lliil^^ 
 
 THE GETTY CENTER LIBRARY 
 
THE 
 
 CAMERA AND THE PENCIL; 
 
 HELIOGRAPHIC ART, 
 
 ITS THEORY AND PRACTICE IN ALL ITS VARIOUS BRANCHES; 
 e.^.— DAGUERREOTYPY, PHOTOGRAPHY, &c.; 
 
 TOGETHER WITH ITS 
 
 HISTORY IN THE UNITED STATES AND IN EUROPE; 
 
 BEING AT ONCE A 
 
 THEORETICAL AND A PRACTICAL TREATISE, 
 
 AND DESIGNED ALIKE, AS A 
 
 TEXT-BOOK AND A HAND-BOOK. 
 
 Illustrated iuitlj |ine 6ugral)tngs 
 
 ON STEEL AND ON WOOD. 
 
 Bt M. A. ROOT, 
 
 PROFESSIONAL HELIOGKAPHIC ARTIST RECIPIENT OF EIGHTEEN FIRST PRIZES 
 
 AWARDED BY INSTITUTIONS IN PHILADELPHIA, NEW YORK, BOSTON, 
 WASHINGTON, HARRISBURG, ETC., FOR SUPERIOR 
 
 ARTISTIC PRODUCTIONS IN THE ART. NJ ^ 
 
 NH 
 
 fHIabdpbiH: \QCo^ 
 
 M. A. ROOT, 808 CHESTNUT ST. {^"76 
 
 J. B. LIPPINCOTT & CO., 715 & 717 MARKET ST. 
 
 D. APPLETON & CO., 443 & 445 BROADWAY, N. Y. 
 
 1864. 
 
Eiittved, according to Act of Congress, in the year 1864, by 
 
 MARCUS A. ROOT, 
 
 In the Clerk's Office of the District Court of the United States, iu and for tho Eastern 
 District of Pennsylvania. 
 
 MEAKS i DUSENBERY, STEREOTTPERS, C. A. ALVORI), PRINTER, 
 
 PHILADEUnH. NEW YOKE. 
 
 THE RFTTV' rcwTco 
 
CONTENTS. 
 
 CHAPTEE I. 
 
 THE FINE ARTS — HELIOGRAPHY, ETC, 
 
 Our country — High, materially — Inferior, artistically — Causes of this — Arts, 
 the development of innate tendencies — Amusement a necessity — Art supplies 
 it — Elevates, also, morally and spiritually — Refines intellectually and so- 
 cially — Art among Greeks and Romans — America probable originator of new- 
 type of art — Heliography, how distinguished from other arts . . . 19-25 
 
 CHAPTER II. 
 
 USES OF THE HELIOGRAPHIC ART. 
 
 Cherishes domestic and social sentiments — Inspires to virtuous and noble 
 deeds — Education greatly the work of men's circumstances and conditions — 
 Augments greatly their knowledge and happiness — A substitute for travel — 
 Cultivates artistic taste and the love of beauty — Tends to improve other 
 fine arts and their professors — Exemplifications of this fact . . . 26-31 
 
 CHAPTER III. 
 
 QUALIFICATIONS REQUISITE TO A FIRST-CLASS HELIOGRA- 
 
 PHER. 
 
 Heliographers, mechanical or artistic — Former lack power of giving expres- 
 sion to portrait — Latter possess it — Genius, this power — Gift of nature, not 
 fruit of education or effort — Ciimera requires not less genius than pencil — 
 Heliographer, like painter, must arouse in sitter his best mood — How — 
 Chemistry, natural philosoph}', &c., essential to heliographer — Heliography 
 in comparative disrepute — Reasons thereof — Motives, that should inspire 
 
 heliographer .32-42 
 
 (iii) 
 
IV CONTENTS. 
 
 CHAPTER IV. 
 
 SUGGESTIONS AS TO THE FITTING UP OF HELIOGEAPHIC 
 EOOMS. 
 
 Expression essential to portrait — Infants and children physiognomists — Aver- 
 age and intensified expression of face — Proper aims of artist — DiflBculties 
 of heliographer and painter as to getting expression — Both must act on 
 sitter — How — Heliographer, in part, by fitting up of rooms — Enumeration 
 of items in fitting up — All influenced by surroundings 43-48 
 
 CHAPTEE V. 
 
 THE SUNBEAM. 
 
 The sun, the heliographer's instrument — Apotheosized by pagans — Newton's 
 theory of light — Young's theory — Field's theory — Light, heat, actinism — 
 Light a compound of seven colors, according to Newton — Of three colors, 
 according to Brewster, <fcc. — Effect of light on health, development, &c. — 
 Heat and its incidents, e. g. : absorption by atmosphere, influence on cli- 
 mate, latency, &e. — Actinism the chemical and heliographic element — 
 Proximate cause of vegetive germination — Decomposes and alters arrange- 
 ment of material atoms — Electricity in Sunbeam — Sunbeam weighed — 
 Result 49-66 
 
 CHAPTER YI. 
 
 HARMONY OF COLORS. 
 
 Love of ornament innate and universal — Constituents of visual beauty, form, 
 and color — Harmony of colors — Meaning of same — Knowledge of such har- 
 mony, practically useful, e. g. : in dress, embellishment, &c. — Our guides in 
 using colors for costume, what ? — Climate and size, figure, complexion, &c., 
 of person — Age, social position, <fec., of same — Also time, place, occasion, 
 ifce. — Best portraits, what? — Those, which, retaining likeness, conceal defects 
 and blemishes, and enhance charms and beauties — Exposition of effects of 
 various colors on appearance — Harmony of analogy, and harmony of con- 
 trast in colors, what? — Primary and secondary, or complemental colors, 
 what? — -Colors emblematic of dispositions and character — Illustrations from 
 poets 67-83 
 
CONTENTS. 
 
 CHAPTER YII. 
 
 THE HUMAN FACE — MIEKOR OF THE SOUL, AND CHIEF 
 SUBJECT OF ART. 
 
 Face most perfect medium of expression — " Mosaics," by Saunders — Face, 
 index of soul — Views of Lavater, Bacon, Haller, Browne, and Southey — 
 Language of face universal and changeless — Forehead, nose, and chin indi- 
 cative of original character; eyes and mouth of changeable character — Eye 
 extraordinarily expressive — Why? — Lips very expressive — Varieties of same 
 — Human faces most interesting of sights — Applications of term face to 
 things inanimate — National types efface and head, e. g. : Greek and Italian 
 features marking certain races — Examples of fact — Qualities expressed by 
 various colors, <fec., of eyes, what ? — Indications by different forms of noses, 
 what? — Anecdote of Napoleon — Cerebrum and cerebellum — Mental qualities 
 intimated by different shapes of these 84-89 
 
 CHAPTER VIII. 
 
 THE HELIO GRAPHIC ARTIST AND HIS SITTERS. 
 
 The operant must strive to please all — Selfish and impatient must be con- 
 ciliated — Proper management of their case, what? — Heliographic sittings 
 should be brief — Difi&culties specified — Anecdote of Reynolds . . 90-95 
 
 CHAPTER IX. 
 
 SITTING ROOM — SKY-LIGHTS — OUT-DOOR VIEWS, ETC. 
 
 Diffused light essential — Angle for falling rays — Upper story best — Side and 
 sky-light — Size and arrangement of latter — Preparations for cloudy weather 
 — Curtains and their disposition — Out-door views and their conditions — Best 
 paintings, &c., should be studied by heliograph ers — Examples — Miscellane- 
 ous directions 96-] 04 
 
 CHAPTER X. 
 
 HINTS UPON SITTING — EASE AND GRACE IN A PORTRAIT. 
 
 Attitude of sitter should be chosen by the operant, what? — Management of 
 lights and shadows — Legs of gentlemen, how placed^Hands of ladies, how 
 placed — How to take certain faces — Directions about colors — Useless acces- 
 sories to be avoided — Mode of ameliorating blemishes, what? — Groups, 
 &c 105-1 la 
 
VI CONTENTS. 
 
 CHAPTER XI. 
 
 THE EYES — THEIE LANGUAGE, AND HOW TO DEAL WITH 
 
 THEM. 
 
 Eyes especially important in portrait — How to direct and depict them — This 
 determined by color and surroundings — Catch-lights, what, and for what 
 purpose 113-116 
 
 CHAPTEE XII. 
 
 SUGGESTIONS AS TO DEALING WITH DEFECTS AND BLEM- 
 ISHES IN sitter's face. 
 
 How to manage with personal defects, e, g : cross-eyes, irregularities of feature, 
 loss of teeth, <Stc. — How, also, with extra shortness or tallness, corpulence 
 or thinness, imperfection of nose, forehead, skin, &c. — Few faces of perfect 
 model 117-122 
 
 CHAPTER XIII. 
 
 LIGHTS AND SHADOWS IN A PICTURE — THEIR USE AND 
 
 VALUE. 
 
 Proper management of lights and shadows, important — How natnre uses these 
 in landscapes — Artists should aim at following her method — Not the painter 
 and heliographer merely, but the architect no less — Remarks of Sir Charles 
 Bell ; 123-126 
 
 CHAPTER XIY. 
 
 COSTUME IN PORTRAITURE — HOW DISPOSED, 
 
 Costume of great importance in portrait — Directions for its arrangement — 
 Disposition of hair also of moment — Instructions on this point with regard 
 to women and to men — Facts in relation to this subject, gathered from 
 noting the insane — How to station groups for taking, Ac. — "Small things," 
 of great import — Stories told by pictures, how ? — Examples . . 127-131 
 
 CHAPTER XY. 
 
 THE ATMOSPHERE — WEATHER — LIGHT FLEECT CLOUDS. 
 
 Effect of changes of weather on chemical coatings — Various exemplifications — 
 of this fact — Perplexity of a certain noted artist — Friendly hints as to the 
 dealing of operants with their critics and advisers 132-136 
 
CONTENTS. Vll 
 
 CHAPTER XVI. 
 
 PEESONAL CONSIDEEATIONS. 
 
 Account of the author's early training — His pursuits for some of his mature 
 years — The preparation thus made for his after success in heliography — 
 Importance of drawing and sketching to all artists and to persons of all 
 pursuits — Measures, which must soon be adopted, to secure custom in sun- 
 painting 136-138 
 
 CHAPTER XVII. 
 
 HELIOGRAPHY AN IMPROVEE OF AETS AND AETISTS. 
 Predictions, that heliography would ruin business of other pictorial artists — 
 Proved false by events — All art-genius more encouraged now, than ever 
 before — Heliography cultures popular taste and judgment— Portrait and 
 miniature painters improved by this art — Seventy thousand heliographs 
 produced by the author — Means for advancing the art — Clearness, more 
 than aught else, aimed at in this work 139-142 
 
 CHAPTER XVIII. 
 
 EXPEESSION — THROUGH THE FACE. 
 
 Expression in portrait, essential — The artist an imitator of the creative power 
 — Genius alone can detect and depict expression — Simon Magus — Genius 
 improved, not acquired, by study — Painter's advantage over heliographer in 
 detecting expression, from having many sittings — Lawrence, his supposed 
 mode of doing this — Prometheus — Heliographer must act at once, and with 
 numbers, perhaps, awaiting their " turn" — None should essay heliography, 
 save those conscious of genius — If not thus conscious, they should seek other 
 vocations — Phaeton and his fate, what may be symbolized thereby — Historic 
 and ideal portraits — Their nature, and the modes of their creation — Ideal 
 representations, the Virgin Mother; Washington, Napoleon, <tc, 143-152 
 
 CHAPTER XIX. 
 
 EXPRESSION — THEOUGH THE FACE AND FIGUEE. 
 
 The whole body, its attitudes, movements, &c., as well as the face, vehicles 
 of expression — M. Angelo, RafFaelle, Hogarth, Lawrence, and Gilbert Stuart, 
 specially famed as expressionists — Mode of calling up in sitter best expres- 
 sion — Anecdote of Clay, and the taking of his daguerreotype in 1848 — Poor 
 portraits of Clay, Webster, Ac, especially of last — Sydney Smith's remark — 
 
Vlll CONTENTS. 
 
 Webster's speeches on Boston Common and Bunker Hill — Lafayette — 
 Surviving veterans of Bunker Hill battle — Sir C. Bell on anatomy of expres- 
 sion — Sonnet by R. T. Conrad — Various methods of rousing expression — An 
 actor — A lady, as nun — Anecdote of Washington, vfhile sitting to Stuart — 
 Interesting facts about the taking of Washington's portrait, by Stuart and 
 Peale — Bishop White — Postures in representing statesmen and other public 
 speakers — Postures in representing literary persons — Irving, Bryant, Long- 
 fellow, Dickens — Costume and accessories — Theory of " spheres" by Sweden- 
 borg — Effect of presence of various classes of persons on others — Remarks 
 of a venerable artist 153-168 
 
 CHAPTEE XX. 
 
 EXPRESSION — THROUGH THE ANIMAL AND INANIMATE 
 
 WORLDS. 
 
 Expression pertaining to animal, vegetive, and mineral worlds, e. g. : the lion, 
 what ideas expressed, and what sort of man typified by him — The tiger, 
 what ideas expressed — The fox, the bull-dog, the snake, what ideas expressed 
 — inanimate world expressive — Macbeth, witches, blasted heath, &c. — Accord 
 between persons and scene — Crucifixion of Christ and accompanying circum- 
 stances — Milton's description of earth's perturbations at eating of fatal 
 apple — Mountains expressive — Examples of three, typifying three different 
 classes of men — Frigid Zone; Sahara Desert, what human beings and con- 
 ditions symbolized thereby — Swamps and fens, what they represent — The 
 face of earth, as a whole, symbolical of state and character of human race. 
 
 169-176 
 
 CHAPTEE XXI. 
 
 EXPRESSION — THROUGH ABNORMAL MOODS OF BODY AND 
 
 MIND. 
 
 Disease, like health, subject to laws — Various expressions from various mala- 
 dies — Sundry examples — Instances of expression of abnormal passions — 
 Wisdom of this ordination — The actor should study these — Important for all 
 to do this 177-179 
 
 CHAPTEE XXII. 
 
 MISCELLANEOUS FACTS. 
 
 Peculiarities in the eyes of different persons — Examples of two kinds — Causes 
 of these unknown — Subject worth investigating — Expression through names 
 ■ — Various instances among savage tribes — origin and use of names — Illustra- 
 tions among ancients and moderns — Heraldry and its emblems from same 
 origin 180-184 
 
CONTENTS. ix 
 
 CHAPTEE XXIII. 
 
 OPINIONS OF ARTISTS AND AET-CRITICS UPON BEAUTY. 
 
 Their views of beautj', physical, intellectual, moral, and ideal — Examples from 
 Phidias, Plato, Cicero, and many others, among the ancients; and of M. 
 Angelo, Raffaelle, Reynolds, Barry, Opie, Lawrence, Haydon, Cousin, Rus- 
 kin, Jeffrey, Alison, Burke, Michelet, and numbers beside, among the 
 moderns — Original comments on the same 185-206 
 
 CHAPTEE XXIY. 
 
 ART, WITH ITS INCIDENTS AND BELONGINGS. 
 
 Opinions of ancient and modern writers on the same — For art-purposes, sub- 
 limity and beauty both comprised by the latter term — Examples : Grace 
 Darling, Florence Nightingale, Leonidas, &e. — Remarks of Ruskin, Cousin, 
 Symonds — Observations respecting genius — Reynolds, Fuseli, Haydon — 
 Imagination, invention, passion, taste — Ruskin, Burke — Drawing or design, 
 Fuseli, Barry — Grace, Aliston — Repose, Ruskin, Michelet — Composition, 
 Ruskin, Haydon — Color, Opie, Fuseli — Symmetry, Symonds — Light and 
 shadow, Quintilian, Reynolds, &e. — Expression, Reynolds, Du Piles, Law- 
 rence, Curran, Stuart, Trumbull, Inman, Bell, Aristides, Timanthes, Stot- 
 bard, &c. — Portrait, Howard, Northcote, &c. — Sculpture, Agesander, Hay- 
 don, Aliston, &c 207-262 
 
 CHAPTEE XXV. 
 
 MISCELLANEOUS REMARKS FROM VARIOUS AUTHORS. 
 Sexes, how distinguished — Apelles, Barry, Opie, Fuseli — Analysis of Lionardi 
 Da Vinci's "Last Supper" — Howard, Ruskin, Lawrence, Burke, Cuvier, 
 Dryden, Reynolds, Mrs. Siddons 253-263 
 
 CHAPTEE XXYI. 
 
 ON COLORING PHOTOGRAPHS. 
 
 Most approved styles of doing this — Principles of harmonious coloring — 
 Painting and music compared — Light, source of color — Primaries, second- 
 aries or complementals, tertiaries, &c., what? — Illustrative engravings — 
 Water colors enumerated and described — Photograph prepared — Mounting 
 for coloring — Method of coloring — Hatching and stippling — Painting head — 
 Draperies — Backgrounds — Vignettes — Gelatinizing positives — Mezzotints — 
 Powder — Varnish — Enlargement — Coloring in crayons — Coloring in pastels 
 — Coloring in oil — Portraiture — Concluding remarks 264-302 
 
CONTENTS. 
 
 CHAPTEE XXVII. 
 
 PORTEAITS — SEVERAL VARIOUS MODES OF PRODUCING OR 
 FINISHING PERMANENT SOLAR IMPRESSIONS. 
 
 The Ivorytype, a picture printed through a negative on artificial ivory, intro- 
 duced into England by Mayall, of London. Also a photograph, colored and 
 sealed upon plate-glass, called the "Ivorytype," introduced into the United 
 States by Wenderoth in 1865. 
 
 The Alabastrine, a positive upon glass, colored on the back of the film, and 
 finished, by Wharton Simpson, of England. 
 
 The Diaphanotype, a good photograph, cemented to glass and painted on the 
 back in oil colors. 
 
 The Hallotype and its variations, are pictures, made on a similar principle to 
 the above, finished in either water or oil colors, or both, on back and front. 
 The two last named are said to be mere applications of Grecian or Oriental 
 painting to photography. 
 
 The Melainotype, a positive collodion picture made upon japanned iron 
 plates. 
 
 The Sphereotype, simply a collodion positive on glass, with certain peculiari- 
 ties in the method of making and mounting the picture. 
 
 The Crayon, or Spherical Vignette Daguerreotype, a picture representing 
 the head and bust, made spherical by pressing it over a convex glass paper- 
 weight, or other oval surface, and cased with a convex glass over the impres- 
 sion. 
 
 The Hillotype. — Having learned, that both others and myself were misled in 
 regard to these pictures, I thought the public were entitled to the explana- 
 tion given on page 316 of this chapter. 
 
 The Ectograph, thus named from the mode of its finishing; patented by Wil- 
 liam Campbell, of Jersey City, N. J. 
 
 The Porcelain Picture, made on a kind of porcelain glass, manufictured 
 expressly for this object. Invented by J. Wallace Black, of Boston, Mass. 
 
 304-819 
 
 CHAPTEE XXVIII. 
 
 THE CAMERA AND THE MICROSCOPE — OR MICRO-PHOTO- 
 GRAPHY. 
 
 Microscope at first undervalued — (Pope — Addison) — Ehrenberg's discovery 
 thereby, 1830 — Infusoria at Berlin, Luneburg, Virginia, U. S. — Tripoli 
 powder, infusoria — Microscopic vegetables as abundant as animals — Ocean 
 and pond scum, organic life, viz., desmidise and diatomacese — Divine ends 
 subserved by infusoria — Calcareous earth eaten in South America, Guineii, 
 Finland, China, &c., composed of organic remains — Islands formed by ani- 
 malcules — Ocean phosphorescence by same — Red Sea thus colored — Lewen- 
 
CONTENTS. . XI 
 
 hoeck — Codfish milt — 17,000 divisions in butterfly's eye — In one pound 
 cochineal 70,000 insects — Divine purpose in animalcular creation — Serve as 
 scavengers — Prevent diminution of earth's present matter — Services of 
 microscope in commerce — Jurisprudence, sciences, arts, &c. — Life-saving 
 application of microscope in France, &e. — Connection 'of microscope with 
 heliography 320-336 
 
 CHAPTEE XXIX. 
 
 HISTOEY OF THE HELIOGEAPHIC AET IN THE UNITED STATES. 
 
 Camera obscura — Professor Draper's early researches — Used bromine and 
 sensitive paper — Made the first sun-portrait — Professor Morse's early 
 experiments and their success — A. S. Wolcott and J. Johnson — their dis- 
 coveries and performances — Dr. Bird — Joseph Saxton, first daguerreotype in 
 Philadelphia — Drs. Goddard and Parker — Professors J. Frazer and W. R. 
 Johnson — Messrs. Mason and Cornelius — Professors Grant and Davis — Drs. 
 Wildman and J. E. Parker — Mr. Reed — Mr. F. Langenheim, his services 
 to the art — First brought talbotype and stereoscope to United States — 
 Van Loan, Anthony, Edwards, N. G. Burgess, Charles AVilliamson, Fizeau, 
 Cady, Gurney, Brady, Quail, Haas, and Lawrence, in New York City — South- 
 worth & Hawes, Whipple & Co., and French, in Boston — Thompson, Schriver, 
 Mayall, and M. A. Root, in Philadelphia — Last named bought Mayall's stand, 
 140 Chestnut St., Philadelphia, 1846 — Beckers — Faris, in Cincinnati, Ohio — 
 Hesler, in Ulinois— Fitzgibbons, in Missouri — Crystal Palace, New York City 
 — Shives — Howard — Sun-painters in United States — Decline of daguerreo- 
 type — MeClees & Germon, crystallotype — Collodion process, 1852 — Drs. 
 Charles Cresson and G. Langdell — Cutting — I. Rehn's Photolithography, 
 Ac 373-392 
 
 CHAPTEE XXX. 
 
 HISTORY OF THE HELIOGEAPHIC AET IN EUEOPE. 
 
 Rapid progress of the art — Its many branches — Camera obscura discovered 
 two hundred years ago — Crystallizing of various salts by light, in eighteenth 
 century — Investigations of these subjects in that century — Wedgwood and 
 Davy first tried to fix images by light in 1800-3 — Unsuccessful — Hyposul- 
 phite soda discovered by Herschel, Sir J., 1819 — Niepce, Daguerre, and 
 Talbot first fixed images in Europe — Daguerre's wife and Dr. Dumas — 
 Variations of the talbotype (calotype) by various persons — Waxed-paper 
 process — Glass plates for pictures suggested by Herschel — Albumen, gelatine, 
 Ac, used for coating such — Collodion now preferred to all other coatings — 
 Variations and improvements by practical photographers and amateurs 
 
 393-411 
 
Xll CONTENTS. 
 
 CHAPTER XXXI. 
 
 THE HELIOGEAPHIC AET — ITS PEESENT STATE AND APPLI- 
 ANCES, AND ITS FUTUEE POSSIBILITIES. 
 
 The three great modern discoveries : 1st. Steam — 2d. Magnetic Telegraph — 
 .3d. Heliography — All tend to produce an improved human condition — 
 Heliography, its direct effects : 1st. A substitute for travel — 2d. Strengthens 
 and perpetuates ties of kindred and friendship — 3d. Makes familiar to us 
 the great and good of all ages and countries — 4th. Serves as an eflBcient 
 means of general culture — 6th. Is an important help to the knowledge and 
 practice of chemistry, geology, medical and surgical science, architecture, 
 engineering, military operations, astronomy, &c. — Its claims to be a fine 
 art now advocated by journals, both photographic and other — Sir D. Brewster 
 and Claudet favor this view — Why should not the painter and photographer 
 work together; one with camera, and the other with pencil? — Quotations 
 from eminent modern writers, specifying the benefits conferred on mankind 
 by art in general, and the photographic art in particular . . . 411-431 
 
 CHAPTER XXXII. 
 
 HELIOG-EAPHY — ITS AETISTIC CHAEACTEE AND EELATIONS. 
 
 Wrong opinions of heliography almost universal — Now changing for tho 
 better — Heliographer should study as largely as the painter — Artistic studies 
 specially needed by him — Bodies, how existing in nature? — Elements of 
 picture, what? — Photography and painting, in what alike ? — Former derives 
 nothing from color — Latter much — Differences between the two, what ? — 
 Expression constitutes portrait — Examples — Dress, its influence — Color and 
 position important — Size of portrait, how determined ? — Sketches, descriptive 
 and historic — Difficulty of getting best expression — Distribution of light, of 
 importance — Great difficulties in representing groups — Conditions requisite 
 
 432-449 
 
INTEOLUCTION. 
 
 The appearance of this work may, naturally, suggest the inquiry, 
 why the author should have assumed the care and labor, as "well as 
 the responsibility, of getting up and submitting to the public a 
 Treatise on Heliography, when so many on the same subject are 
 already in circulation, — some among which are of sterling value, 
 and produced by writers of profound science and great practical 
 accomplishment. It might fairly be exacted of one who would 
 swell the number of these books, that he should either present some- 
 thing new, or should bring forward, in better shape, topics which 
 had already been discussed. That in both these respects there was 
 room for improvement, I have myself been long convinced, as, I 
 trust, my reader will be by the examination of these volumes. 
 
 My reasons for undertaking this work were founded, in part, on 
 what seemed to me deficiencies in the treatises now in vogue, and 
 partly on other grounds to be presently noticed. The principal of 
 these reasons are the following : — 
 
 1. It is a frequent complaint, among American Heliographers, 
 that the books on their art are mostly written in a style too learned and 
 technical, and therefore ill-suited to popular use. Their complaint 
 appears to us not entirely groundless. Nearly all these books were 
 penned by scientific men, who had cultivated the art simply as 
 amateurs, and who, therefore, employed the same style as though 
 dealing with ordinary themes of science. They wrote, as if address- 
 ing persons of their own class, — not reflecting, perhaps, that those 
 by whom these books are chiefly required, rarely possess profound 
 scientific attainments. 
 
 Professional Heliographers of that eminence, which alone would 
 impart sterling value to a treatise from their hands, are, mostly, too 
 
 (xiii) 
 
XIV INTRODUCTION". 
 
 busily occupied for thus using the pen, even if possessing sufficient 
 skill in composition to qualify them for producing a book. So that 
 we have not hitherto (to my knowledge) had a single heliographic 
 treatise from a first-class professionist. I thought, therefore, that a 
 book from a practical artist would be likely to meet the want thus 
 generally expressed. Such a work I was especially impelled to 
 undertake, as well as encouraged to carry forward to its completion, 
 by the fact, that I was able to secure, through its whole progress, 
 the most valuable assistance of a number of gentlemen of ability, 
 of scholarship, and of long-practised aptitude in writing. 
 
 2. Several years' personal experience had impressed me with 
 what I thought important deficiencies in every work on this subject 
 within my knowledge. The mechanical and chemical appliances 
 of the art were, indeed, not unfrequently treated with satisfactory 
 fulness and skill ; yet what may be termed its artistic requirements 
 were scarcely touched upon : e. g. posture and costume, light and 
 shadow, expression in its various modes, and numerous other minute 
 yet important particulars, relating to the management of the sitting 
 department, were by every writer almost totally ignored. And yet 
 on a thorough acquaintance with these particulars, coupled with 
 aptitude and tact in dealing with them, it mainly depends whether 
 a picture shall be a veritable gem of art, or a baldly mechanical 
 performance. The major part of my remarks on these points will be 
 found in that portion of Volume I., commencing with the " Sitting 
 Room," and extending through the four chapters on " Expression," 
 including pages 96-179. 
 
 The reader might scarce credit me, were I to tell him of how much 
 vigilant observation and laborious thought these few pages were the 
 fruit. Day after day, and week after week, through several succes- 
 sive years, I kept careful watch, jotting down diurnally the results 
 of my scrutiny, and testing them again and again, till, at last, I 
 trust I have succeeded in presenting them in a shape so simple and 
 lucid that to read will be to understand. 
 
 3. I have mentioned, elsewhere in this book, my early propensity 
 for drawing and sketching, and my after employment, for several 
 years, in a kindred profession. My assumption of heliography was 
 a partial fulfilment of my juvenile prepossessions. In its adoption 
 I carried with me my young aspirations for artistic distinction, 
 together with the natural desire, that my vocation should stand, in 
 general estimation, on the high platform I thought it deserved. 
 
 I soon learned that it did not so stand. Sun-painting, I was 
 
INTKODUCTION. XV 
 
 mortified to find, was considered a merely mechanical process, which 
 might be learned in a few weeks, by a person of the most ordinary 
 capacity and attainment. 
 
 Now, as might have been anticipated from my early biases, / put 
 a very different estimate upon the art. I regarded it as decidedly 
 one of the Fine Arts; nor this alone, but as standing high among these 
 arts. My thoughts on this point will be found expressed in more 
 than one place in this work. I felt, almost as if a personal affront 
 to myself, the low repute in which the art and its practitioners were 
 held. And this feeling was aggravated by the fact, not to be denied, 
 that, owing to causes detailed otherwhere, there was, unhappily, too 
 much ground for the common opinion respecting the profession. Its 
 operants, with not very numerous exceptions, bore a reputation 
 similar to that of those itinerant portrait-painters, who anticipate 
 the death of their victims, by destroying every trait of life-likeness 
 in the faces they execute. 
 
 As already remarked, my ambition forbade my patiently being 
 ranked among recognised imbQdiles and incapables. Why (1 queried 
 with myself) should not Heliography be placed beside Painting and 
 Sculpture, and the Camera be held in like honor with the Pencil and 
 the Chisel? Is that (methought) alow and vulgar art, which can bid 
 defiance to time and space, and triumphantly look into the eye of the 
 so-named '* King of Terrors ;" which grants me, at my own fireside, 
 to behold the rocky heights once trodden by prophets and apostles, 
 and, more inspiring still, by Him who was the " brightness of the 
 Father's glory," " the chiefest among ten thousand and altogether 
 lovely ;" to gaze on the immemorial pyramids and catacombs of 
 Egypt, and the mystic caverns of Ipsamboul and Ellora ? — which, in a 
 word, enables me, without crossing my threshold, to view the multi- 
 tudinous populations of the total globe, past and present, with the 
 monuments of beauty and grandeur, that immortalized their earth- 
 existence ? Finally, should that art be contemned, which is helping 
 to train society, from its topmost to its nethermost stratum, to an 
 appreciation of the beautiful? For, be it noted, the specimens, 
 inferior as so many of them are, exhibited at the doors of the Helio- 
 graphic Galleries, in numbers of our city streets, constitute a sort of 
 artistic school for developing the idealistic capabilities of the masses 
 that daily traverse those streets. 
 
 An art, then, which contributes so much, and in so many modes, 
 towards elevating and refining all classes of the community, seemed 
 to me to possess high claims to consideration. I trust, that the time 
 
XVI INTRODUCTION. 
 
 and care and labor, unsparingly devoted to this book, have made it, 
 in some fair degree, worthy of its subject. 
 
 It will be seen, that in several of the opening chapters (e. g. The 
 Sunbeam and The Harmony of Colors, Chapters 5 and 6), I have 
 dwelt at some length on the sciences that constitute the basis of 
 heliography. The general object, as well as the propriety of so doing, 
 must be patent to all, and needs no explaining. An incidental 
 purpose was to intimate the high dignity of an art resting on founda- 
 tions so august. 
 
 It will also be noted, that I have spoken in considerable detail (Chap- 
 ter 5) of the high attributes, both intellectual and moral, essential to 
 a first-class heliographer. To represent, in their just proportions, the 
 beautiful and the sublime in natural scenery ; to reproduce in like 
 manner the creations of inspired human genius ; and especially to 
 delineate the human face and figure pervaded by an expression, that 
 bids the soul shine glowingly out through the same ; are to transcribe 
 the matchless pencillings of the Divine Proto-Artist. To do this, 
 how imperfectly soever, demands qualities, alike of head and of heart, 
 in rapt accordance with the Infinite Creative Spirit. 
 
 In fine, the true heliographer, like the true artist in whatever 
 sphere, should be an intermedium, through which the light of the 
 Divine should pass unmodified and pure, producing imprints as 
 distinctly and delicately limned, as are the images of natural objects 
 on the surface of a crystal pool. How, then, we once again ask, can 
 that art be ignoble and mean, which involves requisites and appli- 
 ances so high, so important, and so numerous, as these? 
 
 The scientific foundations of the art and the qualifications of the 
 artist having been stated, the book proceeds to discuss the particu- 
 lars, that constitute or are incidentally related to the producing 
 process. I must restrict myself to a mere enumeration of the 
 remaining chapters, with their subjects annexed. 
 
 Chapter 7. The face, the chief subject of art, as being the soul's 
 mirror ; Chapter 8. On the proper bearing of the operant towards 
 his sitters ; Chapter 9. The sitting-room, its location, appurten- 
 ances, &c. ; Chapter 10. On sitting, with its incidents ; Chapter 11. 
 The eyes, their language, &c. ; Chapter 12. How to deal with defects 
 and blemishes in the face ; Chapter 13. Lights and shadows in the 
 picture ; Chapter 14. Costume, &c. ; Chapter 15. The atmosphere, 
 &c. ; Chapter 16. Personal considerations ; Chapter 17. Heliography 
 an improver of the arts and sciences ; Chapters 18, 19, 20, 21. Ex- 
 pression, through various mediums ; Chapter 22. Miscellaneous facts ; 
 
INTRODUCTION. XVII 
 
 Chapter 23. Opinions of artists and art-critics on beauty ; Chapter 
 24. Art, its incidents and belongings; Chapter 25. Miscellaneous 
 remarks ; Chapter 26. Coloring photographs ; Chapter 27. Portraits, 
 &c. ; Chapter 28. Camera and Microscope ; Chapter 29. History of 
 heliography in the United States ; Chapter 30. History of same in 
 Europe ; Chapter 31. Present and future of heliography ; Chapter 
 32. Character and relations of same. 
 
 In addition to the above subjects, the " Fine Arts in general ;" the 
 " Uses of Heliography ;" and the " Fitting up of Heliographic 
 Rooms," are discussed at length in the early portion of the book. 
 
 From the foregoing enumeration it will be seen, that in both the 
 plan ajid the contents of this work, it differs largely from all other 
 Heliographic Treatises in circulation. I think, that the matter 
 constituting such difference will be found, to say the least, of not 
 inferior interest to the residue of the work. I trust, moreover, that 
 the general reader may draw from it not a little of both instruction 
 and entertainment, while, to the professional heliographer, it may be 
 a manual of sterling value. 
 
 My intention, on commencing the book, was to issue it in one 
 volume, and a few circulars were given to the public expressing this 
 intention. But, from the urgent advice of several scientific gentle- 
 men and amateurs of distinction, having decided to enlarge and 
 make it more complete, by inserting considerable new matter of 
 interest and importance, my manuscript became so bulky, that it was 
 deemed expedient to put it in two volumes instead of one, — the first 
 embracing the theoretic basis of the art, and the second its practical 
 processes, formulas, &c. Still, for all desiring it, the two volumes 
 will be bound in one. 
 
 On some subjects the reader will find not a little repetition. One 
 reason for this is, that I was specially anxious to impress these 
 subjects on all within my reach ; and another, that the book having 
 been seven or eight years in hand, it was impossible to carry the 
 whole in my mind, so as to avoid occasional reiteration. The first 
 volume is illustrated by several fine steel engravings of distin- 
 guished men, some of whom have taken a deep interest in our art. 
 The second is fully illustrated by engravings representing the 
 instruments and appliances of the art. 
 
 In the cotemporary Heliographic Journals both of the United 
 
 States and of Europe, several topics may be found often and earnestly 
 
 discussed, which, eight years ago, were scarce ever alluded to. One 
 
 of these is the claim of Heliography to be one of the Fine Arts, 
 
 2 
 
XVlll INTRODUCTION. 
 
 instead of a simply mechanical process ; and, as such, requiring 
 genius and accomplishment for achieving distinction therein, no 
 less than Painting and Sculpture. A second is, that expression is a 
 sine qua non in our art ; and that extreme care and much skill in 
 handling its accessories, e. g. arrangement, position, &c., are essen- 
 tial to excellence therein. In this work, these subjects are often and 
 earnestly pressed on the attention, — and, in simplest justice to my- 
 self, I may remark, that the paragraphs treating of the same were 
 written years before I had seen anything of the sort in print. 
 
 In the New York Photographic Journals, numerous articles on the 
 same subjects have been furnished by me during the last ten succes- 
 sive years. These, with what appears in this book, constitute all I 
 have seen of this character, till within a short time past, when they 
 have begun to be discussed in both American and European Helio- 
 graphic Journals and Books. 
 
 It may also be noted, that in speaking of our art in general, and of 
 its agents and results, I commonly use the terms heliography, helio- 
 grapher, and heliograph, in place of photography, &c. My reason is, 
 that Heliography, " Sun-sketching," is a correct general name for the art 
 in all its varieties; while Photography, "Light-sketching," with all 
 its derivatives, is a misnomer, since it is not light, but actinism, which 
 is the producer. " Heliochart," " Sun-paper," is the proper title of 
 what is now called a photograph. It is not to be hoped (I presume) 
 that this error will ever be amended in the popular speech, any 
 more than that the right name " Breed's Hill," will ever be substi- 
 tuted for " Bunker Hill," in the account of the battle involved. The 
 following are the words of the eminent heliographic author, T. F. 
 Hardwich, page 83 of his sixth edition: " The actinic and luminous 
 spectra are totally distinct from each other, and the word ' Photogra- 
 phy,' which signifies ' taking pictures by ligM,' is in reality inaccu- 
 rate." 
 
 Delamotte, in the introduction to his manual, remarks as follows : 
 "As light is not the agent, through which the efi'ects are produced, 
 the word Heliography, ' Sun-drawing,' has been suggested as the 
 more correct." 
 
 What remains to be said, of an introductory character, is reserved 
 for the opening of the second volume. I would only observe, in 
 closing, that by the profession, and by amateurs and others inter- 
 ested in the art, several of whom are named in the introduction to 
 Volume II., I have been graciously assisted, in the way of informa- 
 tion, as well as by all other means in their power, for which I would 
 here express my sineerest acknowledgments. 
 
HELIOGRAPHY 
 
 OTHEE PINE ARTS. 
 
 CHAPTER I. 
 
 THE FINE ARTS — HELIOGRAPHY, ETC. 
 
 Our country — High materially — Inferior artistically — Causes of this — Fine 
 Arts, the development of innate tendencies — Amusement a necessity — Art 
 supplies it — Elevates morally and spiritually — Refines intellectually and 
 socially — Art among Greeks and Romans — America probahle originator of 
 new type of art — Heliography — How distinguished from other arts. 
 
 Holding, as I do, tliat Heliograpliy is entitled to 
 rank witli tlie so-named Fine Arts, some remarks upon 
 these arts, as a class, tlieir basis in nature, and their 
 various uses, may properly constitute the opening chap- 
 ter of this volume. 
 
 That in material prosperity and mechanical utilities 
 our country stands high, very high, in the scale of na- 
 tions, there can be no doubt whatever. As little doubt 
 can there be that in artistic culture many a cotemporary 
 people are our superiors. 
 
 This, however, may be admitted without humiliation. 
 Pioneers and tamers of a primitive world, as we have 
 been hitherto, we have had neither leisure nor means 
 
 (19) 
 
20 THE CAMERA AND THE PENCIL. 
 
 for largely cultivating the mere embellishments of life. 
 But with our present material attainments, it is quite 
 time that the energy and inventive ability, which have 
 accomplished so much here, should be turned towards 
 the fine arts. And as vague, erroneous notions prevail 
 as to the real nature of these arts, it may be well to 
 state some reasons for their cultivation. 
 
