+Midst--Photographers' Benevolent and Provident Societies--Photography
+Ennobled--Revival of the Eburneum Process--The Societies and the Coming
+Session--Photographic Apparatus _v._ Personal Luggage.
+
+Dear Mr. Editor,--My quill is as restless as my wing, and, as I skim
+about like the swallows, many things fall under my observation that
+would otherwise not do so, some of which are noteworthy and of interest
+to the photographic profession, many are not; but harvest time is
+interesting to everyone, and it is of this I am going to make a few
+remarks. It is always a subject of grave importance and anxiety to a
+nation like ours, with a very limited area of cereal land, until it is
+known whether the harvest has been abundant or otherwise. It is also
+equally important that the harvest, however plentiful, should be
+carefully reaped and garnered, so that famine may not fall upon the
+people before another season of plenty shall come in its course. The
+cereal harvest is over, and has been wonderfully abundant, in spite of
+the unusually long, dry, and hot summer. The stack-yards are full, and
+the granaries are teeming with plenty, and there is bread enough for all
+that can afford to buy. There, that is the qualification that brings to
+my mind the most serious part of this subject. Although the season has
+been wonderfully fine and favourable for a rich harvest of all things,
+"famine is in our midst." A cry of woe is mingled with our mirth. A
+glorious summer and autumn have, on the whole, yielded a rich reward to
+the labourers in the pleasant and profitable fields of photography; yet
+there is want among some of the workers. In the columns of your
+contemporary I observe a letter "begging alms" on behalf of a poor widow
+and her little orphans. It is a case of pure charity, and far be it from
+me to say to anyone, "Do not help her;" "They have no claim on the
+sympathies of the photographic public;" "Neither she nor her late
+husband did anything to forward the progress of the art nor advance the
+interests of photographers in general." I grant the latter hypothesis,
+and say, "He that giveth to the poor lendeth to the Lord." Nevertheless,
+I cannot refrain from expressing my opinion that such painful appeals
+should not be allowed to appear in the columns of the photographic
+journals; all such private cases could and should be provided for by any
+of the provident organisations so common to other trades. The subject
+has been frequently mooted in your own columns, but no action has been
+taken. Very recently a lady correspondent called attention to the
+subject again, and now, in the pages of your contemporary, I notice an
+elaborate plan is laid down as the ground-work of a Photographers'
+Provident and Benevolent Society. That plan is open to some objections,
+but it is certainly desirable that such a society should be formed. It
+is rather late in the season for photographers to make any provision for
+cases 1 and 2, as the correspondent in your contemporary suggests--this
+year, at least; but I think his other plan of making a provision,
+however small, for widows and orphans is highly to be commended, and, if
+only carried into effect, would undoubtedly mitigate the anguish and
+lessen the fear of want in the minds of many deserving women, and might
+prevent the recurrence of those painful appeals to which I have just
+alluded. It is just as important and imperative a duty for every man to
+make some sort of provision for those dependent upon him as it is for
+the husbandman to reap and carefully house his harvest. Knowing the
+interest which you, Mr. Editor, personally take in this subject, I trust
+that you will exert your influence, and see if it be possible to found a
+society _at once_ that will grow in after years to be a monument to
+photography and to the goodness and forethought of the photographers of
+the present generation.
+
+Photography, like the fine arts, is honoured with a title of nobility. A
+baronetcy has recently fallen to the lot of one who for years has
+followed photography as a profession, taking cartes-de-visite and other
+photographs in the usual business-like manner. Of all the styles of
+distinction that are conferred upon men, I think baronetcies have been
+subject to the greatest number of vicissitudes, and spiced with the
+greatest amount of romance, from the romantic succession of Sir Robert
+Innes to Sir William Don, "a poor player;" and now the photographic
+profession includes among its members one of the baronets of England.
+
+Your description of the Eburneum process, given recently in your "Visits
+to Noteworthy Studios," has awakened quite a new interest in that
+beautiful form of photograph, introduced a few years ago by Mr. Burgess.
+Several photographers whom I know have set about producing them. The
+specimens which I have seen are very beautiful as cards, but they are
+particularly suitable for lockets, brooches, studs, pins, rings, &c.,
+being sharp, clear, and delicate, and easily cut to fit any size or
+shape.
+
+Next month some of the London photographic societies will commence the
+session of 1868-9, and it might be asked, What are their prospects? It
+is to be hoped that the North London will do better than it did last
+session. There was more than one _nil_ meeting. The South London will
+doubtless keep up its character, and exhibit its usual vitality. The
+personal interest taken in the meetings by their kind, genial, and
+courteous President is almost sure to develop all the latent force of
+the members. It is also to be hoped that _the_ Society will make as
+brilliant a start as it did at the commencement of the session last
+November. Such an exhibition as that in Conduit Street may easily be
+repeated, though it may not be such a startling one.
+
+The question raised, whether photographic apparatus be or be not
+considered "personal luggage" by the railway companies, is one of very
+great importance to photographers, but particularly to amateurs, for if
+decided against them it will cause no end of inconvenience, vexation,
+and expense by delays and extra charges. On the other hand, it must be
+admitted that the view taken by the railway authorities is technically
+correct. The very word "personal" shows that they mean such articles as
+are really and absolutely necessary for the personal comfort and
+convenience of travellers, which can only rightly include wearing
+apparel, changes of linen, dressing-cases, ladies' work boxes, and
+writing desks. These are absolutely indispensable for the comfort and
+convenience of travellers. Photographic apparatus, and particularly
+chemicals, do not come under that classification, and I think it is of
+great consequence to the railway companies and their passengers to know
+what should, or should not, be put into the "luggage van." I know a case
+where an amateur photographer was travelling by rail with a 12 by 10
+bath full of nitrate of silver solution packed among his clothes in a
+box in the luggage van. The bath leaked, the solution spoiled all his
+shirts, and he was driven to the shift of papering the fronts. Now,
+supposing the box containing the leaky bath had stood upon someone
+else's box--say a lady's--it might have run through and spoiled some
+valuable dresses; at the least, it would have spoiled the appearance of
+the box, to the great annoyance of the lady passenger, and the probable
+claim on the company for compensation. There are always two sides to a
+question, and though few men have travelled more with photographic
+apparatus in the luggage van than myself, I think, in this case, the
+best of the argument may be fairly ceded to the railway companies.
+
+_September 18th, 1868._
+
+       *       *       *       *       *
+
+"LUX GRAPHICUS" ON THE WING.
+
+His Flight to and from the Exhibition of the Photographic Society.
+
+Dear Mr. Editor,--On Tuesday night last I took the liberty of looking
+into the rooms of the Architectural Society, to see the photographs, and
+listen to the gossip of the visitors at the _conversazione_ of the
+Photographic Society. To hear the complimentary remarks and the
+exclamations of pleasure was as delightful to my ear as the first song
+of the lark in spring.
+
+The assemblage--not brilliant, but genial, pleasant, and happy--was as
+refreshing to the eye as the first glimpse of the vernal flowers; and
+the pictures hung upon the walls and screens, and laid upon the tables,
+were, in more senses than one, a feast to the mind almost without alloy.
+For my own part, I felt so joyful, I could not help fluttering my wings,
+shaking my feathers, and flitting about from one place to another,
+chirping, chatting, and pecking lovingly about this pretty thing, and at
+that old friend, till long after my usual time of going to roost. And
+when I did at last tear myself away and fly home, I could not help
+exclaiming, Well, there never was a pleasanter evening nor a nicer
+exhibition in the whole history of the Society! But I could not sleep;
+I put my head under my wing, shook my feathers, and tried to settle into
+the most comfortable and cosy positions, but it was no use. The pretty
+landscapes and pleasing portraits I had seen shone brighter and brighter
+before me; I was compelled to mentally review them; and here follows the
+result of my incubations. My first thoughts were to work the pleasures
+of the evening by a kind of rule-of-three process, by considering the
+value of the landscapes and portraits exhibited, to arrive at the worth
+of the exhibition; but not so much in a money point of view, as in the
+merits of the works, and their probable influences on the workers.
+
+Taking the landscape portion of the exhibition as first in the order
+into which I had mentally catalogued the pictures, it was an easy and
+delightful thing to skim over such a vast extent of this world's surface
+that evening. To journey to and from the glens of Scotland, the dales of
+England and Wales, the lakes of Ireland, the mountains of the Tyrol, to
+Abyssinia and the famous heights of Magdala, was but the work of a few
+minutes, thanks to the purveyors of that mental banquet. But to do full
+justice to the exhibitors I must endeavour to enumerate their principal
+works, and comment thereon with the utmost impartiality. Most
+unquestionably the gems of the landscape portion of the exhibition were
+eight exquisite little pictures by Mr. Russell Manners Gordon, affording
+unmistakable proof of what the gum-gallico dry process is capable of
+yielding in his hands. It is almost, if not quite, equal to the wet
+process for detail and delicacy. This is particularly noticeable in the
+view of Carnarvon Castle. Indeed, Mr. Bedford's picture of the same
+subject--which, I presume, is by the wet process--on the other side of
+the screen, contrasts rather unfavourably with it. Mr. Gordon's
+selection of his point of sight, and general treatment of that subject
+alone, are unmistakable proofs of his refined taste and feeling for the
+art capabilities of landscape photography. The wet collodion pictures by
+Mr. Gordon are also beautiful examples of the art. His cottages with
+sheep browsing in the foreground, which is an instantaneous picture, is
+remarkable for its beauty and arrangement. These pictures are
+beautifully printed, and possess a tone which harmonizes charmingly with
+the subjects. Amongst the other landscape photographers Mr. England and
+Mr. Bedford stand unrivalled in their peculiar branches. The views in
+the Tyrol, lately taken by Mr. England, are so excellent that they
+cannot but add to that gentleman's high reputation.
+
+Mr. Bedford's views are also quite equal, if not superior, to his
+previously-exhibited works. Some pretty views of the Lakes of Killarney
+by Mr. Archibald Irvine were well worthy of notice. Mr. F. Beasley,
+Junr., exhibited some very excellent examples of the Fothergill process;
+some printed in silver, and others in carbon, from the same negatives. I
+think the carbon prints were superior in colour, but the silver prints
+possess most detail and depth. Views of Wimbledon and other places by
+Mr. Vernon Heath were also good examples of that gentleman's
+photography. Some beautiful cloud effects by Messrs. Robinson and
+Cherrill, of Tunbridge Wells, and Mr. Fox, of Brighton, attracted
+considerable attention, and elicited great praise. The large composition
+picture, "Returning Home," by Mr. Robinson, was greatly admired by
+nearly everyone that looked at it. One or two ill-natured or ignorant
+remarks were made about that picture, but I candidly think it is the
+very best picture that Mr. Robinson has produced. The sunshine on the
+one side, and the rain storm sweeping over the other, are both cleverly
+and artistically managed. I am sorry I cannot say the same of the group
+of children which hung near the latter. The group, though perfect in its
+photographic details and tone, is too suggestive of scissors and paste
+to be a good picture, in my estimation.
+
+Mr. Wardley's large Taupenot pictures were very excellent. The very
+interesting pictures of Abyssinia by the 10th Company of Engineers were
+very attractive. Groups of the captives--political, religious, and
+artisan, with their families--and the officers of the Expedition, formed
+interesting pictures. The views of Magdala, Theodore's house, the
+mushroom fortifications, and other flimsy defences, as revealed by the
+truth-telling camera, seemed to lessen considerably the glory of the
+capture of Magdala.
+
+Having dismissed the landscape portion of the exhibition without
+mentioning all the many excellent contributions thereto, I next turn my
+thoughts again to the contributions of portraits. The examples of that
+branch of photography were nearly all of first-rate excellence, a large
+number of them being _a la Salomon_, M. Adam-Salomon himself
+contributing no less than fifteen. With one or two remarkable
+exceptions, these pictures were not equal to those exhibited last year,
+and a general feeling prevailed that they were neither his later works,
+nor the best of his former; still, they were a very effective display,
+and attracted great and deserved attention. As I have, on a former
+occasion, expressed my opinion on the great excellence of M. Salomon's
+works, I shall not comment further thereon at present, but proceed to
+notice those which most nearly approached them in photographic
+and artistic essentials. Undoubtedly Mr. Valentine Blanchard's
+contributions, both in number and quality, come nearer to M. Salomon's
+works than any other contributor's. Mr. Blanchard exhibited ten
+portraits _a la Salomon_, some of which are quite equal to the French
+artist's best works, without the elaborate working-up which the latter
+exhibit. Mr. Blanchard has not been at all times fortunate in his
+sitters, which is very much to be regretted, for we all know how much a
+beautiful subject helps a good photograph. Hitherto, Mr. Blanchard has
+been an exhibitor chiefly as a landscape and figure-study photographer.
+Now that he has taken more kindly to portraiture, and exhibits such
+capabilities for its successful practice, I hope he will find it
+sufficiently remunerative to induce him to be a steady and persevering
+disciple of M. Salomon. Messrs. Robinson and Cherrill also exhibited two
+beautiful and Salomon-like portraits: one of M. Salomon himself, and one
+of Mr. Hain Friswell; the latter, I think, is decidedly the best. Mr.
+Mayland, of Cambridge, sent six very excellent portraits in Salomon's
+style, all very good but one; a gentleman in a velvet coat was
+particularly successful.
+
+The pictures exhibited by Mr. Briggs, of Leamington, though extremely
+forcible and beautiful, were not exactly an imitation of the style of M.
+Salomon.
+
+Mr. Leake, of Cornhill, had a frame containing six very capital
+portraits in the style of the eminent French photographer, but a little
+overdone in after-touching--too much elaborated. In this respect he far
+outdid his great prototype. Messrs. Fradelle and Leach also exhibited a
+number of whole-plate pictures _a la Salomon_, which were very good
+indeed. Messrs. Slingsby, Burgess, Ashdown, Dunmore, and S. Fry, were
+also exhibitors of the same style of portraits, 10 by 8 size; but it is
+a pity the latter did himself the injustice of exhibiting so many, for
+there was only one--an old gentleman with a grey beard--that was really
+worthy of him. Never did any man's joke recoil more forcibly on himself
+than that of Mr. Fry's. The faces of some of his female portraits--one
+in particular--were, in my estimation, as flat, white, and shadowless as
+a piece or knob of sal-ammoniac itself; but I must say that the portrait
+of the gentleman above referred to was all that could be desired as an
+artistic photograph.
+
+Amongst the cabinet pictures exhibited by English photographers, I think
+those by Mr. Hubbard were decidedly the finest. One entitled "The
+Toilet," and another of a lady seated at a window, which might be named
+"A Sultry Day in Town," are charmingly artistic photographs. A
+composition picture by the same artist was also very skilfully treated;
+indeed, it was mistaken by many to be a copy of a picture, and might
+easily have been taken for a copy of a painting by T. Faed. Mr. Briggs,
+Mr. Godbold (of Hastings), Mr. Gillo, Messrs. Lucas and Box, also
+exhibited some beautiful cabinet pictures.
+
+Cartes-de-visite in their ordinary form were somewhat scarce, but Dr.
+Wallich, Mr. Charles Heath, Mr. Bateman, and others, made a good show of
+vignettes.
+
+Mrs. Cameron exhibited some large pictures in her peculiar style; but my
+own opinion and that of others was, that she is improving.
+
+Mr. Ernest Edwards exhibited a large collection of carbon pictures, in
+black and other colours; some mounted on chromo-tinted paper, and some
+excellent enlargements in carbon. The Autotype Company exhibited a fine
+copy of Lord Belhaven, which I noticed some time ago; also a very
+valuable and beautiful collection of copies from drawings by old
+masters, all bound together, making a handsome and very interesting
+collection.