 And, first, I would remark that, irrespective of all 
 special uses of the arts, their cultivation may be urged 
 on the simple ground that they answer to one of our 
 natural wants, being the pre-ordained development of 
 that law of beauty and harmony, whose germs are im- 
 planted in every soul. Thus, in even the most savage 
 tribes yet discovered, some rude essays at embellishment 
 are found. Not one of them is content with what are 
 termed the indispensables of life ; but among their most 
 prized possessions are feathers and a thousand various 
 trinkets, which they regard as making attractive them- 
 selves and their belongings. 
 
 It is similar with children, whether in the savage oi 
 civilized state. Trinkets and toys, and all things bright 
 and showy, however rude, are among their earliest tastes. 
 And I suspect that the fondness for tales in all kinds, 
 common, to both child and savage, is another manifesta- 
 tion of the same radical principle. 
 
 Such being the fact, we can press the cultivation of 
 the fine arts on the ground that such is the will of God. 
 Since most of his gifts are bestowed in the germ, the 
 mere fact of his conferring certain capacities should be 
 evidence enough of our obligation to labor for their 
 development. But artistic culture has many specific 
 uses. 
 
 Thus the arts open to their amateurs inexhaustible 
 sources of enjoyment. It were superfluous arguing that 
 
THE FINE ARTS — HELIOGRAPHY, ETC. 21 
 
 men must needs have relaxation and amusement. Labor, 
 the common lot, has not yet been made in itself pleasura- 
 ble and attractive; generally wearisome, often positively 
 repulsive, it would be insupportable but for seasons of 
 relaxation. 
 
 If, then, mankind must and will have pleasure, what 
 shall this be ? Few questions are more momentous. For 
 where there is no mental culture, sensuality is the main 
 resource, and fatal excess its too frequent accompani- 
 ment. And even where excess is avoided, sensual indul- 
 gence, unchastened by the activity of the higher powers, 
 is of debasing tendency. 
 
 But let the love of manifold beauty be developed, and 
 how vast man's resources for enjoyment ! Painting, 
 sculpture, and architecture, music, poetry, and universal 
 letters offer springs of pleasurable emotion, which, while 
 ever new and fresh, are absolutely fathomless. Pure 
 delights they are, too, harming neither him who tastes 
 nor those connected with him. 
 
 And still better, these enjoyments are morally and 
 spiritually elevating in tendency. JSTot that in point of 
 fact all artists and amateurs reproduce, in their senti- 
 ments and life, the harmony and. beauty of art. But this 
 is not the fault of art itself. It does but show that the 
 artistic element is not in them strong enough to hold in 
 check other passions of a debasing kind and accomplish 
 its own specific ends. In other phrase, though a veri- 
 table angel of blessing, it is not omnipotent. 
 
 How, indeed, can it do else than purify and exalt, since 
 it brings the mind into sympathy with one of the most 
 conspicuous of the divine attributes ? 
 
 For, if wise design and benignant use be everywhere 
 visible in creation, not less universal and perceptible are 
 the forms and hues of beauty. How prodigally, indeed 
 
22 THE CAMERA AND THE PENCIL. 
 
 is that beauty poured out over earth and sky ! And not 
 alone, either, where man may take cognisance of it. In 
 the very heart of sylvan wilds, where human foot never 
 trod, countless flower-tribes, lovely and fragrant enough 
 for a seraph's wreath, bloom and perish, it might seem, 
 in vain. Why, too, was the interior of the muscle's 
 shell painted with the rainbow's matchless hues, only to 
 lie on the dark bed of Ocean, "a. thousand fathoms 
 down" ? "What numeration could reckon the kindred 
 instances where, on birds, fishes, and insects, are lavished 
 beauties of shape and tint beyond the reach of man's art, 
 and yet with no discernible end to be subserved thereby? 
 Is it, then, presumption to suppose that such beauty 
 exists because its Author delights in its creation? "Why 
 may we not believe that all this grace and loveliness 
 are not 
 
 "born to blush unseen, 
 And waste their sweetness on the desert air," 
 
 but that their Creator enjoys the contemplation of these 
 exquisite works of his hands ? 
 
 The artist, therefore, who by pencil or chisel, by pen 
 or voice, brings before us shapes of beauty or grandeur ; 
 what does he but co-operate with the great Proto- Artist, 
 and in his humble measure participate in His work of 
 Creation? And he who, through culture, has become 
 susceptible to the charms of multiform art, must, through 
 the same susceptibility, love and enjoy also the divine 
 manifestations of grandeur and loveliness. And the 
 artist and amateur, who dwell thus delightedly on the 
 derivative beauty incarnate in effects, are more likely 
 than others to venerate and love the great Original Cause 
 of beauty — the Being, who is himself the absolute, essen- 
 tial Beauty and "Wisdom, Life and Love ! 
 
 We plead, then, for the cultivation of art, both as a 
 
THE FIXE ARTS — HELIOGRAPHY, ETC. 23 
 
 means of recreation and refresliment to a toiling race, 
 and not less for its genial and elevating influence on the 
 character. 
 
 It is nniversally admitted, that the fine arts communi- 
 cate to the mind that refinement, and to the life those 
 accomplishments and graces, without which the one is 
 incomplete and rude, and the other bald and bare. Of 
 course men must first provide life's absolute essentials ; 
 nor will I object to their procuring, as a second step, its 
 material conveniences and comforts. But I insist, that 
 the very next stage, in a true development, is to secure 
 that intellectual culture, of which the fine arts constitute 
 a large share — embracing, perhaps, all not covered by 
 the term science. Without this, we must be little higher 
 or other than animals. 
 
 But through the portals of art we enter a vastly higher 
 and nobler than the animal sphere : one in which the 
 Divinity is our prototype and exemplar, and unseen 
 angels our sympathizing and helpful associates. It is 
 the domain of the beautiful ; boundless, exhaustless, and 
 infinitely various, like its Author and Supervisor. Thence- 
 forward man, both the individual and social, has before 
 him an illimitable work, fully worthy his most strenuous 
 endeavors. This work is to shape and array his total 
 life into harmony with the laws of beauty. Such work 
 demands, that, commencing with what is most individual, 
 we conform our feelings and thoughts, our speech and 
 port, our movements and costume, to the standard pre- 
 scribed by those laws; that, still farther, we fashion, 
 according to this standard, our domestic and public struc- 
 tures with their furniture and equipments ; our imple- 
 ments to whatever use applied; and finally, whatever 
 we touch and hear and look upon at home and abroad, 
 so far as within our control. Life's ideal requires, that 
 
24 THE CAMEEA AND THE PENCIL. 
 
 every human being, whether in his hours of labor or 
 recreative leisure, should be encompassed by sights and 
 sounds incarnating the most advanced existing concep- 
 tions of loveliness, grandeur, and nobleness, that so his 
 nature's best elements may be kept alive and active, 
 while enjoying the conditions of further expansion and 
 growth. 
 
 To some extent this idea was actually embodied in 
 life by the ancient Greeks and Eomans. They made 
 beauty and magnificence almost 
 
 "As broad, as general, as the casing air," 
 
 in many spheres, which in these modern days exhibit 
 little save ugliness and meanness. 
 
 We cannot, however, doubt that we are destined to 
 higher achievements even than theirs. It will assuredly 
 be so, if that American energy, so prolific of prodigies 
 in the domain of utility, shall fling its total self into the 
 culture of art. And would we rid ourselves of that ser- 
 vile propensity to imitation, implanted in us by our con- 
 stant intercourse with old Europe, and act fully out the 
 originality springing from our novel conditions, in this 
 respect, as we have done in so many others, I doubt not, 
 that a new and magnificent type of universal art would 
 be ushered into the world. The copyist — as the Ameri- 
 can has too generally been — can never equal his model, 
 since he works not with the freshness and surging enthu- 
 siasm of a primal impulse. To be alike true and great, 
 American art must be America's spirit and life, with all 
 their individualities, idealized and encircled with the 
 magic halo of beauty ! 
 
 Our opening chapter has, thus far, been occupied with 
 remarks upon art in general, and upon the principles 
 that underlie and modify whichever of its specific forms 
 
THE FINE ARTS — HELIOGRAPHY, ETC. 25 
 
 it may assume. As tlie particular subject of this Trea- 
 tise is Heliograpliy, a few words respecting it will not be 
 amiss in closing. 
 
 In the course of the present volume, I have repeatedly 
 and earnestly advocated the proposition, that sun-paint- 
 ing is not (as but too commonly supposed) a mere me- 
 chanical process ; but, contrariwise, is one of the fine arts, 
 and in its capabilities is, at least, the full equal of the 
 others bearing this name. 
 
 We may go still further. In the variety and extent 
 of its possible applications, both usefal and ornamental, 
 Heliography promises to go even beyond its sister arts. 
 From the extreme celerity with which these pictures 
 may be taken, their numbers can be indefinitely multi- 
 plied; while their cheapness brings them within reach 
 of all classes save absolute paupers. By consequence, 
 in the humblest of cabins, not less than in the most sump- 
 tuous of palaces, they will be in future among the most 
 frequent spectacles. 
 
 As the next chapter will be devoted to an enumera- 
 tion of the utilities of heliography, I have contented 
 myself here with briefly touching upon two or three 
 points, wherein this differs greatly from the other fine 
 arts — such difference being decidedly in its favor. To 
 that expository chapter I would ask the reader's atten- 
 tion. 
 
CHAPTEB II. 
 
 USES OF THE HELIOGRAPHIO ART. 
 
 Cherishes domestic and social sentiments — Inspires to virtuous and nobla 
 deeds — Education largely the work of circumstances and conditions of men 
 — Augments greatly men's knowledge and happiness — A substitute for tra- 
 vel — Cultivates artistic taste and love of beauty — Tends to improve other 
 fine arts and their professors — Exemplifications of this. 
 
 Though heliograpliy is but a new-discovered art, 
 and is, of course, far from having reached perfection, it 
 has already conferred various and important benefits on 
 society. These benefits must be augmented, as the art 
 progresses. Let me specify some of these. 
 
 1st. In the order of nature, families are dispersed, by 
 death or other causes ; friends are severed ; and the " old 
 familiar faces" are no longer seen in our daily haunts. 
 By heliography, our loved ones, dead or distant ; our 
 friends and acquaintances, however far removed, are 
 retained within daily and hourly vision. To what extent 
 domestic and social affections and sentiments are con- 
 served and perpetuated by these " shadows" of the loved 
 and valued originals, every one may judge. The cheap- 
 ness of these pictures brings them within reach, substan- 
 tially, of all. 
 
 In this competitions and selfish world of ours, what- 
 ever tends to vivify and strengthen the social feelings 
 should be hailed as a benediction. With these literal 
 transcripts of features and forms, once dear to us, ever 
 at hand, we are scarcely more likely to forget, or grow 
 
USES OF THE HELIOGEAPHIC ART. 27 
 
 cold to tlieir originals, than we should be in their cor- 
 poreal presence. How can we exaggerate the value of 
 an art which produces effects like these ? 
 
 2d. But not alone our near and dear are thus kept 
 with us ; the great and the good, the heroes, saints, and 
 sages of all lands and all eras are, by these life-like 
 "presentments," brought within the constant purview 
 of the young, the middle-aged, and the old. The pure, 
 the high, the noble traits beaming from these faces and 
 forms, — who shall measure the greatness of their effect 
 on the impressionable minds of those who catch sight 
 of them at every turn? Who can behold the "mimic" 
 "Washington of Stuart or Peale, without recalling, for an 
 instant at least, who and what was the orisfinal once 
 enshrined in that majestic face and j&gure? And the 
 representation of the "Divine Man of Nazareth," — not, 
 of course, a transcript from actual life, but the picture 
 whereby an artist of supreme genius, in his most rapt 
 devotional moods, made visible his conception of what 
 must have been the aspect of One thus endowed and 
 inspired, — could any individual look upon it daily, and 
 not experience that a "virtue had gone out of it," and 
 had done somewhat towards moulding his own disposi- 
 tions and character? 
 
 Indeed, our education is accomplished far more by the 
 circumstances amid which we live, than by all the direct, 
 technical instruction we receive ; and from infancy to 
 old age we are continually acted upon for good and for 
 evil by the sights and sounds with which we are familiar. 
 And he who beholding, on every side within his dwelling, 
 spectacles of the class above named, derives from them 
 no elevating moral influence, must be made of almost 
 hopelessly impenetrable stuff'. But taking a still wider 
 view, consider 
 
28 THE CAMERA AND THE PENCIL. 
 
 3d. "What this art is doing, and is still more largely 
 to do hereafter for increasing, the knowledge and happi- 
 ness of the masses. What, heretofore, the traveller 
 alone could witness (and travelling was out of the reach 
 of ninet v-nine hundredths of mankind), even the humblest 
 may now behold, substantially, without crossing his own 
 threshold. The natural scenery, grand, beautiful, or 
 picturesque, of every quarter of the globe ; the noblest 
 edifices, secular and religious, of the most highly civilized 
 lands ; together with the weird, fantastic piles, reared 
 by semi-barbaric peoples to their ''strange gods;" the 
 multitudinous reliques still remaining of the skill and 
 the power, the pomps and the glories of the most cele- 
 brated regions of the ancient world; the localities, on 
 either continent, where conflicts have been waged, or 
 events have occurred, which have acted powerfully on 
 the destinies of nations, and perhaps have turned the 
 currents of the world's history into new channels ; the 
 inhabitants of every zone, from the Arctic to the An- 
 tarctic Circle, with their costumes and their exterior ways 
 of life ; the finest existing specimens of art, ancient and 
 modern, of foreign countries or our own ; the most exci- 
 ting, impressive, and awful acts or scenes which may 
 occur anywhere at any moment — a thunder-storm, a 
 tempest at sea, a great battle, in the very heat and fury 
 of its crisis, — all these, and whatever else of interest the 
 world may present to the sight, caught, as they may be, 
 with absolute exactitude, by the infallible pencil of the 
 san, are now brought within reach of all, even the 
 lowliest of the community. 
 
 But while the masses are thus supplied with abundant 
 and infinitely various stores of knowledge and entertain- 
 ment, they are, at the same time, receiving no small 
 measure of artistic training. Of course, in the multitudes 
 
USES OF THE HELIOGEAPHIG ART. 29 
 
 of heliographs sent abroad into the world, there are very 
 many various degrees of excellence in execution and 
 finish, and the observer of different specimens is naturally 
 moved to compare one with another, and to form his 
 own judgment of which are the superior and which the 
 inferior. By this simple process, carried on, perhaps, 
 for the most part, unconsciously or but semi-consciously, 
 the community is being trained to a taste for art and a 
 love of the beautiful. Thus sun-painting promises to do 
 for the moderns, what art, in other forms, did for the 
 ancient Greeks. And who can even imagine what would 
 be the purifying and elevating effects of a relish and 
 enjoyment of beauty, both in nature and art, universally 
 diffused, — especially when combined, as it is among the 
 moderns, with the influence flowing from the precepts 
 and the life of the " Grood, Master" ? But 
 
 4th. Heliography, we believe, is destined to do much 
 for the improvement of the other fine arts and their 
 professors. To the portraitist, for example, a good 
 heliograph furnishes important aid in transferring a face 
 and form to the canvass or ivory. By its means he 
 is able to get a more exact outline of his sitter, besides 
 being helped to catch his brightest and best expression. 
 For obtaining such outline, as also the drapery and all 
 other accessories, the sitter need not be subjected to the 
 long, wearisome sessions formerly required, as these may 
 be taken directly from the heliograph. And then a few 
 brief sittings, devoted exclusively to studying the sub- 
 ject's type of mind and character, and thus settling the 
 fittest mode of expressing the same in the countenance, 
 will fully suf6.ce, — especially if the heliographer has been 
 fully successful in calling up and representing the sitter's 
 best expression at the outset. In a word, this use of the 
 heliograph is a mode of economizing both time and force, 
 
30 THE CAMERA AND THE PENCIL. 
 
 leaving to tlie painter more of both for producing tlie 
 highest effects of his art. 
 
 The landscape-painter, the sculptor, and the architect, 
 as well as all others, whose aim is visible representation, 
 may in like manner derive essential help from copies of 
 cheir originals. 
 
 But especially is heliography, with the late discovered 
 devices for instantaneous tailing, calculated to benefit 
 other artists, by supplying them with most interesting 
 "studies." For example, the clouds, seen occasionally 
 to rise aloft like dark craggy mountains leaning against 
 higher and lighter-tinted ones, above which appear still 
 others, darker, grander, and more irregular in outline, 
 and tipped with light, — the whole having a dark blue 
 sky for a background, — all can be accurately and instantly 
 pictured by the solar pencil. 
 
 So the high-rolling and high-capped billows of a storm- 
 lashed sea, as they follow each other, dashing furiously 
 against or curling triumphantly over the overtaken ship 
 or the immovable rock, may be stamped upon the 
 plate exactly as the eye beholds them, and almost as 
 rapidly as the eye can take them in. 
 
 Again, waterfalls ; choice bits of landscape ; large 
 moving masses of people assembled on occasions of 
 festival or public celebration ; and all kindred spectacles, 
 may be reproduced in the same way. 
 
 And thus, taken on a small scale, they can, by 
 methods recently devised, be enlarged to a magnitude 
 of many feet square, without losing their original exacti- 
 tude of truthfulness. 
 
 Such pieces, to an artist in colors, must be invaluable 
 as "studies" of nature; while the imaginative artist, by 
 idealizing them, may win an enviable reputation. 
 
 It will readily be seen how iiseful the art, with its 
 
USES OF THE HELIOGEAPHIC ART. 31 
 
 present facilities, must be for illustrating books, periodi- 
 cals, &c., — supplying tbem with reliable sketches of 
 macbinery, of architecture, of scenes of disaster or of 
 jubilee, of portraits ; and, in short, of whatever is suited 
 to interest or instruct the public. 
 
 It seems, too, that the French savans are applying 
 heliography to physical astronomy and the mathe- 
 matical measurement of the heavenly bodies. Several 
 valuable pictures of this class have already been taken, 
 and the art promises to render important services in this 
 direction. 
 
 I need pursue these remarks no further here, as the 
 multiform utilities of the art will be found clearly and 
 fully explained in the following chapters of this work. 
 
CHAPTER III. 
 
 QUALIFICATIONS EEQUISITE TO A FIEST- CLASS HELIO- 
 GRAPHEE. 
 
 Heliographers mechanical or artistic — Former lack power of giving expression 
 to portrait — Latter have it — Genius this power — G-ift of nature, not fruit of 
 effort — Camera requires not less genius than pencil — Heliograph er, like 
 painter, must rouse in sitter his hest mood — How — Chemistry, natural phi- 
 losophy, &c., essential to heliographers — Heliography in disrepute — Reasons 
 — Motives which should inspire heliographer. 
 
 In the heliograpMc, as in otlier arts, are found two 
 classes of persons — the artists, and the mere mechanics. 
 In all respects, save two or three, the latter may equal, 
 if not even surpass, the former. For the solar pencil 
 will transcribe, with rigorous exactness, the original 
 submitted to it, alike in either case ; while in the pre- 
 paring of the impressible surfaces, and other processes 
 chemical or manual, the dexterous-handed mechanic may 
 transcend the artist. But when we come to the expres- 
 sion — that something which reveals the soul of the sitter, 
 the individuality which differences him from all beings 
 else — we find an antagonism between the two classes, as 
 decided as between a living man and the wooden image 
 of a man. As the mechanic can but put together dead 
 materials, his work mast needs be lifeless. The artist, 
 on the contrary, creates, and into his work he " breathes 
 the breath of life," and it "becomes a living soul." Mrs. 
 Fanny Kemble, once contemplating a portrait by one of 
 
 our famed artists, remarked, "Mr. paints a beauti 
 
 (32) 
 
QUALIFICATIONS EEQUISITE. 83 
 
 ful picture, but it required Lawrence to piit tlie soul in 
 the eyes !" A complete verification of wliat is said 
 above. 
 
 Whetlier the pencil or the camera be employed, tbis 
 distinction equally holds. I believe the time is not 
 distant, when the perfect handling of the latter will be 
 acknowledged to be not less difficult than that of the 
 former. And indifferent as the past repute of heliogra- 
 phy has been, and dishonored as it has too often been 
 by ignoramuses and charlatans, I believe it will, ere 
 long, be regarded as a sphere wherein the most eminent 
 of artistic geniuses, a Michael Angelo and a Eaffaelle, a 
 Titian, a Eubens, a Eembrandt, and a Stuart might find 
 amplest scope for their powers. 
 
 But what are the special qualifications which go ta 
 make a first-class heliographer ? Substantially the same 
 (I think) with those required for an eminent painter. 
 Not that the two operate in the same way. Both, how- 
 ever, aim at the same object, and unless they attain it, 
 their attempts must be total failures. That object is the 
 expression of the soul through the face, or the face and 
 form. 
 
 Now even to discern what is that cast or character of 
 the individual soul, which discriminates it from all other 
 souls, requires genius — a quality known by its results, 
 though perhaps impossible to define — and requires it as 
 much in the heliographer as in the painter. Neither a 
 mechanical painter nor a mechanical heliographer can 
 perceive it. True, the former with his brush may 
 represent, with precision, the face and form, and the 
 latter can do the same, through the camera. But as 
 neither has, by nature, the eye to detect the soul-expres- 
 sion, so neither can represent it. We repeat, then, that 
 3 
 
34 THE CAMERA AND THE PENCIL. 
 
 the first-class heliograpTier must possess the same art- 
 genius, as the painter of kindred rank. 
 
 But after seeing the expression to be represented, the 
 next step is to represent it by some means. The painter 
 does this through color, light aT'd shade, &c., put upon 
 canvas. The heliographer uses the camera, in lieu of 
 the pencil, and by various dispositions of light and 
 shadow, must accomplish (if at all) the purpose effected 
 by the painter with his pencil. Something, indeed, the 
 heliographer, after using the camera, may do by means 
 of colors, to improve and heighten the expression first 
 obtained by the solar pencil. Bat unless this expression 
 is, substantially, gotten at the outset, this subsequent 
 employment of color will be of no avail. 
 
 But prior to the handling of either the pencil or the 
 camera, a preliminary work must be done both by the 
 painter and the heliographer ; and to the execution of 
 this work genius is indispensable. The sitter, before a 
 transcript of him is taken, should be put into a mood, 
 which shall make his face diaphanous with the expression 
 of his highest and best, i. e. his genuine, essential self. 
 He is not always in this mood at the commencement of 
 his sitting to the painter or the heliographer ; and his 
 face may be of that rough, coarse mould, which, in the 
 absence of emotional excitation, would give no adequate 
 manifestation of the in-dwelling soul. So was it with 
 Curran, who (as related in Chapter 24) sat to Lawrence 
 six times before the painter could detect the real Curran 
 by the soul-irradiation of his face. But how came this 
 soul-irradiation there at last? It seems that Lawrence, 
 as his usage was, had plied Curran with the various 
 resources of his marvellous conversation, till, finally, he 
 struck upon that chord of " Erin ma vourneen, Erin go 
 bragh," to which the orator's highest nature responded 
 
 II 
 
QUALIFICATIONS EEQUISITE. 35 
 
 And then fhe expression required shone out from within, 
 and touched up that gross, rugged mask with an empyreal 
 grandeur and beauty. 
 
 In like manner the heliographer's subject often shows 
 little of what he essentially is at the moment of sitting — • 
 the more especially as the very conditions of a heliogra- 
 phic sitting are apt to produce a dull, meaningless look, 
 from the fact that the sitter must be 'perfectly immovable 
 during the action of the camera. The operant, there- 
 fore, should tax all his intellectual resources, both before 
 and during the session, to summon into activity in his 
 sitter those elements which shall stamp on the face the 
 distinguishing soul. Conversation is the principal form 
 in which those resources are employed, though much is 
 also done by the magnetism of his manners and presence. 
 If successful in calling into the face the expression 
 desired, it remains to tax all the powers of the camera 
 in producing such a combination of lights and shadows 
 as will secure an exact transfer of this expression to the 
 plate. To use the camera, as it m.ay be used, is possible 
 only to genius, united with thorough knowledge and 
 high accomplishment. 
 
 Indeed the public at large has little idea of what 
 marvels of achievement this instrument is capable in the 
 hands of genius; and the same might be said of the 
 great majority of heliographers. Some suggestions on 
 this topic may be found in the chapters of this volume 
 relating to "Sitting, the Sitting-Room," and kindred 
 matters. It will there be seen that this instrument, by a 
 delicately skilful handling, may do for the face and 
 figure, so far as concerns outline, light and shadow, &c., 
 nearly every essential service which the pencil, with its 
 manifold appliances, can do in the hand of a painter of 
 genius. 
 
36 THE CAMEEA AND THE PENCIL. 
 
 Be it noted, moreover, ttat heliography is based upon 
 chemistry and natural pTiilosopliy ; and tlie heliograplier 
 who would master all departments of his profession 
 must be versed to a considerable extent in both these 
 branches of knowledge. But to deal familiarly with 
 sciences as boundless as the world, or rather all worlds ; 
 to be able to pierce through the ofttimes thick mask of 
 the material outward and discern the inner, spiritual self ; 
 and then to represent that self by such a delicate man- 
 agement of a single implement, as shall cast peculiarly- 
 tempered lights and shadows upon the face and form, 
 adapted by an almost inspired selection of attitude, with 
 its accessories, to receive them aright ; — are performances 
 like these within the capacity of a dull, slow, ignorant 
 operator ? Or do they not rather (as already intimated), 
 demand both genius and talent, — genius and talent, too, 
 thoroughly instructed and disciplined by prolonged, care- 
 ful study, observation, and experiment? For a first- 
 class heliographer all these qualities and acquirements 
 are, in my view, essential. 
 
 Thus far I have spoken of intellectual qualifications 
 exclusively. But to a heliographer, who would be both 
 eminent in fact and successful with the public, certain 
 moral qualities are hardly, if at all, less requisite. 
 
 And first, speaking generally, no man can work to the 
 best advantage, unless the mental and moral, the think- 
 ing and emotional elements of his being are in proxi- 
 mate accordance or equilibrium. To work with the 
 head without the heart were itself ominous for his suc- 
 cess ; but to work with the heart in bitter opposition to 
 the head were far worse. He who should attempt to run 
 a race in fetters, or to breast a torrent with half the body 
 paralyzed, were more likely to succeed than one at odds 
 with himself. 
 
QUALIFICATIOlSrS EEQUISITE. 37 
 
 As matter of history, I believe it will be found, with 
 few exceptions, if any, that the great immortals in art 
 have been characterized by moral properties mainly cor- 
 responding to, if not perfectly matching, their intellect- 
 ual. Michael Angelo and Raffaelle, Correggio and 
 Leonardo da Yinci, may be named as examples among 
 the moderns across the water ; while Washington All- 
 ston, Gilbert Stuart, Eembrandt Peale, and Henry Inman 
 show alike favorably on this. If there are exceptions 
 of any considerable moment to this rule, I cannot now 
 recall them. Indeed how could a corrupt, debased crea- 
 ture detect in his subject the expression of goodness — 
 not to say, how represent such goodness on canvas or in 
 stone ? It stands among the moral axioms, that no man 
 can discern or understand in another a quality of which 
 he has not in himself the germs, — and these germs, too, 
 somewhat developed. 
 
 That the heliographer, like other artists, should pos- 
 sess a genial and measurably harmonic nature is essential, 
 both because man, being dual-natured, cannot achieve 
 his highest and best unless the two elements of his being 
 work accordantly together ; and because without good- 
 ness in himself, he cannot perceive and depict goodness 
 in others ; while it is a generally recognised principle 
 that a picture devoid of this element cannot be a chef 
 d'oeuvre in art. 
 
 But coming down from this general view, there are 
 certain specific moral qualities which may be seen at 
 first glance to be exceedingly important to the helio- 
 grapher. 
 
 1st. Amenity, cordiality, grace, and ease of manners — • 
 in one word, politeness — are well-deserving the most 
 assiduous cultivation by him. In truth, politeness may, 
 for its multiform good effects, almost be catalogued 
 
38 THE CAMERA AND THE PENCIL. 
 
 among the positive virtues. An exterior, prickly and 
 toucli-wounding, may despoil the rarest qualities of the 
 major portion of their proper influence. Conversely, 
 a gracious, winning demeanor has such potency that it 
 often gives social currency to one whose delinquencies 
 would otherwise "send him to Coventry." What 
 stronger incentive than this for sterling worth to put on 
 a seemly garb ! 
 
 2d. Genial, habitual good-nature, so-named, is ano- 
 ther important requisite to a heliographer. A bright, 
 sunshiny face is a positive benefaction to all beholders. 
 It enhances the sitter's cheerfulness, if already in good 
 spirits, and dispels his gloom if in the opposite mood. 
 Whereas a sour, sullen face in the operant may neu- 
 tralize the rarest skill by freezing the very emotions that 
 should impart to the sitter the expression wished. It 
 were wiser for one of this saturnine, surly temper to 
 
 "Affect this virtue, if he have it not." 
 
 Best have it in very fact ; for, though nature withheld it, 
 assiduous, prolonged endeavor will attain a considerable 
 measure of it. 
 
 3d. The would-be eminent heliographer must espe- 
 cially have patience, as few places more urgently require 
 it than his operating room. For, from the nature of his 
 art, a single day may bring under his hand a host of 
 persons, comprising almost every type of organization ; 
 the ignorant and stolid, the flippant and conceited, the 
 fastidious, the difficult, &c. To deal with all these, even 
 so as to avoid giving mortal offence, often taxes his 
 patience to an extent that might make him almost envy 
 even the patriarch Job himself. 
 
 Let him, however,, beware of yielding to impatience 
 or irritation even with such as these ; for they constitute 
 
QUALIFICATIONS EEQUISITE. 39 
 
 perhaps the majority of those, by whom he must (if at 
 all) win his bread, as well as his professional distinction. 
 To the multiform annoyances from these sources let him 
 oppose simply a genial, invincible patience, which will 
 be to him like a water-proof overcoat in a sleety storm, 
 keeping him substantially dry and warm. 
 
 Thus far in the present chapter I have spoken of the 
 heliographer in his individual relation to his art, and to 
 the public who furnish subjects for his art. Before 
 closing it I would say something of the heliographic 
 body at large, and of certain matters that vitally con- 
 cern it. 
 
 I suppose it will not be denied, that in days past the 
 estimation generally put upon our profession and its 
 practitioners, has been a humiliating one ; and that the 
 art itself has shared in the humiliation of its professors. 
 Why was this so ? 
 
 Among many different reasons may be mentioned, 
 
 1st. The fact that, to a degree unparalleled among 
 other professions and callings within my knowledge, the 
 practitioners of this have been chargeable with bickerings 
 and clashes ; with covert attacks and contumelious insi- 
 nuations of one against another ; while they have rarely 
 recognised each other's professional deserts and rightful 
 standing. 
 
 2d. That, among several thousands of heliographic 
 practitioners in our country, there are very few genuine 
 artists ; and the number of sun-paintings is scanty, which 
 win approval from those competent to judge of their 
 merits. And most heliographs being what they are, i. e. 
 poor, even to paltriness, it is commercially right, that 
 they should be vended at rates so ludicrously cheap, 
 that the vender himself, if sane, can hardly feel other 
 than contempt for his work. 
 
4:0 THE CAMERA. AND THE PENCIL. 
 
 3d. That, "unlike other artists and even artisans, helio 
 graphers have not formed associations for advancing 
 their art and securing their own reciprocal benefit, but 
 have maintained a selfish isolation, or, worse still, a semi- 
 hostile attitude towards each other. 
 
 I might, perhaps, suggest still other reasons for the 
 disrepute under which our art and its professors have 
 lain, but the three specified are more than sufficient to 
 account for it. 
 
 Now all who feel sincerely interested in our art — and 
 the number is far greater than when the first draft of 
 these lines was made — must desire to see this deplorable 
 state of things rectified. Let us attempt to ascertain 
 from what causes it sprang, as such "knowledge must 
 precede all endeavors to amend it. 
 
 A principal cause lies, I think, in the fact that, hereto- 
 fore, the majority of heliographers have adopted this 
 vocation from motives ipurely mercenary. That is, the 
 desire and the hope of making money more rapidly, and 
 of avoiding manual labor, which seemed less easy and 
 less "genteel," than art-practice. Will any one deny 
 that this is fact, however discreditable to those con- 
 cerned? As any one, by a few days' attention, may 
 learn to get, through the camera, some kind of copy of 
 the object placed before it ; and as the obtaining of such 
 copy is the whole idea the unimaginative, unartistic, 
 uncultured person has of a heliograph, the impression 
 has gone abroad, that sun-painting is the easiest of all 
 vocations both to acquire and to practise. Hence num- 
 bers, not merely of the illiterate and undisciplined, but 
 of dullards without a spark of art-genius, or even of 
 discernment of the nature and requirements of art, have 
 rushed into this profession from the exclusively merce- 
 nary impulses above named. 
 
QUALIFICATIONS REQUISITE. 41 
 
 'Now, he it liow it may witli other vocations^ mechani- 
 cal, agricultural, and the like, I feel confident that no 
 one ever became, I will not say one of the art-immortals, 
 but even a tolerable artist, from mercenary instigations 
 solely. Other motives of a far different quality are needed 
 to urge him forward and sustain him in the toils and 
 sacrifices and endurances, which the attainment of artistic 
 eminence will certainly exact of him. 
 
 At the head of these motives, and an absolute sine qua 
 non, is a love for the art elected, in and for itself. "With- 
 out this, I do not believe a genuine artist to be a possible 
 existence. And in this love solely some have found a 
 stimulus adequate to carry them upward to the very 
 summits of excellence and distinction. 
 
 Another motive, however, is allowable to humanity 
 as a support and strengthener of the first, viz. the love 
 of fame, 
 
 " That last infirmity of noble minds." 
 
 Milton, veritable religious hero as he was, acknow- 
 ledges that one motive which inspired his immortal Epic 
 was, "the hope of producing something which the world 
 would not willingly let die." Ambition of this sort, 
 however, never descends to unworthy means and modes 
 for working out its ends. The love of art forbids the 
 artist to seek repute otherwise than by superior excel- 
 lence therein ; and under these conditions, the love of 
 fame may be a collateral excitant, help, and support in 
 his work. Where one of these motives is dominant and 
 controlling, or the two united, even the desire of draw- 
 ing pecuniary advantage from art may be, not a hin- 
 drance, but rather a help. 
 
 Young speaks expressively of the love of fame in the 
 following lines : — 
 
THE CAMERA AND THE PENCIL. 
 
 " The love of praise, howe'er concealed by art. 
 Reigns more or less, and glows in every heart; 
 The proud, to gain it, toils on toils endure ; 
 The modsst shun it, but to make it sure." 
 
 On the joint autliority, then, of years and of mucli and 
 varied experience, I would advise every one wlio is not 
 conscious of an intense and sustained love of heliogra- 
 pliy, on its own account, to take up any other vocation 
 than the practice of this, be such other what it may. 
 
 And speaking of intellectual and moral elements to- 
 gether, we should specify genius and love of the art, as 
 two elements without which the striving to become a 
 first-class heliographer would be a perfectly desperate 
 undertaking. 
 
 When individuals possessing these two elements adopt 
 the profession, and all beside abandon, or are driven from 
 a field wherein they were not made to shine, then will 
 lieliography and its practitioners assume the honorable 
 rank which both ought to hold. 
 
 Two other means by which the profession might be 
 benefited, both in reality and in general repute, are, 
 1st, Heliographic Associations, akin to the Art-Associa- 
 tions which have long subsisted, and with such excellent 
 effects ; and 2d, Heliographic Journals, ably conducted 
 and liberally patronized. The nature and possible ad- 
 vantages of both these are well enough understood, and 
 beginnings in both have already been made among us. 
 
 The main thing, however, is that all heliographers 
 should love their art ; should appreciate its wondrous 
 capabilities and possibilities ; and should strive to place 
 it in the high rank to which it is entitled. So these ele- 
 ments exist and act, all else desirable will follow in 
 course. 
 
CHAPTER IV. 
 
 SOME SUGGESTIOlSrS AS TO THE FITTING UP OF HELIO- 
 GRAHIC EOOMS, 
 
 Expression essential to picture — Infants and children physiognomists — Aver- 
 age and intensified expression of face — Proper aims of artist — Difficulties 
 of heliographer and painter as to getting expression — Both must act on sit- 
 ter—How — Heliographer by fitting up of rooms — Enumeration of particu- 
 lars in fitting up — All influenced by surroundings. 
 
 No artist needs be told that expression constitutes tlie 
 chief beauty and power of the human face, both in the 
 living original and in its '' counterfeit presentment" by 
 art. In our familiar associates the degree of this facial 
 expression is often unnoticed and unknown ; while in a 
 stranger, casually encountered, we may, at the outset, be 
 strongly impressed by it. The child, and even the 
 infant, are very sensitive to this trait. From some 
 persons they instinctively shrink — not unfrequently with 
 tears and seeming fright — while to others they fondly 
 cling, with a ready permission of handlings and caresses.* 
 
 In this fact lies a valuable security for social order, 
 
 * We have heard (says the editor of the N. Y. Photographic Journal) an 
 anecdote of the late Daniel Webster, illustrative of this fact. Mr. Webster 
 was visiting a friend, and while waiting in the parlor, his thoughts became 
 abstracted, and perhaps were not of the most pleasant kind, for a little girl, 
 running into the room, shrieked violently on catching sight of him, and it 
 was with the utmost difficulty her nervous excitement could be calmed. By 
 this time, the expression of Mr. W.'s face had changed, and the moment the 
 child looked at him again she rushed into his arms and caressed him, as if ho 
 bad been her father. 
 
 (43) 
 
44 THE CAMEEA AND THE PENCIL. 
 
 insuring, as it does, that men shall nltimately be known 
 for what they really are. In vain do the profligate, the 
 base, the wicked, and the selfish mimic those outward 
 indications which pertain naturally to the pure, the good, 
 and the generous. The inward unworthiness, despite all 
 effort, will glare through the fleshly mask. 
 
 The face has an average expression, stamped thereon 
 by the soul's habitual workings; but the momentary 
 passions and emotions of joy, grief, anger, love, or hate, 
 may, especially if intense, obliterate, or partially shadow, 
 its wonted characteristics. 
 
 So, too, the average expression may be intensified by 
 an extraordinary excitation of its habitual feelings. 
 
 These remarks bear directly on the purpose of this 
 chapter. For what should the artist, heliographic or 
 other, aim at, while exercising his art ? Not merely to 
 get an exact outline of his sitter's face. Nor solely to so 
 fill up and color his sketch, that in shape, features, and 
 tints, it shall be true to the original. These items are, 
 indeed, important, — nay, essential to a perfect portrait. 
 All these, however, are insufl&cient, in the absence of 
 that expression which reveals the soul within, — that 
 individuality which distinguishes this from all human 
 beings beside. If the artist cannot detect and seize this, 
 he makes no portrait. 
 
 Both the painter and the heliographer encounter diffi- 
 culties in the matter of expression. From the stillness 
 of the place; the moveless, and maybe constrained 
 attitude of the sitter, producing weariness and ennui ; 
 his facial expression is often unnaturally dull and inani- 
 mate ; and rarely of the bright, genial cast which it may, 
 and in other conditions does, exhibit. To both artists, 
 therefore, it is of vital moment that some means should, 
 if possible, be devised to counteract these untoward 
 
FITTING UP HELIOGRAPHIC ROOMS. 45 
 
 influences, and summon into the face, at the time of 
 sitting, the -finest expression of which it is susceptible. 
 
 Now as the stamping of the image, by the heliographer, 
 is the work of but a few seconds, he has not the same 
 facilities for getting the desired expression as the paintei, 
 who may have many and prolonged sittings. On the 
 other hand, if he can call it into the face but for an 
 instant, his camera can infallibly seize and transcribe it ; 
 and here he has the advantage of the former. It is, then, 
 a question of incalculable import, by what methods (if 
 any) can the heliographer call up, in readiness for the 
 instant of taking, the precise expression he would trans- 
 fer to his plate ? 
 
 His aim, of course, must be to act upon the mind, that 
 is, upon both the intellect and feelings of his sitter. But 
 how 1 
 
 By the circumstances (for one item) surrounding the 
 individual, both prior to and at the precise instant of 
 sitting. It is peculiar to the heliographer's vocation, 
 that his customers, — especially in busy seasons, — come 
 in numbers, and remain awaiting each his turn for being 
 taken. A portion, of course, must be subjected to a 
 considerable delay before being reached ; and this often 
 proves wearisome, and sometimes positively irritating, — 
 either of which moods is but a sorry preparative for a 
 saccessful session. To preclude these moods on the one 
 hand, and to awaken the right mood on the other, were 
 a great desideratum. 
 
 Much, I think, might be done toward both these ends 
 by a proper adjustment and fitting up of the heliographic 
 rooms. Without attempting to furnish a complete plan 
 for such fitting up, I will venture a few suggestions, 
 which each artist may modify according to his own taste 
 and judgment. And 
 
46 THE CAMERA AND THE PENCIL. 
 
 1st. I would supply the waiting-room witli books suffi- 
 ciently various to interest tlie majority, at least, of all 
 comers. Not bulky, grave, or abstract works, but such 
 as may fitly occupy the fragments of time in question. 
 Such works, abundant in our day, might do much, both 
 for staving off ennui, and for awaking the better moods, 
 
 2d. I would have lying on the tables, and in portfolios, 
 an ample variety of the finest engravings, prints, &c., to 
 be procured ; together with curiosities of different kinds, 
 more especially such as have classic, romantic, and his- 
 toric associations connected with them — e. g., medals, 
 coins, vases, urns, &c., whether originals or copies. 
 
 3d. But, over and above these specialties, I would 
 make all things in and about the rooms converge to the 
 single point of producing in the sitter a genial, elevated 
 tone of sentiment and emotion. To myself our rectangu- 
 lar, formal apartments seem the very reverse of fitted to 
 inspire either artist or sitter. The curve is recognised 
 as the authentic "Utiq of beauty." I will not, however, 
 venture to dictate whether the curve, as appearing in the 
 circle, or in some other of the conic sections, should 
 determine the shape of the rooms. T will merely give 
 it as my opinion that the highest artistic taste demands 
 some one of these as the shaping principle of the con- 
 struction. 
 
 4th. Having achieved the greatest attainable beauty 
 in the general outline, I would apply the same formative 
 principle to every even the smallest item in the equip- 
 ment of the rooms. 
 
 Thus, for the customary rectangle in the windows, I 
 would substitute some mode of the curve. In some, if 
 not all of them, too, I would set that exquisite stained 
 glass to which the mediaeval cathedrals owed so much of 
 their impressiveness. I would also drape them witli 
 
FITTIJSTG- UP HELIOGRAPHIC EOOMS. 4'? 
 
 ample and splendid curtains, taking special heed, how- 
 ever, that a pure artistic taste be not sacrificed to mere 
 richness. 
 
 The garnishing of the walls, either with paper-hang- 
 ings or paint, furbishes scope for a diversity of tastes, 
 either or any of which may be artistically beautiful. On 
 these walls I would suspend finely-executed and appro- 
 priate pictures in various styles, heliographic and other ; 
 while marble or other busts and statues should occupy 
 the most suitable locations. In regard to these pictures 
 and busts, I would have them so various, as to corres- 
 pond to the leading types of character which might be 
 expected among the sitters, and to be calculated to call 
 into vivid action the feelings pertaining to these cha- 
 racters. 
 
 These pictures and heliographs should be all of the 
 choicest quality ; as walls crowded with specimens good, 
 bad, and indifferent, suitable and unsuitable, would do 
 more harm than service. Individuals of both sexes, who 
 have been renowned for high traits and noble deeds, 
 might well be introduced largely. It were best to afl&x 
 the name to each, as this would enhance the interest. 
 It were well, too, to have a considerable number of helio- 
 graphs made in the establishment here suspended — tak- 
 ing care that they were of the very finest execution and 
 finish. So far as possible, let all the heliographs exhi- 
 bited be those produced in the establishment. 
 
 Especially would I have suspended from the walls 
 several cages of singing-birds. The notes of these 
 charming little creatures, their beautiful forms and plu- 
 mage, and their graceful movements and pretty ways are 
 to nearly all persons exceedingly agreeable ; and, divert- 
 ing the mind from a consciousness of self, they tend to 
 awaken emotions and call up recollections and associa- 
 
48 THE CAMERA AN"D THE PENCIL. 
 
 tions wTiicli ynpart to the face an amiable, genial ex 
 pression. 
 
 Finally, in selecting the (teclinically named) furniture 
 of tlie rooms, e. g., carpets, tables, chairs, sofas, &c., I 
 would adhere to the same principle. That is, I would 
 have every article shaped and finished in accordance 
 with our best conceptions of beauty and grace. 
 
 At the close of each day, every room should be 
 thoroughly swept, and every utensil and article of furni- 
 ture cleansed and arranged in their proper places. Before 
 opening, on the following morning, the apartments and 
 all their contents should be dusted, and fresh boquets of 
 flowers disposed in appropriate locations. The general 
 appearance of neatness and order in the rooms, together 
 with the beauty and fragrance of these floral embellish- 
 ments, will act agreeably on the feelings of the visitants ; 
 and being naturally observed by them, and spoken of to 
 others, will enhance the reputation of the establishment, 
 and thus advance both the fame and the pecuniary inter- 
 ests of its proprietor. 
 
 In sum, I would have the heliographic rooms a temple 
 of beauty and grandeur, so that those entering therein 
 may inhale a spirit which shall illumine their faces with 
 the expression which the true artist would desire to 
 perpetuate. 
 
 J 
 
CHAPTER Y. 
 
 THE SUNBEAM. 
 
 The sun the heliographer's instrument — Deified by Pagans — Newton's theory of 
 light — Young's theory — Field's theory — Light, heat, actinism — Light a com- 
 pound of seven colors, according to Newton — According to Brewster, <fcc., 
 three — EflFect of light on health, development, &c. — Heat and its incidents, 
 e.g. absorption by the atmosphere, latency, influence on climate — Frank- 
 lin's experiment — Actinism the heliographic element — This a proximate cause 
 of germination — Decomposes and alters the arrangement of bodies — Elec- 
 tricity in sunbeam — Sunbeam weighed. 
 
 As the sunbeam is the chief instmmentality of the 
 heliographic artist, it would seem not only proper, but 
 indispensable, that such artist should master whatever is 
 known concerning it. And his attention is more espe- 
 cially called to this subject now, from the fact, that recent 
 discoveries have added largely to all our previous 
 knowledge. 
 
 It cannot be wondered at that so many heathen nations 
 should have numbered the sun among their divinities. 
 For certainly there is no other created object, which 
 images so variously and vividly the uncreated Creator. 
 In truth, not merely the brightness and beauty, but the 
 very vitality of the vegetable, the animal, and the human 
 races, depend absolutely on the solar ray. And the fact 
 is demonstrable, that the withdrawal of this ray would 
 speedily be followed by the universal extinction of all 
 material existence. 
 
 But, though we are better instructed, than to copy 
 antiquity in yielding to the creature the homage due to 
 4 (49) 
 
50 THE CAMEEA AND THE PENCIL. 
 
 the Creator alone, it is none tlie less true, that in the 
 solar orb we behold one of the most expi^essive and 
 glorious of all existing types of that great, inscrutable 
 Being, from whose fiat the universe sprang. And so 
 infinitely diverse and important are the agencies of the 
 sunbeam in all the spheres of both nature and human 
 art, that some account of its composition and properties 
 may be interesting and perhaps useful to all. 
 
 "Without going into detail, it may be well to note the 
 principal theories, which have obtained concerning the 
 abstract nature of light. 
 
 As by Newton himself, so by his followers, light is 
 regarded as an emission of material particles from lumi- 
 nous bodies, corresponding to the aromas issuing from 
 all odorous substances ; the former causing the sensation 
 of seeing, as the latter do that of smelling. On the 
 other hand, Young, Frenel, Harris, &c., constitute a 
 school, which maintains, that light is a mere undulation 
 of a subtile ether, precisely as sound is an undulation of 
 atmospheric air ; the one causing vision by impinging 
 against the visual nerves, as the other does hearing by 
 contact with the auditory nerves. 
 
 A theory differing from both these and (so far as I 
 know) peculiar to himself, is advanced by George Field, 
 author of some of the profoundest and most ingenious 
 works yet published on the subject. He considers light 
 the product of two concurrent forces ; 1st, oxygen, or 
 the " whitening power," originating in the sun ; and 2d, 
 hydrogen, or the "blackening power," existing either iu 
 our atmosphere, or in planetary space. This oxygen 
 darted from the solar orb, impinges against and combines 
 with the aerial hydrogen ; thus producing corabustiqn 
 with its wonted two-fold result, light and heat. Light, 
 therefore, as a total, and the several colors, into which it 
 
THE SUNBEAM. 51 
 
 is divided by the various refracting, reflecting, and 
 absorbent properties of bodies, are regarded by bim as 
 oxydes of hydrogen. He holds, moreover, that magnet- 
 ism, electricity, galvanism, and all other elementary 
 existences, are the result of the same two principles, that 
 constitute light. Now it is familiarly known, that the 
 three elements above named are products of chemical 
 action. Field's theory of light differs from others in 
 maintaining the same to be true of this also. 
 
 But the practical philosophy of to-day ignores this 
 whole class of topics, and inquires merely whether the 
 sunbeam be simple or composite, and what are its effects 
 upon vegetable and animal life. To treat cursorily these 
 two questions will be all I shall here essay. 
 
 It has long been known, that the solar beam was not 
 simple, but a compound of at least three elements ; light, 
 heat, and a third, of which, though some of its effects had 
 been noted, comparatively little was understood. With 
 whatever knowledge existed on this subject were com- 
 mingled, till recently, a swarm of fables which pro- 
 gressive science has exploded. It is now demonstrated, 
 that in the sunbeam, in its primary state, are combined 
 and equably interdiff'used light, heat, and a third princi- 
 ple, to which has been given the name of " actinism." 
 This name comes from the Grreek word, A/.tic — "Sun- 
 beam," — and denotes simply "ray-power," or "power 
 of the ray." It is not a very felicitous name, since it 
 entirely fails to discriminate its subject. For certainly 
 light and heat are " ray-powers" equally with itself. 
 We must, however, make the best of this title for the 
 present. 
 
 The precise composition of the sunbeam was dis- 
 covered by the artificial prism, though nature's own 
 prism, the rainbow, had, for thousands of years foregone, 
 
62 THE CAMERA AND THE PENCIL. 
 
 intimated tlie same knowledge. A beam of white light, 
 that is, of light coming unmodified from the sun, being 
 made to pass through a peculiarly-shaped glass, sustains 
 several interesting changes. First, the solar ray is thus 
 discovered to be not light simply, but light in union 
 with the two other principles of heat and actinism. 
 
 Secondly, it is found, that light itself is soluble into seven 
 distinct colors, according to the doctrine of Newton and 
 of most natural philosophers long after him, viz., red, 
 orange, yellow, green, blue, indigo, and violet ; these 
 colors being of various degrees of refrangibility — tbe red 
 appearing at the one extremity of the spectrum, as hast 
 refrangible, and the violet at the other, as most refrangi- 
 ble. By certain delicate experimentations, Sir John 
 Herschell discovered two colors additional to tbe original 
 seven ; one beyond the violet, named by him, " lavender ;" 
 the second beyond the red, and named by him " crimson ;" 
 or " extreme red." 
 
 Sir David Brewster, however, ascertained, by careful 
 experiment, that the "seven colors" of Newton, as also 
 the " nine colors" of Herschell, were demonstrably redu- 
 cible to tSree, viz., red, yellow, and blue ; which alone 
 he pronounces undecomposable or primary colors ; all the 
 others being readily produced by combinations of these 
 radical three. 
 
 But the prism, besides thus affecting the luminous por- 
 tion of the solar beam, affects no less its two other com- 
 ponents, heat and actinism. At the red extremity of the 
 spectrum it concentrates tbe main body of the calorific 
 rays, while it gathers the actinic rays at the blue ex- 
 treme. Thiis the bulb of a delicately sensitive thermo- 
 meter, being held in the blue ray, will stand at 56° F. ; 
 in the yellow it will rise to 62° F. ; while in the red, or 
 just beyond it, it will rise to 79° F.— making 23° differ- 
 
THE SUNBEAM. 53 
 
 ence between the temperature of the blue and the red. 
 It is, moreover, ascertained that the beat-rays are in- 
 tensest of all outside of tbe red ray, and that the actinic 
 rays act most powerfully heyond tbe blue ray. 
 
 These three constituents of the solar beam have each 
 its own special office in carrying forward the innumera- 
 ble processes of both the inanimate and the living 
 worlds. By reiterated experiments a few of the most 
 important functions of each have been discovered and 
 noted down. 
 
 These I will now attempt briefly to describe. 
 
 I. Of Light. This, by unanimous recognition, is the 
 sole color ist, and thus the grand beautifier of the visible 
 universe. The azure of the firmamental vault ; the 
 green of the meadow, forest, and ocean; the gorgeous 
 splendors of the painted clouds ; the variously exquisite 
 tints of the flowers, of the plumed and insect tribes, ano 
 of the precious gems ; and finally, those matchless pen- 
 cillings which often make the infantile or female face a 
 lovelier spectacle than any and every other the world 
 can display ; these, one and all, point to and borrow their 
 chief beauty from the sun's luminous rays. This fact is 
 shown by experimentation so simple, that all may put it 
 to the test. 
 
 Thus the potato and other vegetables, sprouting in a 
 dark cellar, are seen to shoot up pallid stalks. But, on 
 a few days' exposure to the sunshine, the luhite stalk 
 takes on a deep green. 
 
 On the same principle, tropic vegetation wears a tint 
 of green as much more richly dark than that of the 
 extra-tropic zone, as the degree of sunlight enjoyed by 
 the torrid transcends that which visits the temperate 
 parallels of our globe. 
 
 But while thus imparting color and beauty to the 
 
5-i THE CAMEEA AND THE PENCIL. 
 
 vegetable world, light works out anotlier result on whicli 
 the very life of the animal races depends. It has been 
 discovered that the green of all vegetable growths is 
 owing to a substance elaborated in their cellular tissues 
 bj the action of light. This substance has been deno- 
 minated chlorophyll. That light, and neither of the two 
 other constituents of the sunbeam, produces this sub- 
 stance, has been determined by numerous facts, of which 
 the following is a specimen. In the warm, moist weather 
 of spring, the sun's light is, for successive days, occa- 
 sionally obscured wholly by clouds, while its calorific 
 and actinic forces are in free, energetic operation. Dur- 
 ing such intervals, a forest has been known to germinate 
 and put forth its leaves to nigh their full compass, not- 
 withstanding the obscuration of the luminous rays. But 
 in such conditions it has been noted that the leaves, in 
 lieu of exhibiting their wonted hue, wear a pale, hluish- 
 white tinge. A single day, however, of unobstructed sun- 
 light has been known to elaborate this coloring chloro- 
 phyll so rapidly that, ere its close, the foliage has put 
 on its customary depth of green. This may sound im- 
 probable, but it is avouched by the most reliable autho- 
 rities. 
 
 Now, by analysis, chlorophyll has been discovered to 
 be a composite of oxygen gas and carbon. In intimate 
 connection with its production commences a second most 
 curious and interesting process. This is the generation 
 of the woody tissue of the plant, which is found to be 
 efl'ected by the same agency of light. This woody tissue 
 is mostly carbon, and of this carbon the principal portion 
 is derived from the atmosphere. It is quite familiarly 
 known that carbonic acid — a compound of carbon with 
 oxygen gas — is one among the constituents of atmo- 
 spheric air. On this fact is based a beautiful and mar- 
 
THE SUNBEAM. OO 
 
 vellous arrangement, whereby tlie animal and tlie vege- 
 table worlds are interlinked and made vitally dependent, 
 the one on tbe otber. Thus all animals, including man, 
 inhale air, which is a composite mainly of nitrogen and 
 oxygen gases, as a prime indispensable of existence. 
 The lungs decompose this inbreathed air, and its oxygen, 
 uniting with a portion of the superabundant carbon of 
 the blood, generates a species of combustion which sup- 
 plies the requisite animal heat, while at the same time 
 clarifying the blood. The result of this combustion, like 
 that of our fires, burning lamps, &c., is carbonic acid, 
 which passes by respiration from the lungs into the 
 atmosphere. 
 
 The amount of oxygen thus consumed by the count- 
 less varieties of animal existence, as well as in other 
 modes, would, but for some replenishing arrangement, in 
 no long time exhaust the atmosphere of this vital ele- 
 ment. But, by a beautiful compensatory appointment, 
 carbonic acid has been ordained to be as literally the 
 "breath of life" to all vegetable beings, as oxygen is to 
 animal. Through their leaves, which are their lungs, it 
 is absorbed from the atmosphere decomposed into its two 
 constituents. The carbon goes to form the plant's woody 
 fibre, while the disengaged oxygen is dismissed into the 
 atmosphere to replace what had been consumed by ani- 
 mal respiration and otherwise. 
 
 The first who called general attention to the fact (if 
 not absolutely its discoverer) that plants, under the action 
 of light, exhale oxygen and inhale carbonic acid gas, 
 was Dr. Joseph Priestly, who may almost be pronounced 
 the father of modern chemistry. 
 
 M. Labillardi^re discovered that light is necessary to 
 the development of pores in plants ; while Michellotti of 
 
66 THE CAMEBA AND THE PENCIL. 
 
 Turin found light to be injurious to young plants and 
 animals. 
 
 Thus it iS; that the animal and the vegetable worlds 
 are so inseparably connected and interdependent, that 
 were either annihilated, a swift dissolution would no less 
 befall the other. 
 
 What a beautiful anomaly, too, seems the fact, that 
 the solid tissues of all vegetable growths, whether the 
 granite compactness of the oak and hickory, or the im- 
 penetrable hardness of the lignum vitse, are a product 
 of the noiseless agency of light ; that soft, delicate sub- 
 stance (if substance we may name it) which, launched in 
 floods from its parent orb, and hurrying earthward with 
 thought's own speed, impinges against that most exqui- 
 sitely sensitive of organs, the eye, without causing any 
 other sensations than those of refreshment and delight.* 
 
 I have already stated one proof, that these results are 
 wrought by light and not by heat or actinism. I will 
 just allude to one or two more. 
 
 Thus a plant, sequestered from light while exposed to 
 the other two elements, will indeed grow at its ordinary 
 rate; but besides being white instead of green, as men- 
 tioned, it will grow up soft and brittle, and will never 
 elaborate its proper tvoody fibre. 
 
 * Says a modern writer : " Not only does light fly from the sun with a velo- 
 city a million and a half times greater than that of a cannon-hall, but it darts 
 from every reflecting surface with lilie velocity, and reaches the tender struc- 
 ture of the eye so gently, that, as it falls upon the little web of nerves there 
 spread to receive it, it imparts the most pleasing sensations. Philosophers 
 once tried to weigh the sunbeam. They constructed a most delicate balance, 
 and suddenly let in upon it a beam of light — the lever of the balance being 
 so delicately hung that the fluttering of a fly would have disturbed it. Every- 
 thing being prepared, they took their places and keenly watched the result. 
 The sunbeam that was to decide the experiment had flown through 95,000,000 
 of miles in eight minutes, and shot upon the balance with unabated velocity. 
 But the balance moved not, and the philosophers were mute." 
 
THE SUNBEAM. 57 
 
 Again, it has been ascertained, tliat witli the going 
 down of the sun the plant nearly ceases to decompose 
 the carbonic acid that constitutes its chief nutriment. 
 Thus it would seem, that night is appointed as a season 
 of repose, not less for the vegetable than the animal 
 world, as the day is ordained as a period of labor for 
 both. 
 
 But how shall it be explained, that the plant does not 
 entirely suspend the decompounding of carbonic acid by 
 night, if light be essential to this process ? May not the 
 diminished action still remaining be caused by a portion 
 of light, which continues unabsorbed by the darkness ? 
 Heat, as we know, has the property of becoming latent, 
 under certain conditions. It is by many believed, that 
 light possesses a quality akin to this ; that, during the 
 day, a portion of it is absorbed by bodies on the earth's 
 surface, and, remaining invisible while the sun is above 
 the horizon, is disengaged during the night-hours. Thus 
 the pale, diffused light, which enables us to see partially 
 by night, even when the moon and stars are muffled in 
 dense clouds, is supposed to come from this source, as is 
 also the light emitted by certain gems in the dark. It 
 may be, then, that the partial decomposition of carbonic 
 acid performed by vegetables at night is caused by the 
 light thus liberated from its latent state. 
 
 Among the numerous other agencies of light I shall 
 here speak of but one ; I mean its power and influence 
 on the health and well-being of animals. I believe it is 
 almost uniformly the case, that sick persons suffer most 
 from their maladies during the dark hours, and enjoy 
 more or less alleviation of their pains while the sun is 
 above the horizon. It is quite common, that those suffer- 
 ing from violent irritation of the lungs and throat, com- 
 mence coughing at sunset, and perforce continue this 
 
68 THE CAMEEA AND THE PENCIL. 
 
 tormenting process -witliout intermission until sunrise, 
 when it ceases, to be renewed only at the coming on of 
 another evening. 
 
 But there are facts far more striking, which illustrate 
 the genial influences of this element. Savage tribes of 
 both the tropics and the temperate zones, — of the former 
 more especially, — live almost wholly in the open air, 
 and therefore in the sunshine, wearing the while but 
 scanty clothing. Now, malformation, sickness, and 
 debility of constitution are well nigh unknown to these 
 races, while, on the other hand, they are very common 
 with the dwellers in the dark lanes and cellars of our 
 large cities. It is said, that numbers of the poor in the 
 French city of Lille had been used to live in certain 
 dark recesses under the fortifications, until the magis- 
 trates, finding that the majority of those born there were 
 somehow deformed or diseased, passed an edict compel- 
 ling the removal of these people elsewhere. It is believed, 
 too, that cretinism and the goitre, repulsive maladies 
 prevailing among the Alps and Pyrenees, are owing to 
 the absence of sunlight, as their victims dwell in deep, 
 shady glens, which the solar ray but partially penetrates. 
 
 But a still more curious proof of the potent agency 
 of light was discovered by a French naturalist. He 
 found that tadpoles could not undergo their wonted 
 transformation into frogs, if kept sequestered from sun- 
 light, although they continued increasing in size and 
 weight as tadpoles! It would seem, then, that those 
 corporeal transmutations, through which such multitudes 
 of the insect and reptile tribes pass, are vitally dependent 
 on the influence of the sun's luminous rays. 
 
 But I must pass to the remaining branches of my 
 subject. 
 
 II. Of Heat. It is estimated, that when the heat-rays, 
 
THE SUNBEAM. b\f 
 
 in their passage from the sun to the earth, enter tho 
 atmosphere enveloping the latter, they are so mucu 
 affected by this aerial fluid, that one-third of them be- 
 comes absorbed and two-thirds only reach the surface of 
 our globe. It would seem, then, that one of6.ce of our 
 atmosphere is to protect animal and vegetable life from 
 that unmodified power of the sun's heat, which would 
 be its destruction. Few, perhaps, are aware of the quan- 
 tity of heat received from that orb. If you imagine our 
 globe entirely incased with a coating of solid ice forty 
 feet thick, the heat derived from the sun in a single year 
 would, it is calculated, suffice to melt the whole immense 
 mass. 
 
 I have already mentioned the remarkable property 
 possessed by heat of becoming latent. Thus a volume 
 of ice, which is water solidified at 32° F., when subjected 
 to 172° F. of heat, becomes liquid, and yet the resulting 
 water remains precisely at the temperature of the ice, or 
 32° F. Consequently 140° F. of heat have become latent, 
 so as to be inappreciable by any known test. Again, 
 when water passes into steam, or is evaporated, 1000° F. 
 of heat become latent, since steam is of exactly the same 
 sensible temperature with boiling water, which stands at 
 212° F. For this singular property of caloric we dis- 
 cover a most wise and beneficent use. Thus, as the 
 sun reaches the limit of his northern journey on the 21st 
 of June, his rays then reach us most directly and of 
 course in greater abundance, and it would seem, there- 
 fore, that our hottest weather should date here. As a 
 general rule, however, our intensest summer heats fall 
 a month or more later ; and if, in fact, we should pass 
 from the biting airs of winter and the boisterous, pene- 
 trating breezes of spring to a May and June of such 
 melting heats, as characterize our July and August, not 
 
60 THE CAMERA. AND THE PENCIL, 
 
 only severe suffering, but debility and disease would be 
 the almost unavoidable result. But from this evil we 
 are secured by this provision of latent caloric. By the 
 gradual liquefaction of the ices and snows of winter and 
 spring, large quantities of the solar heat become pro- 
 gressively latent, and therefore do not inflict discomfort 
 on sensitive beings. The same result flows from the 
 immense evaporations incessantly going on in every 
 volume of water, great or small, on the globe under the 
 solar rays in their greatest intensity. Nor are even these 
 the only methods ordained for attempering, on our behalf, 
 the fierce heats of opening summer while we are by 
 degrees growing inured to them. In fact, every object 
 on the earth's surface, animate and inanimate, organic or 
 inorganic, as also the soil itself, has the property of 
 absorbing considerable proportions of caloric, and reserv- 
 ing it until the various exigencies of the animal and 
 vegetable kingdoms require its disengagement. 
 
 While, then, in these and kindred ways living crea- 
 tures are prepared for the transition from cold to heat, 
 on the approach of winter there occurs a process exactly 
 the reverse and for a reverse purpose. On the 20th of 
 December we should expect our intensest cold, as then 
 receiving the minimum quantity of the sun's heat, on 
 account of his position in relation to us. Yet the last 
 half of January and the main part of February consti- 
 tute usually our severest season. And the reason is, 
 that, by the transmutation of immense bodies of water 
 into ice with the consequent disengagement of the latent 
 caloric that kept them liquid, and the condensation of 
 aerial vapors into snow, with the liberation of the semi- 
 latent heat, which had previously been absorbed by the 
 earth and the objects on its surface, the severity of the 
 cold is so far mitigated that our systems become fitted 
 
THE SUNBEAM. 61 
 
 for what they must encounter. What human parent, 
 even the tenderest and most affectionate, so cares for the 
 well-being of his children ? 
 
 Most persons, I presume, have read of an experiment 
 performed by Dr. Franklin to ascertain whether the color 
 of a substance had any connection with its capacity of 
 absorbing and radiating heat. Laying several differently 
 colored pieces of cloth on the snow where they were 
 exposed to the sun, he found considerable difference in 
 the rapidity with which the snow melted under them. 
 His experiment has been repeated by Sir Humphrey 
 Davy and others, and the result reached by them all is, 
 that black possesses most absorbent power, to which 
 succeed in order brown, green, red, yellow, and white. 
 It is ascertained, moreover, that the power of a sub- 
 stance to radiate caloric corresponds exactly to its power 
 of absorbing it. In selecting the color of our garments 
 for summer's heat or winter's cold, this knowledge may, 
 perhaps, be of some service. 
 
 The same principle, as regards color, pervades the 
 whole vegetable world. The damask rose which bears 
 its beautiful ruddy tint because it reflects merely the red 
 ray of the solar beam, while absorbing the rest, imbibes 
 also a larger share of the heat-rays than the white rose of 
 the same bulk, which reflects the sun's entire light and 
 absorbs none, and of consequence absorbs fewer of the 
 heat-rays. The bulb of a delicate thermometer, placed 
 successively within the corollas of these two flowers, 
 exhibits the mercury as rising considerably higher in the 
 red than in the white one. 
 
 It appears, then, that those exquisite flower-tribes, 
 which look like beautiful characters in which God has 
 written His immeasurable love all over the green page 
 of earth, subserve ends of utility not less than embellish- 
 
62 THE CAMEEA AND THE PENCIL. 
 
 ment to man's abode. First, imbibing tbe solar heat, and 
 tbus aiding to shield living creatures from its too intense 
 summer fervors ; next absorbing from the atmosphere 
 that carbonic acid which, unmodified, is hostile to all 
 animal life ; they then exhale into the air their own fra- 
 grant breath freighted with that oxygen which is a prime 
 necessity of universal animate existence. And all the 
 while their delicate loveliness is a perpetual charm and 
 blessing to the eye, while their wondrous organism 
 speaks more potently, than sermon or homily of man, 
 of the wisdom and goodness of their Creator. 
 
 "'Neath cloistered boughs each floral bell, that swingeth 
 And tolls its perfume on the passing air, 
 Makes Sabbath in the fields, and ever ringeth 
 A call to prayer." 
 
 That heat is the principal agent in the generation of 
 winds, from the irresistible tornado to the gentlest 
 zephyr ; that it also enacts an important part in the 
 development of electricity and magnetism, elements so 
 essential as to be almost identical with the very currents 
 of universal life, is too well known to require notice 
 here. Omitting also much else that is interesting on this 
 subject, I proceed to the third principle in the Sunbeam. 
 
 III. Actinism. As this is the principle with which 
 the heliographer is chiefly concerned in the exercise of 
 his art, it is highly desirable he should be acquainted 
 with whatever, as yet, is known of its relations and 
 effects. And since less is known of actinism than of 
 either light or heat, he, as well as the student of science, 
 has before him a large field for experiment and investiga- 
 tion. In consequence of Daguerre's discovery, it has 
 been studied mainly in reference to its influence on the 
 mineral and inorganic world. Something, however, is 
 
THE SUNBEAM. 63 
 
 known of its action on vegetable and animal structures, 
 and of this I will briefly speak. 
 
 With the depositing of the seed beneath the soil, we 
 detect the first operation of this principle. By experi- 
 ments, which I need not detail, it has been ascertained 
 that actinism, with little if any aid from light and heat, 
 is the proximate cause of germination. You may exclude 
 the two last, and yet, under the radiation of the former 
 in connection with moisture, a seed will sprout in twenty- 
 four hours. Conversely, exclude actinism and expose 
 the seed to light and heat, and it will remain for days 
 without signs of germination. In fact, until germination 
 has occurred, and the plant has risen above the surface, 
 light — strange to say — is a positive hindrance to the com- 
 mencement of growth. So also is heat, — at least in that 
 unmodified state in which it comes from the sun. One 
 actual reason, then, — though we may not be aware of 
 it — ^for burying seeds in the earth is, that the soil may 
 serve as a screen from the full power of the solar light 
 and heat. Actinism, a chemical force, of which one of 
 the principal functions is to decompound and alter the 
 arrangement of the particles in whatever it touches, is 
 enabled to pierce through the earthy covering to the 
 seed. It then transmutes the starch of the seed into gum 
 and sugar, which are the proper nutriment of the vege- 
 table embryon. The tiny root penetrates the husk and 
 shoots downward, while the baby stem pushes its way 
 upward into the air. Then light and heat join forces 
 with actinism, and continue operating with it in all after 
 stages of the plant's life. Probably very few of the 
 whole number of of&ces executed by each in vegetive 
 growth are- as yet known ; though we do know that 
 neither of the three singly, nor either two of them 
 united, will suf&ce to perfect the plant, but that all must 
 
64 THE CAMEEA AND THE PENCIL. 
 
 cooperate in the process. That actinism, however, per- 
 forms an important part in the work is obvious from its 
 being the emphatically decomposing power, while decom- 
 position is incessantly required in vegetable nutrition ; 
 doing for the plant very much what the gastric juice 
 does for the animal. 
 
 Little has been hitherto ascertained in regard to the 
 effect of this principle on animal life. Analogy, how- 
 ever, would intimate that it must be considerable. It is, 
 indeed, most likely that a part at least of the influence 
 ascribed to light on animal health and development 
 belongs properly to actinism. 
 
 Many interesting discoveries have been made touching 
 the relation of actinism to inorganic substances, such 
 having been the direction given to it by its connection 
 with the heliographic art. Thus, the chlorine and 
 hydrogen gases will not effect a chemical union in dark- 
 ness. But, on their exposure to sanshine, an immediate 
 combination is produced by actinic influence. 
 
 So, again, peroxalate of iron in solution remains un- 
 changed in a dark place. But, brought into sunshine in 
 a glass vessel, it commences a vehement fermentation, 
 which terminates by precipitating small crystals of pro- 
 toxalate of iron of a brilliant yellow color. 
 
 Actinism, as we have seen to be the case with light 
 and heat, is to some extent absorbed by certain bodies ; 
 for, if you first expose chlorine to the solar ray, it will 
 then combine with hj^drogen even in darkness. 
 
 As a decompounding force, actinism effects some 
 change in the atomic arrangement of every body whereon 
 it falls, be it the firmest rock or the softest wood or leaf. 
 Were it not, then, for counteracting and reparative 
 agencies in the economy of creation, this delicate-seem- 
 ing power, though the tender nurse of the vegetable 
 
THE SUNBEAM. 65 
 
 infant, ■would eventually crumble into ruins the total 
 frame-work of the universe ! But no sooner 
 
 "Comes still evening on, 
 And in her sober livery all things garbs," 
 
 than the action of this disturbing force is suspended. 
 That rest, which is indispensable to man and beast, is not 
 less so to vegetable beings. This rest is a restorative to 
 the latter, as to the former, and stays the advance of 
 decomposition beyond the degree in which it subserves 
 the ends of life and well-being. 
 
 In a succeeding chapter, I shall briefly describe the 
 heliographic process, with the agency of actinism therein 
 and the chemical substances contributing to the result. 
 Before closing this chapter, however, I will mention 
 that, by an ingenious apparatus, heliographic pictures 
 have been produced in absolute darkness ; arrangements 
 having been made to exclude light entirely, and heat 
 mostly, while the actinic rays were allowed free course. 
 This establishes the point beyond question, that the 
 actinic, and neither of the other two constituents of the 
 sunbeam, is the working instrument of the heliographic 
 artist. In accordance with this is the fact that cloudy 
 weather is equally favorable, to say the least, to the pro- 
 duction of pictures with days of brightest sunshine ; and 
 that the prodigal radiance of tropic climes is less propi- 
 tious to the successful practice of this art than the paler 
 sunshine of our chilly north. 
 
 It was long a matter of debate whether or not electri- 
 city made a fourth constituent of the solar ray. But the 
 recent experiments of the Grerman Baron Eeichenbach 
 have completely settled this question in the affirmative. 
 I will, therefore, now close this imperfect account of a 
 matter in itself highly interesting as well as important, 
 5 
 
66 THE CAMEEA AND THE PENCIL. 
 
 with the hope that my professional brethren may be 
 induced to cultivate a field which, though as yet but 
 partially explored, is known to be incalculably rich, in 
 such a manner as may largely augment our existing 
 knowledge. 
 
 I may here casually mention that, in a subsequent 
 chapter detailing my method of practice in the produc- 
 tion of heliographs, I naturally must touch again on the 
 subject of the present chapter. 
 
CHAPTER yi. 
 
 HARMONY OP COLORS. 
 
 The love of ornament innate and universal — Constituents of visual beauty, 
 form and color — Harmony of colors — Its meaning — Knowledge of this prac- 
 tically useful, e. g. in dress, embellishment, &c. — Ottr guides in using colors 
 for costume, e.g. climate, size, form, complexion, &c., of person; also, age, 
 social position, <fcc. ; and still further, time, place, and occasion — The best 
 portraits are those which, retaining likeness, conceal defects and blemishes, 
 and heighten charms and beauties — Exposition of the effects of various 
 colors on the appearance — Definition of harmony of analogy and harmony 
 of contrast in colors — Also of primary, and secondary or complementary 
 colors — Colors emblematic of dispositions and character — Illustrative quo- 
 tations from the poets. 
 
 A TASTE for ornament and embellishment, or, to speak 
 most comprehensively, a love of beauty, is undeniably 
 an innate, ineradicable property of our nature. And 
 that the Creator designed this taste or love to be satisfied, 
 and has, therefore, provided means for this satisfaction, 
 as expressly and abundantly as for that of any among 
 our appetites, even those most essential to life, our own 
 eyes assure us, whether we direct them to the firmament 
 above us, or over the globe we inhabit. 
 
 Of visual beauty, the two material constituents are 
 form and color. That each of these is based on mathe- 
 matical principles of its own, which determine the quan- 
 tity and arrangement necessary to the production of the 
 result named beauty, there can be no question whatever. 
 For the Deity operates not by casual agencies, nor has 
 accident any part in the evolution of His designs. The 
 
 (67} 
 
68 THE CAMERA AND THE PENCIL. 
 
 floating of a dust-grain in the air depends upon laws no 
 less exact and indefeasible tlian the journey of Neptune 
 through his immeasurable circuit. But whether, for 
 various causes, more attention has been devoted to the 
 study of form, than that of color, or whether the latter 
 subject has greater intrinsic difficulties than the former, 
 I believe it is unquestionable, that the principles and 
 regulating laws of the former are far better under- 
 stood than those of the latter. This is the more to be 
 regretted in relation to matters of every day concern, 
 because while defects of form may be measurably dis- 
 guised ' and redeemed by extraordinary beauty of color- 
 ing, the most exquisite symmetry of form may be marred, 
 if not utterly spoiled, by a tasteless ugliness of coloring. 
 
 Such, however, being the state of the case, it should 
 not be expected by the reader, as I certainly do not my- 
 self expect, that/wZZ justice will be done, in this chapter, 
 to the subject of color. All I hope is, that some sugges- 
 tions may be offered, which may prove valuable to such 
 as may have occasion to employ colors either for pro- 
 fessional or personal uses. 
 
 In this, as in all other cases, nature is our great object 
 of study ; our main source of information ; our para- 
 mount and infallible guide wheresoever and so far as we 
 can apprehend her directions. The Deiiy is the great 
 proto-artist, the one perfect harmonist of colors, and the 
 material creation is the measureless sphere of His work- 
 ings. Would we learn what is meant by the "harmony 
 of colors," we have only to examine the products of that 
 divine pencil. In the mineral, the vegetable, the animal, 
 and the aromal worlds, may be witnessed an infinity of 
 specimens, either and all illustrating the principle in 
 perfection. You may select the many-tinted gems that 
 irradiate the mountain's dark caverns; the delicately 
 
HARMONY OF COLORS. 69 
 
 pencilled shells tliat beautify tlie green depths of the 
 sea ; the myriad-hued flowers that decorate spring, sum- 
 mer, and autumn in succession, or those winged flowers, 
 the birds and insects, that traverse the airy realms ; the 
 gorgeous assemblage of clouds that wait on the depart- 
 ing sun, or the glad splendors that play over the face of 
 young morning; or, finally, that most exquisite of all 
 combinations of colors, which constitutes the magic of a 
 beautiful human countenance. Of all these specimens, 
 select which you will, and you have the very thing of 
 which we speak. And if you can but detect the philoso- 
 phy of the thing ; that is, the order in which these colors 
 are arranged, the proportion each bears in the combina- 
 tion, and the grounds of both, you will then possess the 
 law to guide you in your own use of colors. 
 
 Such knowledge is important to the public on various 
 accounts ; such as the purposes of the toilet, the fitting 
 up of our dwellings, and for many other similar objects. 
 I do not consider it necessary to argue the point, that 
 dress is a subject deserving careful consideration. If 
 there are those, who charge such consideration to the 
 score of a reprehensible vanity and criminal folly, I shall 
 attempt no argument with them, but feel safe in the 
 example of Him who garnished "the rose of Sharon 
 and the lily of the valley" with that exquisite beauty 
 which mocks all human skill, and dims the " array of 
 Solomon in all his glory." 
 