+
+Mr. Rejlander had a large collection of his art photographs on view, all
+of which were clever, some facetious, and many very beautiful
+conceptions.
+
+A frame of coloured enamels by Mr. Bailey, and some in black-and-white
+by Mr. Henderson and Mr. Barnes, also attracted considerable notice.
+
+The eburneumtypes by Mr. Burgess, a coloured collodio-chloride portrait
+on ivory by Mr. J. Edwards, and other collodio-chloride and opalotype
+pictures, were very much admired. The cabinet vignettes by Reutlinger,
+and the cabinet pictures by Wenderoth, were both in request at the
+table, on account of their beauty and interest.
+
+I must not forget to mention a very interesting series of twenty-four
+stereoscopic pictures by Mr. Alfieri, illustrative of "The Potter's
+Art."
+
+Mr. Jabez Hughes and Mr. Meagher were both exhibitors of very excellent
+and useful apparatus--cameras, camera-stands, and rolling-presses.
+
+Now I think such an exhibition as I have but partially described cannot
+fail to have produced a pleasing and beneficial effect on the minds of
+all who saw it, and ought, on the whole, to have given infinite pleasure
+and satisfaction to both exhibitors and visitors. Yet I think I heard
+one or two growls of discontent about the hanging from someone whose
+pictures or whose friend's pictures were not on the line; but I think I
+may safely say there never was a case of hanging yet that was not
+objected to by one individual at least. Even the hangers of the Royal
+Academy do not escape censure, and they are supposed to have far more
+skill, taste, and experience in hanging than the volunteer hangers of
+the late photographic exhibition. I think, however, that the hangers
+performed their duties both conscientiously and creditably, especially
+when it is considered in how very short a time the work had to be done.
+Anyone who felt aggrieved, and expressed himself churlishly on that
+point, must surely have been in that unenviable state which the French
+very adroitly designate _Etre marque au B_.
+
+After these reflections I felt too drowsy to reflect any more, and was
+barely awake enough to subscribe myself--Yours very truly.
+
+_November 10th, 1868._
+
+       *       *       *       *       *
+
+The Refunding of the Balance of the Goddard Fund--The Photographers'
+Provident Society--A Ferocious Doorsman--The South London Dinner--A
+Christmas Carol.
+
+My Dear Sir,--Now that the balance of the Goddard Fund is returned to
+the contributors, and all the trials and vexations the administration of
+the fund brought upon the chief promoters are known, I think the very
+best thanks of the whole body of subscribers to that fund are due to the
+committee for their firm and sensible determination to provide for the
+wants of the poor imbecile recipient in the manner they did, and for
+their withstanding the attempt made by a person who was not in the
+least related to the late Mr. Goddard to obtain possession of the
+balance in hand. I, for one, a subscriber to the fund, return them my
+most hearty acknowledgments, not for the money returned to me, but for
+the straightforwardness of their report, and the wise and judicious
+manner in which they dispensed the funds. While congratulating myself
+and confreres on seeing the money not required for the relief of the
+late Mr. Goddard returned to the subscribers instead of going into the
+possession of a person for whom it never was intended, I think it is to
+be regretted that no responsible party had foreseen that much of this
+returned money would have been gladly placed to the credit of some
+benevolent or provident institution connected with photography. The
+whole amount, or even the half of it, would have made a very handsome
+nucleus for the commencement of such a fund. I have heard several wishes
+to that effect expressed during the last few days. Doubtless the
+committee did the very best thing they could have done for their own
+credit and the entire satisfaction of the whole of the subscribers; but
+I am afraid an opportunity has been lost in the interest of the
+incipient relief fund by not having had a receiver for these stray and
+unexpected sums appointed. The praiseworthy act of Messrs. Ross and
+Pringle, as noticed in another journal, confirms this impression.
+
+While the subject of a photographers' provident or relief fund is before
+me, I may mention that in the Report of the Friendly Societies recently
+issued by Mr. Tidd Pratt, he speaks in the highest terms of those
+societies which are managed by the members themselves without salaries,
+and condemns the extravagance exhibited by the societies of a similar
+nature which are conducted by salaried officials. Now, as it is a
+friendly society pure and simple that sick or needy photographers ought
+to look to for future help, in my opinion the former is the kind of
+society that should be established. The movement is not to be started
+as a business speculation, and there should be no salaries attached to
+any of the offices. Each member joining the provident society should be
+prepared to submit to the tax on his time and energies, if elected to
+office, as part and parcel of the amount he subscribes for the general
+welfare of the body and relief of individual members. For my part, I
+object to the contemplated society taking the form of a relief fund
+depending upon donations, collections at dinners, &c., for its support.
+Such means for raising the necessary funds to start the society may be
+allowable; but after it is commenced, every individual connected with it
+should be a subscribing member, and not allowed to receive any benefit,
+except under the most urgent necessities, until he has paid a certain
+number of subscriptions.
+
+During one of my peregrinations about town lately I stumbled upon a very
+ferocious doorsman. My attention was suddenly arrested, while passing
+one of those photographic establishments which keep a kind of two-legged
+hyena prowling up and down before their doors, by hearing the somewhat
+startling and cannibalistic exclamation of "I'll eat yer!" Looking
+round, I saw that one of those prowling bipeds had fastened upon two
+quiet-looking young gentlemen, evidently strangers in town and to town
+ways, and had so importuned them to sit for "a correct likeness," until
+they turned upon him, and threatened to give him in charge if he did not
+desist; when he retaliated by threatening to eat them, and used a great
+deal of sanguinary and abusive language as a substitute for more
+palatable suavity. Is such an "outsider" or hanger-on a fit and proper
+person to join a photographers' provident society, or be the recipient
+of a benevolent relief fund?
+
+The South London Photographic Society's annual dinner came off on
+Saturday evening last at the "Salutation Tavern," Newgate Street.
+Twenty-three members and friends, all told, sat down to dinner, and
+enjoyed a thoroughly English repast. After the cloth was removed, the
+pleasantest part of the evening commenced. The worthy and honoured
+president, the Rev. F. F. Statham, M.A., who occupied the chair, was all
+geniality, and gave the toast of the evening--"The South London
+Photographic Society"--in his usually felicitous style. To Mr. Jabez
+Hughes was allotted the task of proposing the next important
+toast--"Photography"--which he did in the most glowing and eloquent
+terms, dwelling on the rise and progress of the art in England, its
+position in a competitive point of view at the Paris Exhibition,
+interspersed with some racy and facetious remarks on the different modes
+and kinds of rewards, from the bronze, silver, and gold medals, to the
+paper certificates, which he considered the most honourable mentions
+that could be given by a discerning public. From that he soared into the
+higher aspirations of photographers and sublime regions of photography,
+giving, with thrilling effect, a description of the social joys,
+scientific pursuits, and human ameliorations to which photography
+administers. Mr. Baynham Jones, being the oldest photographer present,
+had the honour of replying on behalf of the art. Mr. G. Wharton Simpson,
+in very appropriate terms, gave the toast, "Art Photography," which was
+responded to by Mr. O. G. Rejlander. Mr. Johnson, of the Autotype
+Company, had the honour of proposing the toast "Professional
+Photography," which was responded to by Mr. Valentine Blanchard,
+who occupied the vice-chair. Other toasts of a professional and
+semi-professional character were given and responded to. The intervals
+were filled up with part and instrumental music by members of the
+Society. Mr. Cooper contributed greatly to the evening's enjoyment by
+giving two charming performances on the cornet-a-piston, which were
+admirably accompanied by Mr. Henry Cooper on the piano. Taking it all in
+all, it was one of the pleasantest and merriest evenings I have ever
+enjoyed at the convivial meetings of the South London Photographic
+Society, and formed a delightful introduction to the season of universal
+festivity which is close at hand.