 One of the leading principles in regard to coloring, is 
 that it should bear a strict relation to climate. In nature 
 such is invariably the case. In the dazzling light and 
 beneath the intense fervors of the tropic sun, the flowers, 
 birds, and insects wear a corresponding gorgeousness of 
 tint, and the grass and foliage a kindred vividness of 
 green. Of course, then, the dress and other equipments 
 
70 THE CAMEEA AND THE PENCIL. 
 
 of the inhabitants should bear relation to this fact. And 
 they actually do so, whatever the cause may be, whether 
 a knowledge of principles or mere intuition. Thus the 
 various reds and yellows, which go by the name of 
 "warm" or "gay" colors, are employed profusely, in the 
 way of ornament, by the denizens of hot climates ; nor 
 do we deem it in them an affront to correct taste. So, 
 also, whether from knowledge or intuition, we find the 
 chief materials of their dress to be of a white color, this 
 being the least absorptive and most reflective of colors, 
 and therefore most conducive to coolness. 
 
 Again, in temperate climates, where the sun's light 
 and heat are less vivid and intense, we see a correspond- 
 ing difference in the aspect of both vegetable and animal 
 worlds ; universally there is less prodigality of life itself. 
 The forest and the meadow are robed in a paler green ; 
 the flowers, exquisite as they are, exhibit a less gorgeous 
 coloring, and the feathered tribes charm rather by the 
 sweetness of their minstrelsy than by the splendor of 
 their plumage. Perfect taste, then, requires that in the 
 colors of x>ur dress and other appointments, we should 
 have a general regard to the aspect of nature, as modified 
 by our geographic position. 
 
 Bearing in mind these general considerations which 
 respect a people as a whole, let us now touch on some of 
 the specialties which concern each individual. And as, 
 if we can ascertain the true principles of harmonic color- 
 ing belonging to a single class of subjects, we can easily 
 transmute these into universal laws, so for the sake of 
 clearness and simplicity we select for our subject the 
 female dress in its relation to colors, this being certainly 
 as important as any other, and as little under the 
 guardianship of a cultivated taste. 
 
 At the outset, then, it is manifest that in choosing the 
 
HAEMONY OF COLOKS. 71 
 
 'predominant color of a lady's dress, as well as the sub- 
 ordinate colors employed as ornament, strict regard 
 should be had to her size, her configuration, and espe- 
 cially her complexion and style of expression. The point 
 'to be aimed at in all this is, that so far as depends on her 
 garb, she should hole as v)ell as nature aided hy art will 
 'permit; and that, therefore, defects should be supplied, 
 redundancies thrown into the shade, and actual beauties 
 be brought conspicuously into view. The philosophy 
 of which may be stated thus : nature aims ever at the 
 highest beauty, the utmost perfection ; but in moulding 
 the human body her creative force is intercepted by 
 several causes which belong to our present stage of 
 being; such as the stubborn, unpliable quality of the 
 material composing the body, the defects inherited from 
 ancestors, the casualties to which the individual is ex- 
 posed during corporeal development, &c. In conse- 
 qaence of all these obstructions, faultless, complete beauty 
 is rarely, if ever seen. In striving, then, by art to rectify 
 deformities or imperfections, we do not contravene and 
 impeach, but rather cooperate with and justify' ndiivccQ. 
 That is, by help of powers furnished by herself, we do 
 somewhat towards bringing to view that ideal of beauty 
 which nature aimed at and would have attained, had she 
 been dealing with that more ductile and tractable mate- 
 rial of which the spiritual hody is compounded. 
 
 On the same principle, the true artist, when limning 
 a human face, does not represent it exactly as it is, with 
 every casual wart, pimple, and freckle that now disfigure 
 it, but just as it would be if her moulding idea, instead 
 of being partially thwarted by the intractability of the 
 material she wrought with, had been brought out and 
 expressed. Therefore, you say of a portrait by the pen- 
 cil of an artist-genius, that " it is an excellent likeness. 
 
72 t THE CAMEEA AND THE PENCIL. 
 
 but mucli handsomer tliaii the original." Acting accord- 
 ing to the same law, by cultivation, grafting, &c., we 
 elevate the punj, sour, worthless native apple into that 
 large, beautiful, delicious fruit which delights three 
 senses, instead of affronting all. Shakspeare, the high 
 priest and interpreter of nature, has said the whole thing 
 in a few lines : 
 
 " You see, we marry 
 A gentler scion to the wildest stock ; 
 And make conceive a bark of baser kind 
 By bud of nobler race. This is an art 
 Which does mend nature — change it rather; but 
 The art itself is nature." 
 
 This principle is of universal application, and we are 
 fully authorized by nature herself to apply it equally to 
 a lady's toilet as to aught beside. Therefore, we say that 
 dress should do its utmost towards producing the ideal 
 of the species of beauty it adorns. 
 
 For example, a lady, inclined to stoutness and of extra 
 height, should select a color for the principal robe which 
 disguises these deviations from the "juste milieu." 
 Black, which absorbs all luminous rays, has the effect to 
 diminish the apparent bulk, and black, therefore, is her 
 appropriate color. 
 
 White, which reflects all light-rays, operates to magnify 
 the apparent size, and thus garments of this color would 
 give her too much of the Glumdalclitch aspect. Con- 
 trariwise, a small-sized woman should eschew black, 
 unless she chooses to resemble the Lilliputian ladies seen 
 by the immortal Gulliver, and adopt white, which to 
 the beholder's eye will retrieve the short-comings of 
 nature. 
 
 Suppose, again, a lady has a complexion of extra rud- 
 diness. In choosing a bonnet, she should, if possible. 
 
HARMONY OF COLORS. 73 
 
 adopt a tint which will mitigate this excess, A head- 
 dress of a deeper red than her complexion will, by com- 
 parison, produce this efiect, while one of pink or any 
 still lighter red will exaggerate the original ruddiness. 
 
 On the same principle, a salloio complexion should 
 eschew a light-blue bonnet, which aggravates its defect, 
 and adopt one of transparent white, which conceals it. 
 
 A joah complexion is improved, by a pale-green head- 
 dress into a delicate pink hue, through the operation of 
 the principle of harmonious contrast in colors which I 
 shall presently explain ; while one of lemon-yelhw would 
 heighten this paleness to very ghastliness. 
 
 Once more, the delicate red and white complexion, 
 nature's master-piece of coloring, should avoid head-gear 
 of crimson or any deep red, as by contrast giving it a 
 pale appearance, and adopt a light blue, or light green, or 
 transparent white, either of which will at least leave to it 
 its original beauty, if it does not enhance it. 
 
 The grounds of the foregoing suggestions may be 
 better understood from a brief description of certain 
 peculiarities in the nature of the sun's luminous rays. 
 Of the several kinds of harmony of colors, the two prin- 
 cipal are the "harmony of analogy," and the "harmony 
 of contrast." 
 
 By the harmony of analogy is meant that order in 
 which the colors occur, as they are displayed in the 
 prismatic spectrum. That is, from one of the primitive 
 colors you pass, by scarce distinguishable gradations, 
 through numerous intermediate shades of color to the 
 next primitive, and so onward through the whole. Com- 
 plete specimens of this species of harmony may often be 
 witnessed in the sunrise and sunset clouds and skies. 
 Somewhat of the same is seen frequently in extensive 
 prospects, embracing sky, land, and water, though io 
 
74 THE CAMERA AND THE PENCIL. 
 
 general variety is given to this spectacle by tlie occa- 
 sional introduction of tlie harmony of contrast. 
 
 What is meant by this latter phrase may, perhaps, be 
 apprehended most clearly from the following diagrams, 
 which help to illustrate certain peculiarities of color. 
 
 Red. / iP \ / 7 \ YeUow. 
 
 ^olet or purple. \ e / \ /» / Sreen. 
 
 There are several points here requiring notice. In 
 figure 1st, it will be observed that the primaiy color, 
 blue, occupies full double the space in the spectrum of 
 the other two primaries, red and yellow. Thus repre- 
 senting the proportions by figures, 2 will stand for red ; 
 3 for yellow ; and 5 for blue. 
 
 The intermediate colors noted down in this diagram 
 are called secondaries; and a peculiarity belonging to 
 them is, that the secondary standing opposite to a par- 
 ticular primary is formed by combining the two other 
 primaries. Thus green, standing over against red, is a 
 compound of blae and yellow ; orange, opposed to blue, 
 of red and yellow ; and violet, opposite yellow, of blue 
 and red. These secondaries are commonly called the 
 compiJeinents of the opposing primaries, because, being a 
 composite of two primaries, they constitute, when added 
 
HAEMONY OF COLORS. 
 
 75 
 
 to the third primary, white light, or the whole of the solar 
 luminous ray. If you lay a red substance on a white 
 surface, and gaze at it steadily a few moments, you will 
 perceive around it a halo of green. So a blue object 
 exhibits an orange ring, and a yellow a violet one. 
 
 
 
 Figure 2. 
 
 
 
 Orange-red 
 
 Orange. 
 
 Yellow- 
 
 •orange. 
 
 Red. / 
 
 ^ 
 
 \\// 
 
 /y 
 
 > 
 \ Yellow. 
 
 \ Green-yellow. 
 
 Pnrple-red. / i 
 
 \ 
 
 4\i> 
 
 ^ 
 
 Bed-purple. 1 
 
 ^ 
 
 f^ 
 
 \ 
 
 " /Yellow-green. 
 
 Green. \ 
 
 ^ 
 
 
 \ ,'\ 
 
 / Purple. 
 
 Blue-Porple. 
 
 1 \ 
 
 > 
 
 Blue-Green. 
 
 Violet-Blue. 
 
 Blue. 
 
 Green-blue. 
 
 Modifications of these secondary or composite colors, 
 as is seen in figure 2d, may be multiplied indefinitely by 
 combining the secondaries, and thus forming tertiaries ; 
 by combining the tertiaries into another shade ; and so 
 so on for hundreds of times or more. But the same 
 principle continues to hold, that each of these shades or 
 tints has a complement, as we saw in figure 1st, which 
 complement is a union of the tints, that do not enter into 
 its own combination. 
 
 These complemental colors are also named "contrasts," 
 and as they harmonize with the colors over against them, 
 we thus arrive at the phrase, " harmony of contrasts." 
 
 Let one, then, study carefully the harmony of analogy, 
 as illustrated by the solar spectrum, or on a still more 
 splendid scale in the rainbow and the tinted clouds ; let 
 him also master the harmony of contrast through the 
 
76 THE CAMERA AND THE PENCIL. 
 
 requisite methods; and I am confident we should no 
 longer be shocked by those practical barbarisms of taste 
 now prevalent in so many spheres. 
 
 As I have already said, my object in this chapter is 
 not to specify minutely the requirements of a pure taste 
 in the costume of one or another person. It is rather to 
 present a few general principles, which may aid the 
 reader in deciding what is most appropriate to him or 
 herself. I will, therefore, subjoin a few suggestions to 
 those already advanced. 
 
 It would seem obvious enough, that in selecting alike 
 the colors and the fashion of a garb, special regard should 
 be paid to the age, the general characteristics, and the 
 social position, not less than to the complexion, the shape, 
 and the size of the individual concerned. For a middle- 
 aged lady to array herself like a girl of eighteen, or for 
 an old lady to wear the garb of one or the other, or for 
 either of the three to make an exchange with either of 
 the other two, would be an absurdity too glaring to 
 require one word of exposition. Again, for a lady of 
 grave dispositions and reserved deportment, whether 
 middle-aged or young, to put on the gay or semi-gay 
 costume, which seems not only appropriate, but almost 
 essential to one of vivacious, lively temperament, and 
 frank, cordial manners, is a self-demonstrated incon- 
 gruity, even though her own feelings (as, I believe, 
 would commonly occur) should not interdict it. And 
 then, the intuitions of society, which are not apt to be 
 far astray in such matters, intimate that the position of 
 the head of a family should have some bearing on the 
 costume of its members. For example, the lady of a 
 clergyman, or of a man exercising any other function 
 of kindred gravity, would be likely to offend the suscepti- 
 bilities of the judicious and refined by appearing in that 
 
HARMONY OF COLORS. 77 
 
 rainbow-tinted garb, wliicli would be appropriate enougli 
 to the messenger of Olympus,* or one holding a similar 
 oifice. 
 
 But tbere are yet otber qualifying circumstances to be 
 kept in view, sucb as time, place, occasion, and tlie like. 
 No sane person, for example, would dress for attending 
 a funeral, as for attending a theatre or ball ; or for super- 
 vising her domestic affairs, as for receiving morning or 
 afternoon calls. An instinctive feeling prevails well nigb 
 universally, that the affairs with which one is occupied, 
 and the mood belonging to the time, should exert a 
 controlling influence on the quality of the garb. Thus 
 red and yellow, which for obvious reasons are named 
 ''warm colors," harmonize well in their several shades 
 wilh. festive and joyous scenes. So also does white, which 
 is counted an emblem of cheerfulness, dignity, and peace, 
 as well as of innocence, purity and delicacy, all of which 
 traits must characterize such scenes to give them favor 
 with persons of refinement. 
 
 Green, the complemental of red, harmonizes with it 
 to make a festive garb of that medium liveliness, which 
 pleases many tastes of the more chastened quality. 
 
 Blue is called the coldest of the colors, but is interest- 
 ing for its symbolic associations. Thus it is reckoned 
 an emblem of constancy and generosity, as appears in 
 the sailor's phrase, " true-blue." Being also the color of 
 heaven and of the human eye, it is taken for a symbol 
 of intelligence and of divinity, and the ancients pro- 
 nounced the mantle of Minerva, or Wisdom, to be blue, 
 as also the robes of the Muses. These intimations point 
 out many occasions of the comparatively graver descrip- 
 tion for which this color would be appropriate. 
 
 Moreover, orange, which is deemed the warmest of 
 
 * Iris. 
 
THE CAMERA AND THE PENCIL. 
 
 colors, as combining red and yellow, being the comple- 
 mental of blue, orange and blue for persons of certain 
 complexions, would constitute a very striking harmony 
 of contrast even in a festival costume. 
 
 So, for a lady of good height and proportions, and 
 with that exquisitely white skin sometimes witnessed, 
 jet black is a charming color for almost every occasion. 
 
 I venture to call black a color, as also white, though 
 the ordinary writers on color deny the name to both. 
 Why they do so, I know not, since both produce in us the 
 sensation of color, and both are composites in varying 
 proportions of the three primitive colors ; in black, blue 
 predominating, red coming next, and yellow last ; while 
 in white, yellow predominates, red comes next, and blue 
 is subordinate to both. What are termed negative or 
 neutral colors, are those compounded either of the three 
 primaries, or secondaries^ or tertiaries, in such propor- 
 tions that neither is predominant. Black and white are 
 the extremes, and grays the intermediates of these. 
 
 The neutral grays and the semi-neutral drabs, &c., are 
 admirably fitted for a lady's serf ?,'ce- dress while attending 
 to household concerns, or while walking abroad or jour- 
 neying, and thus exposed to dust and soil of various 
 kinds. 
 
 Supposing the above-mentioned conditions observed, 
 the complexion and the color of the hair are the two 
 things which mainly determine the colors to be employed 
 in the dress. Of the Caucasian race, the two principal 
 complexions are named the blonde and the brunette. 
 The blonde is said to be a subdued orange color, or a 
 union of red and yellow ; while the brunette is a brown, 
 — that is, a black in which yellow, or red and yellow, 
 or green and orange predominate according to its shades. 
 Of course both the blonde and the brunette are more or 
 less mingled on the face with carnation or roseate tints. 
 
HARMONY OF COLORS. 
 
 The ligtit liair whicli commonly accompanies tlie 
 blonde complexion, is also a subdued orange, and takes 
 different names according as one or another color pre- 
 dominates in it. Thus, if yellow predominates, it is called 
 flaxen or golden ; if red, chestnut or auburn ; if brown, 
 simply light, or light-brown. The hair of the brunette 
 is usually black or dark-brown, though there are not a 
 few exceptions to this rule. 
 
 The prevalent blue eye of the blonde presents the 
 harmony of contrast with the orange of the hair and 
 complexion, — orange being the complemental of blue, — 
 while the ordinary black or dark eye of the brunette 
 exhibits the harmony of analogy with the dark hair. 
 
 Having thus stated briefly the circumstances of various 
 kinds to be regarded in selecting the colors of the cos- 
 tume, I have, perhaps, done all that should be expected 
 in a chapter which aims rather to state and illustrate 
 principles than to farnish practical formulas. Before 
 closing, however, I will ofier a few applications of these 
 principles to particular cases. 
 
 For example, sky blue in the dress harmonizes, by 
 agreeable contrast, with the blonde complexion and hair, 
 since the orange tint of this complexion is the comple- 
 mental of blue, besides that the latter color is pleasing 
 for its emblematic quality. 
 
 On the other hand, yellow and red bordering on the 
 orange combination, contrast brilliantly with black or 
 dark hair, since blue, the complemental of orange, is 
 predominant in these hues. 
 
 Light-green is becoming to colorless complexions or 
 tnose faintly colored, because, having red for its comple- 
 mental, it casts a delicate rosy tint upon the face. 
 
 On the other hand, dark-green best suits an over-ruddy 
 complexion, since, having light-red for its complemental, 
 
80 THE CAMERA AND THE PENCIL. 
 
 it softens this excess of red by a reflection of the latter 
 hue. 
 
 Yiolet or purple in direct contiguity with blonde com- 
 plexions is not becoming, since its complemental being 
 yellow, a greenish-yellow hue is cast upon the face. If 
 used at all, it should be of so very dark a shade, as to 
 make the skin look white by contrast. 
 
 I have already intimated that black or dark draperies 
 make persons appear smaller, and white or light draperies 
 larger, than they actually are. Consequently, stout per- 
 sons look best in the former, and diminutive persons in 
 the latter. Black shoes, for the same reason, are best 
 suited to not very small feet, while a delicate- sized foot 
 is charming in a white satin slipper. So a dress vertically 
 striped increases the apparent height, while a dress with 
 horizontal stripes is apt to produce a squat, dumpy appear- 
 ance. 
 
 Without going into further details of this kind, let me 
 refer the reader who would see this subject handled with 
 sufficient minuteness, as well as eminent ability, to 
 Field's Chromatography, in connection with numerous 
 articles in the London Art Journal. 
 
 I trust it may enhance the interest, if not the intrinsic 
 value, of this chapter, if, in closing, I cite from the poets 
 a few passages which exhibit their accurate perceptions 
 of the harmonies both of analogy and contrast in color, 
 as well as their use of colors, as symbolical of human 
 passions and affections. It is almost superfluous to say 
 that here, as everywhere else, we find Shakspeare speak- 
 ing with a knowledge that seems like inspiration. 
 
 HARMONY OF ANALOGY. 
 
 " There was a pretty redness in her lip, 
 A little riper and more lusty red, 
 
HARMONY OF COLORS. 
 
 81 
 
 Than that mixed in her cheek; 'twas just the difference 
 Betwixt the constant red and mingled damask." 
 
 Shakspearb. 
 
 " A. pudency so rosy, that I thought her 
 As chaste as unsunned snow." 
 
 Shaksfeare. 
 
 " My bloody hand will rather 
 The multitudinous seas incarnadine, 
 Making their greenness red." 
 
 " My mistaking eyes, 
 That have been so bedazzled with the sun, 
 That everything I look on seemeth green." 
 
 Shaksfeare. 
 
 Shaksfeare. 
 
 " Beauty's ensign yet 
 Is crimson in thy lips and in thy cheeks, 
 And Death's palbjiog is not advanced there.' 
 
 " White and azure laced 
 With blue of Heaven's own tinet." 
 
 " Through whose white skin 
 With damask eyes the ruby blood doth peep.' 
 
 Shaksfeare. 
 
 Shaksfeare. 
 
 Marlowe. 
 
 "Here Love his golden shafts employs; here lights 
 His constant lamp, and waves his purple wings." 
 
 " Aurora now, in radiant purple drest, 
 Shone from the portals of the golden east.'- 
 
 Milton. 
 
 Tasso. 
 
 I subjoin from tlie poets, a few examples of the use of 
 colors in symbolizing sentiments, passions, and affec- 
 tions : 
 6 
 
82 
 
 THE CAMERA AND THE PENCIL. 
 
 "I have marked 
 A thousand blushing apparitions start 
 Into her face; a thousand innocent shames 
 In angel whiteness bear away those blushes." 
 
 " And thus the native hue of resolution 
 Is sicklied o'er with the pale cast of thought.'' 
 
 " Go, prick thy face, and over-red thy fear. 
 Thou lily-livered boy ; those linen cheeks 
 Are counsellors to fear." 
 
 " 'Tis not alone my inky cloak, good mother, 
 Nor customary suit of solemn black, 
 That can denote me truly." 
 
 " Glittering in golden coats, like images, 
 And gorgeous as the sun at midsummer." 
 
 " Long, pity, let the nations viow 
 Thy sky -worn robes of tender est blue ; 
 And eyes of dewy light." 
 
 " The blushes of the opening rose 
 Thy tender modesty disclose; 
 The snow-white lilies of the vale 
 Bififusing fragrance to the gale, 
 Careless, and sweet, and mild, we see 
 In them a lovely type of thee." 
 
 Shaesfeare. 
 
 Shakspeare. 
 
 Shaesfeare. 
 
 Shakspeare. 
 
 Shakspeare. 
 
 Collins. 
 
 Russian Anecdotes. 
 
 " welcome pure-eyed Faith, white-handed Hope, 
 Thou hovering angel girt with golden wings, 
 And thou, unblemished form of Chastity." 
 
 " Celestial, rosy-red, Love's proper hue." 
 
 " O'erlaid with black, staid Wisdom's hue." 
 
 "Hence, loathed Melancholy, 
 Of Cerberus and blackest midnight born." 
 
 Milton. 
 Milton. 
 Milton. 
 
 Milton. 
 
HAEMONY OF COLOES. 83 
 
 " Rosy-fingered Aurora." 
 
 "Blooming youth and gay delight 
 Sit on thy rosy cheeks confest." 
 
 Homer. 
 
 Prior. 
 
 There are numerous other points of interest per- 
 taining to our subject, which would amply repay dis- 
 cussion ; such as the physical nature of light and colors, 
 the correspondence between colors and sounds, and the 
 singular analogy between the harmonies of the two, &c. 
 My limits, however, forbid my touching on these, even 
 were they not, perhaps, too purely scientific for a work 
 like this. But to the reader, who may desire to penetrate 
 more deeply into the topics here discussed, I would recom- 
 mend the examination of the following works, constitut- 
 ing my principal helps iq the preparation of this article, 
 viz. : Field's Chromatics and Chromatography ; the Lon- 
 don Art Journal from its commencement ; Lectures on 
 Painting by Sir Joshua Eeynolds ; do. by James Barry ; 
 do. by John Opie ; do. by Henry Fuseli ; do. by B. R. 
 Haydon ; and Modern Painters, by an Oxford Student. 
 Either and all of these will be found instructive and 
 entertaining both by the artist and amateur. 
 
CHAPTER VII. 
 
 THE HUMAN FACE — THE MIEROR OF THE SOUL AND THE 
 ' CHIEF SUBJECT OF ART. 
 
 The face the most perfect medium of expression — " Mosaics," by Saunders — 
 The face an index of the soul — Views of Lavater, Bacon, Haller, Browne, 
 and Southey — Language of the face changeless and universal — The fore- 
 head, nose, and chin indicative of original character; eyes and mouth of 
 changeable character — The eye extraordinarily expressive — Reasons — The 
 lips very expressive — Varieties of lips — Human faces the most interesting 
 of sights — Applications of the term face to inanimate things — National 
 types of face and bead, e. g. Greek and Italian features marking certain 
 races — Examples — The eyes, what qualities expressed by various colors, 
 Ac, of — Noses — What is indicated by different forms — Anecdote of Napo- 
 leon — Cerebrum and cerebellum — Mental properties intimated by different 
 shapes of these. 
 
 I HAVE taken the ground in this treatise that expres- 
 sion is a "sine qua non in art ;" and have vindicated my 
 position by showing that man, the animal, and inanimate 
 nature, each and all derive from this their whole signifi- 
 cance and their chief interest. As the human face, then, 
 is the most perfect of all mediums of expression ; the 
 medium, too, for expressing that intelligence and affec- 
 tion whereon rests man's claim to be " made in the image 
 of God ;" it seems essential to the completeness of my 
 work that I should speak with somewhat of minuteness 
 of itself and its characteristics. 
 
 For the chief materials of this chapter I am indebted 
 to the " Mosaics" of the accomplished author of " Salad 
 for the Solitary," &c. His charming essay on the 
 
 (84) 
 
THE HUMAN FACE. 85 
 
 " Human Face Divine," with its wealth of apt citations 
 from many rare works, has saved for me the necessity of 
 looking beyond itself. With this general acknowledg- 
 ment of obligation, I take from his pages what serves my 
 purpose, without distinguishing it from matter gotten 
 elsewhere. 
 
 The face is to a man what the dial is to a clock, or a 
 table of contents to a book, viz., the index of the soul. 
 And that the animate and inanimate worlds have physi^ 
 ognomies not less expressive of interior meanings than 
 is man's, we have elsewhere shown. 
 
 Lavater says, " Faces are as legible as books ; the main 
 difference being that they are sooner read and far less 
 deceptive." Bacon, Haller, Sir Thomas Browne, and 
 Southey have all recorded their faith in the face being a 
 reflector of the soul. 
 
 Measurably every one talks by means of his own 
 countenance, and believes in the indications of the coun- 
 tenances of others. What oratory can be more vital 
 with meaning than the telegraphic glances of the eye ? 
 
 The significance of sounds is uncertain and limited to 
 special places and times ; while the language of the face 
 is immutable and universal. It is the mind's short-hand, 
 crowding much matter into a small compass. 
 
 For the original character scrutinize the unchanging 
 features — the forehead, the nose, and the chin — for the 
 secondary or acquired character, the changeable features, 
 i. e., the eyes and the mouth. The eye has extraordinary 
 expressiveness, since, in addition to its own intrinsic 
 expression, it serves as a mirror wherein meet and are 
 reflected the various expressions of the other parts of the 
 face. 
 
 The lips are exceedingly expressive ; being capable of 
 manifesting every cast of character, from the most deli- 
 
86 THE CAMEEA AND THE PENCIL. 
 
 cate sensibility to the lowest brutality. The most flexi- 
 ble of the features, they cbange oftener and to a greater 
 degree tban any otber, and tlius mark tbe nicest shades 
 of character and even of passing emotion. 
 
 How plainly, in the close-shut month, with its encir- 
 cling muscles rising into a sort of ridge, do we read 
 firm, resolute will ; while in loose flabby lips we seem 
 to behold not less plainly a vacillating, irresolute dis- 
 j^osition ! 
 
 In unusually thin lips we discern sharpness and asceti- 
 cism of temper ; while in extra thick lips we find sensual 
 proclivities accompanied mostly by good nature and 
 generous tendencies. 
 
 Saunders holds the face to be not alone the vehicle of 
 feeling, but the instrument of wisdom as well ; afl&rming 
 that no one can be utterly stupid who has much com- 
 merce with human faces. In confirmation of his doc- 
 trine he instances artists and barbers as being, from their 
 familiarity with faces, more intelligent on the average 
 than musicians and shoemakers, whose vocations do not 
 necessitate this familiarity. 
 
 Of all sights, the most generally and permanently 
 interesting is that of human faces. The face, shadowed 
 by grief or furrowed deeply by prolonged adversity, 
 who can view without tenderness or pity? The inno- 
 cent, gleeful face of the infant ; the bright, wide-awake 
 face of the finely-moulded boy ; the diaphanous face of 
 the beautiful and amiable woman, a very world of sweet 
 meanings ; and the face of the high-souled, august man, 
 surcharged alike with wisdom, nobleness, and power ; who 
 can contemplate these, or either of them, without a more 
 than ordinary interest and sympathy ? 
 
 How universal, as well as high, is our estimate of the 
 face, is evinced by our habitual use of the word to denote 
 
THE HUMAN FACE. 87 
 
 the expression of inanimate equally with animate objects. 
 Thus, face of the earth, of the waters of the sky ; face 
 of affairs, &c., are phrases constantly and everywhere in 
 vogue. 
 
 It is a curious philosophic fact that general and pro- 
 longed addiction to a special pursuit, or class of pursuits, 
 will produce a distinctive cast of physiognomy and con- 
 formation of head. Thus, the Greeks and the Italians, 
 long devoted to the arts, and growing up, generation 
 after generation, within view of the finest artistic crea- 
 tions, have the most ideal faces and heads in the world, 
 even in these distant days. In fact, the keen-eyed phy- 
 siognomist may find in every nation a cast of counte- 
 nance peculiar to itself; and, still further, may discover 
 in particular districts and even families faces or single 
 features distinctively marking them. Thus, the race of 
 Hapsburgh have a peculiar under lip, and that of Bourbon 
 a pear-shaped face ; while in one section of Tuscany is 
 seen the Boccaccio face, and in another the Dante face, 
 and finally in Genoa the Bonaparte face. 
 
 It is curious to note in Caracalla and others of the 
 brutalized Eoman emperors, the same bull neck and 
 broad hind-head, which are so plainly visible in the per- 
 formers of the prize ring. Like propensities and habits 
 can mould to one or another pattern the muscle and even 
 the solid bone. And the physiognomies of the depraved 
 women of Eome's corrupter days reappear in those of 
 the times of Charles Second of England, and of France's 
 Louis Fifteenth. 
 
 In the color, as well as other marks of the eye, expe- 
 rience has found intimations of peculiar casts of mind 
 and character. Thus, dark-blue eyes are held to be 
 commonest in persons of delicate, refined natures, and 
 light-blue in the active and hardy. Gray and greenish 
 
88 THE CAMEEA AND THE PENCIL. 
 
 eyes are nearly identical in their significances witli tlie 
 light-blue. Hazel eyes usually intimate a vigorous, pro- 
 found, masculine mind. Shakspeare's eyes were hazel ; 
 Swift's blue ; Milton's, Scott's, and Byron's gray, wbicb 
 is the special color of genius. Black eyes are thought 
 to be mostly indicative of strong passions, combined with 
 quick, penetrating intellects. 
 
 The traditional and historic beauties, from the Grecian 
 Helen and the Oriental Shirene to Madame de Maintenon 
 and Mary of Scotland, were distinguished by the large, 
 lustrous eye, — the same, probably, attributed by Homer 
 to Juno in the epithet " Ox-eye." 
 
 The fact that nearly all the bodily tissues meet and are 
 blended in the eye, may indicate its importance and its 
 representative character. 
 
 The nose is by no means an insignificant feature of the 
 face ; as is most unpleasantly shown by any casualty that 
 destroys or mars it. 
 
 Physiognomists reckon four classes of noses, viz., 
 Grecian, denoting imagination, equanimity, and pa- 
 tience, — Eoman, courage, energy, magnanimity, — Cat 
 or Tiger, cunning, vindictiveness, obstinacy, selfish- 
 ness, — Pug, imbecility and indecision. You find the 
 Grecian among scientific, literary, artistic men, — the 
 Eoman among active, efficient men and warriors, — the 
 Pug among the flippant, contemptuous, and sneering. 
 
 These four classes are distributed into numerous vari- 
 eties, e. g., aquiline, snub, thin, flat, &c., — each and all 
 indicating characteristics more or less decided and dis- 
 tinctive. Napoleon says he selected for performing any 
 important head-work long-nosed men, if properly edu- 
 cated, — holding that ''the brain, lungs, and heart of such 
 must be cool and clear, as the respiration was bold and 
 free." 
 
THE HUMAN FACE. 89 
 
 Phrenologists assign to the cerebellum, or hinder por- 
 tion of the cranium, the organs of sense, common to man 
 and the inferior animals ; and to the cerebrum, or front 
 cranium, the organs of the mind or soul. According to 
 the greater or less development of one class or the other, 
 do the mental or animal qualities hold the ascendant. 
 
 Thus, a small, triangular forehead, however large the 
 entire head, denotes paucity of intellect. A forehead 
 high and broad, prominent and gently arched, bespeaks 
 great genius or talent ; while one with irregular pro- 
 tuberances intimates a choleric, fitful temper. Deep, 
 vertical lines between the eye-brows commonly denote 
 mental vigor coupled with concentrativeness. 
 
 But we must close. That, in a considerable degree, 
 the face is an index to both the intellectual and moral 
 character, is beyond dispute. Indeed we are all physi- 
 ognomists in practice, if not in theory. A nd who better 
 than young children, and even veritable infants in arms ? 
 Everybody knows by experience that certain persons 
 strongly attract, while others not less strongly repel these 
 little ones ; and that these antagonist influences come 
 mostly, at least, from an unreasoning, instinctive percep- 
 tion of physiognomic expression is, I suppose, unani- 
 mously recognised. 
 
 As the face is altogether the most important subject 
 for representation by the portraitist whether with the 
 camera or the pencil, — since its true expression, when 
 transcribed, is the revelation of the real man, — so it 
 seemed to me especially important that a summary should 
 here be given of what observation has taught about the 
 face and its indications. 
 
 And thanks to the fascinating author of " Mosaics," 
 the contents of his rich pages have greatly lightened our 
 task. 
 
CHAPTER yni. 
 
 THE HELIOGEAPHIC AETIST AND HIS SITTEES. 
 
 Tho operant must try to please all — The selfish and impatient must be conci- 
 liated — Proper conduct of the operant here — Heliographic sittings should be 
 brief — Difficulties specified — Anecdote of Reynolds. 
 
 The present chapter will be devoted to sitting, and 
 sundry incidents connected therewith. The heliographer 
 will concede to my age and experience the privilege of 
 speaking in a homely, advisory strain. And 
 
 1st. Let us never lose sight of the fact that we must, 
 if practicable, phase all who seek our services. Nor let 
 us lose sight or recollection of the myriad difficulties 
 which must needs be encountered and completely mas- 
 tered, if we would achieve high excellence and a durable 
 reputation in our art. 
 
 Often — perhaps most commonly — the heliographer's 
 business comes upon him in "lumps," and his sitters in 
 crowds. This point is dependent upon the season of the 
 year, the particular weather of the moment, and the 
 general circumstances of the "times." In auspicious, 
 genial weather our galleries may be thronged by num- 
 bers, consisting partly of family-groups, and partly of 
 individual women and men ; all strangers alike to each 
 other and to the operant. Usually, all are somewhat 
 in haste for a sitting, while many of them are constitu- 
 tionally selfish, and not overstocked with either patience 
 or politeness. The last-named are very apt to demand 
 
 (90) 
 
THE HELIOGEAPHIC ARTIST AND HIS SITTERS, 91 
 
 being waited upon at once; and to threaten going other- 
 where if denied, or if requested to delay for a few minutes 
 only, even though such denial and request be of absolute 
 necessity. 
 
 Now we all, of course, desire to secure the patronage 
 of every visitant, and, in the hope of detaining them long 
 enough, we are extremely prone to promise compliance 
 with their wishes. In this mood of excited, anxious 
 feeling we commence our task with whatever judgment, 
 skill, and expedition we can command, — goaded the 
 while by our subject's point-blank demand of perfection, 
 as a sine qua non ! 
 
 While the artist is disposing his sitter for taking, he 
 should keep up a cheerful, genial, appropriate conversa- 
 tion, either with his sitter or with some other person or 
 persoDS present in order to summon, if possible, a genu- 
 inely characteristic expression into the face. 
 
 If the sitter's features are very mobile and variable, 
 and the desired expression, therefore, is liable to flit too 
 soon away, then a large mirror, or "cheval-glass," upon 
 castors, may be stationed before him, wherein he may 
 behold his own image. He may then, with some efibrt, 
 discern in that reflected face the expression wished for, 
 and may endeavor to retain it unaltered for the few 
 seconds required for its being arrested and fixed by the 
 solar pencil. 
 
 2d. I apprehend that there are few heliographers who, 
 while taking the portraits of their sitters, are accustomed 
 to instruct them in the general matter of sitting, includ- 
 ing the items of posture, expression, &c., or to engage 
 them in rousing and genial conversation immediately 
 before the commencement of the process, or the exposure 
 of the plate to the object. 
 
 When all is prepared for letting on the sunbeam to 
 
92 THE CAMERA AND THE PENCIL. 
 
 secure the impression, some operants will exclaim, "A 
 good expression, sir" — '' Please keep still, miss, and look 
 pleasantly, — 'tis going on," &c., &c., — and even these few 
 useless and perhaps worse than useless phrases are uttered 
 in a low, chilling, abrupt tone, and mostly, too, after the 
 admission of the light and the commencement of the pro- 
 cess ! And yet; at this precise moment there are impera- 
 tively required that affable, gracious, prompt, social qua- 
 lity, — that instantly discriminating, truthful, artistic eye, 
 that ripe judgment, and that skilled, dexterous hand, — 
 and superadded to all the rest that excitant, exhilarating, 
 magnetic influence which the felicitously-tempered artist 
 brings instinctively to bear upon his sitter, when the soul 
 of the latter is to be roused to give expression to the face ! 
 
 3d. If groups, either of adults or of children, are to be 
 taken, an instant or two alone are granted wherein to com- 
 pose our picture, — to arrange the most effective lights and 
 shadows, — ^to select the best aspect of each face, — to place 
 the instrument in position, — to summon by conversation 
 and whatever else into each countenance, and strive to 
 keep there, the most intelligent and genial expression 
 until the momentary exposure of the plate has been 
 effected and the impression secured. After all this, the 
 image, of course, must be developed, fixed, finished, and 
 exhibited to the sitter. If the attempt be satisfactory, 
 we must proceed, in like manner, to wait on other im- 
 patient expectants, handling all the numerous parts of 
 the delicate process with the utmost practicable expe- 
 dition, ■* 
 
 No one, therefore, can appreciate, or in the slightest 
 degree apprehend, the difficulties encountered daily and 
 hourly by the heliographer, save a capable, sensitive 
 practitioner himself. He must deal with and overcome, 
 too, on the instant, a multitude of vexations, perplexities, 
 
THE HELIOGRAPHIC ARTIST AND HIS SITTERS. 93 
 
 and obstacles in mere manipulation, of whicli outsiders 
 neither know nor can know anything at all. 
 
 The heliographer, then, who would win friends and 
 customers, and achieve a reputable name, must be good- 
 tempered, just, patient, and forbearing ; prompt, gracious. 
 and courteous towards all callers without exception. 
 The artist (be it remembered) of highest capacity, and 
 the most efficient manager of the camera, must ofttimes 
 encounter persons who are excessively hard to please ; 
 some for lack of native judgment, coupled with ignorance 
 of art ; some through a foolish pride or vanity, and a 
 thirst for praise; others because it is their nature to 
 differ from others and indulge in indiscriminate fault- 
 finding. 
 
 Others, again, will find fault with the face exclusively, 
 and will call another day for another trial, — desiring, in 
 fact, a new sitting, in order to view themselves in a dif- 
 ferent article of apparel, such as a collar, a cape, another 
 style of head-dress, or of arranging the hair, or, it may 
 be, in an entirely new dress, though they will, all the 
 while, speak of the face exclusively. 
 
 Thus I have often heard persons, on first seeing, and 
 before examining, a truly exquisite heliograph of them- 
 selves, exclaim, with both hands uplifted, " O frightful, — 
 it is not at all like, — it is perfectly horrible !" 
 
 The artist, in response, appeals to the nature of his 
 art, and the necessary truthfulness of his camera, and 
 refers the objecting sitter to the mirror; but is told, "I 
 never did like the daguerreotype, nor can I abide the 
 photograph," &c., &;c. " I must have a picture painted by 
 
 Mr ; his likenesses are beautiful !" And yet this 
 
 very artist depends upon and idealizes the best daguer- 
 reotype or photograph he can get taken, — merely, as he 
 
94 THE CAMERA AND THE PENCIL. 
 
 will saj, to save trouble to the sitter and time for 
 himself ! 
 
 All portraitive artists are liable to meet with eccentric 
 persons like the above, and should deal with them good- 
 humoredly and philosophically. 
 