+
+Christmas, all over the civilized world, is not only a period of festive
+reunion, but, according to the only rational interpretation of the word,
+a time of good will towards men, and peace upon earth. Photographers,
+like other men, have had their little differences of opinion, which have
+produced partial estrangements during a portion of the year which will
+so soon expire; but let the approaching season, which is held in
+commemoration of the birth of the greatest Peacemaker that ever came
+among men, be looked upon by all as the fittest time to forget and
+forgive all slights, injuries, or insults, real or imaginary; and let
+not the great festival of our common faith be clouded or eclipsed by an
+angry thought, nor the immeasurable charity of true Christianity be
+dimmed by one unforgiving feeling. The light of the Christian faith is a
+light that should penetrate to the dark cells of our hearts, and dispel
+all the gloomy and corrosive accumulations of controversy that may have
+lodged there, and unconsciously eaten away any part of our better
+nature. Few of us--none but the most presumptuous--can lay his hand upon
+his heart and say, "Mine is immaculate!" None of us are without sin, and
+charity and forgiveness are the greatest of the Christian virtues; and
+they should be the more carefully studied and practised by all who live
+in and by the Light of the world.
+
+_December 15th, 1868._
+
+
+PHOTOGRAPHY AND THE IMMURED POMPEIIANS.
+
+Everyone must be sensible of the many and varied applications of
+photography. Even photographers themselves, familiar as they are with
+the capabilities of the art they practise, must necessarily have their
+wonder excited occasionally at the scope of their art-science,
+especially when they consider that the process, as practised at the
+present day, is not more than seventeen years old. That it should be the
+historian of the life and manners of the present period more fully and
+faithfully than any written account, is not so much a matter of
+surprise. Appealing, as it does, to the vanity and affections of the
+people, it is at once a recorder of the changes of fashion, a registrar
+of marriages, births, and deaths, and a truthful illustrator of the
+times in which we live; but that it should be brought to bear upon the
+past, and make the inhabitants of the world in the nineteenth century
+familiar with the forms, fashions, manners, life, and death of the
+people of the first century of the Christian Era, is something to be
+marvelled at, and at first seems an impossibility. Yet such is the fact;
+and photography has been made the cheap and easy means of informing the
+present generation of the manner in which the ancients behaved,
+suffered, and died in the midst of one of the most appalling
+catastrophes that ever overtook the inhabitants of any part of the
+world, ancient or modern, as vividly and undeniably as if the calamity
+had occurred but yesterday.
+
+The foregoing reflections were excited by seeing very recently some
+photographs from plaster casts of the forms of human beings as they had
+fallen and died when Pompeii and Herculaneum were destroyed by the first
+known and terrible eruption of Mount Vesuvius. The photographs alluded
+to reveal with a fearful fidelity the dreadful agonies of some of those
+who perished at Pompeii, and, while looking at the pictures, it is very
+difficult to divest the mind of the idea that they are not the works of
+some ancient photographer who plied his lens and camera immediately
+after the eruption had ceased, so forcibly do they carry the mind back
+to the time and place of the awful immurement of both a town and its
+people.
+
+That these photographs were not obtained from the lifeless forms of the
+Pompeiians the reader will readily understand, for their bodies have not
+been preserved entire from that day to this. The question then naturally
+arises, "How could plaster casts be obtained from which the photographs
+were produced?" To answer that question I must briefly explain that
+Pompeii was not, as is generally understood, destroyed by an overflow of
+red hot lava, which would have burnt up every particle of human flesh
+with which it came in contact almost instantly, without leaving a mould
+or impress of the form which it surrounded. The _black mud_ which flowed
+from Vesuvius into the doomed town of Pompeii entombed the houses and
+inhabitants--covered them up and formed a thick crust over them, which
+gradually hardened, and as the bodies crumbled away to dust a mould or
+matrix was left, from which plaster casts of great beauty and finish
+might have been obtained of almost everything that was destroyed.
+Unfortunately, this was not discovered until very recently, after many
+of the beautiful moulds had been destroyed by the process of hurried,
+thoughtless, and unsystematic excavation. It was only a short time
+ago, since Naples was united to Italy, that careful and intelligent
+excavation secured to future generations impressions from those matrices
+made by the most terrible process of natural mould making.
+
+Sig. Fiorelli, who was appointed superintendent of excavations at
+Pompeii, happily thought of obtaining casts from these natural moulds by
+pouring in soft plaster of Paris, and thus secure more useful mementos
+than by preserving the moulds themselves. Amongst the first casts thus
+obtained were the forms of four human beings, described as follows in
+the _Quarterly Review_ for 1864:--
+
+"These four persons had perished in the streets. Driven from their
+homes, they sought to flee when it was too late. These victims of the
+eruption were not found together, and they do not appear to have
+belonged to the same family or household. The most interesting of the
+casts is that of two women, probably mother and daughter, lying feet to
+feet; they appear from their garb to have been people of poor condition.
+The elder seems to lie tranquilly on her side, overcome by the noxious
+gases. She probably fell and died without a struggle. Her limbs are
+extended, and her left arm drops loosely. On one finger is still seen
+her coarse iron ring. Her child was a girl of fifteen; she seems,
+poor thing, to have struggled hard for life. Her legs are drawn up
+convulsively. Her little hands are clenched in agony. In one she holds
+her veil, or part of her dress with which she had covered her head,
+burying her face in her arms to shield herself from the falling ashes
+and from the foul, sulphurous smoke. The form of her head is perfectly
+preserved. The texture of her coarse linen garments may be traced, and
+even the fashion of her dress, with its long sleeves reaching to her
+wrists. Here and there it is torn, and the smooth young skin appears in
+the plaster like polished marble. On her tiny feet may still be seen her
+embroidered sandals. At some distance from this group lay a third woman,
+apparently about the age of twenty-five, and belonging to a better
+class. Silver rings were on her fingers. She lay on her side, and had
+died in great agony. Her garments had been gathered up on one side,
+leaving exposed a limb of the most beautiful form. She had fled with her
+little treasure, two silver cups, a few jewels, and some silver coins,
+and her keys, like a careful matron. The fourth cast is that of a man of
+the people, perhaps a common soldier. He is almost of colossal size. He
+lies on his back, his arms extended by his side, and his feet stretched
+out, as if, finding escape impossible, he had laid himself down to meet
+death like a brave man. His dress consists of a short coat or jerkin,
+and tight-fitting breeches of some coarse stuff, perhaps leather; heavy
+sandals, with soles studded with nails, are laced tightly round his
+ankles. On one finger is seen his iron ring. His features are strongly
+marked, his mouth open, as in death. Some of his teeth still remain, and
+even part of the moustache adheres to the plaster."
+
+Such is the description of the plaster casts; and the photographs which
+I possess of those casts convey to the mind at one glance all that is
+there written. Wonderful photography! How eloquent in their silence are
+thy pictures! To what more dignified and sublime uses could any art be
+put? Only a few can look upon those casts of the dead Pompeiians in the
+Museum of Naples, but the whole world may view the photographs taken
+from them, and look upon the Pompeiians in their forms and habits as
+they died, and read a page from the unwritten histories of those
+terrible death-struggles, when the strong man, the tender, placid
+mother, and the young and delicate maiden were all entombed in that
+fearful sea of mud, amidst darkness and horrors that can never be
+adequately described.
+
+Such an awful catastrophe will never cease to interest the student of
+ancient history, and photography will now be the means of deepening his
+interest, and revealing to his mind with greater force and lucidity many
+scenes that actually occurred at the very moment of the appalling
+destruction of Pompeii, on the 24th of August, A.D. 79.
+
+
+A SIMPLE MODE OF INTENSIFYING NEGATIVES.
+
+Undoubtedly the best possible practice of photography is that which
+requires no after intensification in the production of a first-class
+negative. This, however, though a "consummation devoutly to be wished,"
+is not always attained, even by the most experienced photographer. Every
+operator knows that there is sometimes a condition of things that
+renders a simple and efficient process of intensifying afterwards
+indispensable.
+
+Of all the modes of intensifying--and their name is legion--I think the
+readiest and most generally useful has been much neglected. The
+persulphate of uranium and ferridcyanide of potassium process gave
+wonderfully charming results. But what of that? It was completely
+impracticable, and a failure, in consequence of its tendency to go on
+increasing in intensity in the hands of the printer.
+
+The bichloride of mercury and iodine processes, unlimited in number,
+also went on increasing in an unlimited degree, and no amount of
+"roasting" could reduce the negatives so treated to the desirable degree
+of transparency that would enable any printer to obtain good
+impressions. There is, however, one of the bichloride of mercury
+processes, published some years ago, which I modified so as to give the
+most satisfactory results. It rendered the negative sufficiently
+intense, and preserved the most exquisite modelling, without changing
+afterwards; but the process was very troublesome, and not very
+agreeable.
+
+The simplest, cheapest, and most reliable process of intensifying
+negatives that I know of is with sulphuret of potassium (liver of
+sulphur) used in the following manner:--
+
+Make a very dilute solution of sulphuret of potassium, put it into any
+old gutta-percha or porcelain bath; and, after the negative is developed
+as far as is desirable with the ordinary iron developer, fixed, and
+washed in the usual way, immerse the plate in that state at once into
+the solution of sulphuret of potassium, in the same manner as in
+sensitising the plate in the nitrate bath, by using a dipper, and leave
+it there until sufficiently intense, which is generally in about the
+time required for coating and sensitising another plate, so that, if the
+operator be working single-handed, very little, if any, time is lost in
+the process of intensifying.
+
+The solution may also be flooded over the plate in the same manner as
+the developer, after fixing and washing as before.
+
+When sufficiently intense, rinse the plate with water, dry, and varnish
+in the ordinary way. But it is best to use the intensifier in the manner
+first described, which is by far the most cleanly and economical plan,
+both in the saving of time and solution. By using it with the "bath and
+dipper," it is not offensive, on account of its extreme dilution, and
+not being disturbed so much, or immediately under the olfactory nerves
+of the operator, it may be worked in the ordinary dark room with the
+greatest safety and convenience.
+
+
+A STRING OF OLD BEADS.
+
+He is a rash man who announces "something new" in these days. I believe
+there is nothing new under the sun, and in photography especially. If
+any man be rash enough to rush into print with what he considers a new
+idea, some other man rushes into print also and says the idea is old,
+exploded, useless, worthless, or worse.
+
+I lay no claim to originality. I have lived so long in the atmosphere of
+photography, I don't know where or how I picked up my knowledge--such as
+it is. Some of it I may have stumbled on, some of it I may have found,
+and some of it I may have stolen. If the latter, I forget from whom,
+when, or where, and in all such cases a bad memory is a good and
+convenient thing. But I will endeavour to atone for such sins by
+publicly restoring all I may have filched from other men's brains for
+the benefit of all whom it may concern. I shall not count the beads;
+that would be like running over a rosary, and I object to sub rosa
+revelations; neither shall I attend to the order of stringing the beads,
+but will put them on record just as they come to hand; and the first
+is--
+
+_How to Make Vignette Papers._--Take a piece of sensitised paper, lay it
+under a piece of glass and let it blacken. Then take a camels'-hair
+pencil dipped in a weak solution of cyanide of potassium, and paint the
+extreme size and shape of the desired aperture. Let it dry, and with a
+little stronger solution of cyanide paint _within_ the size and shape,
+and then with a stronger solution paint the centre, which will be
+perfectly white and semi-transparent. The object of using the three
+strengths of solution and painting three separate times is to obtain
+gradation, and the edges will be yellow and softened like a vignette
+glass. These vignette papers can be attached to the back of the negative
+or to the outside of the printing-press, and can be used either in shade
+or sunshine without materially prolonging the time of printing. The
+cost of production is trifling, as any waste piece of paper and spare
+time can be employed in making them, and they do not occupy much time in
+making; in fact, one can be made in less time than will be spent in
+reading this description. I need not expatiate on the advantages of
+being able to make a special vignette quickly. Every photographer must
+have experienced the difficulty of purchasing a special size and shape
+to suit a particular subject.
+
+_How to Point a Pencil._--Rub the pencil to a point in the groove of a
+corundum file. This is a better and cheaper pointer than a Yankee
+pencil-sharpener, and it puts a finer point to a blacklead pencil than
+anything else I know. Retouchers, try it.
+
+_How to Ease a Tight Stopper._--There is nothing more annoying in the
+practice of photography than to take up a bottle and find the stopper
+_fixed_. In many instances the bottle is broken and time wasted in
+trying to remove the fixed stopper. When such an obstinate stopper gets
+into your hands, run a little glycerine round the top of the bottle. Set
+the bottle down, and in a few minutes the stopper will be free.
+Prevention is better than cure. Keep a little glycerine on all your
+stoppers. Glycerine agrees with every chemical in photographic use, and
+prevents stoppers and bottles coming to grief. In a thousand and one
+ways a little glycerine is beyond all price.
+
+_How to Prepare Albumenized Prints for Colouring._--Pour over them a
+little matt varnish. This removes the greasiness, and gives a fine tooth
+and ivory-like surface for the artist to work upon.
+
+_How to Remove Silver Stains from the White Ground of a
+Vignette._--Touch it with a solution of cyanide of potassium, and wash
+off immediately. The other parts of the picture will not be injured.
+
+_How to Stipple a Window White or Yellow._--For white, mix a little
+dextrine and kaolin in water. Dab the mixture on the glass with a piece
+of cotton. For the purpose of obscuration that is quite enough; but if
+sightliness be essential, finish by stippling with the ends of a
+hog's-hair brush. For yellow, mix a little dextrine and deep orange
+chrome in powder together in water, and apply it to the window in the
+same manner. Dabbing once or twice with a piece of cotton will exclude
+white light and make a luminous dark room. The same mixture makes an
+excellent backing for dry plates to prevent halation.
+
+
+LIGHTS AND LIGHTING.
+
+A great deal has been written and said about lights and lighting--a
+great deal too much; yet more must be said and written.
+
+Light is to the photographer what the sickle is to the shearer--a good
+reaper can cut well with an indifferent sickle, but an indifferent
+reaper never gets a good sickle in his hand. A good photographer, who
+also understands light and shade, can produce good pictures in an
+ordinary studio. It is the indifferent photographer who runs after
+"fancy lights," and is, like a benighted traveller in pursuit of a
+will-o'-the-wisp, eventually left floundering in a bog. It is folly to
+construct powerful concentrators if powerful reflectors have to be
+employed to counteract their defects. If a limited amount of diffused
+light be absolutely necessary it is best to retain it and use it in its
+simplest and least expensive form.
+
+When I commenced photography glass houses were scarcer in England than
+comets in the heavens, and the few that were in existence were all
+constructed on false principles. It was not until I visited America that
+I saw a _properly_-constructed studio. The Americans were, and are,
+prone to give stupid names to sensible things; and the names they gave
+to their studios were no exceptions. This, that, and the other
+photographer advertised his "mammoth skylight." I went to sit, see, and
+be satisfied that their mode of lighting was very superior to ours. I
+was convinced _instanter_ that the perpendicular sides and sloping
+roofs of our miserable little hothouses were mistakes and things to be
+abhorred, while their spacious rooms and "mammoth skylights" were things
+to be admired and adopted.
+
+In one of these rooms, and almost without blinds or reflectors, the
+sitter could be "worked" on a semi-circle or half oval, and "lighted"
+either in front or on either side at pleasure, and with the greatest
+facility. I determined, there and then, to build my next studio on
+similar principles; but until recently I have had no opportunity of
+carrying out my intentions. To get what I required and to make the best
+of my situation I had to "fence and fiddle" the district surveyor: but I
+gained my point, and the victory was worth the foils and the
+fiddlestick.