 If the artist has shrewdness and tact, he will be care- 
 ful to exhibit a new portrait of one who may be disposed 
 to fault-finding ^irs^ to a friend, or to some third person, 
 who will be likely to speak favorably of it, at first sight, 
 and influence the judgment of the pettish, eccentric 
 individual. 
 
 B. E. Haydon, the great English historic painter, 
 remarks that " Amiability, courtesy, and tact were pro- 
 minent traits in the character of Sir Joshua Eeynolds," — 
 a statement illustrated by the following incident : — 
 
 "My portrait is not at all liTce, Sir Joshua," said a 
 beautiful woman of fashion whom he had been painting. 
 Reynolds, bowing low, replied, with his hand to his deaf 
 ear, "I am delighted that your grace is pleased with it." 
 "Pleased ! — I am really not at all pleased," said she. "I 
 am quite delighted," bowed Reynolds. In despair she 
 entreated an artist, just then entering, whom she knew, 
 to get Reynolds out of his error. This artist roared in 
 Sir Joshua's ear, "Her grace — does not — think — her — 
 portrait — like !" " ISTot think it like ?" replied Reynolds. 
 " Not like ?" Then, bowing, he said in the mildest voice, 
 as if he had now just heard, " Then, we'll make it like ! — 
 we'll make it like!" This is an epitome of his whole 
 life. 
 
 4th. But let me not be misapprehended. I do not 
 assume to instruct my brother heliographers, or my un- 
 professional readers, how to express the various passions. 
 I can teach no man how to invent. I will say, however, 
 that he, whose eye and hand are obedient to his concep- 
 
THE HELIOGKAPHIC ARTIST AND HIS SITTERS. 95 
 
 tions, may easily wear a smile upon his face, exchange 
 a lively word with both old and young, and yet not be 
 rude ; and occasionally exchange little graceful acts of 
 politeness which may arrest and charm the eyes of the 
 recipient, and still not be intrusive. If he knows his 
 own place and keeps it, such familiarity will breed not 
 contempt, but confidence. 
 
 A genuine, soul- originated smile on the face of the 
 artist is more than likely to summon a corresponding 
 smile into the face of the sitter, and the power of a smile 
 to give attractiveness to a portrait is more easily per 
 ceived than described. 
 
 A modern writer says, " Smiles and speech are cha- 
 racteristic of man, and are bestowed upon him to ex- 
 press thought and affection." 
 
 " A beautiful smile is to the female countenance what 
 the sunbeam is to the landscape. It embellishes an 
 inferior face, and redeems an ugly one. A smile, how- 
 ever, should not become habitual; insipidity is the 
 result ; nor should the mouth break into a smile on one 
 side, the other remaining passive and unmoved ; for this 
 imparts an air of deceit and grotesqueness to the face. 
 A disagreeable smile distorts the line of beauty, and is 
 more repulsive than a frown. There are many kinds of 
 smiles, each having a distinctive character ; some an- 
 nounce goodness and sweetness, others betray sarcasm, 
 bitterness, and pride; some soften the countenance by 
 their languishing tenderness, others brighten by their 
 brilliant and spiritual vivacity. Gazing and peering 
 before a mirror cannot aid in acquiring beautiful smiles 
 half so well as to turn the gaze inward, to watch that 
 the heart keeps unsullied from the reflection of evil, illu- 
 mined and beautified by sweet thoughts." 
 
CHAPTER IX. 
 
 SITTING-EOOM — SKY-LIGHT — OUT-DOOR VIEWS; ETC., ETC. 
 
 Diffused light essential — Angle for falling rays — Upper story best — Side and 
 sky-light — Size and arrangement of the latter — Preparations for cloudy 
 weather — Curtains, and their disposition — Out-door views, and their condi- 
 tions — Heliographers should study the best paintings, <fcc. — Examples — 
 Miscellaneous directions. 
 
 As our pictures are produced by means of tlie sun- 
 beam, tbe sitting-room should be so constructed as to 
 furnisb a diffused ligbt, whereby the object, animate or 
 inanimate, may be illumined completely, i. e. lighted up on 
 all sides; while the principal mass of the rays should 
 fall in such manner and with such degree of power, as 
 to give clearly defined shadows at an angle of about 45°, 
 or more or less, as circumstances may require. By this 
 disposal of the light, and this arrangement of the room, 
 the highest artistic effect is attained, and the utmost 
 possible excellence may be imparted to the picture. 
 
 My personal observation and experimentation have 
 assured me as to the expediency of the following plan 
 for the light of a heliographic sitting room. 
 
 Thus, the topmost apartment of a building should be 
 secured, having an unobstructed northern or north-western 
 exposure, together with perfect facilities for communica- 
 ting with the street. A second-floor room for heliographic 
 uses is preferable to one on the ground-floor, because 
 
 free from damp, and less affected by changes of weather. 
 
 (96) 
 
SITTING-KOOM, SKY-LIGHT, ETC. 97 
 
 Its easier accessibility, too, makes it preferable to a fourth 
 or fifth story room. 
 
 SIDE-LIGHT ANU SKY-LIGHT COMBINED. 
 
 If an attic is to be used as a sitting-room, I would 
 advise the construction of a side or a front light equally 
 wide with the sky -light, and facing, if practicable, the 
 north or the north-west. 
 
 When the room is spacious enough to allow the using 
 of long-focussed lenses, a sky-light placed above its 
 centre, at the north end, 12 or 14 or 15 feet wide, by 14 
 or 16 or 18 feet long, with the front or side light uniting 
 with the top-light, and reaching to withii? 3 or 4 feet 
 of the floor, will permit the artist (if large groups are 
 to be taken) to give his subjects any position he may 
 desire in the room, and to secure any required effect of 
 shadow ; since he is able to station the camera on either 
 the right or the left of the subjects, and to work all 
 around the room by changing the shades under the sky- 
 light, or with the backs of the subjects towards the sun, 
 i. e. with a northern exposure, — this attitude being most 
 favorable alike for the subjects themselves and for fine 
 effects of light and shadow. 
 
 If the side or front light be divided into three windows, 
 or sash running up and down, and each window be 
 double-sashed (so that with its shades, it can, if needful, 
 be lowered from the top), with very narrow casings ; such 
 windows will be very convenient for taking children, as 
 well as for general uses in cloudy weather, since the 
 transparent curtain (and each window should have its 
 separate shade) can be so raised as to admit side-light 
 somewhat ia the rear and on the background, or on one 
 side of the subject, when stationed in the centre of the 
 room, — not, of course, to deaden the power of the light 
 7 
 
98 THE CAMERA AND THE PENCIL. 
 
 from above, but to mellow or soften down and to render 
 translucent those abrupt, coarse, inky shadows beneath 
 the brows, nose, and chin, which are so objectionable in 
 many pictures taken by means of the sky -light exclu- 
 sively. 
 
 The height of the sky -light above the floor should be 
 proportioned to its size. If large-sized, it may be 10, 
 12, or 14 feet high ; if small, 9 or 10 feet will be prefer- 
 able; especially when heliographic negatives are to be 
 produced, which require stronger light and more pro- 
 tracted sittings than do positives. 
 
 Every sky -light, if over six feet wide, should have two 
 transparent curtains suspended over head under the glass, 
 on wires and rings, so that one or both of them can (if 
 desired) be pushed towards the front or side light, in 
 order to obtain good artistic shadows from above, by 
 permitting the light to fall upon the subject in a concen- 
 trated mass, — an arrangement which supplies shadow 
 sufficiently strong at an angle of about 45°, 
 
 In taking an out-door view, e. g. a building, a land- 
 scape, or street-scene for the stereoscope, or some kindred 
 purpose, we should be careful to select the most appro- 
 priate hour of the day, and should place the camera 
 so as to get the finest artistic effects from the lights and 
 shadows. A skilful management of the lights and 
 shadows is also essential to the portraitist who would 
 produce a well rounded, distinctly "relieved," and life- 
 like face. How many such faces do we see at the doors 
 and in the galleries of the contemporary heliographers 
 of this country ? Scarcely one in the thousand ! But, 
 instead, we behold flat, meaningless maips of the face, 
 with little or no shadow, but with half of the face white, 
 and the other in a shadow, flattened through a side or 
 reflected light from a side screen. 
 
SITTING-ROOM, SKY-LIGHT, ETC. 
 
 These, of course, are made by dull ignoramuses, by 
 mere mechanism, and sold by thousands to the unen- 
 lightened portion of the community. Hence the present 
 low repute of our wonder-working art. 
 
 The heliographer, whether professional or amateur, 
 may learn much about the magic eflects of light and 
 shadow, as also derive other benefits, from carefully 
 studying the paintings, engravings, &c., of eminent artists, 
 as, for example, ''The Women of Shakspeare," "The 
 Beauties of Moore," the productions of Finden, Heath, 
 &c. It would be profitable especially to study the engra- 
 ving of Da Yinci's "Lord's Supper;" to note how much 
 is expressed by the arrangement and posture of each 
 figure ; and most of all, by each face, in which one may 
 almost read the thoughts agitated within, and the words 
 about to break forth. 
 
 What, by these artists, is done by other means, the 
 heliographer should aim to effect by the camera, and if 
 he have genius and skill sufficient to call into use all the 
 powers of this instrument, he may produce pictures not 
 less true to nature than those above specified. 
 
 Good small single portraits ; or those with the head 
 and bust ; or those in the crayon or vignette style, may 
 be taken at a tolerably sized high side-light window, if 
 the lights and shadows are skilfully managed, with the 
 aid of transparent curtains to soften the light below, and 
 with side reflections, if used at all, kept at proper dis- 
 tance. 
 
 K only a side-light window can be had, or a side and 
 top light combined, it should be 6 or 8 feet wide, and 10 
 or 12 or 15 feet high. Such a light can be advantage- 
 ously used in taking single portraits, or groups of two 
 or three. 
 
 If the whole light miist come through a flat roof above 
 
100 THE CAMERA AND THE PENCIL. 
 
 the middle of the room, the window should be at least 
 10 or 12 feet wide, and 16 or 20 feet long, and built 
 according to the directions in " side-light and sky-light 
 combined," not flat, but roof-like — i. e. in three sashes, 
 one pitching east, one west, and one north. This will 
 bring the light nearer to the floor and stronger at the 
 sides, and will also light up a group of several, clearly 
 at both extremes or sides of the room, as well as in the 
 middle of the picture ; and will enable the artist to place 
 the back of the sitter towards the south-east in the morn- 
 ing, and the south-west in the afternoon — such being the 
 best arrangement of the light for the eyes and face. 
 
 The panes of glass should be 16 by 20 inches in size, 
 and ground on the under side, if not protected from the 
 sun ; having their lower ends lapping at least one inch 
 over the upper ends of those below them, and being set 
 in thin putty and paint. The lower end of each pane 
 should be kept separated from the pane below it, by 
 resting upon trammel-hook wires, hooked over the ends 
 of each pane, — an arrangement which will keep each in 
 its place, and allow the air to circulate between the panes, 
 — thus preventing capillary attraction, which causes 
 tight- set glass roofs to leak. 
 
 The ceiling should be " flared" away 5 or 6 feet back 
 into the room east, south, and west (if the room faces 
 north and south), so that the rays may fall on the floor, 
 or the sitter, 7 or 8 feet back of the opening above. 
 By this means, a well-defined, mild light is thrown upon 
 the sitter, or group of sitters, if placed a little away 
 from beneath the opening above, clearly illuminating 
 alike the head, the figure, and the dress. Care should 
 be used that the light be not brilliant or dazzling, but 
 mild and soft, as well as clear, and so falling as to make 
 
SITTING-ROOM, SKY-LIGHT, ETC. 101 
 
 well-defined, transparent shadows, especially under the 
 brows, nose, and chin. 
 
 The " high lights" should be distinctly located on the 
 forehead, nose, cheeks, and chin; and broad, flat lights 
 and shadows avoided. The high lights, the shadows, 
 and the middle tints should be, especially on the face, in 
 perfect harmony. 
 
 The walls of the heliographic sitting-room should be 
 painted or papered with a warm light-blue, or straw, or 
 cinnamon color, while the floor should be covered with 
 a light carpet. This arrangement will tend to diffuse a 
 mild, agreeable, uniform light throughout the apartment. 
 
 For an artist's painting-room, a dark-slate, or dark- 
 cinnamon, or brown is more suitable, as these colors 
 absorb, instead of reflecting, the light. 
 
 Finally, special care should be taken that the sitting- 
 room be appropriately and neatly fitted up, and supplied 
 with every convenience for the business, as well as com- 
 fort for sitters and visitors ; and be kept during the day 
 in perfect order. The instruments, headrests, chairs, 
 screens, backgrounds, &c., should be fixed in their proper 
 places after each party has left the room, that all things 
 may be pleasant to the eye of the next sitter, and calcu- 
 lated to awaken agreeable feelings. 
 
 The same good order should prevail throughout the 
 chemical room, which should be so arranged, as to 
 prevent all fumes of chemicals from reaching and annoy- 
 ing visitors to the apartments. 
 
 POETRAITS OF CHILDEEN. 
 
 In cloudy weather, or while taking children, both top- 
 shades may be pushed up to the front, while the side- 
 light shades are raised, or (what is better) lowered 
 
102 THE CAMERA AND THE PENCIL. 
 
 from the top. Impressions may thus be caught in a few 
 seconds. 
 
 This process, however, involves a considerable sacri- 
 fice, through the necessity of broad light, as well as of 
 seizing the impression almost instantly. 
 
 Such pictures, though not very creditable to the helio- 
 grapher, regarded solely as specimens of art, are, never- 
 theless, if perfectly truthful, highly acceptable to 
 parents ; and, when the loved originals are deceased, are 
 deemed invaluable. 
 
 It is, then, the interest of the artist, if not his duty, to 
 secure the most faithful impressions possible of these 
 little ones, even though such may be lacking in mere 
 artistic merit. 
 
 However difficult of management children may be, no 
 effort should be spared for producing a pleasing picture 
 of them. ISTor should any time devoted to this object be 
 regarded as lost. Therefore, I would advise the operant 
 to indulge and play with them, and strive thus to win 
 their confidence and good-will. These, with a little tact, 
 he will rarely fail to gain, and in this way will both 
 please the fond parents and enhance his own reputation. 
 But if, taking the opposite course, he manifests a morose 
 or irritable temper, he will assuredly forfeit his " good 
 name," even though he may occasionally produce a cre- 
 ditable picture. 
 
 It may not be irrelevant to this topic to recite an inci- 
 dent of my own experience. 
 
 I once permitted my temper, which is generally under 
 command, to be ruffled by the slight of a " sitting" child. 
 He was the only son of an authoress as intelligent and 
 amiable as she is widely popular.* Losing patience, after 
 several unsuccessful trials, and scarcely aware of what I 
 
 * The late Mrs. Alice B. Haven, formerly Mrs. J. C. Neal. 
 
SITTING-ROOM, SKY-LIGHT, ETC. 103 
 
 did, I hastily tapped the boy's hand with my fingers' 
 ends, while fixing upon him a stern look. 
 
 He gazed an instant in my face ; the tears started ; his 
 heart seemed broken. 
 
 The mother calmly remarked, " This is the first time 
 he was ever chastised or spoken to severely." 
 
 Her mild, gentle tones in addressing first myself, and 
 then her boy, administered a rebuke to me which, I 
 think, will never be forgotten, or cease to have a prac- 
 tical influence. I trust, too, that the record of this simple 
 incident may be of service to all who read it and manage 
 the camera in taking the portraits of young children. 
 
 Impartial justice to myself, however, requires that I 
 should state why I acted as I did in this case. Both 
 before commencing operations and while engaged therein, 
 I was assured by the lady that, unless the picture was 
 faultless, unless it was felicitous in arrangement and per- 
 fect in expression, she must decline accepting it. Acting 
 under these instructions, I was, of course, unusually 
 anxious to succeed ; for, over and above pecuniary con- 
 siderations, my repute as an artist was at stake. 
 
 Eepeated trials had been defeated by the refractoriness 
 of the boy. For, in defiance of his mother's injunctions, 
 he kept incessantly changing his position, nor were my 
 own entreaties of any more avail. Moreover, he was 
 monopolizing my time ; and several other persons were 
 impatiently waiting, and threatening to leave. As a 
 final resort, I adopted the authoritative mode, as I had, 
 with others, been accustomed to do successfully. 
 
 But ever after my failure here, I made it a point (as in 
 fact I always had done previously), to go directly to the 
 child, and talk and play familiarly with him, and, if pos- 
 sible, to put some amusing or pleasant object in his 
 
104 THE CAMERA AND THE PENCIL. 
 
 hands ; assuring him, by these various means, that I was 
 friendly, and that my purpose was to give him pleasure, 
 and not in any way to harm him. By this method of 
 proceeding, I almost invariably obtained a good picture 
 of a child. 
 
CHAPTEE X. 
 
 HINTS UPON SITTING — ^EASE AND GRACE IN A PORTRAIT. 
 
 The attitude should be chosen by the operant — What it should be — Manage- 
 ment of lights and shadows — Legs of gentlemen and hands of ladies, how 
 placed — How to take certain faces — Directions about colors — Useless acces- 
 sories to be avoided — Mode of ameliorating blemishes — Groups, &c. 
 
 As frequently intimated elsewhere in this treatise, the 
 proper attitude of a person sitting for a portrait should 
 be left, mainly at least, to the judgment and taste of the 
 heliographic operant. At the same time it may be 
 policy, as well as courtesy, to ask intelligent sitters 
 whether they have a preference for any special view of 
 the face, post are, arrangement, &c. ; and, if so, to inform 
 them what artistic experience has shown to be intrinsic- 
 ally best, subjoining the reasons why. 
 
 The sitter's position should be unconstrained and per- 
 fectly easy, the hands and feet neither projecting too 
 much, nor drawn too far back, but placed in the focus 
 of the instrument, or nearly so. 
 
 The sitter's age should also be considered. For ex- 
 ample, the appearance of the elderly should be calm and 
 sedate, instead of spirited; while the young, of either 
 sex, should express, by the position of the head and face, 
 energy of thought, feeling, and action, rather than a 
 grave, meditative cast of mind, unless where they are 
 specially moved and interested. 
 
 The head should be easily and gracefully turned to 
 
 (105) 
 
106 THE CAMERA AND THE PENCIL. 
 
 fhe right or the left, — not too higli or too low, but so as 
 to express intellect or meaning in lieu of constraint. 
 Especially should be avoided that appearance of a spas- 
 modic twist of the head, or jerk of the neck-muscles, 
 which are found in the portraits of some operators, whose 
 conceit is quite as manifest as their artistic knowledge 
 and skill ! 
 
 The eyes should be directed a little farther to the left 
 or right, than the face, and if a front view be taken, to 
 some object above or near the camera, in a nearly front 
 direction from the face, if the color or shape of the eyes 
 will admit ; but rarely toward the lens or tube, as the 
 face would thus take on a stare or a dissatisfied or dolorous 
 look. 
 
 The lights and shadows on the face, or other parts of 
 the picture, must be managed with the greatest care, in 
 order to produce rotundity, relief, harmony, and life-like 
 effect. When the broad or short side of the face is mostly 
 in shadow, the shaded cheek should, if possible, be tipped 
 with light, to give it a pleasing fulness and natural-seem- 
 ing roundness. 
 
 If portraying a gentleman cross-legged, avoid all long, 
 straight lines or right angles, and do not throw the limb 
 nearest the camera over the other, but vice versa. 
 
 The hands of a lady may rest easily upon the lap, and 
 should be presented edgewise, neither too high nor too 
 low, which will give them a small, delicate appearance. 
 Or one hand or arm may be laid upon a table, while the 
 other hand may hold a book or some other object, if the 
 sitter so choose. For myself, however, I think a pretty 
 hand is much the prettiest when empty. [See plate.'] 
 
 A thick hand should shqw the thumb in the fore- 
 ground, with the fingers bent a little inward; while a 
 long hand had best exhibit its back. A handsomely 
 
HINTS UPOjST sitting, 107 
 
 shaped hand, neither too long nor too short, should dis- 
 play fall two-thirds of itself, with the fingers hanging 
 easily and gracefully down, 
 
 A sliglit bending of the body forward and to one side 
 will, by its graceful appearance, produce a good artistic 
 effect. 
 
 If a shawl, or boa, or like article of dress, be thrown 
 lightly over the shoulders, and tastefully disposed, so as 
 to hide some defect, and distribute light and shadow 
 properly, it will generally serve to balance other parts. 
 and thereby make the entire impression agreeable. 
 
 The portrait of a full, round face, with small eyes and 
 nose and large mouth, should be taken in nearly half- 
 profile, so as to show one side of the face in full, with 
 very little of the other side. 
 
 A face of moderate fulness, with aquiline nose and 
 handsome ej'^es and mouth, should be taken in three- 
 fourths profile ; while one having strongly pronounced 
 features, should be presented nearly full in front view. 
 
 If in the same picture two persons are to be portrayed, 
 both sitting, the one should be represented as leaning 
 lightly on the other's chair, and the face of each should 
 be turned partly towards the other, as if a conversation 
 was going on. Or they may be placed opposite to each 
 other at a table, the one with the right and the other 
 with the left arm resting thereon, and the persons of both 
 gently bending towards each other, as though they were 
 conversing ; or one may be seated, while the other stands 
 nigh him, leaning familiarly on the latter's shoulder or 
 chair- back. 
 
 Again, the arrangement of family groups should, save 
 in exceptional cases, be surrendered wholly to the judg- 
 ment of the intelligent and skilful artist. Care, how- 
 
108 THE CAMEEA AND THE PENCIL. 
 
 ever, should always be taken to station the several per- 
 sons of the group all at the same focal distance. 
 
 As regards dress, vivid colors and intensely illumined 
 objects should uniformly be avoided. This monition 
 applies more especially to white, yellow, light-blue, and 
 scarlet. Plain-colored dresses, neither too light nor too 
 dark, are most appropriate, and always furnish the most 
 pleasing heliographs. 
 
 The sitter should be so placed in the room as to pro- 
 ject short shadows ; the light being sufficiently subdued 
 to preserve the half-tints, while the time of exposure 
 is long enough simply to develope the image completely, 
 without, meanwhile, "overdoing," {i. e. solarizing) or flat- 
 tening the pictures. 
 
 So, too, all strong cross-lights and reflections should 
 be carefully avoided, and special pains taken to impart 
 the utmost rotundity, boldness, and force to all portions 
 of the figure. 
 
 USELESS AND OFFENSIVE ACCESSORIES IN A PORTRAIT. 
 
 Hands, hats, and numerous other accompaniments, e. g. 
 landscape or fancy back-grounds, curtains, &c., should 
 (in my opinion) be rigorously banished from the picture, 
 as tending to impair the likeness. So a high chair-back 
 behind the head both interferes (I think) with the effect 
 of the face, and offends correct taste. Whereas, a low 
 chair-back, with one side in view and in focus, is not 
 only far more appropriate, but proves, not unfrequently, 
 a valuable accessory. 
 
 VIGNETTE OR CRAYON STYLE. 
 
 A vignette portrait, i. e. the head and shoulders in the 
 crayon style, I generally find more pleasing to the true 
 artist and connoisseur, than either full-length or half 
 
by M'A-Root. 
 
HINTS UPON SITTING. 109 
 
 figures. The apparent size of the head can be augmented 
 by placing it somewhat above the middle of the plate; 
 and as the image is produced by the centre of the lenses, 
 there is less liability to distortion in it. So that if proper 
 heed be given to the subject's posture, and a suitable 
 arrangement of light and shadow be made, a vignette 
 portrait may be rendered more truthful, life-like, and 
 artistically effective, than one wherein the head sur- 
 mounts a half or a full-length figure. 
 
 Although, then, there are many subjects who, when 
 left to their own selection, are apt to insist upon having 
 a half or whole length, with both hands introduced, yet 
 the true artist, for the credit of both himself and his art, 
 will recommend the vignette, which (as above stated) 
 comprises the head alone, or head and shoulders merely. 
 
 POSTURE, ETC., ETC. 
 
 Stuart, the eminent portraitist, like Eeynolds, Law- 
 rence, and other distinguished artists of recent date, 
 usually gave to his pictures a wide margin ; making the 
 head, the figure, and the entire portrait proportionate 
 in size to the balk of the individual and the superficies 
 of the canvas. 
 
 In representing a head and bust merely, the chin 
 should be placed slightly above the centre of the picture, 
 while the eye nearest the spectator in a three-quarters 
 face is generally midway in the breadth of the picture. 
 
 The heliographer who possesses correct judgment and 
 taste, combined with proper feeling, while earnestly 
 striving to secure the most truthful expression of his 
 subject's face, as seen in repose, will meanwhile also note 
 critically all the important points, which may serve to 
 communicate to his picture genuine artistic effect. 
 
 A profile, or a two-thirds or three-quarters face, should 
 
110 THE CAMEEA AND THE PENCIL. 
 
 have at least as broad a margin before tbe face, as 
 behind the bead, and not unfrequently a broader one. 
 
 As a faithful likeness is the chief desideratum in 
 portraiture, the mere head and bust are preferable to a 
 larger proportion of the figure, or one including either 
 or both of the hands. 
 
 In sum, the picture should embrace not much over 
 half the length of the body ; though it should, if practi- 
 cable, when more than the head is taken, indicate the 
 breadth across the shoulders, with the relative size of 
 the body, when the portrait is set in an oval "mat," or 
 " spangel," 
 
 Artists generally prefer painting short shadows on 
 the narrow side of the face in a two-thirds or three-fourths 
 view. This arrangement succeeds, for the most part, in 
 producing an agreeable picture. 
 
 Occasionally we encounter an admirer of Eembrandt's 
 or Yan Dyck's manner, wherein the shadows are so 
 broad and strong, as to shade deeply nearly half the face. 
 Unfortunately, however, for the heliographer, most of 
 his patrons, like England's "Queen Bess," prefer "pic- 
 tures without any shadow at all !" 
 
 If you would give to a spare, thin face, with high 
 cheek-bones and deep wrinkles, a fuller, younger, and 
 more attractive appearance, you must reverse the general 
 rule. 
 
 Thus, to impart to the face and head the utmost possible 
 boldness, energy, rotundity, &c., place the subject so that 
 in a two-thirds or three-fourths view of the face, the face 
 may, from the point of sight, or eye, or the part focussed 
 upon, be almost totally in shadow ; or so that the shadow 
 may fall from the cheek-bone backwards towards the ear. 
 By this means, with a clear, distinct shadow on the side 
 of the nose and face, and a soft, mellow light along the 
 
HINTS UPON SITTING. Ill 
 
 cheek, a picture is obtained upon a flat surface whicli, 
 wondrously " relieved" from its background, exhibits all 
 the roundness and solidity of nature. Provided, however, 
 that the material and color of the background be favor- 
 able, and the subject so placed, that a suitable tint or 
 shadow of the background may be had, i. e., one which is 
 neither too dark nor too light to contrast happily with the 
 complexion or the color of the hair and the dress. 
 
 For heliographs of a lady in a white or light-colored 
 dress, the ground should be dark, and removed far 
 behind the sitter, or beyond the focus, so as to give an 
 ethereal or faintly visible appearance to the ground, and 
 relief to the figure. A lady's white dress, or collar, or 
 cape may be beautifully represented by covering the 
 part exposed in strongest light with a black veil, or piece 
 of dark muslin, and cautiously withdrawing it at the ex- 
 piration of one-third or one-half the time of exposure 
 required for bringing the figure fully out ; and this, 
 without disturbing the sitter or stirring the dress. 
 
 A lady or gentleman in dark dress should sit before a 
 ground somewhat lighter than the dress. Not too light, 
 however, as in this case the outline would be hard or 
 sharp. 
 
 The color of the background may be of dark drab or 
 dark blue for a short distance, and light blue for a 
 longer ; or of a warm, cinnamon-colored cloth, with short 
 nap. Cloth is better than painted muslin for a back- 
 ground. All these should be carefully kept at a proper 
 distance from the sitter, and are most effective if kept in 
 motion during the session, as then seams or .spots are not. 
 copied. 
 
 The artist, who is fully alive to all the requirements 
 of his profession, will find that nearly every successive 
 subject needs a different arrangement of light and 
 
112 THE CAMERA AND THE PENCIL. 
 
 shadow, with a different location in the room, view of 
 the face, &c. Accordingly his genius (for nothing else 
 can) will suggest such a change in the position of the 
 camera, in the background, and in all other conditions, 
 as is required for the object aimed at. 
 
 And as the reputation alike of himself and his estab- 
 lishment must rest on the artistic merits of his produc- 
 tions, so every successive picture is a proof, patent to all 
 capable judges, either for or against his pretension to the 
 title of artist. 
 
CHAPTEE XI. 
 
 THE EYES — THEIR LANGUAGE, AND HOW TO DEAL WITH 
 
 THEM. 
 
 The eyes specially important in a portrait — How to direct and depict them — 
 Same determined by color and surroundings — Catch-lights, what, and for 
 what purpose. 
 
 The eyes, wliich are most emphatically tlie index of 
 the face, require of the artist the most scrupulous atten- 
 tion. Says a modern writer, " An eye can threaten like 
 the loaded gun, or can insult like hissing or kicking ; or 
 by beams of kindness can make the heart dance with 
 joy. There is an honesty in the eye in which the mouth 
 does not participate. 'The artist,' said Michael Angelo, 
 ' must have his measure in his eye.' Eyes are bold as 
 lions — bold, running, leaping. They speak all lan- 
 guages ; they need no encyclopedia to aid in the inter- 
 pretation of their language; they respect neither rank 
 nor fortune, virtue nor sex, but they go through and 
 through you in a moment of time. 
 
 " Vain and forgotten are all the fine offers of hospi- 
 tality, if there is no holiday in the eye. How many 
 inclinations are avowed by the eye, though the lips dis- 
 semble ! As soon as men are off their centres, the eyes 
 show it." 
 
 In order that they may wear the most favorable ex- 
 pression in a picture, the proper direction should be 
 8 (113) 
 
114 THE CAMERA. AND THE PENCIL, 
 
 givea to fhem. Wliat sucli direction is to be, must 
 depend on their size, form, color, &c. 
 
 Thus, if thej are blue, or light, or weak, thej should 
 either be directed towards a point somewhat low ; or be 
 turned away from the light towards a dim corner of the 
 room ; or be bent upon a screen covered with dark green 
 velvet, or with some other cloth non-reflective of light. 
 
 If the eyes are full, round, or prominent, and thus 
 are liable to catch too much light, let them rest upon or 
 nigh some object on the distant floor, without strain or 
 the least effort, so as to give them a somewhat languid 
 expression. Let the sitter, meanwhile, be instructed to 
 wink his eyes as often as inclined, that he may avoid a. 
 constrained or wild look therein. And to give the eyes 
 an agreeable expression, the ''catch -lights," or white 
 spots in them, should be thrown close to the upper lid, 
 while made as small as possible. 
 
 These so-named " catch-lights" are small spots of 
 reflected light seen on all sound eyes, except when these 
 are in shadow. They serve to impart to the eyes a life- 
 like, bright expression. Yet, I have known intelligent 
 persons to reject portraits which, by their admission, 
 were well-nigh faultless, on the very account of the beau- 
 tiful, round "catch-lights" on the eyes. And it required 
 no slight explanatory labor on my part to remove this 
 their error, and to convince them of the importance of 
 these supposed blemishes in giving expression to the 
 eyes. 
 
 A small screen, fixed upon a stand-rod with thumb- 
 screw, movable and elevatable, green or dark in color, 
 on which some object is placed for the subject to look at, 
 will be found more agreeable to the eyes than a screen 
 of any other reflective color, or a pin or spot upon the 
 wall or other object. 
 
THE EYES. 115 
 
 If the subject lias light eyes, and desires a two-thirds 
 or a three -quarters face, it is best to take a nearly front 
 view of the person, with the head turned more or less 
 aside, and the eyes directed towards an object somewhat 
 on the right or left of the straight-forward line. The 
 eye, however, should not be turned furtively back 
 towards an object fronting the person, as if watching a 
 pickpocket's movements. I have seen pictures that sug- 
 gested this idea so vividly, as to be absolutely ludi- 
 crous, — e. g., pictures having the body turned one way 
 and the face another, while the eyes were pointed back- 
 wards in a direction with the person, — and all this, 
 strangely enough, in so-styled first-class galleries ! 
 
 Contrariwise, by making the position of the head in- 
 termediate between the direction of the eyes and that in 
 which the person fronts, that spiral line is obtained which 
 is so prized in art, and is to many familiar under the 
 title of " Hogarth's line of beauty." The Grreek sculp- 
 tors invariably observed this line in attitudes of repose, 
 by turning the head towards the right, when the left foot 
 was withdrawn behind the other, and vice versa. They 
 took special pains to procure the twining spiral; and 
 this may be had even in a bust-portrait, by turning the 
 eyes somewhat more in the direction whither the head 
 points. 
 
 If the eyes are dark, and a nearly front view of the 
 face is desired, it is generally best to take a two-thirds or 
 three-fourths view of the person, with the eyes turned 
 aside somewhat further than the face towards the camera. 
 Thus, one eye is brought to look rather across the nose, 
 while both eyes look towards the artist, or the camera, 
 or some object nigh it. In this way the subject will 
 probably obtain the view of his face most familiar to 
 
116 THE CAMEEA AND THE PENCIL. 
 
 himself, as being tliat so often looked upon in his mirror. 
 \_See plate.'] 
 
 If the subject has very light blue eyes, or light eyes 
 of whatever shade, the face should be turned partially 
 away from the light, provided the features will allow it. 
 If the rays come through a sky -light, let him be placed 
 more directly beneath them, so that all the shadows may 
 fall more vertically, and the shadows of the eyebrows 
 partially protect the vision. Light or blue eyes may 
 thus be made to look dark and clear, and even to re- 
 semble black eyes. Extremes, however, or shadows too 
 much elongated, should be specially avoided. 
 
 In that condition of the face which produces in it the 
 appearance of intent, concentrated thought, the eyes do 
 not converge to a focal point, as when looking on a near 
 object; on the contrary, they turn outward, being invol- 
 untarily thrown into that position by the spontaneous 
 action of the muscles, — thus presenting to the brain two 
 different fields of vision, which, by producing indistinct- 
 ness, leave the mind free to its own conceptions or medi- 
 tations. 
 
 If the subject has light, flaxen hair, and a fair com- 
 plexion, he should be stationed further from the light ; 
 or the intenseness of the light should be mitigated by 
 the elevation or the lowering of the window-shades. Or 
 a thin tissue-paper screen may be extended above the 
 head to break the strong light, and to protect the hair 
 and eyes, and light portions of the dress, such as caps, 
 collars, capes, &c.* 
 
 * This protecting screen may be made of thin tissue-paper, or fine, thin 
 mull muslin, or other transparent material, stretched upon a light wire ring 
 or frame, or on an umbrella frame — and suspended some distance above the 
 head of the sitter, to soften the light and protect the hair, eyes, &c. 
 
CHAPTEE XII. 
 
 SUGGESTIONS AS TO DEALING WITH DEFECTS AND 
 BLEMISHES IN SITTER'S FACE. 
 
 How to deal with personal defects, e. g. cross-eyes, irregular features, loss of 
 teeth, &c. ; extra shortness or tallness, thinness or corpulence, imperfection 
 of nose, forehead, skin, Ac. — Few faces of perfect model. 
 
 Cross-eyed persons may be mucli "flattered," and their 
 defects greatly meliorated by directing the eye whicli 
 turns most towards the nose, towards an object in the 
 opposite quarter, or else turning both eyes towards an 
 opposite object. Thus, without the least impairment of 
 likeness, the particular blemish is much disguised, while 
 the appearance of both eyes is essentially bettered. 
 
 In taking persons irregularly featured (and few are 
 otherwise), extra care should be used to lessen existing 
 defects ; to avoid presenting them just as they are ; and, 
 above all, to take heed they be not exaggerated. 
 
 The keen observant will notice that many persons, 
 when laughing, smiling, or even speaking, use the 
 muscles of one side of the face more than those of the 
 other. Persons, however, who, in their various expres- 
 sions, use the muscles of one side of the face more than 
 those of the other, have no real ground of dissatisfaction, 
 when they see this reality portrayed in a picture ; since 
 it is a fact that most persons, with faces perfectly sym- 
 metrical, are devoid of any marked mental character. A 
 silly, meaningless smile is one in which both corners of 
 
 (117) 
 
118 THE CAMEEA AND THE PENCIL. 
 
 the moutli are equally elevated, as if drawn up by a cord 
 attached to the ears. 
 
 Again, from the loss of teeth, or some casualty, one 
 side of the face may be longer than the other. To dis- 
 guise this defect in the portrait, let the longer side be 
 placed nighest the camera, whereby the parts beyond the 
 point or objects focussed upon are naturally somewhat 
 magnified ; since the lines issuing from the point focussed 
 upon (unlike those in perspective, which converge to a 
 point), diverge in directions corresponding to the curves 
 of the lenses. By this means the aspect of the features 
 on the shorter side of the face may be perceptibly magni- 
 fied, and thus improved in appearance, without injury to 
 the likeness. Whereas by the opposite course the defect 
 will be exaggerated. \_See engravings.'] 
 
 A perfect face is extremely rare. Yet in every face 
 there is some single view which is preferable to any 
 other. The eye of an accomplished artist will, almost 
 instantly, select that view which produces the most 
 attractive portrait. 
 
 Thus, if the nose be very full or crooked on one side ; 
 or if the mouth be awry, or otherwise out of symmetry ; 
 or if one eye be weak or contracted, or more prominent 
 than the other : these blemishes may be partially neutral- 
 ized by selecting the most favorable aspect of the face, 
 while the likeness is thus improved, instead of impaired. 
 ■ If the subject be blind in one eye, the defect may be 
 partially concealed, and yet an exact likeness secured, by 
 taking a two-thirds or three-fourths view of the face, or 
 perhaps even a profile view. Of course the most intelli- 
 gent view should be gotten which is compatible with 
 securing the truthfulness of each feature. 
 
 Half-length figures, v/ith one or both of the hands dis- 
 played, are appropriate for gentlemen sometimes, and for 
 
I 
 
 1 
 
 ^ 
 
 ^ 
 
DEFECTS AND BLEMISHES IN SITTEE'S FACE. 119 
 
 ladies almost always. And, for a large-sized lady, a 
 three-fourths or fall length, by diminishing the apparent 
 volume of the figure, is frequently more acceptable to 
 her than a mere half-length. 
 
 A little "flattery," so named, is relished by most men, 
 and even by som^e women. If, then, without impairing 
 either the likeness, or the artistic excellence of the picture, 
 or compromising our professional repute, we can please 
 our subjects by "flattering" them somewhat in respect to 
 these minor points, which do, after all, essentially aid in 
 " making up" the picture, our efforts to please will, most 
 probably, secure a twofold remuneration, in extended 
 popularity and augmented custom. 
 
 The obese person seldom, if ever, objects to being 
 represented as something less in bulk ; or the small-sized 
 one to appearing a trifle larger than the reality. 
 
 So the individual of extra height and thinness would 
 be depicted, as somewhat shorter and ampler ; the short- 
 necked, dumpy one, as a little taller ; and the aged, care- 
 worn, visage-furrowed sire, or grandsire, as a few years 
 younger. While, therefore, ever adhering to fidelity in 
 representation, a moderate heed to the " art of pleasing" 
 may foster our pecuniary interests without detriment to 
 any interest beside. 
 
 If the subject be decidedly corpulent, the posture 
 should be more erect, or somewhat forward-leaning, or 
 else inclining slightly to the right or the left ; so that 
 the face, when in the focus of the lenses, may be nearly 
 as far towards the front, as is the dress. Thus may be 
 avoided the undue magnifying of the chest or of the 
 general figure. Generally a two-thirds view of the 
 figure and a nearly front view of the face of a bulky 
 subject, with the eyes directed towards the camera, and 
 
120 THE CAMEEA AND THE PENCIL. 
 
 with short shadows, will be likelier than any other to 
 prove acceptable. [See ;platei\ 
 
 A tall, slender person may secure an aspect of ease 
 and grace by inclining somewhat towards the left or 
 right, or by bending a little backward, or by sitting low in 
 his seat. The favorable appearance of a picture depends 
 much on an attention to these minutiae. 
 