+
+My studio can be lighted from either side; but the "light of lights" is
+the north one, and that is a large fixed window 11 by 9 feet with a
+single slope of two and a half feet in the height; that is, two and
+a half feet out of the perpendicular at the top, with no other top light
+and no perpendicular side light. With this light I do all ordinary work.
+I can work round the light from one side of the room to the other, as
+under a mammoth skylight, without using either blind or reflector. If I
+want Rembrandt effects I have only to open a shutter on the south side,
+and let in subdued sunlight. That at once becomes the dominant light,
+and the north light illumines the shadows. The bottom of the north light
+is three feet from the floor.
+
+The advantages of this form of studio are these. It is cool, because no
+more light is admitted than is absolutely necessary. It is neat, because
+no rag-like curtains are hanging about. It is clean, because there is
+nothing to collect dirt. It is dry, because the pitch of the roof
+renders leakage impossible. It is pleasant to the sitter, because of
+these desirabilities, and that the light is not distressing. It is
+agreeable to the operator, because the work is easy and everything is
+comfortable.
+
+
+Printed by Piper & Carter, 5, Furnival Street, Holborn, London, E.C.
+
+
+
+
+SEVEN NEW SIZES,
+
+ALL WITH
+
+TRANSPARENT
+
+FILM.
+
+   [Illustration: Kodak Film Camera]
+
+No apparatus connected with Photography has ever excited so much
+interest as
+
+THE KODAK.
+
+The No. 1, making a round picture, was only the entering wedge, and
+served its purpose admirably, in introducing to the public the vast
+advantages of a Camera using films over any form of Camera using glass.
+
+This year we beg to call your attention to SEVEN NEW
+SIZES, viz.:--
+
+  No. 2,     3-1/2 inch Circular Picture, one finder.
+  No. 3,     Regular, 3-1/4 x 4-1/4, Square Picture, two finders.
+  No. 3,     Junior,        "
+  No, 4,     Regular, 4 x 5,
+  No. 4,     Junior,    "
+  No. 4,     Folding,   "
+  No. 5,       "      5 x 7,           "      "             "
+
+_Send for the New KODAK PRIMER, fully describing all sizes and styles._
+
+
+  THE EASTMAN PHOTOGRAPHIC MATERIALS COMPANY, Limited,
+  115, Oxford Street, London, W.
+
+
+
+
+IT IS ADMITTED by Every Competent Authority THAT WRATTEN'S 'LONDON'
+PLATES ARE THE UNIVERSAL STANDARD OF EXCELLENCE AND COMPARISON.
+
+This high reputation has been sustained against a host of competitors
+for twelve years:--a fact without parallel in the annals of the Gelatine
+process.
+
+
+Messrs. Wratten & Wainwright's Complete Illustrated Catalogue contains
+full Particulars and Prices of a large and varied Stock of Photographic
+Requirements, together with specially-written Instructions for
+developing the "London" Plates, Printing, Toning, and other operations,
+and will be forwarded free upon application to
+
+  WRATTEN & WAINWRIGHT,
+  PHOTOGRAPHIC CHEMISTS AND APPARATUS MAKERS,
+  AND
+  Sole Proprietors and Manufacturers of the
+  "London" Dry Plates,
+  38, GREAT QUEEN STREET, LONG ACRE,
+  LONDON, W.C.
+
+
+
+
+THE AUTOTYPE COMPANY
+
+MANUFACTURES
+
+AUTOTYPE TISSUES, TRANSFER PAPERS, & MATERIALS
+FOR PERMANENT PHOTOGRAPHIC PRINTING.
+
+
+    =AUTOTYPE ENLARGEMENTS.=--Portraits and Views produced of any
+      dimensions up to 5 ft. by 3 ft. 6 in.; their grandeur, beauty,
+      and unalterability secure public favour.
+
+    =AUTOTYPE DRY PLATES=, manufactured with Burton's Coating Machine,
+      are rich in silver, very rapid, yielding clear vigorous negatives,
+      of uniform quality. The plates are of superior glass, and packed
+      in strong metal-grooved boxes up to 15 by 12 inches. To be
+      obtained only of the Autotype Company.
+
+    =BOOK ILLUSTRATIONS=, by Sawyer's =Collotype Process=, employed by
+      the Trustees of the British Museum, by the Royal, Palaeographical,
+      Hellenic, Numismatical, and other learned Societies, and by the
+      leading publishers. Prints direct on the paper with suitable
+      margins.
+
+    =AUTO-GRAVURE.=--The Autotype process as applied to Photographic
+      Engraving on Copper is of wide application in the reproduction of
+      Works of Art, and is highly appreciated by the disciples of
+      Naturalistic Photography as efficiently rendering the qualities of
+      negatives direct from nature. Examples of Auto-gravure, in the
+      reproduction of paintings by Holman Hunt, the late Frank Holl,
+      R.A., W. Ouless, R.A., Val. Prinsep, A.R.A., of drawings by Hy.
+      Rylands, of a frieze, "Spring," by Herbert Draper, of a Group from
+      the frieze of the Parthenon, &c., &c., can be seen at 74, New
+      Oxford Street.
+
+       *       *       *       *       *
+
+The AUTOTYPE FINE ART GALLERY,
+
+_74, New Oxford Street, London_,
+
+is remarkable for its display of Copies of celebrated Works by
+
+"THE GREAT MASTERS"
+
+from the Louvre, Vatican, Hermitage, and the National Galleries of
+Italy, Spain, Holland, and London, including H.M. Collections at
+Buckingham Palace and Windsor Castle.
+
+Albums of reference to the various Galleries are provided, are easily
+looked over, and of great interest to lovers of Art. Send for the new
+Pamphlet, "AUTOTYPE: a Decorative and Educational Art," per post to
+any address.
+
+The AUTOTYPE FINE ART CATALOGUE, 186 pp., free per post for 6d.
+
+
+THE AUTOTYPE COMPANY, LONDON.
+
+Offices: 74, New Oxford Street, w. c. -- Works: Ealing Dene, Middlesex.
+
+
+
+
+  =Grand Prix & Gold Medal, Paris Exhibition, 1889.=
+  Council Medal and Highest Award, Great Exhibition, London, 1851.
+  Gold Medal, Paris Exposition, 1867. Medal and Highest Award,
+    Exhibition, London, 1862.
+  Medal and Diploma, Antwerp. 1878.
+  Medal and Diploma, Centennial Exhibition, Philadelphia, 1875.
+  Two Gold Medals, Paris Exposition, 1878. Medal and Diploma,
+    Sydney, 1879.
+  Gold Medal, Highest Award, Inventions Exhibition, 1885.
+
+
+ROSS' LENSES AND APPARATUS.
+
+IMPORTANT ANNOUNCEMENT.
+
+In consequence of the greatly increased demand for their Photographic
+Cameras and Apparatus, Ross & Co. have fitted up the first floor of
+112, New Bond Street, as
+
+
+SPECIAL SHOW ROOMS
+
+for exhibiting the newest and most improved forms of
+
+CAMERAS AND ACCESSORIES OF ALL DESCRIPTIONS.
+
+For the convenience of purchasers, they have also constructed
+
+_A FULLY EQUIPPED DARK ROOM,_
+
+where the Apparatus may be practically tested, and
+
+USEFUL INSTRUCTIONS GIVEN TO BEGINNERS.
+
+Amateurs are invited to inspect ROSS' COMPLETE OUTFITS.
+
+
+ROSS' IMPROVED CAMERAS.
+
+Extra Light and Portable; Double Extension.
+
+New Form DOUBLE SLIDE,
+
+=Less Costly than the Ordinary Form of Dark Slide.=
+
+  Absolutely Light-proof. Smaller than Ordinary. No Superfluous Openings.
+  No risk of Plates being broken by pressure. Certainty of Register.
+  Lighter than Ordinary. No Hinges or Clips to get out of order.
+  No chance of Warping.