 In representing the head and bust of a large person, the 
 camera should be nearly, if not quite, level with the chin. 
 
 Portrait painters commonly place the subject on a 
 platform or seat, a few inches higher than their own. 
 The heliographer should either raise or depress his 
 camera to attain the same results, and avoid foreshort- 
 ening the face. 
 
 When the subject has a short nose, or one having, 
 like Clay's, a short ridge but a long base, and thus 
 exhibiting the nostrils to an unUsual extent, special care 
 should be taken to avoid magnifying this blemish, or 
 foreshortening the nose or face. On the contrary, the 
 camera should be elevated as high as the middle of the 
 face, while the chin is dropped a little down towards the 
 chest, though not so far as to compress the muscles of the 
 cheeks or neck. Meanwhile, let the artist strive to 
 secure the utmost freedom and ease by loosening the sit- 
 ter's cravat, by giving to his head the most unconstrained 
 position possible, &c. 
 
 If the subject has a long or a Eoman nose, a two-thirds 
 or a three-quarters face, with the head somewhat raised 
 and the camera somewhat lowered, in order to show best 
 the nasal cartilage, will generally give the most truthful 
 likeness, while not distorting but rather flattering the 
 picture. By this management the too prominent is 
 diminished in appearance without either impairing the 
 resemblance, or exaggerating the irregular features. 
 
DEFECTS AND BLEMISHES IN SITTEK's FACE. 121 
 
 If the subject's head is broad, high, and intellectual, 
 while the lower part of the face is thin, the camera maj 
 be placed slightly lower than the chin, and the head 
 thrown a little upward. But if the head be small, while 
 the inferior portion of the face is full and heavy, and the 
 person generally corpulent, the camera should be ele- 
 vated, while the head is brought, and the whole person 
 inclined, slightly forward. It is likely that the portrait 
 may thus be somewhat "flattered," through a partial 
 sacrifice of literal truth. Better, however, to "flatter" 
 innocently in a picture than to exaggerate unavoidable 
 blemishes. 
 
 Persons having a rough and coarse or a freckled skin 
 (both of which blemishes are more distinctly visible in 
 the heliograph than in the original, since in such picture 
 yellow shows stronger and darker than black), may so 
 prepare the skin before sitting, that these defects will 
 be but slightly, if at all, discernible in the picture. This 
 is effected by smartly rubbing the whole face imme- 
 diately before the sitting, with a soft scarlet flannel cloth, 
 or a handkerchief, or even the bare hand ; the result of 
 which is a glowing flush upon the surface. By employ- 
 ing this simple expedient; by letting the light fall 
 directly upon the cheek ; and by having taken a view of 
 the face, which gives the shadows on its broad side ; the 
 skin may be made to appear quite delicate and smooth, 
 as well as nearly free from freckles ; and all this without 
 overdoing or solarizing the picture. 
 
 In estimating the merits of a picture, one considera- 
 tion is more essential than all others ; i. e., it should be 
 like the original. Verity of likeness is the first point 
 of excellence. Some portraitists, in the past, have often 
 given the preference to a fancied former likeness over 
 
122 THE CAMERA AND THE PENCIL. 
 
 the actual present one, and have assumed certain traits 
 of resemblance which probably never existed. 
 
 Again, in many instances, they persist in looking for- 
 ward to a period when the likeness, now partial, shall be 
 perfect. " O, sir," said a disappointed mother, when the 
 artist had finished a portrait of her child, "you have 
 indeed done it beautifully, but it isn't in the least like 
 my little boy !" " My dear madam," replied the far-see- 
 ing artist, "he will grow like it — astonishingly so !" 
 
 The time was when portraitists were frequently well 
 paid, and with thanks also, for an indifferent painting, 
 resembling the original but slightly. Thanks, however, 
 to heliography, its productions have taught the public to 
 see and judge for themselves. 
 
 As I have often intimated already, every manager of a 
 camera should be an artist in feeling and judgment, if 
 not in the full sense of the term. He should not only 
 be able to see at a glance the best view of each face and 
 feature, but to rouse the intellectual faculties of his sitter 
 by impinging mind against mind, and to sketch the moral 
 as well as the physical lineaments, — in a word, to secure 
 the most natural and the best expression of which such 
 sitter is capable after summoning the same into his face 
 by conversation, and whatever other influences he may 
 deem appropriate. 
 
CHAPTEK XIII. 
 
 LIGHTS AND SHADOWS IN A PICTUEE — THEIR USE AND 
 
 VALUE. 
 
 Importance of proper management of lights and shadows — Description of how 
 Nature uses these in landscapes — Artists should follow her method as closely 
 as possible — Not the painter and heliographer alone, but the architect — Re- 
 marks of Sir Charles Bell. 
 
 Although persons ignorant of artistic effect may find 
 fault witli the most effectively disposed lights and 
 shadows, I would yet counsel every heliographer to give 
 his productions the highest possible artistic value. This 
 he should do not alone for his own reputation, but for 
 the honor of his art and its professors. 
 
 If insensible to these motives, he may well doubt his 
 possession of the qualities indispensable to his profes- 
 sion. At all events, a skilful, delicate use of lights and 
 shadows is essential to the production of those heads 
 truthfully modelled and well "rounded up," which can 
 win for their author the proud title of artist. 
 
 "Do architects," queries Sir Charles Bell, "while 
 arranging the masses of their buildings for eftect, study 
 enough how the shadows will fall?" 
 
 It seems, then, that even in a structure of wood or 
 stone care should be used that the shadows shall be cast 
 so as to secure an aspect of appropriateness and beauty ; 
 
 (123) 
 
124 THE CAMEEA AND THE PENCIL. 
 
 and tliat without such care all labors else are compara- 
 tively futile. 
 
 How noble an expression may be stamped upon an 
 edifice by managing this department skilfully is shown 
 in the Parisian palace of the Louvre, and in Oxford, Cam- 
 bridge, and other colleges and buildings in England, of 
 which excellent photographs are frequently to be met 
 with. There are also many other heliographs of noble 
 specimens of architecture, effectively taken by expe- 
 rienced and genuine artists. 
 
 If, then, light and shadow be essential to the artistic 
 excellence of a building, how much more so to the per- 
 fect image of the human face and figure ! 
 
 "Wherever there is bright light, shadows are of extra- 
 ordinary prominence and importance, — and this alike in 
 nature and in art, the transcript of nature. Commonly, 
 indeed, shadows are more conspicuous than the objects 
 that produce them. For, while equally large with these 
 objects, they are darker than their darkest parts, since 
 the aspect of the objects is modified both by direct and 
 by reflected lights. Their broad, equable spaces, there- 
 fore, strongly impress the eye ; especially as their out- 
 lines are defined by lines sharper than' nature ever uses 
 in defining objects themselves. 
 
 Hold some small object above a piece of white paper 
 in bright sunshine, and you may note two things, — first, 
 that the object shows a soft outline, while the shadow 
 exhibits a sharp, decisive edge, — and second, that the 
 shadow is of a very much darker hue than the object. 
 An eminent art-critic afl&rms that such a shadow will be 
 threefold darker than a piece of black cloth laid in the 
 light. 
 
 In a landscape, then, on a clear, sunshiny day, the 
 shadows are actually the most conspicuous things next 
 
LIGHTS AND SHADOWS IN A PICTURE. 125 
 
 to the strongest lights. In fact, it is chiefly by them 
 that what forms, and especially the peculiarities of forms, 
 are, is perceived. For instance, the roughness of the bark 
 of a tree can be seen neither in light nor in shade, but 
 is defined by the shadows of its ridges. To represent 
 vivid light, therefore, we must first get sharp, visible 
 shadows. 
 
 Again, in nature, the intensest lights and darkest 
 shadows are always sparingly employed ; and this in- 
 variably in points, and never in masses. If the light 
 be in a large mass, it is subdued; and the shadow, if 
 broad, is feeble. The interval between such contrasted 
 light and shadow is occupied by middle tints and pale 
 grays. Into this scene nature introduces here and there 
 a spot of high light, and here and there one of intense 
 gloom ; the effect of which is to vivify the whole. Her 
 invariable rule, then, would seem to be to furnish the 
 same amount of deepest shadow as of intensest light, 
 and neither more nor less, — points of each answering to 
 those of the other, and both showing vividly out from the 
 rest of the landscape. 
 
 Such is nature's method of managing light and shadow; 
 and herein the artist has a model which he should strive, 
 to the extent of his ability, to copy. Masses of diffused, 
 soft light, balanced by masses of expanded, mild shadow ; 
 the space betwixt the two filled by carefully graduated 
 middle tints ; while here and there, a keen, bright spot 
 of light is set off by equivalent spots of deep shadow, — 
 here is the programme which the wielders of the pencil 
 and the camera should alike endeavor to conform to ; and 
 the nigher they approach it, the more do they exhibit 
 the genius and executive skill of the artist. 
 
 It is impossible, on paper, to tell the heliographer how 
 lie can make his one simple instrument execute a work 
 
126 THE CAMERA AND THE PENCIL, 
 
 SO complex and delicate. But if lie have tlie eye of 
 genius, there need but industry and perseverance in 
 observing and experimenting to discover the modus 
 operandi, — ^besides that, he may be essentially aided by 
 an accomplished artist handling the camera before his 
 eyes. 
 
 What we call "relief," — i. e. the apparent standing out 
 of the object from its ground, — is effected by the contrast- 
 ing of light and shadow. So, would you produce breadth 
 and splendor of effect, join together masses of light 
 objects and corresponding masses of dark objects. Again, 
 to get harmony and softness, sink some objects wholly 
 or partially in shadow, and let their outlines be insen- 
 sibly lost in the ground. Finally, to create vivacity and 
 spirit, make, in some parts of the picture, abrupt breaks 
 and sharp transitions. 
 
CHAPTER XIV. 
 
 COSTUME IN POETEAITUEE — HOW DISPOSED. 
 
 The costume in a portrait of great importance — Directions about its arrange- 
 ment — The disposition of the hair also of consequence — Instructions on this 
 point with regard to women and to men — Facts, in relation to this subject, 
 derived from noting the insane — How to station groups for taking, Ac. — 
 "Small things" of great moment — Stories may bo told by pictures — How, 
 and examples given. 
 
 As t"he attractiveness of a picture depends very mucli 
 upon the artistic disposition of its drapery, whetlier it be 
 that of a lady or a gentleman, this matter should receive 
 special attention. 
 
 To give to the dress an easy and graceful or an ele- 
 gantly careless appearance, is more difficult than may at 
 first be thought. Indeed it requires a rare judgment 
 and taste, coupled with a vigilant eye, and an unrelaxing 
 attention, and these are not qualities of universal pre- 
 valence. 
 
 And yet not a few subjects pettishly object to the 
 slightest handling or interference by the artist with their 
 drapery or their hair. The operant should, of course, 
 explain the meaning of such interference, and ask per- 
 mission to employ it. If the party consents, the operant 
 should loosen the cravat and spring away the collar, so 
 as to give the utmost freedom to the neck and head. He 
 should, moreover, adjust the coat, and draw the vest 
 together, or else so raise it that it may partially cover 
 the shirt-bosom, since the whiteness of this bosom, when 
 exposed to intense light, not only solarizes, but impairs 
 
 (127) 
 
128 THE CAMERA AND THE PENCIL. 
 
 the aspect of the face by counteracting or siibduing the 
 beautiful middle tints thereon, and by partially destroy- 
 ing the lights and shadows which give roundness and 
 force to the picture. 
 
 A lady's costume should receive special attention, in 
 order to give it an appearance of amplitude and of fall- 
 ing from the figure in many graceful folds. 
 
 The most intellectual expression of a gentleman's face 
 and head is generally gotten from the side showing the 
 parting of the hair, as the intellectual organs are thus 
 brought into view. 
 
 Fine hair, when curling naturally, or adjusted loosely, 
 contributes much towards giving a noble expression to 
 the head and aa attractive cast to the features. The hair 
 of a gentleman, when sitting for a heliograph, should 
 never be carefully oiled and brushed down according to 
 the fashion of the hair-dressers. Contrariwise it should 
 be laid loosely up, and tossed lock above lock, so as to 
 impart thereto a careless -seeming aspect. 
 
 If the hair, either of a lady or a gentleman, be very 
 black, it should be so ruffled on the rounding of the head 
 as to absorb instead of reflecting the light, and thus to 
 neutralize the glossy lustre occasioned by the reflection 
 of the light falling upon it. Else the hair will appear 
 too light or gray, and the effect will be unpleasing. 
 
 In fact, hair, whether light or dark, looks in a picture 
 by far the best if sufficiently ruffled up to let the light 
 fall into and be absorbed by it, in lieu of being reflected 
 from the crown or the sides of the head ; since in the 
 latter case it will wear a dry, unnatural appearance. 
 
 We are told that "those who have the care of the in- 
 sane, testify that, by allowing to female patients combs and 
 mirrors, their minds are soothed ; that when the mind 
 is brought to take some pride in personal appearance, it 
 
COSTUME IN POETRAITURE. 129 
 
 is always quieted ; and that, when shaved, patients are 
 invariably horrified at themselves. There is no evidence 
 of folly or weakness in this. The hair is the glory of 
 woman, and a well-regulated mind cultivates the exterior. 
 Of all personal points the hair is the most characteristic 
 and conclusive. We have seen a strikingly recognisable 
 portrait of a well-known character, in which only hair, 
 eye-brows, and mustaches were given ! By a proper 
 arrangement of the hair (says "Walker), great defects in 
 personal beauty are most effectually remedied. Possibly 
 these items may suggest to those who have charge of 
 female prisoners and of the insane, some useful ideas as 
 regards restoring them to healthy minds." 
 
 In arranging groups, whether of adults or of children, 
 some should be made to occupy lower seats than the 
 rest; some should stand, while others should sit on 
 stools or an ottoman, leaning lightly and with a lounging 
 grace upon their companions ; all, meanwhile, having 
 some special object in view, to concentrate attention, so 
 that the picture may bear an obvious meaning and relate 
 an intelligible story. 
 
 Be it understood, however, that these subjects should 
 not stand with the stiff precision of soldiers in a platoon. 
 Contrariwise, they should be disposed in one or more 
 pyramids ; some being represented with nearly full face, 
 others in profile, and still others with two-thirds face. 
 
 Meanwhile special care should be taken to arrange 
 the group in correspondence with the curves of the 
 lenses, at the same time, that each individual should be 
 exactly in the focus of the instrument. 
 
 With all the misnamed "small things," above enu- 
 merated, the heliographer should be perfectly familiar, 
 since they contribute greatly towards producing a fine 
 picture ; nor can he obtain the most life-like, artistic, 
 
130 THE CAMERA AND THE PENCIL. 
 
 agreeable portrait possible., witbout giving beed to eacb 
 and all of tbem. 
 
 ILLUSTRATIONS BY HELIOGRAPHY. 
 
 Heliograpby, in its several brancbes, may, by skilled 
 operants guided by sound judgment and good taste, be 
 employed to illustrate many interesting events, very 
 expressively and beautifully. And numerous simple 
 incidents and subjects can be truthfully and vividly 
 represented by a single figure or by a felicitous pose of 
 a single person. 
 
 Two or more individuals, by a little effort, may be 
 made to express, witb clearness and force, tbe subject of 
 a whole paragraph, — with such clearness and force indeed, 
 that the picture shall all but speah the thoughts of the 
 author and the artist. 
 
 Let me mention a few simple examples. 
 
 1st. The young artist, — drawing upon a slate. 
 
 2d. The young arithmetician, — puzzled with a sum on 
 a slate. 
 
 3d. Schoolboy's first lessons in writing, &c. 
 
 4th. Separation of two fondly loving hearts, — a young 
 man going to sea, as a sailor, or going abroad, — and a 
 young lady with her face buried in a handkerchief, 
 weeping, and resting her face on her lover's shoulder, 
 while both are overwhelmed with sadness. 
 
 5th. His return, — their joyous meeting, &c. 
 
 Thus, many little domestic scenes might be effectively 
 illustrated, as also scenes, both joyous and grave, in the 
 writings of numerous authors. Shakspeare is full of 
 interesting topics for representation. His " Seven Ages," 
 for instance, would furnish admirable scope for the 
 genius of a young enthusiast. 
 
 Collins's Ode to the Passions, if pictured skilfully, and 
 
COSTUME IN PORTRAITUKE. 131 
 
 •witli suitable accessories, might be well illustrated by a 
 few talented women who were capable of varied action 
 and expression. 
 
 The five senses might be beautifully represented by 
 . grouping several little children in a series of pictures, 
 each supplied with proper accessories, — for example, a 
 sea-shell held by one child to the ear of another, might 
 symbolize hearing, — an opera-glass or microscope, see- 
 ing, — fruit, &c., tasting, — flowers, smelling, &c. 
 
 The old arm-chair, with a female sitting in or standing 
 by it, might be happily illustrated and made to tell its 
 sad story in a few skilfully composed pictures, — in some 
 of which it might be well to represent her as weeping. 
 These few simple examples may intimate some of the 
 utilities and beauties of which, in competent hands, 
 heliography is susceptible. 
 
CHAPTEE XY. 
 
 THE ATMOSPHERE, — THE WEATHER, — LIGHT, FLEECY 
 CLOUDS, ETC. 
 
 Effect of changes of weather upon chemical coatings — Various exemplifica- 
 tions of this — Perplexity of a noted artist — Suggestions of how the operant 
 should deal with his critics and advisers. 
 
 Changes of weather affect tlie action of the sunbeam 
 upon the chemical coating which receives the impression, 
 and accelerate or retard the development of such impres- 
 sion. 
 
 Thus, in our climate, after a severe storm, or several 
 rainy or damp days in succession, it often clears up, and 
 for some days scarce a single cloud is visible. The sky 
 is blue ; the air seems clear and pure ; and the helio- 
 grapher's visitants, even if distinguished for scientific 
 attainments, remark, "what a favorable day for your 
 art ; with such a light your pictures must be exquisite, 
 as well as rapidly taken!" 
 
 These persons, however, are here in error ; for the 
 "clear sky" they allude to absorbs the needful light; 
 whereas thin, fleecy clouds, by reflecting the light, 
 quicken the chemical action of the camera, as well as 
 the development of the image. 
 
 Observing operants have, I presume, frequently noted 
 these phenomena, without ever having seen a cawse as- 
 signed for the effect produced in operating, or for the 
 
 (132) 
 
THE ATMOSPHEEB, THE WEATHER, ETC. 133 
 
 peculiar action of tlie sunbeam on the cliemically pre- 
 pared surface, while exposed to the image in the camera. 
 
 After a heavy rain or several consecutive wet days, 
 or more especially a thunder-storm, the heliographer, if 
 taking daguerreotypes, should use extra care to preserve 
 his whole apparatus and materials dry and in perfect 
 order. Otherwise he will encounter a host of difficulties 
 and vexations. He will certainly be bafQed in his 
 endeavors to produce well-developed, bright, and rich- 
 toned pictures at short sessions. And his failure will be 
 the more signal if the atmosphere be clear, or not charged 
 with electricity, or devoid of white, fleecy clouds and of 
 haziness. Such clouds, as remarked above, serve as 
 reflectors, while electricity operates to intensify and 
 quicken the action of the actinic rays. 
 
 On a certain occasion, after several successive days 
 like those above described, followed by a thunder-gust 
 accompanied with lightning, the sun rose clear and the 
 firmament showed a cloudless azure. At about noon of 
 such a day, I called upon one of the most popular 
 daguerreotypists of New York city, who told me that an 
 eminent theologian had submitted already to nine or ten 
 trials for his daguerreotype portrait. During my stay, 
 five additional trials were made. Not one, however, of 
 the whole fourteen or fifteen, proved satisfactory. Our 
 popular friend was (technically speaking) " lost in the 
 fog ;" and, manlike, owned frankly, that " he knew not 
 what to do." He ventured, indeed, the hypothetical 
 remark, that "the atmosphere was damp," &c. 
 
 At the first glance I discovered that his laboratory 
 was damp, his iodine and buffs saturated with moisture ; 
 and his plates covered with the polishing material, rouge, 
 &c. I found, moreover, that the atmosphere was but 
 slightly charged with electricity, while free alike from 
 
134 THE OAMBEA AND THE PENCIL. 
 
 fleecy clouds and vaporous haze ; and that the sky wore 
 that intense blue which swallows up the light. Here 
 were superabundant causes to account for his repeated 
 failures, since either of them would frequently suffice. 
 In photographing, however, such difficulties are less 
 numerous. 
 
 A FEW FEIENDLY HINTS TO THE ARTIST. 
 
 A few suggestions to my professional brethren respect- 
 ing certain items of demeanor will, I trust, be graciously 
 listened to, both in view of my lengthened experience in 
 the premises, and of the kindly spirit that prompts them. 
 
 For example, you are overborne by a crowd of cus- 
 tomers, each clamoring for the first sitting, since the time 
 of each is limited to the minute^ — one being obliged to 
 leave the city in the next train, and a second in the 
 next steamer for California or Europe; and each, of 
 course, wishing to obtain not merely a life-like portrait, 
 but also & transcendent specimen of cis- Atlantic art to 
 exhibit and talk about abroad. 
 
 Such an experience may be yours any and every day 
 of the six ; how are you to deport yourself ? 
 
 My advice, based on much observation, is substantially 
 this. Curb your temper strictly, — ignore the very name 
 of "nervousness," — be courteous to all without exception 
 and at all times, — pay a prompt, affable attention to all 
 in their turn, whatever their vocation or social stand- 
 ing, — move heedfuUy, as well as quickly, in the perform- 
 jance of your dirties, while exerting your utmost dexterity 
 jin handling the implements of your art ; — speak to each 
 but briefly, an4 then exclusively to the purpose, — and 
 manifest to all, as they successively take their places 
 before the camera, your solicitude to give them the ut- 
 most possible satisfaction. 
 
THE ATMOSPHEEE, THE WEATHER, ETC. 135 
 
 If jou will thus act, my own experience makes me 
 quite confident that nineteen out of twenty of your sit- 
 ters would appreciate your efforts and give you their 
 approval; would patiently await your convenience; 
 would accord you their personal influence; and, finally, 
 would at least pronounce you a gentleman, even if nature 
 had forbidden your being an artist. 
 
 Another not unimportant question is, how shall the 
 artist demean himself towards his critics ? 
 
 If sensitive, he may be both offended and grieved by 
 the comments of the conceited and pretentious upon his 
 performances. In such case he had best consider that, 
 though fault-finders are not invariably the most intelli- 
 gent and judicious critics, yet their remarks, if carefully 
 weighed, may prove valuable helps to his after efforts. 
 I would, therefore, as a friend, advise that volunteer 
 strictures, be they what they may, should be accepted 
 with good-humored patience. 
 
 Still further. I am confident that every high-minded 
 devotee to his art will not merely receive with patience, 
 but will eagerly court, the frank critiques of eminent 
 artists and accomplished connoisseurs. If he does not, 
 he deprives himself of a valuable means of improve- 
 ment, and very unwisely " stands in his own light." 
 
CHAPTER XVI. 
 
 PERSOJSTAL CONSIDERATIONS. 
 
 Various personal matters stated — Account of the Author's early training — Of 
 his pursuits for some years of his mature life — And the preparation thus 
 made by him for his subsequent success in Heliography — Importance of 
 drawing and sketching to all artists, and to persons in all pursuits of life — 
 Measures which must soon be adopted to secure patronage in the sun-paint- 
 ing profession. 
 
 As my name lias, for several years, been somewhat 
 conspicuously associated witli the art of "wMcli I am 
 treating, I hope the reader may not think me presump- 
 tuously deviating from my subject if I here speak briefly 
 of myself, of the aims pursued by me, and the course 
 adopted in their pursuit. 
 
 Much of the generally conceded superiority of my 
 heliographic pictures, in their several kinds, must, I 
 think, be ascribed to my strong partiality for drawing 
 and sketching, and to my study and practice of the same, 
 as a vocation, during my early years. Having, for three 
 of those years, pursued "drawing from nature," or 
 making crayon portraits from life, I crossed the Alle- 
 ghenies in 1832, nearly thirty years ago, to seek the 
 instructions of Sully of Philadelphia, or of some emi- 
 nent New York artist, as preparatory to a visit to Italy. 
 
 Circumstances preventing the execution of this pur- 
 pose, I followed a somewhat kindred profession for 
 several years, at the close of which I adopted the then 
 newly promulged art of Daguerre, — a step I was, in part, 
 
 (136) 
 
PERSONAL CONSIDERATIONS. 137 
 
 moved to take with tlie view of gratifying, so far I 
 might, mj love for art. 
 
 Having thus exercised, to no small degree, the faculties 
 involved in art-practice ; having acquainted myself with 
 numerous treatises on art, and meditated much upon the 
 topics thereby suggested ; I naturally found heliography 
 a most fascinating pursuit. As an art based on the most 
 important sciences, as well as for various other reasons, 
 it struck me, at the outset, as well suited to furnish scope 
 to the most comprehensive genius and the highest and 
 most various culture. 
 
 And I hope to see it ere long in the hands exclusively 
 of the ablest and most eminent practical artists. Then, 
 and not earlier, will it be rightly appreciated, secure its 
 merited rank, and receive the encouragement needed to 
 redeem it from the contaminating grasp of operants 
 whose incompetence is matched only by their disrepute. 
 
 The present state of heliography on both sides the 
 Atlantic, — low certainly, in comparison with its possi- 
 bilities, — indicates, that important improvements therein 
 are urgently needed. And my own opinion is, that the day 
 is not distant, when every heliographic establishment, 
 that would secure patronage, must, as a sine qua non, 
 have an able and accomplished artist, as the sole super- 
 intendent and manager of the sitting department. 
 
 The daguerreotype picture undoubtedly has given, 
 and must give place, in some degree, to the paper and 
 collodion pictures, since these can be indefinitely multi- 
 plied from each negative, and by help of the colorists 
 can furnish likenesses more truthful in drawing and life- 
 like in color, whether of miniature or life-size, than 
 have heretofore been obtained. By consequence, even 
 distinguished painters will soon be constrained to 
 
138 THE CAMERA AND THE PENCIL. 
 
 acknowledge the utility of heliograplij, and to give it 
 some of their attention both theoretically and practically. 
 
 The aim of the true heliographer should ever be to 
 produce such a picture, as will secure the approval of 
 the best judges, whether his sitter can appreciate it, or 
 not. And to effect this, he must be qualified to under- 
 stand and bring into use all the various powers of the 
 camera, as also to apprehend and sympathize in mood 
 and feeling with every successive sitter. It is to be 
 lamented, that drawing is so neglected in this country, 
 since it is highly useful to mechanics of all classes, and 
 to farmers and professional men generally. 
 
 Still more requisite, however, is drawing to the archi- 
 tect and to the artist of whatever kind. To the helio- 
 grapher, above all others, is a familiarity with light and 
 shade, perspective, and kindred matters, essential to 
 achieving eminent success ; outweighing even the most 
 transcendent skill in coloration. 
 
 And, as already hinted, I believe the time is near, 
 when every establishment, that would win the patronage 
 of the most intelligent, must have one, by both nature 
 and cultivation an artist, to arrange properly the sitting- 
 room; to place the subject in the best position; to deter- 
 mine the most favorable view of the face and the most 
 fitting disposition of light and shadow; to secure the 
 finest middle tints ; and, most essential of all, to obtain 
 the highest and most genial expression of the sitter. 
 
 It then remains so to adjust the camera, that the 
 impression gotten may be as truthful and agreeable, as 
 possible, both as a likeness and a work of art. 
 
CHAPTEE XYII. 
 
 HELIO GRAPH Y AN IMPROVER OF ARTS AND ARTISTS. 
 
 Predictions that heliography would ruin the business of other pictorial artists — 
 Proved false by event — All art-genius more encouraged now than ever be- 
 fore — Heliography cultivating popular taste and judgment — Portrait and 
 miniature painters improved by this art — 70,000 heliographs produced by 
 the Author —Means for advancing the art — Clearness, rather than graces of 
 composition, aimed at in this work. 
 
 The heliographio art haa no sooner reached sncli a 
 development that a tolerably faithful representation of 
 the human face and form might be produced by it, than 
 pictorial artists of every class predicted that their voca- 
 tion would be ruined, and universal art be degraded by 
 its fatal instrumentality. 
 
 That the reverse has been the event, is now gene- 
 rally conceded. For it is obvious that artistic genius, 
 in its every kind, is better appreciated and more amply 
 encouraged at this moment, than it ever was before helio- 
 graphy had attained its present degree of excellence and 
 of popular favor, 
 
 I have repeatedly suggested that the numerous pic- 
 tures, exhibited at the doors of heliographers, operated 
 powerfully for developing and training an artistic taste 
 in the public. That important effects have already been 
 thus wrought, is evidenced by many and various tokens. 
 
 Thus, all classes of the community, alike the poor and 
 the rich, the high and the humble of state, manifest a 
 constantly growing desire to procure portraits of them- 
 
 (139) 
 
140 THE CAMEEA AND THE PENCIL. 
 
 selves, or of their kindred and friends. Nor this alone. 
 They show a taste also for the products of all the other 
 fine arts, e. g. paintings, sculptures, engravings, &c. These 
 signs indicate that the entire people are becoming, to 
 some extent, artistically educated, and thus competent 
 to appreciate the works of artists of every description, 
 both in respect of their fidelity to nature and their artistic 
 finish. 
 
 That heliography and its achievements have acted 
 auspiciously upon portrait and miniature painters, is 
 beyond all doubt. It is seen in the greater truthfulness 
 of their representations, — a result flowing from a more 
 diligent and profound study of nature. Meanwhile, 
 instead of receiving injury, they have derived essential 
 benefit from the newly-discovered art. For they have 
 been constrained to present not merely the exact linea- 
 ments, facial and figural, of their subjects, but also what 
 is vastly more important, that ex^jression which reveals 
 the mind — the heart — the individualizing soul of the same. 
 Otherwise, their pictures are pronounced undeserving 
 the name of portraits. 
 
 To those (if such exist) who may contemn the helio- 
 graphic art; who may sneer at suggestions offered by 
 one of its humble professors concerning the requisites 
 of a good portrait, such as correctness, ease, and grace in 
 arrangement, position, light and shade, expression, &c. ; 
 I shall make no apology for having ventured to express 
 my views. They are, in fact, not addressed to such, but 
 to persons of good sense, sound judgment, and correct 
 feeling ; and especially to those who are co-workers with 
 myself in heliography. To the latter I submit my re- 
 marks, with the hope that they may amend or improve 
 upon them, wherever there is need of the one, or room 
 for the other. 
 
HELIOGRAPHY AX IMPROVER OF ARTISTS. 141 
 
 It is worth noting, that while the portraitist or the 
 miniature painter has devoted his study and labor to 
 painting, say, 500 or 1000 faces, I have taken nearly 
 70,000. He, indeed, has enjoyed the advantage of giving 
 from 3 to 7 or 10 hours, or even double or treble the 
 time, to each picture. I, on the contrary, could spare 
 but a few moments for each specimen. And during this 
 brief period, I must, perforce, decide upon the most 
 favorable disposition of light and shade ; upon the most 
 easy and becoming posture ; upon the best facial expres- 
 sion, &c. All this, together with the taking, the develop- 
 ing, the fixing, and the incasing of the impression, must 
 (if a daguerreotype) be accomplished within 10 or 15 or 
 20 minutes. And then this hurriedly-executed specimen 
 must be handed to the applicant, who may, perhaps, 
 convey it to Europe, or some other trans-oceanic region, 
 and there exhibit it as a sample of American helio- 
 graphy. 
 
 If ladies and gentlemen would grant to a first-class 
 heliographer an opportunity to produce a truly artistic 
 specimen of his workmanship, as propitious, in all 
 respects, as that allowed to the painter for getting up 
 his portrait, — in which concession are implied time and 
 facilities for correction, for elaborating all details, &c., — 
 if this, I say, should be done, while the entire control of 
 the sitting-department was also assigned to an operant of 
 highest ability and accomplishment, — then, I am per- 
 fectly confident, heliography would speedily assume a 
 very high rank among the fine arts. 
 
 The suggestions comprised in several preceding chap- 
 ters, were mostly noted down by me while busily engaged 
 in the sitting-department, and were prompted by what I 
 discovered to be the exigencies of the time and the occa- 
 sion. I doubt not that others, inspired with a passion 
 
142 THE CAMERA AND THE PENCIL. 
 
 for art in general, and enthusiastic for their special voca- 
 tion, have felt the impulses of the same or of kindred 
 thoughts, and have carefully followed their lead. If so, 
 I doubt not they are as fully persuaded as myself, of the 
 importance of these hints. 
 
 Not having encountered such in any work designed 
 for the use of heliographers, I have supposed I might be 
 rendering a service to the profession by putting them 
 within their reach. 
 
 In executing this task, I have striven incessantly for 
 the utmost attainable clearness and minuteness of state- 
 ment and exposition ; and to compass this end, I have not 
 shrunk from considerable repetition. However desirable 
 may be the graces of composition, they are of far less 
 value in a treatise like this, than 'perfect intelligibility. 
 If the reader finds that, pressed by the exactions of the 
 subject, I have occasionally sacrificed the former, I trust 
 he will also find that I have rarely, if ever, missed of 
 the latter. 
 
 In short, I hope my meaning will always and at once 
 be discovered. Whether, when discovered, that meaning 
 is of any value, my reader must determine. 
 
CHAPTER XYIII. 
 
 EXPRESSION — THEOUGH THE FACE. 
 
 Expression essential in a portrait — The artist an imitator of the Creative 
 Power — Genius alone can detect and depict expression — Simon Magus — 
 Genius improved, not acquired, by study — The painter has the advantage of 
 the heliographer in detecting expression, from having many sittings — Law- 
 rence, his supposed mode of doing this — Prometheus — The heliographer 
 must act at once, with perhaps numbers awaiting their "turn" — None should 
 attempt heliography but those conscious of genius — Otherwise, they should 
 seek dififerent vocations — Phaeton and his fate, what it may symbolize — 
 Historic and ideal portraits — Their nature and modes of proceeding — Ideal 
 representations of Christ, the Virgin Mother — Of Washington, Napo- 
 leon, &c. 
 
 In the coTirse of this work I have repeatedly and 
 most emphatically urged that expression is essential to 
 a portrait, whether taken with a camel's hair pencil, or 
 with the pencil of the sun. Nor can this point be pressed 
 too often or too forcibly. For a portrait, so styled, how- 
 ever splendidly colored, and however skilfully finished 
 its manifold accessories, is worse than worthless if the 
 pictured face does not show the soul of the original, — 
 that individuality or selfhood, which differences him from 
 all beings, past, present, or future. The creative power 
 never repeats itself; but in every successive performance 
 presents somewhat varying from all existences that have 
 been or are. 
 
 Now the true artist, of whatever class, is substantially 
 an imitator of the Supreme Proto-Artist. His leading 
 aim is to reproduce, as exactly as possible, the creations 
 
 (143) 
 
144 THE CAMERA AND THE PENCIL. 
 
 of the Divine Original. Therefore he must detect and 
 " fix" the expression marking the personality of his sub- 
 ject, or he shows himself, virtually, an incapable and a 
 sham. 
 
 But in what manner and by what means shall he pierce 
 the " iron mask" of the human face (the chief medium of 
 expression) ; enter those mysterious realms where abide 
 the soul's motive powers ; awake these powers to such 
 activity, that the soul must show perforce, in the facial 
 mirror, its essential quality ; and, finally, transfer to his 
 tablet a life-like ''presentment" of the soul thus moved? 
 
 To do all this is the prerogative of genius exclusively ; 
 mere talent cannot effect it, neither can industry, nor the 
 highest mechanical aptitude. And such genius is an 
 original endowment ; it can never be acquired by educa- 
 tion, labor, money, or even prayers. 
 
 Simon, the Magian, offered a large sum for the pur- 
 chase of the "Holy Ghost," on beholding the far greater 
 than magic wonders wrought thereby. "Thy money 
 perish with thee," replied Peter, — adding that this mar- 
 vel-working power was simply " the gift of God." 
 
 Such a gift is genius as well. Of course genius, like 
 other native qualities, can be improved and refined. But 
 no culture will give it where its germs were not im- 
 planted. He, then, who is not clearly conscious of being 
 thus endowed, had best adopt, without delay, some other 
 vocation, wherein such powers as he possesses may be 
 usefully and reputably employed. Art is certainly not 
 his sphere. 
 
 Now, as I have repeatedly said, the heliographer, not 
 less than the painter and sculptor, can never, without 
 this genius, be more than a mere mechanic, or, far worse, 
 a charlatan. Perfection itself, in the manipulative and 
 other accessory departments, cannot even hegin to fulfil 
 
EXPEESSION — THEOUGH THE FACE. 145 
 
 the requisites of a true lieliograpTiic portrait, if it exhibits 
 not that shadow of the soul which genius intuitively dis- 
 cerns, summons forth, and "fixes." 
 
 But how can the heliographer detect and call up this 
 expression within the brief period of his process? Un- 
 questionably the painter has here a certain advantage 
 over the heliographer ; as will appear from a simple 
 illustration. 
 
 Suppose Lawrence, eminent for portraitive expression, 
 were called upon to paint one of the celebrities of the 
 land. Being an adept in form, coloring, composition, 
 &c., he feels unquestionably no solicitude about these. 
 His sole anxiety (I suppose) might be thus voiced, — 
 " Shall I succeed in giving to the public, who have often 
 seen my sitter, such a life-like representation of him, that 
 all beholders shall exclaim, ' this is the very individual 
 himself! — his eyes follow us everywhere, and compel us 
 to turn our own away !' 
 
 " This result" (he continues) '' I must produce, or I 
 compromise, perhaps fatally, the high repute I have 
 heretofore won." 
 
 Such we may fancy to be his premeditations. 
 
 Let us now suppose the sitter placed in the position 
 deemed most effective, and the painter, brush in hand, 
 before his easel. 
 
 Of course much mere mechanical work must be done, 
 occupying, perhaps, several sittings, ere the moment 
 arrives for essaying the most essential part of the pro- 
 cess, i. e., the stamping upon the face an expression of the 
 soul's individuality. 
 
 "When, according to the Greek myth, Prometheus 
 fashioned a form of clay, it was the last act of the crea 
 tive process to interpenetrate that form with the life 
 giving fire from heaven. 
 10 
 
146 THE CAMERA AND THE PENCIL. 
 
 So, in creating Adam, '' God, having formed man of 
 the dust of the ground, breathed into his nostrils the 
 breath of life, and man became a living soul." 
 
 The artist, a quasi-creator, must copy, throughout, the 
 process of his Divine Exemplar. 
 
 I presume, that the painter is, from the outset, busily 
 searching for the individualizing expression which will 
 represent his sitter's soul. To this end he exerts his 
 best conversational powers, while bringing to bear on 
 his subject that fine magnetism which is the circum- 
 ambient atmosphere of genius. 
 
 I suppose several sittings must be needful for attaining 
 this end, as he may wish to study his subject while in 
 different moods, and acted on by various influences. 
 For this "thousand-stringed harp" sends not back the 
 same tones to the touch of every wind. While, in response 
 to the "sweet south" or the balmy west, it may "dis- 
 course excellent music," the rude, boisterous north or 
 the sour, cutting east may wring from it what might 
 seem shrieks of agony or howls of defiant wrath. Wind 
 and weather, and myriad other conditions of man's em- 
 broiled lot may, for the time, forbid an exhibition of one's 
 higher, or even average self. However excruciating your 
 thirst, you cannot draw water from a spring, ordinarily 
 the purest and sweetest, when stricken solid by a freez- 
 ing blast, or roiled into mud by some passing hoof. 
 
 The artist-painter, therefore, by the several sittings 
 accorded him, may scrutinize his subject in many of his 
 various moods, mental and corporeal. And thus he 
 eventually ascertains, by the mysterious intuition of 
 genius, what his sitter's individuality is, when acting 
 under the most genial conditions. This individuality he 
 then bids shine out from the canvas. 
 
EXPRESSION — ^THROUGH THE FACE. 147 
 
 From the foregoing premises several inferences logic- 
 ally follow. 
 
 As already intimated, the painter, while authorized to 
 demand from his sitter numerous visits, may also fix 
 upon the most auspicious seasons; and, above all, is 
 secure from perturbing interruptions the while. If, then, 
 with so many valuable helps, superadded to artistic 
 genius, he fails of achieving the one indispensable object, 
 his failure must be a veritable enigma. 
 
 Contrariwise, the heliographer may have his ante- 
 room thronged with visitants, of numerous diversities of 
 intelligence, character, and social state, all awaiting their 
 turn, often impatiently, and not always silently. To 
 each he can give but a few hurried moments. Within 
 these he must (if at all) detect and represent the selfhood 
 of each ; besides performing all the other items, which 
 the painter executes at, maybe, half a dozen sessions, 
 sufiiciently far apart. 
 
 If, then, despite these embarrassments and hindrances, 
 the heliographer can, for the most part, produce pictures 
 exhibiting this life-like expression, — may we not say of 
 his genius, that it is more flashingly intuitive than even 
 that of the painter of the same grade ? 
 
 My conclusion from the foregoing remarks is this. 
 
 If an individual is assured by that ultimate intuition, 
 which no words can define, that he is endowed with a 
 genius for art, then let him, modestly yet firmly, enter 
 the heliographic room, and plant himself by the camera. 
 
 If, contrariwise, he is pretty sure, or even strongly 
 suspicious, that by the primordial decree he belongs to 
 that vast majority who are destined to deal with the 
 actualities of common life, then let him avoid such locality. 
 Else he is a " trespasser on the close." 
 
 Apollo, the sun-god, once permitted his son. Phaeton, 
 
148 THE CAMEEA AND THE PENCIL. 
 
 to take the "ribbons" of tbe solar chariot for a twenty- 
 four hours' drive round our globe. The youth got so 
 bewildered that he coald neither guide nor hold in his 
 horses ; thereby setting sky and earth on fire, and getting 
 pitched headlong down upon the ground ; while the too 
 yielding sire was left to repair damages ! 
 
 Now all who would become copartners with the sun, — 
 as every heliographer must do, — had best ponder this 
 wise old Greek myth. Its meaning, anglo-saxonized, is 
 " mind your own business," — " let the cordwainer stick 
 to his last," &c. 
 
 If I have spoken with seeming severity, be it noted I 
 am battling for a noble art which has been desecrated 
 by a host of incompetents and charlatans ; invaders of its 
 fair precincts for the ignoble purpose of escaping manual 
 labor. As if what occupied the hands of both the " first 
 and the second Adam," were a thing so disreputable as 
 to be shunned at whatever cost ! 
 
 That all intelligent readers will appreciate and endorse 
 my suggestions, I feel quite sure. Upon the dull and the 
 malignant I have no words to waste. 
 
 Let me subjoin a few qualifying remarks to remove 
 the appearance of having contradicted myself and familiar 
 fact. 
 
 Thus, I said that the artist, being a secondary creator, 
 should tread, as nearly as practicable, in the footprints 
 of the Divine Proto- Artist. 
 
 But, if such be truth, what shall be said of historic 
 and ideal pictures ? For Rafiaelle, Correggio, and many 
 other of the world's most eminent artists, have produced 
 portraits of the " Man of Sorrows ;" of the Virgin 
 Mother ; of the Apostolic Twelve ; of angels, &c., &c. 
 Sere, of course, they could not copy the seen workman- 
 ship of the Divine Artist. 
 
EXPRESSION — THROUGH THE FACE. 149 
 
 Let me attempt to solve this seeming enigma. 
 
 The Creator gives us many, if not most things, not in 
 a finished state, but in "the rough," as we call it. By 
 our own efforts we may vastly improve them, or may 
 reshape them, and thus fit them for our uses. By these 
 self-same efforts, the while, we develop and discipline our 
 own faculties. 
 
 To apply these suggestions to the case in hand, let me 
 remark, that I have, all along, been considering how it is 
 that the painter or the heliographer reproduces, in the 
 pictured face, the soul or individuality of his sitter — the 
 latter being present and living. All the foregoing pages 
 were devoted to this point, — the historic or ideal in por- 
 traiture having no share therein. 
 
 A few hints, however, on this species of portraits 
 may not be amiss. 
 
 What, then, are the historic and the ideal in portrait- 
 ure ? Whether they are different species, or one species 
 under different titles, needs not here be settled. 
 
 I alluded above to the representations of the Christ, 
 of the Virgin, &c., by the great Italian and other masters. 
 Why did they assume to paint pictures so named, when 
 they, of course, never saw the originals ? 
 
 I suppose their intent was simply and solely to present, 
 in visible shape, an image of the qualities belonging to 
 the individuals delineated. The degree of their success 
 in this venturous endeavor must be measured by the 
 closeness of coincidence between this image and the im- 
 pression made upon the intelligence and feeling of accom- 
 plished connoisseurs by the chronicles narrating the 
 words and deeds of such individuals. 
 
 " Hence," says an intelligent critic, "the necessity of 
 the artist's possessing genius competent to appreciate 
 the distinguishing qualities of the character to be repre- 
 
150 THE CAMEKA. AND THE PENCIL. 
 
 sented. EaflPaelle and Albert Durer, both men of eminent 
 genius, were jet of different mental conformation. Hence, 
 Durer's representations of Christ realize, perhaps, more 
 truly than Eaffaelle's, or those of any other painter on 
 record, the 'Man of Sorrows,' while Eafifaelle, with not 
 less truth and genius, has rather delighted to picture him 
 as 'fairer than the sons of men, the chief among ten thou- 
 sand, the One altogether lovely.' " 
 
 If we are malcontent with even the noblest existing 
 representations of the Divine ISTazarene, let us not be so 
 unjust as to blame the Artist. For how can the finite 
 grasp the indefinable ? 
 
 I have never yet seen a picture of " the Virgin," which 
 did not disappoint me. Indeed, how cotdd the pictured 
 conception of a single mind make visible to us our 
 indefinite idea of a being, occupying a position so exalted 
 and momentous in the history of humanity on earth and 
 even beyond it ? 
 
 So much for what I have entitled Ideal portraiture. 
 Historic portraiture, I suspect, is but Ideal portraiture, 
 differently named. 
 
 In limning a historic scene, I suppose the artist, if 
 possessing any authentic materials, endeavors to obtain 
 from them the ground-plan of his hero's face and form, 
 and then to fill out this plan so as to image the qualities 
 of the individual, — paying, the while, but scant regard 
 to any special features, which might seem not to accord 
 with, or positively to negative the fact of his heroism. 
 
 "Compare," says the critic just quoted, "the very 
 different (pen and ink) portraits given of the same persons 
 by Clarendon, Hume, Scott, Macaulay, &c. ; owing 
 doubtless not less to the differing mental conformation 
 of these authors, than to their educational prejudices and 
 their political biases." 
 
 Once surveying our Rothermel's fine picture of Patrick 
 
EXPRESSION — THROUGH THE FACE. 151 
 
 Henrj addressing tlie Virginia House of Delegates, I 
 asked him, "if that was an authentic portrait of the great 
 orator?" 
 
 "It is a historic portrait," was the artist's response, — a 
 confirmation, the reader will perceive, of the suggestions 
 presented above. 
 
 In portraying "Macedonia's madman," or Hannibal, or 
 Julius Cgesar, &c. — supposing no reliable portraits of them 
 to have come down to us — the historic becomes, of neces- 
 sity, the purely ideal painter ; since, in striving to repre- 
 sent the faces and forms of his subjects, he is, and must 
 be, guided solely by his conception of their attributes. 
 
 Where, however, as in the case of Washington, or 
 Franklin, or Napoleon, authentic portraits are extant, 
 the question may arise, whether the historic painter is 
 bound to adhere rigorously to these representations. 
 
 I think not. I hold that he may exalt and idealize 
 these literal transcripts, if this be required for repre- 
 senting more perfectly their qualities and achievements. 
 
 Note, for example, the familiar picture of Napoleon 
 crossing the Alps. You here behold a superb-looking 
 man bestriding a magnificent, high-rearing battle-charger. 
 Whereas, in literal verity, the Napoleon of that date and 
 that scene was a hatchet- faced, tangle-haired, yellow- 
 skinned youngster, who, occasionally walking, for most 
 of the time bestrode a little donkey instead of a genuine 
 Bucephalus ! 
 
 Nevertheless that picture makes perceptible an essen- 
 tial, undeniable truth, i e., the existence in its subject of 
 those wondrous qualities which, while he was at large, 
 kept a quarter part of our globe in vehement commotion ; 
 and even when he was islanded 1200 miles from the 
 nearest mainland, and there girt by hostile bayonets, 
 compelled the whole of armed Europe " to sleep with one 
 eye open!" 
 
152 THE CAMERA AND THE PENCIL. 
 
 Were an artist about attempting to idealize a portrait 
 of Washington, might he not borrow some inspiration 
 for his work from the following remarks of Lord 
 Brougham ? 
 
 " In Washington we may contemplate every excellence, 
 military and civil, applied to the service af his country 
 and of mankind ; a triumphant warrior, unshaken in confi- 
 dence when the most sanguine had a right to despair ; a 
 successful ruler in all the difficulties of a course wholly 
 untried; directing the formation of a new government 
 for a great people, the first time so rash an experiment 
 had ever been tried by man ; voluntarily and unostenta- 
 tiously retiring from supreme power with the veneration 
 of all parties, of all nations, of all mankind, that the 
 rights of man might be conserved, and that his example 
 might never be appealed to by vulgar tyrants. It will 
 be the duty of the historian and the sage, in all ages, to 
 omit no occasion of commemorating this illustrious man ; 
 and, until time shall be no more, will a test of the pro- 
 gress made by our race in wisdom and virtue be derived 
 from the veneration paid to the immortal name of 
 Washington."* 
 
 Having thus spoken of expression through the 
 medium of the face, I shall proceed in the next chapter 
 to speak of expression through the form and its be- 
 longings. 
 
 * Long after penning the above sentences, I met with the following remarks 
 of Quatremire de Quincy, which strikingly confirm the doctrine there ad- 
 vanced. 
 
 " Though Alexander is described by his historians as of a diminutive height, 
 the liind of truth required in the historical style would by no means render it 
 necessary that he should be represented in the midst of his companions in 
 arms under inferior proportions. That painter would evince a false respect 
 for truth, who should represent Hannibal with but one eye, and Marshal 
 Vendome hump-backed." 
 
CHAPTER XIX. 
 
 EXPRESSION — THEOUGH THE FACE AND FIGURE. 
 
 Not the face only, but the whole body, its attitudes, movements, &c., are 
 vehicles of expression — M. Angelo, Raffaelle, Hogarth, Lawrence, and Gil- 
 bert Stuart, famed as expressionists — Skilled in calling up in sitter best 
 expression — Mode of doing this — Anecdote of Mr. Clay, and the taking of 
 his daguerreotype in 1S48 — Poor portraits of Clay, Webster, &c., especially 
 of the last-named — Sydney Smith's remark — Webster's speeches on Boston 
 Common and Bunker Hill — Lafayette — Surviving veterans of Bunker Hill 
 Battle — Sir Charles Bell on anatomy of expression — Sonnet of Judge Con- 
 rad — Modes of rousing expression in sitters — An actor — A lady as nun — 
 Anecdote of Washington, when being painted by Stuart — Interesting facts 
 of the taking of Washington's portraits by Stuart and Peale — Bishop 
 White — Posture in representing statesmen and other public speakers — In 
 representing literary persons — Irving, Brj'ant, Longfellow, Dickens — Cos- 
 tume and accessories — Swedenborg's theory of "sjiheres" — Effect of the 
 presence of various classes of persons on others — Remarks of a venerable 
 artist. 
 
 In the preceding chapter, I spoke exclusively of tlie 
 face as a vehicle of expression. The face, hoAvever, is 
 but one among several mediums whereby the soul mani- 
 fests itself to the beholder. The whole body, with its 
 various attitudes and movements, subserves the same 
 purpose. 
 
 I design, in this chapter, to treat at some length of 
 corporeal expression, and to present some suggestions 
 applicable to all branches of the general subject. 
 
 Michael Angelo and Raflfaelle, Hogarth and Law- 
 rence, — to whom we may justly add our own Gilbert 
 
 (153) 
 
154 THE CAMERA AND THE PENCIL. 
 
 Stuart, — were preeminently gifted with the power to call 
 up in the original the expression desired, as also to seize 
 and transfer it to the canvas. In short, they were veri- 
 table men of genius, qualified to confer, on equal terms, 
 with the largest and loftiest intellects, and to catch and 
 fix the flashes of the divine fire sparkling in the eyes 
 and radiating from the faces of their subjects, when these 
 were in their most elevated and genial moods. Unde- 
 niably it was with them a leading object, during every 
 session, to awaken these moods in their sitters ; and this 
 object they strove to secure by their own conversational 
 powers, and, when possible, by those of others, who 
 might be present. 
 
 What a pity that such artists could not have been 
 employed to perpetuate the faces and forms of several 
 eminent countrymen of ours, who have recently passed 
 from this mortal stage ! Is it not deplorable that, of 
 existing portraits of men of this order, — especially those 
 transferred from heliographs, — so very few display that 
 intelligent, spirited, noble cast of countenance which we 
 instinctively ascribe to the originals, and which properly 
 signalizes true greatness? Who can doubt that these 
 countenances would have displayed such a cast, had the 
 minds of the originals been suitably aroused at th(j time 
 of the pictures being taken, by those manifold expedients, 
 conversational and other, which the veritable artist, and 
 he alone, can employ ? 
 
 As an illustration of what may be effected by these 
 expedients, let me introduce the following anecdote. 
 
 In 1848, an appointment being made for my taking 
 the daguerreotype of Henry Clay, I requested the mayor 
 of our city and the sheriff of the county, together with 
 several other of Mr. Clay's friends, who were present, to 
 keep the statesman in brisk conversation till I was ready 
 
EXPRESSION — THROUGH THE FACE AND FIGURE. 155 
 
 to expose tlie plates to the image ; as I wished to catcli 
 the intellectual, lively look natural to him under such 
 conditions. 
 
 The mayor, turning to Mr, Clay, said, "Mr. Eoot 
 desires us to continue talking, as he wishes to daguerreo- 
 type your thoughts; to catch, if possible, your very 
 smiles." 
 
 " Smiles !" exclaimed Mr. Clay, — " I can give him 
 frowns, if he wants them ;" upon which he smiled, while 
 his face was radiant with intelligence as well. And in 
 twenty seconds three good portraits were taken at once ; 
 the plates were removed from the instruments and four 
 fresh ones got ready. In a few seconds more, Mr. Clay 
 the while conversing pleasantly with his friends, all else 
 was prepared, and then his likeness again was daguerreo- 
 typed by four cameras at once ; all representing him, as 
 we then saw him engaged in conversation, mentally 
 aroused, and wearing a cheerful, intellectual, and noble 
 expression of countenance. Thus seven portraits were 
 taken in but thirteen minutes, — with such success, too, 
 that Mr. Clay remarked, after inspecting them : — 
 
 " Mr. Eoot, I consider these as decidedly the best and 
 most satisfactory likenesses that I have ever had taken, 
 and I have had many." These words he left in my 
 register with his autograph. 
 
 One of these portraits has since been engraved, as the 
 finest likeness of him extant ; and may be seen in the 
 "Portrait Gallery of American Statesmen," published 
 by Messrs. Eice & Hart, successors to J. B. Long- 
 acre, Esq. 
 
 To recur, for a moment, to the subject I was consider- 
 ing prior to the introduction of this anecdote, numbers 
 of the heliographs of our eminent men, members of 
 Congress, and others, taken by unthinking, machine-like 
 
156 THE CAMERA AND THE PENCIL. 
 
 operators, actually look as if tlie originals contemned the 
 art, and had no faith in the ability of the individual to 
 whom they had consented to give their time, and were 
 sorely afflicted by the process of sitting. 
 
 As specimens of portraitive abortions, I may instance 
 several which purport to reiaresent "Webster, Clay, Jack- 
 son, Taylor, Everett, &c. Eepresent ! Possibly they 
 'may represent, — though even that very inadequately, — 
 the perishable material organism. But for all else than 
 this, like the poet, 
 
 " We start, for soul is wanting there !" 
 
 I think none of these abortive pretensions affect me 
 so painfully as a (so-named) portrait of Webster which 
 is often to be met with. That magnificent frame seems 
 languid, relaxed, drooping, and as if ready to sink down 
 into a boneless heap ; while the august face, so fitted to 
 ray out the highest, and largest intelligence, conjoined 
 with overmastering power, exhibits, in the dull, vacant 
 gaze and the corners of the mouth drawn down, an 
 aspect of feebleness and listlessness, both physical and 
 mental, a malcontent gloom, and a lack of interest in 
 all existing things. 
 
 Now that, in certain abnormal moods, Webster might 
 have looked somewhat as here depicted, is not wholly 
 improbable. 
 
 But suppose he did. Was such the look which artists 
 like those above enumerated, would have sent into the 
 world, to pass with cotemporaries who were strangers to 
 the grand originals, as also with far posterity, as a true 
 "presentment" of one of fame's immortals? 
 
 What would that prince of wits, Sydney Smith, have 
 said of this (so-called) authentic portrait of the states- 
 man ? — he who, on seeing Webster in England, ex- 
 
^n^ravdd- iu Jo?ui. S/irfuin-. F/u?" 
 
 ^^i^-^z/- ^^^/i^ 
 
 after Dag' by J.AiWhipple. 
 
EiPEESSION — TllEOUGH THE FACE AND FIGUEE. 157 
 
 claimed, " What a magnificent head ! — what a noble 
 figure ! — what dignity of demeanor and movement are 
 his ! He reminds me of a small cathedral !" 
 
 In truth, that impotent-looking, dismal shadow bears 
 but a faint resemblance to the original I was privileged 
 to see and hear, on two or three public occasions, some 
 years ago. 
 
 One of these was when, from an elevated platform on 
 Boston Common, he addressed a vast and sympathizing 
 auditory on sundry themes of national interest. One of 
 the subjects, on which he dilated largely, was the patri- 
 otic career of Henry Clay, with the many important ser- 
 vices that marked that career. 
 
 Many causes conspired to rouse into energetic action 
 his whole faculties of mind and body. 
 
 Thus, the importance of his topics, urgently appeal- 
 ing, as they did, to those patriotic sentiments which were 
 among the strongest in his nature ; the aspect of the 
 multitudinous throng drinking eagerly in every syllable 
 from his lips, and sending up frequent thunder-bursts of 
 approving acclamation, which were reechoed from those 
 hills, so memorable both in history and tradition, as en- 
 circling the nursery-field of the revolution ; and finally the 
 simple fact that he was under full sail, with a smart breeze, 
 on his proper element, which was to harangue popular 
 bodies on great and absorbing subjects, — all these cir- 
 cumstances, combined with the operation upon him of 
 what may be termed the concentrated magnetism of the 
 enthusiastically sympathizing crowd, had the effect so 
 coveted by every public speaker, i. e., to rouse his 
 entire nature into the intensest activity. 
 
 By consequence, you then and there beheld the veri- 
 table Webster, " one and indivisible." No words of mine 
 
158 THE CAMEEA AND THE PENCIL. 
 
 could image his appearance on the occasion. It were the 
 appropriate work for a first-class painter or sculptor. 
 
 Suffice it for me to say, that not alone the eyes, face, 
 and head of the orator, but the form, with every indi- 
 vidual limb and muscle, were intensely alive with expres- 
 sion. The spectacle verified Shakspeare's saying about 
 the Grecian coquette, 
 
 " Her /oo< speaks." 
 
 A second occasion, whereon thousands saw and heard 
 the orator, was more striking still. It was at the laying 
 of the corner-stone of the Bunker Hill Monument ; when, 
 standing on that immortal battle-ground, he addressed 
 an immense multitude, among whom were most of the^ 
 few surviving veterans of that conflict, and the "nation's 
 guest," Lafayette, 
 
 The associations of the spot were of a quality that 
 could hardly be paralleled, or even approached, other- 
 where. I shall merely glance at these, and then leave to 
 my reader to imagine what must have been their influence 
 upon him who was, that day, the cynosure of all eyes. 
 
 He stood upon that spot where the revolution, with 
 all its stupendous and beneficent issues, was transmuted 
 from a doubt, a trembling hope, into a certainty, a solid, 
 inexpugnable fact ; and where young Independence was 
 baptized in a tide of the noblest blood of pilgrim-planted 
 Massachusetts, and of the New Continent. It was a spot 
 where the mind was moved to expatiate over the whole 
 varied fortunes of that terrible eight-years' contest, 
 wherein, virtually, "one chased a thousand, and two put 
 ten thousand to flight ;" upon its desperate straits and 
 intervals of midnight darkness ; and upon its occasional 
 gleams of succeSs, brightening and broadening more and 
 more, till uprose at last, the full, unclouded day-star of 
 
EXPRESSION — THROUGH THE FACE AND FIGURE. 159 
 
 triumph, whereby "the little one became a thousand, 
 and the small one a strong nation." 
 
 Before him were the battered human reliques of that 
 sanguinary fight, appealing to all the higher feelings of 
 the American bosom. Before him, too, was the revered 
 hero of almost fabulous experiences ; once the boy-friend 
 of Washington, and summoning before imagination's 
 eye that august, majestic presence ; a brave warrior 
 and leading actor in the revolutions of two continents ; 
 and now come over the ocean as the enthusiastically 
 honored guest of a people who thus, " in their day of 
 greatness, and with the outstretching of manly arms, 
 welcomed him who had supported their tottering in- 
 fancy." 
 
 And for this picture, so crowded with all kindling 
 memories and thoughts, what an appropriate setting was 
 supplied by that unmatched panoramic landscape which 
 spread around the sacred hill, whose every rood was 
 memorable for those incidents of high-souled perform- 
 ance and endurance which glorify our common nature ! 
 
 Let the reader imagine, as well as he may, what the 
 effect must have been of these excitants upon the orator's 
 high-toned mind and heart, and how vividly this effect 
 must have showed itself through his rarely moulded 
 organs of expression. 
 
 And while his imagination is thus occupied, let him 
 also call up other instances of Webster's standing for- 
 ward as the mouthpiece of grand occasions ; such as the 
 bi-centennial anniversary of the Pilgrims' landing at 
 Plymouth, the nullification conflict in the national Senate, 
 the completion of the Bunker Hill Monument, &c., &c. 
 And I dare affirm, without qualification, that the reader's 
 conclusion will be, that the picture above mentioned, so 
 far from being a faiihful representation of its pretended 
 
160 THE CAMEEA AND THE PENCIL. 
 
 original, is a gross libel thereon, and richly deserving 
 of indictment. 
 
 I have employed the instance of Webster to illustrate 
 the principle I am discussing, simply because I have 
 been more familiar with his public appearances than 
 with those of his distinguished compeers. My remarks, 
 however, equally apply to Clay and Calhoun, to Preston 
 and Everett, and to numbers beside. Whoever has heard 
 these, when aroused by momentous occasions and themes ; 
 and has noted how every corporeal movement, as well as 
 flash of the eye and shadow upon the face, has helped to 
 intensify the power of their utterances, will concede the 
 truth of my suggestions about expression and its various 
 modes. 
 
 But what is the fault or deficiency of the Webster 
 portrait above spoken of? 
 
 Simply and solely the want of expression, i. e. of 
 livingness ; of that individuality which differences one 
 human being from each and every other. 
 
 In Sir Charles Bell's Treatise, entitled " The Anatomy 
 of Expression," we have what may be styled the material 
 rationale of expression, both facial and corporeal. He 
 has discovered a vast network of nerves which, by their 
 varied action upon the muscles, serve to image forth all 
 the diverse passions and emotions originating in the 
 mind, — each having a movement or posture correspond- 
 ing to and representing it. These nerves do not spread- 
 over the face exclusively ; but also over the entire neck 
 and chest, and thence through the total frame. So that 
 vehement feeling, or, in fact, any feeling that rises much 
 above the average, is not revealed by the face alone, but 
 by all parts of the body as well. 
 
 The i^Aere/bre of this anatomy shows. "It is curious," 
 remarks Sir Charles, "that expression appears to precede 
 
EXPRESSION — THROUGH THE FACE AND FIGURE. 161 
 
 the intellectual operations. The smile, that dimples an. 
 infant's cheek, and which, in after years, corresponds 
 with pleasurable and complex emotions, cannot originate 
 from such emotions, for it is not first seen when the 
 infant is awake, but often while asleep. This expression 
 is, in fact, the spontaneous operation and classification 
 of the muscles which await the development of the facul- 
 ties to accompany them closeh'', when they do arise, and 
 in some measure to control them during life." \_See 
 pp. 198-9.] 
 
 From what has been said, the conclusion is urged 
 irresistibly upon us, that expression is a sine qua non 
 towards displaying what a man really is, whether in an 
 original or a portrait.* 
 
 I have suggested certain means of arousing, in the 
 individual to be portrayed, the expression desired at the 
 
 * As apropos to the subject I am discussing, I trust I may be pardoned for 
 introducing here the opinion of a connoisseur and a poet, (the late Judge 
 Conrad) upon the expressiveness of a heliograph. It is entitled 
 
 SONNET 
 
 ON root's daguerreotype op MR. FORREST. 
 
 "Light-born and limned by Heaven ! It is no cheat, 
 
 No image; but himself, his living shade ! 
 With hurried pulse the heart leaps forth to greet 
 
 The man, who merits more than Tully said 
 Of his own Roscius, — that the histrion's power 
 
 Was but a leaf amid his garland wreath ; 
 His swaying spirit ruled the magic hour. 
 
 But his vast virtues knew no day, no death. 
 He seems not now, but is. And I do know, 
 
 Or think I do, what meaning from those lips 
 Would break ; and on that bold and manly brow 
 
 There hangs a light, that knows not an eclipse. 
 The light of a true soul. If art can give 
 The bodied soul this life, who doubts the soul will live?" 
 11 
 
162 THE CAMERA AX]) THE PENCIL. 
 
 moment of portrayal. There are otlier means, which 
 may be of service to the same end. 
 
 Thus ; learn, if possible, what pursuits, or class of 
 thoughts most interest the sitter. These may be what 
 occupy his time chiefly, or upon occasion merely. Hav- 
 ing learned this, endeavor, so far as may be, to awaken 
 in him the thoughts referred to, as then the corresponding 
 expression, be it of face or form, or of both, will appear 
 spontaneously. 
 
 An experiment or two, made by myself, will illustrate 
 my meaning. 
 
 . I was required to portray a distinguished actor, as 
 representing Othello, in a scene of the drama so named. 
 At first, the actor, being wholly unexcited, bore not the 
 slightest resemblance to the "jealous Moor." Observing 
 this, I requested him to throw himself, by a strenuous 
 act of imagination, into the personality of Othello, just as 
 he was wont to do on the stage. In making the trial, 
 he walked to and fro, for some time, mentally rehearsing 
 the part, till he had succeeded in calling up the expres- 
 sion desired, which I transferred perfectly to the plate. 
 The picture told the story distinctly and fully. 
 
 So, on being requested to represent a lady, as a nun 
 in the act of prayer, I proposed, that she should assume 
 a kneeling posture and put up a fervent mental petition. 
 She complied ; and her face soon exhibited an expression 
 of devout thought and emotion, which I succeeded in 
 impressing upon the plate. 
 
 As a further illustration, I subjoin an anecdote which 
 Bishop White used to relate, and which he had from our 
 eminent portraitist, Grilbert Stuart. 
 
 The latter, being engaged in taking a portrait of 
 Washington, endeavored, according to his custom, to 
 summon into the hero's countenance its most interested 
 
EXPRESSION — THROUGH THE FACE AND FIGURE. 163 
 
 and noblest expression. In so doing, he alluded to 
 Braddock's defeat, to tlie crossing of tlie Delaware, to 
 Yalley Forge, &c., &c. It was all in vain. Washing- 
 ton's face remained listless, and finally became even 
 depressed. Well nigh discouraged, the artist at last 
 bethought himself of referring to " Old "Virginia," its 
 rural life and sports, its peculiar customs, &c., &c. 
 
 Instantly the sitter's face lighted up, and he struck 
 into a conversation upon these topics with keenest zest 
 and animated interest. And thus Stuart was enabled to 
 catch that fugitive somewhat which threatened to elude 
 him, and to produce the portrait which has ever since 
 been esteemed a model. 
 
 This anecdote was related to Bishop White by Stuart, 
 while the latter was painting the former's portrait, — 
 related, J;oo, for the very purpose of enkindling the mind 
 of the excellent prelate ; an effect, we may be assured, 
 it produced. 
 
 Possibly it may not be generally known that Wash- 
 ington and Bishop White were warm friends, and that 
 the latter was the first chaplain in Washington's army. 
 
 It may also be worth recording that Eembrandt Peale 
 painted Washington's portrait at the same time with 
 Stuart ; the two being thus engaged on alternate days. 
 
 Each had three sittings of three hours. Peale worked 
 in the building called the Philosophical Hall, now owned 
 and. occupied by the American Philosophical Society, on 
 Fifth street, below Chestnut, and standing nearly oppo- 
 site Stuart's room, which was on the south-east corner of 
 Fifth and Chestnut, and owned by William Smith. This 
 was in 1795. Occupied from 1846 to 1856 by M. A. E., 
 where this work was commenced. 
 
 Stuart's first portrait was a failure, which was thus 
 accounted for: — Jay's Treaty was yet unsigned, and 
 
164 THE CAMERA AND THE PENCIL. 
 
 "Washington felt great anxiety on the subject. This 
 anxiety was heightened by the appearance of certain 
 anonymous letters which were charged to the authorship 
 of Washington, — it being reported that they were found 
 in a portfolio, taken from a runaway servant of his. At 
 the final sitting, Peale's father asked Washington if he 
 wrote those letters. His reply was, "'No servant of mine 
 ever left me, — no portfolio or letters of mine have ever 
 been taken from me." At the close of the sitting, the 
 elder Peale at once reported Washington's disclaimer all 
 over the city ; and no more was said about the anony- 
 mous letters by Washington's enemies. 
 
 Gouverneur Morris stood to Stuart for his full length 
 portrait of Washington ; while the outstretched hand of 
 the figure was painted from a wax-cast of Stuart's own 
 hand. These facts I received from the lips of the vene- 
 rable Eembrandt Peale, Esq., the only survivor of the 
 many artists who painted Washington. 
 
 To take a good full-length standing figure of a public 
 speaker, or even of a private gentleman, so that the pic- 
 ture shall express the true character of the individual, 
 and that the pose shall be natural, easy, and graceful, will 
 tax the highest artistic powers of an experienced operant. 
 
 Small full-lengths, showing the feet naturally and 
 happily placed, may be made pretty and graceful pic- 
 tures. 
 
 Larger sizes, in which a faithful likeness is the prin- 
 cipal desideratum, may be taken, while standing, nearly as 
 low as the knees ; or even below, if necessary to repre- 
 sent faithfully the height and size of person. 
 
 Ladies, when portrayed standing, should be taken at 
 full length ; and if a front view of the person be sketched, 
 the face should be turned away ; and vice versa. Special 
 care should be used to secure a graceful disposition of 
 their hands in all standing figures. 
 
EXPEESSION — THROUGH THE FACE AND FIGURE. 165 
 
 These instances suggest the propriety of representing 
 statesmen, lawyers, clergymen, and public speakers gene- 
 rally, in a standing posture ; since in that posture they 
 usually put forth those efforts which stir into activity 
 their highest and best faculties both of mind and heart. 
 It is, moreover, in that posture only that the whole hody 
 cooperates with the face in manifesting outwardly the 
 soul within. 
 
 I may further remark that, in the standing position, 
 the falling of the shoulders imparts to the head most of 
 freedom, grace, and dignity of movement. 
 
 But suppose you were required to represent a his- 
 torian or a poet, a romancer or an editor ; in short, any 
 person whose chief excitations of intellect are expe- 
 rienced, and his favorite labors performed, while wield- 
 ing the pen at the desk. To place such a one in a 
 standing position would well nigh certainly defeat the 
 end desired ; since he would be more likely to feel em- 
 barrassed and awkward than inspired with enthusiasm, 
 in consequence of the novelty and strangeness of his 
 attitude. 
 
 Contrariwise, you should place your subject in condi- 
 tions which may remind him strongly of the locality, 
 with its accompaniments, whence thoughts have ema- 
 nated, which have not alone exalted and thrilled his own 
 soul in solitude, but which may have illumined and 
 warmed the souls of myriads who never saw him ; 
 whence, too, have issued forth images of beauty and 
 grandeur which, while delighting himself, may also have 
 called out the acclaims of admiring and raptured mul- 
 titudes. 
 
 Thus, in representing Washington Irving, who would 
 not, if possible, call up in him the precise mental mood, 
 from which sprang the inimitable " History of New Am- 
 sterdam;" the marvellous tale of Rip Van Winkle; the 
 
166 THE CAMEEA AND THE PENCIL. 
 
 unmatched adventures of Ichabod Crane ; the chivalrous 
 "Tales of the Alhambra;" and the countless other crea- 
 tions, merry or pathetic, which have unsealed the foun- 
 tains alike of smiles and of tears in the bosoms of the 
 dwellers of two continents ? 
 
 Would you not also have Bryant, at the instant of 
 taking, think and feel just as when the august panorama 
 of " Thanatopsis" unrolled itself before his inward sight ; 
 Longfellow as when those exquisite melodies of his "set 
 themselves to music" for his inward hearing ; and Dickens 
 as when he accompanied the illustrious " Pickwick" in 
 his desperately adventurous travels ; or attended the child- 
 angel, "Little Nell," in her weary earth-wanderings to- 
 ward that not untimely grave, which unclosed the portal 
 of her proper home in the highest heaven ? And Morris 
 you would fain behold as when the "Lines to my Mother's 
 Bible," or of "Woodman, spare that Tree," swam in the 
 tears called forth by grateful memory, as he traced them 
 upon paper ; and Willis, in various moods, either in the 
 person of David bewailing Absalom, or in his own per- 
 son annihilating some envious, impudent assailant. 
 
 Such, assaredly, are the mental states which you would 
 fain produce in the individuals named, for the suf&cient 
 reason that they stamp the noblest attainable expression 
 on the face and the form. 
 
 Be it noted, moreover, that among the subsidiary 
 means for producing such states are the posture, the 
 costume, and the surroundings generally. 
 
 After all, however, the most essential of all requisites 
 for the artist; that, without which all qualities else, 
 backed by all appliances, are of little avail ; is original 
 genius. And, as previously hinted, one of the leading . 
 traits of such genius is a power of acting potently on 
 other minds, not exclusively by thought and word, but 
 
EXPEESSION — THROUGH THE FACE AND FIGURE. 167 
 
 also by a noiseless influence which^ for lack of a better 
 term, we may entitle magnetism. 
 
 According to the greatest of modern Mystics, — tlie 
 Christian Pythagoras, — every human is encompassed by 
 a so-named " sphere ;" a somewhat corresponding to the 
 fragrant effluence surrounding the rose-bush, the cinna- 
 mon tree, and the magnolia. " These spheres" (he says) 
 " encompass all spirits, flowing forth from the life of the 
 affections, and of the thoughts derived thence." " Sym- 
 pathy between different persons results from a similitude 
 between their spheres, and anti'pathy from dissimilitude^ 
 
 Now whether this philosopher be right or wrong in 
 the precise items of his theory, all experience evinces that 
 there is a somewhat exhaling from every person, which, 
 apart from both his acts and his words, exerts a certain 
 influence and makes a certain impression upon others, 
 despite his own volition or wish, and without volition or 
 wish on their part. 
 
 Thus, the mere presence of some individuals is repres- 
 sive, depressive, and even stupefying to those in their 
 company. 
 
 Of others the same simple presence is enlivening, ani- 
 mating, rousing, kindling. 
 
 Others again there are, in whose society our worst 
 feelings are stirred into tormenting activity. 
 
 And there exist still others, in whose companionship 
 our whole better nature is wakened and exalted into 
 active predominance. 
 
 All this, I repeat, is matter of our daily experience. 
 
 Now it is a known property of genius to act powerfully 
 on men's minds either for good or for evil. Suppose, 
 then, an artistic genius to be united with those moral 
 attributes which elsewhere I have spoken of as essential 
 to eminence in art, it is obvious that the influence of an 
 individual thus dowered must be very potent upon those 
 
168 THE CAMEEA AND THE PENCIL. 
 
 with "whom he comes in contact. It is on this account 
 that I have insisted so strongly upon the necessity of 
 genius to all such as venture to imitate the Divinity in 
 His work of creation. 
 
 If, however, it be concluded that the portraitist, in 
 whatever kind, should possess alike genius and culture, 
 it is not my humble self who exact these high attributes, 
 but the very nature of the pictorial and plastic arts. 
 
 How severely these requisitions must press upon the 
 heliographer, whose process is, of necessity, restricted to 
 a few brief moments, is obvious enough. And the more 
 severely still, since to these high powers must be added 
 that electric celerity of thought and performance which 
 is among the rarest of human endowments. 
 
 Among the many difficulties he must cope with, by no 
 means the slightest consists in the temperaments of his 
 subjects. Pithily remarks Sir Charles Bell, " one man 
 is so constituted that he will have his joke, though it 
 may hurt his dearest friend; and another has so little 
 imagination that even in the delirium of fever he is 
 dull." 
 
 In a recent conversation with a venerable artist of 
 much distinction, he made, substantially, the following 
 suggestions : — 
 
 " The heliographic artist may justly plead some excuse 
 for his short-comings in portraying alike distinguished 
 persons and others, as he is usually limited, by his sitters, 
 to a few moments for accomplishing a marvellous and 
 very difficult work. As his art acquires importance, 
 and rises in public estimation, he will be indulged with 
 more patience by his sitters, who will also place a higher 
 value upon his efforts." 
 
 I need not say that I was happy to find my own fre- 
 quent remarks in various portions of this volume thus 
 corroborated by an authority so respectable. 
 
CHAPTER XX. 
 
 EXPRESSION — THROUGH THE ANIMAL AND INANIMATE 
 WORLDS. 
 
 Expression pertains to the animal, vegetable, and mineral worlds, e. g. the 
 lion, what ideas he expresses, what sort of man he typifies j the tiger, do. 
 do.; the fox, bull-dog, snake, do, do.; — The inanimate world has expres- 
 sion — Macbeth, witches, blasted heath, &c., accordance between persons 
 and scene — The crucifixion of Christ, and the accompanying darkness, 
 earthquake, and other prodigies — Milton's description of earth's perturba- 
 tions, on the eating of the fatal apple — Mountains expressive — Three 
 diflferent ones described, typifying three classes of men — Frigid zones and 
 Sahara Desert, what sorts of human beings and conditions symbolized by 
 them — Swamps and fens, what they represent — The face of earth, as a 
 whole, symbolical of the character and state of the race. 
 
 Hitherto I have spoken solely of the human face and 
 figure, as vehicles of expression. But the subject is far 
 from being thus exhausted. For the animal, the vege- 
 table, and the mineral worlds, in their own manner, are 
 not less charged with expression. In illustration of this 
 fact, let us glance first at the animal kingdom. 
 