+
+
+SPECIAL SMALL & LIGHT CAMERAS,
+
+=For use with the New Form Double Slide.=
+
+
+_Catalogues and Full Particulars, with Estimates, on application to_
+
+ROSS & CO., 112, NEW BOND STREET, LONDON.
+
+Works: Clapham Common, S.W.
+
+
+
+
+  H. MOORSE,
+  Photographic Apparatus Manufacturer
+  TO THE GOVERNMENT (Established over 25 years),
+  154, High Holborn, London, W.C.
+  (Near New Oxford Street and Museum Street.)
+
+
+SQUARE CAMERA.
+
+LIGHT CAMERA.
+
+Both one price. Cash with Order, 10 per cent. off.
+
+   [Illustration: Bellows Cameras]
+
+                       4-1/4 x 3-1/2    6-1/2 x 4-3/4    8-1/2 x 6-1/2
+                          L  s. d.         L  s. d.         L  s. d.
+
+  Camera and Three        6  0  0          7 10  0          9  8  0
+  Double Backs.
+
+  Rectilinear Lens        3  0  0          3 10  0          5  0  0
+  with Iris Diaphragm
+  Travelling Bag.
+
+  Brown Canvas with       0 18  0          1  0  0          1  2  0
+  Spring Lock.
+
+  Solid Leather Spring    1  5  0          1  8  0          1 12  0
+  Lock.
+
+  Rotating Turn Table     1  7  0          1 12  0          1 12  0
+  with Tripod Stand.
+
+  Brass Binding Camera    1  5  0          1  5  0          1 10  0
+  and Slide.
+
+                         10 x 8    12 x 10   15 x 12   18 x 16   24 x 18
+                         L  s. d.  L  s. d.  L  s. d.  L  s. d.  L  s. d.
+
+  Camera and three      11 15  0  14 14  0  18 18  0  24  0  0  26  0  0
+  Double Backs.
+
+  Rectilinear Lens       6 10  0   8 10  0  10 10  0  16 15  0  25  0  0
+  with Iris Diaphragm   (2 cases)
+  Travelling Bag.
+
+  Brown Canvas with      1 15  0   2 10  0   3 12  0   4 14  0   6  0  0
+  Spring Lock.
+
+  Solid Leather Spring   2  5  0   3  5  0   4 15  0   6  5  0   8  0  0
+  Lock.
+
+  Rotating Turn Table    2  0  0   2  5  0   2 10  0   2 15  0   3  5  0
+  with Tripod Stand.
+
+  Brass Binding Camera   1 12  0   2  0  0   2 12  0   3  3  0   4  4  0
+  and Slide.
+
+CAMERA BELLOWS.
+
+  Outside Size.      Length.   Leather.   Black Cloth.
+      6     x 5         8          3/3          2/3
+      6     x 6         9          3/6          3/-
+      7-1/2 x 7-1/2    12          8/-          6/-
+      9-1/2 x 9-1/2    18         12/-          8/6
+     11     x 11       18         14/-          9/-
+     13     x 13       20         15/-         11/-
+     17     x 17       22         20/-         15/-
+     18     x 24       30         40/-         30/-
+     24     x 24       60        100/-         80/-
+
+
+POCKET OR HAND CAMERAS, WITH THREE DOUBLE BACKS.
+
+    4-1/4 x 3-1/4, L3 3s. 6-1/2 x 4-3/4, L4 4s.
+
+
+
+
+MARION & CO.'S PLATES.
+
+_Manufactured at their Works, Southgate._
+
+
+  BRITANNIA ORDINARY PLATES (Yellow Label.)
+
+  BRITANNIA EXTRA RAPID " (White Label.)
+
+  INSTANTANEOUS         " (Brown Label.)
+  Prepared specially for extremely rapid work.
+
+  ACADEMY LANDSCAPE PLATES (Cream Label.)
+  Specially prepared for Landscape work; very thickly coated and rich in
+  Silver.
+
+       *       *       *       *       *
+
+  Marion's Argentic-Bromide Opals.
+  Principally used for Enlargements and Contact printing. Very effective.
+
+  COWAN'S GELATINO-CHLORIDE PLATES (Green Label).
+  For Lantern Slide Work.
+
+  COWAN'S CHLORO-BROMIDE PLATES (Violet Label).
+  For making Transparencies in the Camera.
+
+  COWAN'S GELATINO-CHLORIDE TRANSPARENCY PLATES.
+  On ground glass.
+
+  COWAN'S ORGANIC CHLORIDE OPALS (Red Label).
+  Printed and toned like ordinary sensitised paper. Very artistic. They
+  must be used fresh.
+
+
+MARION & CO., 22 and 23, Soho Square,
+LONDON.
+
+
+
+
+For PHOTOGRAPHIC
+
+GOODS AND PROMPT ATTENTION
+
+GO TO
+
+J. WERGE,
+
+PHOTOGRAPHIC STORES,
+
+11a, Berners Street, Oxford Street, London. W.
+
+
+     WERGE'S "Sans Ammonia Developer" is used by numerous expert
+       amateurs. A 1/- bottle will develop 128 quarter-plates,
+       any make.
+
+     WERGE'S Dry Plate Varnish dries without heat, and protects the
+       negatives from silver and platinum stains, 1/- per bottle
+       and upwards.
+
+     WERGE'S Retouching Medium, 1/- per bottle.
+
+     WERGE'S Sensitised Paper is the best. 12/6 per quire; sample
+       sheet 10d. post free.
+
+     WERGE'S Borax Toning Solution gives the best tones, and is
+       simplest and most economical. 1/- per pint.
+
+     WERGE'S Ferro-Prussiate Paper gives the best results with least
+       trouble. 1/- per sheet.
+
+     WERGE'S Shilling Lantern is the best ever introduced.
+
+     WERGE'S Dry Plate Instructions are the best ever published.
+       1/1-1/2 post free, including Jabez Hughes's "Principles and
+       Practice of Photography." Wet Plate Process, Printing, &c., &c.
+
+
+
+
+J. H. DALLMEYER, OPTICIAN,
+
+25, NEWMAN STREET, LONDON, W.
+
+Has obtained the highest awards for his Lenses wherever exhibited, and
+at all the great International Exhibitions.
+
+       *       *       *       *       *
+
+CASH PRICES OF THE PRINCIPAL PORTRAIT AND VIEW LENSES:
+
+  EXTRA RAPID (C).
+                    in.            in.
+  2C, For Children, 2-3/4 dia. 4-1/2 f.  L15 15  0
+  3C       "        3-1/2  "   6     f.   26  5  0
+
+  QUICK ACTING (B).
+                        in.        distance.
+  1B,        for C.D.V. 2     dia. 12 ft.  L6  5  0
+  1B Long,       "      2-1/8  "   14 ft.   6 15  0
+  2B,            "      2-3/4  "   18 ft.  12 16  0
+  2B Patent,     "      2-3/4  "   18 ft.  13  5  0
+  3B   "     Cabts. and 3-1/2  "   18 ft.  20  0  0
+  4B   "       larger   4-1/2  "   25 ft.  40  0  0
+
+
+NEW RAPID RECTILINEAR PORTRAIT LENSES.
+
+See descriptive Catalogue.
+
+
+ORDINARY INTENSITY (A)--Patent.
+
+  1A, for Cabinets, in short rooms.
+      dia. 2-3/4 in., distance 14 ft.          L13  0  0
+  2A, for Cabinets up to 8-1/2 x 6-1/2,
+      dia. 3-1/2 in., distance 20 feet          18  0  0
+  3A, for Cabinets up to 9 x 7,
+      dia. 4 in., distance 24 feet              27  5  0
+  4A, for Imperial Portraits and 10 x 8
+      dia. 4-1/2 in., focus 14 in.              38 10  0
+  5A, for plates 15 x 12 and under,
+      dia. 5 in., focus 18 in.                  50  0  0
+  6A, for plates 20 x 16 and under,
+      dia. 6 in., focus 22 in.                  60  0  0
+
+
+PORTRAIT AND GROUP (D)--Patent.
+
+  3D, Portraits 8-1/2 x 6-1/2, Views 10 x 8,
+      dia. 2-1/8 in., focus 10-1/2 in.           9 10  0
+  4D, Portraits 10 x 8, Views 12 x 10,
+      dia. 2-7/8 in., focus 13 in.              13 10  0
+  5D, Portraits 12 x 10, Views 15 x 12,
+      dia. 3-1/4 in., focus 16 in.              17 10  0
+  6D, Portraits 15 x 12, View. 18 x 16,
+      dia. 4 in., focus 19-1/2 in.              26 10  0
+  7D, Portraits 18 x 16, Views 22 x 20,
+      dia. 5 in., focus 24 in.                  48  0  0
+  8D, Portraits 22 x 20, Views 25 x 21,
+      dia. 6 in., focus 30 in.                  58  0  0
+
+
+STEREOSCOPIC LENSES.
+
+  Patent Stereographic Lens, 3-3/4-in. f.          4  5  0
+  Ditto, with rack-and-pinion                      4 15  0
+  No. 1, Quick-acting Single Combination
+    Landscape Lens, 4-1/2 in. focus                2  0  0
+  No. 2, Ditto ditto 6 in. focus                   2  5  0
+  Rect. Stereo. Lenses, 2 in. & 2-1/2 in. focus    4  0  0
+
+
+NEW RECTILINEAR LANDSCAPE LENS (Patent).
+
+       Largest
+       Dimensions            Diameter     Equiv.
+  No.  of Plate.             of Lenses.   Focus.      Price.
+  --   --------------------  -----------  ----------  --------
+  1     6-1/2 by  4-3/4 in.  1-1/2   in.   8-1/2 in.  L4 15  0
+  2     8-1/2 "   6-1/2 "    1-3/4    "   11-1/2  "    6  0  0
+  3    10     "   8     "    2        "   13-1/2  "    8  0  0
+  4    12     "  10     "    2-1/4    "   16-1/2  "   10  5  0
+  5    15     "  12     "    2-2/3    "   20      "   12 10  0
+  6    18     "  16     "    3        "   25      "   16  0  0
+  7    22     "  20     "    3-1/2    "   32      "   21  0  0
+
+
+OPTICAL LANTERN LENSES ONLY (Patent).
+
+  No. 1 Lens, 1-1/2 in. and 1-3/4 in. dia. with Rack Motion  L 4  0
+  No. 2  do.  1-3/4 in. and 2 in.      do.       do.           5  0
+  _Condensers_--3-1/2 in. dia. mounted, ea.                  L 5  0
+     _Do._      4     in. do.    do.    do.                    6  0
+
+
+RAPID RECTILINEAR (PATENT).
+
+The best Lens for general use out-of-doors, and for Copying.
+
+                                                          Price,
+  Size of View          Size of Group        Equiv.       Rigid
+  or Landscape.         or Portrait.         Focus.       Setting.
+  --------------------  -------------------  -----------  --------
+   4-1/4 by  3-1/4 in.   3-1/4 by 3-1/4 in.    4     in.  L3 15 0
+   5     "   4     "     4-1/4 "  3-1/4 "      6     "     4 10 0
+   6     "   5     "     5     "  4     "      8-1/4 "     5 10 0
+   8-1/2 "   6-1/2 "     8     "  5     "     11     "     7  0 0
+  10     "   8     "     8-1/2 "  6-1/2 "     13     "     9  0 0
+  12     "  10     "    10     "  8     "     16     "    11  0 0
+  13     "  11     "     French size          17-1/2 "    12  0 0
+  15     "  12     "    12    by 10    in.    19-1/2 "    15  0 0
+  18     "  16     "    15    "  12    "      24     "    20  0 0
+  22     "  20     "    18    "  16    "      30     "    27  0 0
+  25     "  21     "    22    "  20    "      33     "    32  0 0
+
+
+
+WIDE ANGLE RECTILINEAR (Patent).
+
+For Views in Confined Situations.
+
+           Largest
+           Dimensions         Back         Equiv.
+    No.    of Plate.          Focus.       Focus.       Price
+    ---    ----------------   ----------   -----------  --------
+  [A]AA     7-1/4 by  4-1/2    1-1/2 in.    4      in.  L4 10 0
+     1A     8-1/2 "   6-1/2    4-5/8 "      5-1/4  "     5 10 0
+     1     12     "  10        6-1/4 "      7      "     7 10 0
+     2     15     "  12        7-1/2 "      8-1/2  "    10 10 0
+     3     18     "  16       11     "     13      "    14  0 0
+     4     22     "  20       14     "     15-1/2  "    20  0 0
+     5     25     "  21       17     "     19      "    30  0 0
+
+  [A] To be had in pairs for Stereoscopic Views.
+
+
+WIDE ANGLE LANDSCAPE LENS (Patent), for Landscapes, pure and simple.
+
+       Size of           Equivalent
+  No.  Plate.            Focus.       Price.
+  ---  ----------------  ----------   --------
+  1A    5     by  4        5-1/4 in.  L3  5  0
+  1     7-1/4 "   4-1/2    7     "     3 15  0
+  2     8-1/2 "   6-1/2    8-1/2 "     4 10  0
+  3    10     "   8       10     "     5 10  0
+  4    12     "  10       12     "     7  0  0
+  5    15     "  12       15     "     8 10  0
+  5A   15     "  12       18     "     9 10  0
+  6    18     "  16       18     "    10 10  0
+  7    22     "  20       22     "    14  0  0
+  8    25     "  21       25     "    19  0  0
+
+
+NEW RAPID LANDSCAPE LENS.
+
+For Distant Objects and Views.
+
+       Largest
+       Dimensions            Diameter    Equiv.  Price.
+  No.  of Plate.             of Lenses.  Focus.
+  ---  --------------------  ----------  ------  --------
+  1     6-1/2 by  4-3/4 in.  1.3   in.    9 in.  L4 10  0
+  2     8-1/2 "   6-1/2 "    1.6   "     12 "     5 15  0
+  3    10     "   8     "    2.125 "     15 "     7 10  0
+  4    12     "  10     "    2.6   "     18 "     9 10  0
+  5    15     "  12     "    3     "     22 "    11 10  0
+  6    18     "  16     "    3.5   "     25 "    14  0  0
+  7    22     "  20     "    4.25  "     30 "    17 10  0
+
+
+_DALLMEYER "On the Choice and Use of Photographic Lenses."_
+
+Eighth Thousand (Greatly Enlarged), 1s.
+
+Descriptive Catalogue on application.
+
+25, NEWMAN STREET, OXFORD STREET, LONDON, W.
+
+
+
+
+       *       *       *       *       *
+
+
+
+
+Transcriber's note:
+
+Obvious typographical errors were corrected. The spelling of French
+words has been made consistent. Also made consistent were those words
+which appear as hyphenated, joined or as two individual words (for
+example, first class to first-class and some one to someone). Other
+corrections were made where inconsistent or incorrect spellings were
+used in the publication. Where the inconsistencies occur in publication
+titles or quoted text passages, they were left as published.
+
+All "oe" ligatures in the printed text were converted to the letters
+"oe".
+
+Some of the entries in the INDEX appear to be missorted alphabetically.
+They were left as printed.
+
+On page 114, one line ends with "modifica-" and it is assumed "tion"
+was left off the next line.
+
+Typographical Corrections
+
+  Page   Correction
+  ====   =======================
+   114   modifica- => modification
+   131   Willat's => Willats's
+   134   intotroduced => introduced
+   163   Frith => Firth
+   177   Coxackie => Coxsackie
+   186   Pearce => Pierce
+   248   Nicolas Maas => Nicolaes Maes
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK THE EVOLUTION OF PHOTOGRAPHY ***
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