 If philosophy and poetry are not wholly astray, 
 expression should be discernible in the faces and figures 
 of all animals, domesticated or wild. For both teach, 
 that the animal, of whatever species, is a fragment, or 
 partial manifestation of man ; and, conversely, that man 
 is an aggregate of all the several properties existing 
 in the spheres below himself, animal, vegetable, and 
 mineral. 
 
 Hence, if, through man's material organism, spiritual 
 
170 THE CAMERA AND THE PENCIL. 
 
 meaning be expressed, so must it be tbrough the king- 
 doms beneath him. 
 
 Thus, has the lion's face no expression ? What was 
 the epithet, "lion-hearted," attached to the first English 
 Eichard, meant to express ? 
 
 Probably this, — tremendous physical force ; a disposi- 
 tion which, frop its energy and excitancy, may rush into 
 cruelty when fully roused ; but which in ordinary moods, 
 blends magnanimity with power ; and finally the capacity 
 to overwhelm and destroy all opposers, coupled with 
 the habitual inclination to spare the dead and the unre- 
 sistant. Such would seem the significance of the broad 
 square face, combined with the formidable muscles and 
 harrow-like claws of the desert- king. 
 
 Does he not vividly typify the Hercules, or the Sam- 
 son, the heroes of rough, violent times; themselves 
 hardly less rough and violent, than the foes they trium- 
 phantly encounter ; but, unlike these, possessing a gran- 
 deur of soul, which bids to spare such, as can resist and 
 ravage no longer ? 
 
 Has not the tiger, too, his expression ? An exaggera- 
 tion of the household cat; with hardly less physical 
 might than the lion, though with none of his reputed 
 magnanimity ; cruel and sanguinary to the core ; sly, 
 treacherous, and persistent in his endeavors to get as 
 many victims, as possible, within the gripe of his ruthless 
 fangs ; do you not read this character in that face of his, 
 so luridly lighted up with those green, blazing eyes? 
 And certainly history, if not your own experience, 
 furnishes numbers of both men and women embodying 
 the tiger-element. 
 
 Again, from ^ sop's time, at least, the fox has been 
 regarded as the type of the cunning man, who pursues 
 his ends by covert, tortuous methods ; working in dark- 
 
EXPRESSION — ANIMAL AND INANIMATE WORLDS. 171 
 
 ness, and not in sunshine ; scudding awaj from whoever 
 fronts him boldly, but creeping back to efi'ect his destruc- 
 tive purposes, if he can surprise his victim asleep or 
 unprepared. Are not these traits visible in his face, 
 figure, and movements ? 
 
 As antitype of Reynard, note the luckless hare; luck- 
 less in many ways, and especially in this, that the so- 
 named " great" everywhere make a favorite amusement 
 of hunting poor "Puss" to death, with the accompani- 
 ments of yelling hound and clamorous horn. 
 
 Who has not seen among human beings numerous 
 archetypes of the fox and the hare ? 
 
 Of the bull-dog I need say but a word. His head and 
 neck bear a most extraordinary resemblance to those of 
 the prize-ring heroes, and the characteristics of the two 
 are identical. 
 
 But the snake, with his ugly coil while at rest; his 
 stealthy, twisting movements when advancing ; his 
 forked, quick-darting, fiery tongue, and his whole aspect, 
 when roused to anger ; does he not image to you a human 
 being who is cunning and treacherous in his methods of 
 proceeding, while dangerous and deadly in his intents ? 
 
 I have not room for further sketches of this kind. 
 But the hints already given may by the reader be carried 
 as far as he will through the several species of the ani- 
 mal kingdom. 
 
 Expression, however, does not stop with the animals ; 
 it appears hardly less distinctly in the inanimate than 
 in the animal world. Mother earth has many a different 
 expression, wherein we may witness striking correspond- 
 ences to the states of her human children. 
 
 Where, for instance, did Macbeth encounter the weird, 
 frightful beings who predicted the fate which should 
 carry him to a throne along the dark, tortuous, blood- 
 
172 THE CAMERA AND THE PENCIL. 
 
 slippery ways of betrayed liospitality, treason, and mid- 
 niglit murder ? 
 
 On a "blasted beath," but partially visible by the few 
 shimmering stars of a clouded sky ! A rough, bleak 
 region, with dank mosses and noisome weeds, and 
 sombre-lmed, withered shrubs in place of the fresh green 
 growths so gladdening to eye and soul ; here and there 
 the fragment of a dead tree, which had been robbed of 
 vitality by the thunder-stroke, or the slow-sapping con- 
 sumption of arboreal disease; and, topping this dread 
 aggregate, a black-hued pool, bordered with tangled, 
 foulest vegetation, dotted with green, slimy patches, all 
 alive with hideous reptiles ; and so looking like an eye 
 darting forth basest, obscenest thoughts and feelings, — 
 did not this scene express vividly the career that lay 
 before Macbeth? Do we not, by instinct, recognise a 
 natural affinity between this locality and the crimes here 
 brought in vision before the future criminal in whose 
 bosom the pandemonian fires are already smouldering? 
 
 And how was it with Mother Earth when the tragedy 
 of tragedies was enacted, — the infliction of a felon death 
 on "the Lord of life and glory"? Did her face wear its 
 wonted smiling aspect, and did nature move on in her 
 wonted courses ? 
 
 It could not be so. But, instead, the sun hid his face 
 in shame ; the earth heaved with earthquake -sobs and 
 groans ; the long-dumb graves sprang up into life ; and 
 the inanimate world everywhere showed a shuddering 
 sensitiveness to the horribly unnatural deed then in pro- 
 cess of perpetration. 
 
 Milton has attributed similar perturbations to earth at 
 the eating of the "fatal apple" by Eve. 
 
 "Earth felt the wonnd, and Nature from her seat. 
 Sighing through all her works, gave signs v>f woe, 
 That all was lost." 
 
EXPRESSION — ANIMAL AND INANIMATE WORLDS. 173 
 
 And "when Adam followed lier example, 
 
 " Earth trembled from her entrails, as again 
 In pangs ; and Nature gave a second groan. 
 Sky lowered, and muttering thunder, some sad drops 
 Wept at completing of the mortal sin 
 Oric/inal." 
 
 We may, however, find the same principle illustrated 
 bj the ordinary, perennial aspects of nature. 
 
 Mountains, for example, have an expression of their 
 own. Speaking generally, I should say they expressed 
 the preeminence of the individual man ; that grandeur 
 and power of soul, whereby he towers above his fellows 
 and attracts their regards to himself. And the varieties 
 of mountains we may suppose to symbolize the diversities 
 of human greatness. 
 
 For example, one mountain, while rising to a vast 
 height, is of symmetrical configuration, and brightly 
 verdant to its very summit. 
 
 What more striking emblem of a character, at once 
 eminently great and completely balanced ; the intellectual 
 and moral qualities all exalted to a high pitch, yet iu 
 such equilibrium, that no one or more stands above the 
 rest ? Such a character was Washington. 
 
 A second mountain, equally lofty as the first, is strik- 
 ingly irregular in conformation. Here is an expanse of 
 vivid green ; there a a patch of dun-hued, bristly shrubs, 
 and gnarled tangled vines ; here again is a huge rocky 
 ledge, encircled with thickly scattered boulders ; and 
 there, finally, a group of tall, superb trees, the graceful 
 beech, or the majestic maple, whose very veins run 
 sweetness for whosoever chooses to receive it. How 
 better than by this symbolize a man irregularly great and 
 good ; a composite of virtues and faults, of beauties and 
 
174 THE CAMERA AND THE PENCIL. 
 
 blemislies, of fertilities and barrennesses, — a sun marked 
 witli many a spot, yet still a sun. 
 
 But yonder looms up a tbird mountain. Differing 
 greatly from the two former, it appears, on a superficial 
 glance, little other than a huge mound of rough, verdure- 
 less crags and stones. Hardness, barrenness, deformity, 
 and desolation would seem there more aptly imaged in 
 a single emblem. But a closer inspection shows a 
 copious fountain of clear, cold water gushing from the 
 heart of that rocky mass. The tired, heated wayfarer 
 blesses the liquid benignity, and many an animal, too, is 
 refreshed by the bounty of this pitiless-seeming giver. 
 And far on through the plain below the rock-born 
 streamlet carries greenness, fertility, and beauty, blessing 
 multitudes who know not its origin ; and so it will con- 
 tinue to do, till its existence becomes absorbed by the 
 all-central ocean. Still further — "Within the bosom ol 
 that forbidding mound are exhaustless stores of coal and 
 iron, from which numbers draw the needful means of life 
 and enjoyment. 
 
 Have we not here the type of a third great and good 
 man, — one who, beneath a rough, hard exterior, shelters 
 numerous sterling virtues of rarest quality, and is pro- 
 digal of benefits to multitudes of human kind ? Do you 
 not here discover many, at least, of the features of 
 Ethan Allen and "Old Put?" But, passing from par- 
 ticulars to generals, does not the surface of our globe, as 
 a total, reflect vividly the various conditions, mental and 
 moral, of the human race that occupies it ? 
 
 As thus : How many millions of our kind pass 
 through life with their intellectual capacities frozen up 
 in a cold, drear ignorance ! 
 
 If now you glance over earth's frigid zones, you 
 behold in their vast expanses of eternal ice and snow 
 
EXPKESSION — ANIMAL AND INANIMATE WORLDS. 175 
 
 this mental barrenness most vividly symbolized; and 
 this in a thousand minutest particulars. 
 
 Note one particular. From these immense ice-fields a 
 huge mass gets sometimes detached, and, floating into 
 mid-ocean, dashes destruction against many a ship, 
 full-freighted alike with wealth and with human life. 
 
 So from the frozen sea of ignorance a great mass gets 
 occasionally severed, which, floating blindly off, dashes 
 ruinously against the social weal, and, with no definite 
 malign intent, works mischief beyond the estimate of 
 statistics or of imagination's self. For examples, recall 
 the Jacquerie insurrection, or the first French revolution. 
 
 Again, traverse in imagination the great African Sa- 
 hara, and what see you and hear you there ? The for- 
 midable shapes and voices of lions, who '• roar after their 
 prey and seek their meat from God," together with the 
 sharp barks and dismal moans of their attendant jackals ; 
 the sanguinary atrocities and hideous growls of tigers, 
 panthers, and others of their kind ; innumerable ser- 
 pents, from the dragon that arrested the march of a 
 Roman army to the "fiery, flying serpent" which 
 wrought havoc upon the Hebrews under Moses, — what 
 does this desert express in human society ? 
 
 Traverse the cellars of New York "Five Points," 
 or of London "St. Giles's," or of Paris "Cite," as pre- 
 sented at the bar of supernal justice by Dickens and Sue, 
 the prosecuting attorneys of civilization, and tell me if 
 you do not here witness a counterpart of that African 
 desert, with its monstrous and loathsome containings ? 
 
 I might further point your attention to earth's numer- 
 ous swamps and fens, brimming with hideous reptiles, 
 and dank, poisonous, sense-offending vegetal growths ; 
 eternally exhaling miasms, on whose viewless pinions a 
 thousand mortal pestilences float ; to volcanic mountains 
 
176 THE CAMERA AND THE PENCIL. 
 
 "whicli, even when quietest, spout forth, noxious gases 
 and redden luridly the face of earth and sky, but which, 
 in their roused moods, eject ashy clouds, and stormy 
 showers, and lava-torrents which bury whole cities with 
 their inhabitants ; and then I might bid you note those 
 corrupted human masses which at all times spread a fatal 
 contagion about them, but in exasperated conditions 
 become veritable ^tnas and Yesuviuses, the terror and 
 the menaced destruction of the society that embosoms 
 them ! Do not the former plainly emblem the latter ? 
 
 Not, however, to multiply these parallelisms further, 
 we remark generally that in this our earth, scarred and 
 blotched, volcano-spouting, fen-reeking, and reptile- 
 swarming, desert-flaming, and frost-bound, the intelli- 
 gent observer may see reflected, or expressed, the multi- 
 form defects, vices, crimes, and woes of the race that 
 occupies its surface. 
 
 If, then, we can trace expression through all the 
 departments of creation ; if we find in this the one cha- 
 racteristic that imparts a living interest to the human, the 
 animal, and the inanimate worlds alike ; should it not, 
 beyond all particulars else, secure the attention of all 
 who would be artists in very deed and truth ? 
 
CHAPTEE XXI. 
 
 EXPRESSION OF ABNORMAL MOODS OF BODY AND MIND. 
 
 Disease, like health, subject to laws — Various diseases exhibit various expres- 
 sions — Sundry examples of these — Abnormal passions have each their own 
 expressions — Instances given — Wisdom of this ordination — The actor must 
 study these expressions — Important for all to do this. 
 
 Says a modern writer, "The laws of disease are as 
 beautiful as tlie laws of health." And with equal truth 
 we might say that the process of decomposition is as 
 curious and full of interest as that of growth. 
 
 In the three preceding chapters I have spoken of the 
 expression of persons and things in their healthy and 
 normal condition. Equally curious and hardly less 
 worthy of notice is the expression of the same, when in 
 a diseased or abnormal state. 
 
 An observant, acute physician learns at once to detect, 
 by the external appearances of his patient, what disease 
 he is attacked with, and in what part of the organism 
 this disease is seated. Our friend. Dr. S. S. Brooks of 
 this city, has given us a few notes on this subject which 
 we here transcribe, not so much as affording full indica- 
 tions, as suggesting in what direction to look for such. 
 
 Thus he remarks that in a disease of the brain or ner- 
 vous system, the forehead, brows, and eyes give the ex- 
 planation of the ailment. 
 
 Morbid conditions of the chest write their signatures 
 on the middle of the face, — especially the nose. 
 
 1^ (177) 
 
178 THE CAMERA AND THE PENCIL. 
 
 The moutli and the lips, by their change from the cus- 
 tomary aspect, show the presence of abdominal affections. 
 
 In acute disease of the head, the eyes are fixed and 
 staring, or wild and vacant-looking, while the brows are 
 knit. At one time the pupil may be contracted, and 
 the sick one start as if frightened, and scream aloud on 
 being touched, — or the pupil may be dilated and insensi- 
 tive to light, while the patient is motionless or uncon- 
 scious. 
 
 When the chest is acutely diseased, the wings of the 
 nose are dilated or in rapid motion. 
 
 Again, in acute abdominal disease, the lips are drawn 
 back, so as to show the teeth or gums, while the coun- 
 tenance is pale or sunken. 
 
 And doubtless a sufiicient amount of observation 
 would detect distinctly marked signs indicative of every 
 malady from which man suffers, so that a glance at the 
 face and figure might determine the character and in- 
 tensity of such malady. 
 
 But the self-same law applies not alone to physical 
 diseases, but to what may be called diseases of the mind ; 
 that is, excesses of the passions and appetites, whatever 
 their kind. Anger, malice, revenge, and the whole dark 
 brood of the malign elements of the soul, imprint their 
 marks upon the face and form. So plainly, indeed, that the 
 very infant understands and is alarmed and repelled by 
 them. Nor less can the same infant read the kindly 
 affections upon the exterior, and is thus often attracted 
 to the arms of a total stranger. And so winning is the 
 expression of these affections that they often impart what 
 we entitle beauty to a face whose features are irregular 
 almost to deformity. So, too, the malignant passions 
 will cast upon a face which, in its normal state, is 
 
ABNORMAL MOODS OF BODY AND MIXD. 179 
 
 supremely beautiful, a shadow tliat produces on tlie 
 beholder the effect of veritable ugliness. 
 
 It is a wise and beneficent ordination of Providence 
 that the internal dispositions thus stamp themselves on 
 the exterior. For by this means we are warned on the 
 one hand to beware of the base and malicious of heart, 
 and on the other are taught in whom we may securely 
 place our trust. 
 
 All the various expressions of which the face and the 
 figure are susceptible are carefully studied by the actor, 
 and his professional skill is measured and his reputation 
 in a great degree determined by the closeness with which 
 he can copy and represent them. It were well that we 
 all were accustomed to observe far more carefully than 
 we do the expressions indicating the propensities and 
 characters of those among whom we live. We might 
 thus be taught whom to avoid and whose acquaintance 
 to cultivate, with much greater certainty than any words 
 could give. 
 
 Our purpose in this supplementary chapter has been 
 not so much to impart definite instruction to the reader, 
 as to point out the direction in which such reader may 
 seek it for himself. That the heliographer, as well as all 
 other artists, should make himself familiar with the 
 numerous varieties of expression here indicated, is too 
 obvious to require more than the mere mention. 
 
CHAPTEE XXII. 
 
 MISCELLANEOUS TACTS. 
 
 Peculiarities in the eyes of various individuals ; e. g. 1st. Incapacity of dis- 
 tinguishing certain colors; 2d. Beholding the same objects of different 
 sizes — Instances in relation to sun and moon — Causes of these anomalies 
 unknown — The subject worth investigation — Expression through names — 
 Various examples among savage tribes — Origin and use of names of what- 
 ever kind — Illustrations among both ancients and moderns, e. g. Cicero, 
 Caesar, Seipio, Smith, Brown, White, &c. — Heraldry, with its emblems, due 
 to the same origin. . 
 
 A FEW items more or less related to subjects discussed 
 in various parts of this volume, I have thought might 
 be interesting enough to deserve recording. They are, 
 therefore, introduced here under the above caption. The 
 first two of them I entitle 
 
 OCULAR ANOMALIES, 
 
 1. Many of my readers may, perhaps, be aware that 
 some persons are, organically, incapable of distinguish- 
 ing certain colors. That is, some colors, as, for example, 
 the red, or the green, or the blue, do not exist for them, — 
 and, so far as they are concerned, are absolutely blotted 
 out of the prismatic spectrum of the sunbeam. I have 
 even known persons engaged in heliography who had 
 this imperfection of vision. What can be the cause of 
 this fact so strangely exceptional? The discovery of its 
 rationale would be well worthy the attention and the 
 endeavors of experimentists of leisure. 
 
 1 180) 
 
MISCELLANEOUS FACTS. 181 
 
 2. Size, proportion, and relation are principles which, 
 in some eyes, would seem to be all ajar. 
 
 Thus, the a'pparent bulk of the sun and the moon, so 
 far as we can learn, is, to the average of beholders, pretty 
 nearly the same. 
 
 One of my acquaintances, however, a shrewd observer, 
 whose senses have been actively and habitually exercised, 
 as being the avenues whereby the quite extensive know- 
 ledge possessed by him has entered his mind, tells me, 
 gravely, that the sun^s disc looks to him as large as a coach- 
 wheel/ That he speaks in perfect sincerity, I have no 
 doubt. 
 
 A second acquaintance, not less intelligent and keenly 
 observant than the first — of the same class of mind and 
 mode of education, and belonging to the same sphere in 
 life — assures me that these heavenly bodies wear, to his 
 vision, about the compass of his hat-crown, — their size 
 being, if anything, rather less than greater. 
 
 Here are two instances wherein visual organs, to all 
 appearance equally healthful and perfect, utter reports 
 completely clashing, — the defect in the one and the vari- 
 ance in the other flowing from causes entirely unknown. 
 
 Is it not both possible and probable that useful results 
 might be attained, were persons possessing the requisite 
 capacity and leisure to take up these subjects and probe 
 them thoroughly ? 
 
 For one, I have no doubt of the fact. 
 
 A third of these items I entitle 
 
 EXPEESSIOJSr AS INTIMATED BY NAMES. 
 
 In one of the chapters of this volume, I speak of the 
 animal races and of the inanimate world as wearing an 
 expression of their own, and this expression a partially 
 human one, i. e. suggestive of human qualities. I alluded 
 
182 THE CAMERA AND THE PENCIL. 
 
 to the customs of savage tribes in the assumption of 
 names or designative titles. Alilce from the animate and 
 the inanimate worlds they borrow such appellatives as 
 are fancied bj them to symbolize their characters, or 
 some special element or elements of the same. 
 
 Thus, in "The Last of the Mohicans" we find, among 
 its personages, "Chingachgook," or "the Serpent," and 
 "Le Cerf Agile," "the Active Stag," — names significant 
 of certain qualities supposed to characterize those to 
 whom they belonged. 
 
 So in Bowen's History of the Indian Tribes, we find 
 "Meomouni," "the Cloud out of which the Eain comes" — 
 " Wakawn," "the Snake"— "Ohittee Toholo," "the Snake 
 that makes a Noise" — "Monkaushka," "the Trembling 
 Earth"— " Tooan Tub," "the Spring Frog," &c., &c. 
 
 These are but instances of a principle which, at the 
 outset, was, doubtless, universal and without exceptions. 
 Names being, originally, as matter not only of conveni- 
 ence, but of almost absolute necessity, bestowed in order 
 that individuals might be discriminated one from another 
 while present, or so spoken of in their absence, that it 
 might be known who was meant ; it mattered little by 
 what particular thing they were signalized, so that all 
 recognised it at the instant of hearing. Again, it was 
 sometimes a feature of face, or a peculiarity of shape or 
 of aspect; sometimes a prominent trait of mind or of 
 heart ; sometimes a striking incident in the life ; and 
 sometimes the ordinary vocation or pursuit ; from which 
 sprang a family name that has endured thousands of 
 years. 
 
 Illustrations of this principle might be quoted in abund- 
 ance from the records of antiquity, I will alude merely 
 to the titles, Cicero, Caesar, and Scipio. Thus, the im- 
 mortal orator, Marcus Tullius, is said to have received 
 
MISCELLAiSrEOUS FACTS. 183 
 
 the cognomen, Cicero, from "cicer," "a bean" — he hav- 
 ing been marked on the face with a hean-shaped wart. 
 
 So, Oaius Julius derived the cognomen "Csesar," from 
 "csesus," ''cut" — in consequence of his having been 
 taken from the womb of his deceased mother by a surgi- 
 cal operation. 
 
 Finally, the cognomen "Scipio," subjoined to the 
 family name of an illustrious Eoman race, signifies "a 
 staff," — intimating the important part enacted by this 
 family in upholding the fabric of the state. 
 
 Coming down to times comparatively recent, we find 
 the far and wide spread patronymic of Smith. Originally 
 it was one of the most honorable of titles, indicating, in 
 its possessor, one of the most useful of citizens, as well 
 as of the main harbingers of civilization. For it was 
 the smith who forged alike the weapons of war for men's 
 defence against their foes; and the implements of the 
 chase, from which they drew, in part, their subsistence ; 
 and of agriculture, which constitutes the basis of oui 
 present advanced condition. 
 
 A host of kindred examples will occur to my readei 
 on a moment's reflection. 
 
 Again, in the class of names, of which White, Brown, 
 Green, Black, &c., are specimens, we find a reference to 
 the complexion, or color of the dress, or some one or 
 more particular of the individual's belongings. 
 
 In Scott's Eob Koy we have, in the hero's title, Eob- 
 ert the Eed, — Eoy signifying red, — an allusion to the 
 color of his hair. 
 
 So, in Highland Annals, you find " the Black Comyn," 
 " the Eed Comyn," &c., — the prefixes being drawn from 
 the tint of the hair or the complexion. 
 
 Once more. In French Chronicles we find "Philip 
 the Fair"— "Louis the Fat"— "Philip Augustus," &c.— 
 
184 THE CAMEEA AND THE PENCIL. 
 
 the appellatives having been borrowed from some pro- 
 perty either corporeal or mental. 
 
 In sum, the total science of heraldry is based on the 
 same principle, i. e. the adoption of some distinctive 
 emblem which represents or intimates some property of 
 body or mind, or some event in the life of those assu- 
 ming it, or signalized by it. 
 
 How wide-reaching and profound, then, is fhis subject 
 of expression, may be conjectured from the foregoing 
 hints superadded to the much that is suggested in other 
 parts of this treatise. 
 
 Somewhere, however, I must abruptly make an end, 
 for the subject itself is all but illimitable. 
 
CHAPTEE XXIII. 
 
 OPINIONS OF ARTISTS AND ART-CRITICS UPON BEAUTY. 
 
 Opinions of artists and art-critics upon beauty, physical, intellectual, moral, 
 and ideal; e.g. Phidias, Plato, Cicero, Ac, among the ancients; and M. 
 Angelo, Raffaelle, Reynolds, Barry, Opie, Lawrence, Haydon, Cousin, Rus- 
 kin, Jeffrey, Alison, Burke, Michelet, <tc., among the moderns — Sundry 
 original comments on the same. 
 
 In the course of the present volume, it has fallen into 
 the logical sequence of mj design to touch, more or less 
 extensively, on art and artists ; on beauty, genius, taste ; 
 and on expression, light and shadow, composition, and 
 kindred topics, which come naturally under these general 
 heads. In discussing these various points, I have 
 hitherto drawn upon my own observation and experience 
 more largely than upon any resources beside. I have 
 been accustomed, however, in the few leisure hours 
 accorded me, to glance over such volumes of distin- 
 guished artists and connoisseurs, as came in my way and 
 dealt with the same subjects as myself, and to transcribe 
 or pencil-mark the passages, which especially struck me 
 as worthy of consideration. These passages have so accu- 
 mulated on my hands that I have concluded they might 
 add to the value of my book, if arranged in some tolerable 
 order and published with the rest of its contents. 
 
 On some of the topics, here referred to, there will be 
 found more or less antagonism of opinions ; but instruc- 
 tion and inspiration may be gathered from the clashes 
 of view, and even the errors of men of genius and ability. 
 
 (185) 
 
186 THE CAiMERA ANT) THE PENCIL. 
 
 So that, with some partial attempts at ranging like things 
 under the captions that cover them, I shall present the 
 remarks, as they stand in my commonplace book. And 
 
 1st. Beauty, — what is said of it by various individuals, 
 to whom it had been a theme of much contemplation ? 
 
 Cousin, the eminent French eclectic, has given one of 
 the most thorough and satisfactory analyses of beauty 
 (in my judgment), of any writer I have examined. I 
 will presently note down some of his utterances, after 
 citing from certain others, who came earlier under my 
 eye. 
 
 James Barry (the painter) remarks, "It is evident, 
 that beauty and perfection are but different names for 
 the same thing ; and consequently the most beautiful 
 form of body must be that, which in all its qualities 
 most perfectly corresponds with the idea we have of its 
 species, of whatever kind, sex, or age. 
 
 " But grace is more eminently observable in the 
 female, because her sensibility and tenderness are greater 
 than the male's, and the superior softness and delicacy 
 of her bodily frame is more in unison with those tender 
 sensations." 
 
 Says Ruskin, "Repose is the most unfailing test of 
 beauty. No work of art can be great without it, — 
 nothing can be ignoble that possesses it, and nothing 
 right that has it not. By this light we shall see three 
 colossal images standing side by side, looming in their 
 great rest of spirituality above the whole world-horizon 
 — Phidias, Michael Angelo, and Dante ; and then, sepa- 
 rated from their great religious thrones only by less ful- 
 ness and earnestness of faith, Homer and Shakspeare. 
 
 " In all perfectly beautiful objects there is found the 
 opposition of one part to another, and a reciprocal 
 balance obtained. 
 
OPIXIONS UPON BEAUTY. 187 
 
 " The most lovely objects in nature are only partially 
 transparent. The utmost possible sense of beauty is con- 
 veyed by a smooth, feebly translucent, but not lustrous, 
 surface of white and pale, warm red, subdued by the 
 purest and most delicate grays, as in the finer portions 
 of the human frame. 
 
 " The beauty of the animal form is in exact propor- 
 tion to the moral and intellectual virtue expressed by it. 
 
 " The sources of beauty are not presented by any great 
 work of art in a form of pure transcript or copy. They 
 invariably receive the reflection of the mind under whose 
 shadow they have passed, and are modified or colored 
 by its image. 
 
 " Any material object which can give us pleasure in 
 the simple contemplation of its outward qualities, with- 
 out any direct and definite exertion of the intellect, is, in 
 some way and in some degree, beautiful. 
 
 " The artist who would attain beauty, must not at all 
 avoid or slight nature, but must study it profoundly as 
 his most important source of improvement. He must 
 not contemplate merely those beauties which may be 
 presented to his view at the moment, but should also 
 consider wherein they differ from others inferior to them. 
 For example, how beautiful that smile ! How eloquent 
 those lips ! Let him ask himself what is meant by these 
 qualifying terms." 
 
 Asks B. K. Haydon, " What is beauty, without which 
 all our previous principles, exemplified by practice, 
 would fail to enchant the world ? No modern artists, 
 not excepting Raffaelle, Correggio, or Michael Angelo, 
 ever equalled the ancients in this quality of face and 
 figure. The ancients seem to have hit exactly what 
 degree of fitness, proportion, unity, curve, and color in 
 nature and art was adapted to excite the emotion of 
 
188 THE CAMERA ANT) THE PENCIL. 
 
 "beauty in the human mind, and never to have failed 
 once, down even to the form of a milk-jug. 
 
 "It is quite clear that every artist must, by form, by 
 color, by expression — whatever may be the theory — 
 excite the emotion of beauty in his spectators. Some- 
 times the form and face, which contain virtue, are ugly, 
 like those of Socrates ; and sometimes, however detest- 
 able sin may be, the most noble, the most heroic, the 
 most beautiful form and face express it, like those of 
 Satan. 
 
 " Though beauty may always be applied, morally, to 
 virtue, and ugliness always to vice, yet sometimes the 
 medium between extremes is the cause ; and sometimes 
 proportion, fitness, undulation of line, perhaps associa- 
 tion from form, color, and expression may as often be the 
 cause, — yet, I maintain, there is something in the form 
 and the color that rouses the emotion of beauty before 
 any association can take place from intellectual expres- 
 sion ; and that association is subsequent to the first im- 
 pression on the brain, and not prior to it ; or co-instanta- 
 neous with it, if the impression be the first made on the 
 individual." 
 
 Says Lord Jeffrey, " Beauty is that property in objects 
 which is recommended to the power of taste, — the 
 reverse of ugliness, — the primary and most general 
 object of love and admiration." 
 
 Haydon remarks, "The more one dwells on the emo- 
 tions of Beauty, strictly so meant, the more is he inclined 
 to believe that, morally, mentally, and physically, it has 
 its origin altogether in woman. Consider the face and 
 form of woman in its perfection and its associations, as 
 the standard of all beauty, morally or by form ; — and, 
 according as every object in nature approaches to or 
 departs from such standard by color, form, or association, 
 
OriNIONS UPON BEAUTY. 189 
 
 the emotion produced by this object is or is not entitled 
 to be considered the emotion of the beautiful, and has 
 ever done so from her first appearance in the world. 
 
 " Lord Jeffrey says, ' Men, whose organization is per- 
 fect, do not agree about beauty. The question here arises, 
 whether the organization alluded to be that of the eye 
 or the brain ? To settle this were to settle the whole 
 matter.' 
 
 " Thus some men have perfect sight, and yet do not 
 see color or take any delight in it, — others (like myself) 
 have imperfect sight, and yet have the most exquisite 
 sensations from the perception of colors. So a man. 
 may have the dullest vision and yet see beauty ; and 
 possess the most perfect sight, and yet not see beauty in 
 anything, 
 
 " The form of a tree is beautiful ; and the form of a fine 
 woman, of a column, and of a vase. 'But' (remarks 
 Jeffrey) ' how can it be said that the form of a woman 
 has anything in common with the form of a tree ?' 
 
 " Simply because the vase, the column, and the tree, 
 and the woman can be proved to merit the name of 
 beautiful only as they each partake more or less of the 
 womanly form. They are each beautiful through pos- 
 sessing principles in common which excite the emotion 
 by form. 
 
 " All love worth anything has been, since the world 
 began, love at first sight. 
 
 ' They have changed eyes, delicate Ariel; 
 I'll set thee free for this.' 
 
 Tempest. 
 
 "Surely love at first sight is emotion from beauty 
 antecedent to experience, or the slightest knowledge of 
 each other's virtues ; for the most celebrated lovers have 
 
190 THE CAMERA AND THE PENCIL. 
 
 been distinguislied for mutual beauty of face and figure, 
 and for instant infatuation. 
 
 '* Jefiirey denies any organization of brain for tbe im- 
 pressions of color, as for those of beauty ; and suspects 
 the enthusiasm of great artists for color to be what he 
 terms jargon. 
 
 " So the intense sensibility to the beauty of color in 
 nature, felt and expressed by Titian, or Rubens, or Paul 
 Veronese, or Tintoretto, or Correggio, or our own Rey- 
 nolds, was Jargon/ 
 
 " The beauty of emotion, independent of expression or 
 association, based on form, is the beauty with which the 
 great artist has to do, and which the Greeks attained in 
 a more perfect degree than any other nation that ever 
 existed. 
 
 " Alison denies the existence of any innate beauty in 
 certain constructions and proportions of the human face 
 or figure, and holds that the beauty depends on the ex- 
 pressions they conrey. 
 
 "I maintain" (says Haydon) "that there is a decided 
 emotion of beauty excited by certain proportions and 
 constructions of the human figure, as well as in brute 
 forms, or forms without life." 
 
 " Many countenances" (says Alison) " however beauti-- 
 ful, are not 2^ermanently so. Domestic harassings destroy 
 them." 
 
 "Never" (replies Haydon) — "a face constructively 
 beautiful in form no expression can destroy. Malignity, 
 revenge, anger, hypocrisy, anxiety may vary its expres- 
 sions, but never destroy its beauty ; for you will always 
 find them the bad passions of a beautiful countenance. 
 
 " Character, color, expression can never excite the 
 emotion of beauty, if form, the basis, be defective. 
 
 " Alison (speaking of Mrs. Siddons) says, ' Every ex- 
 
OPINIONS UPON BEAUTY. 191 
 
 pression, however various, was equally beautiful; and 
 had there been permanent beauty in any form, that could 
 not have been the case.' 
 
 "But had not the permanent construction of Mrs. Sid- 
 dons's face been beautiful as it was, none of her various 
 expressions could have been so ; for let expression vary 
 a face as it will, again remember they are but the varia- 
 tions of a form perfect in its original formation. 
 
 " Beauty consists in something more than the raven 
 locks, the oval, rosy cheeks, the lustrous eye with silken 
 lashes, and the strawberry lip of a lovely woman. Let 
 these be added to a well proportioned or perfectly shaped 
 face, like that of Yenus, and we have beauty in reality. 
 
 " We do not bestow the term beauty on the Hercules, 
 but on the Apollo, — not on the gladiator, but the 
 Bacchus, — not on the Juno or the Minerva, but the 
 Venus, — because the manly form is never termed beau- 
 tifal, save as it approaches, without losing its own special 
 characteristics, the tenderness and delicacy of woman's 
 form. In fact, the manly form has nothing essentially 
 beautiful, physically or by association, unless it ap- 
 proaches the form of woman. 
 
 "Form alone, independent of mind or intention as 
 expressed by the countenance, has the power to excite 
 this divine emotion of beauty. Else how could the 
 limbs alone of the Elgin marbles, without head or face, 
 have, made the hearts of the world vibrate at first sight ? 
 Yet proportion, fitness, relation, unity, and perfect con- 
 struction in any face, form, limb, or vase will not excite 
 the emotion of beauty, if the curves of that face, or form, 
 or limb, or vase extend to excess or approach to defi- 
 ciency. The elliptic is the regulating curve in the form 
 and features of a perfect woman. 
 
 " When Adam first saw Eve, what experience could he 
 
192 THE CAMERA AND THE PENCIL. 
 
 have had of the emotion of beauty from form ? None 
 And yet such an impression was made bj this creature 
 BO lovely fair, 
 
 'That what seemed fair in all the world, seemed now 
 Mean, or in her summed up ; in her contained; 
 And in her looks, which from that time infused 
 Sweetness into my heart, unfelt before; 
 And into all things from her air inspired 
 The spirit of love/ 
 
 ' On she came ; 
 Grace was in all her steps, Heaven in her eye, 
 In every gesture dignity and love.' 
 
 *' Afterwards Adam might analyze the emotion ; but we 
 affirm the object made the impression first, — continued 
 to make, and will continue to make the impression on all 
 future generations ; and the impression so made is the 
 emotion of beauty. 
 
 "Though convinced that the basis of beauty is the 
 form of woman, yet the emotion, as explained, may be 
 illustrated by two divisions : — 
 
 " 1st. Beauty purely intellectual, which is not excited 
 through the organ of sight at the instant, but by associa- 
 tion and memory of previous impressions. 
 
 " 2d. Beauty purely physical, where the impression is 
 made by form and color at once on the brain by the 
 nerve and through the eye, independent of all asso- 
 ciation. 
 
 " Finally, everything in the world which causes the 
 emotion of beauty, and can be positively defined by 
 form and color, we would call the beauty physical, which 
 by its construction first makes the impression on the 
 brain; and subsequently excites the association and 
 belongs to the art of design, — while all beauty which 
 excites the emotion by the association and relation pre- 
 
OFINIOXS UPON BEAUTY. 193 
 
 sented to the imagination, and is not at the moment 
 present to the sight, we would call the beauty intellectual. 
 
 "In both cases nothing is beautiful, physically or intel- 
 lectually, in thought or in form, but what has a feminine 
 tendency, and can be traced to the perfection in form 
 and sympathies of woman; while all emotions of subli- 
 mity are based on the attributes and associations of God. 
 
 " A great part of the beauty of the celebrated descrip- 
 tion of Eve, in Paradise Lost, consists in using only 
 general, indistinct expressions, every reader making out 
 the detail according to his own particular imagination ; 
 his own idea of beauty, grace, expression, dignity, or love- 
 liness. But a painter, when representing Eve on cauvas, 
 is obliged to give a determinate form, and his own idea 
 of beauty distinctly expressed." 
 
 Michelet remarks, " Titian preferred to paint beautiful 
 women at thirty. Rubens goes readily up to forty, and 
 even beyond. 
 
 " Van Dyck does not recognise age at all ; with him 
 art is free. He held a sovereign contempt for time. 
 
 " That powerful magician, Rembrandt, does more ; by a 
 gesture, a word, a look, a smile, he banishes all age. 
 The life, the goodness, and the intelligence suffice to 
 charm us. What was the model ? Beautiful and ador- 
 able ? I do not remember, — I have entirely forgotten. 
 
 " By the ignorant Medieval art youth and beauty were 
 held as synonymous. For the Mother of Christ it gives 
 us stiff, insipid little girls. 
 
 " The conception of beauty always involves a mental 
 impression or action. Exclude feeling and thought, and 
 no place will be found for beauty. An able writer says, 
 'It will be a convenient and natural arrangement of the 
 subject to consider beauty in relation, 1st, to sensation, — • 
 2d to thought or reflection, — 3d, to moral sentiments, — 
 13 
 
194 a'HE CAMERA AND THE PENCIL. 
 
 and 4th, to associated emotions. Conclude witli a few 
 remarks on the uses of beauty.' 
 
 "In its simplest essence beauty is best defined by the 
 Bible phrase, ' pleasant to the eye.' Visual pleasure is 
 the germinal form of beauty. ' Truly the light is sweet, 
 and a pleasant thing it is for the eyes to behold the sun.' 
 
 " But the word receives far more extensive and com- 
 plex applications. By the transitions of language it 
 often expresses that of which visual pleasure is no com- 
 ponent, or a very small one. An infant's delight in a 
 brilliant object, or some vivid color, illustrates the sim- 
 plest form of beauty. 
 
 "The mother, looking fondly at the infant's smiling 
 face, and hearing its crow of joy, has a more compact 
 feeling of the beautiful. 
 
 " A philosopher, watching the two, exclaims, ' What 
 heautiful illustrations of my theory !' — using the epithet 
 partly in its metaphorical sense, but also in expression 
 of a kind of beauty, viz., that of fitness. 
 
 The symv2etrical beauty of the human face and head is 
 mainly dependent on the bony structures. The beauty 
 of expression, or the beauty belonging to variety, results 
 from the action of the muscles in the play of the 
 features. 
 
 " The importance of the human figure, as a type of 
 beauty, has in all times been recognised. Yitruvius 
 says, ' No building can possess the attributes of composi- 
 tion, in which symmetry and proportion are disregarded ; 
 nor unless there exists that perfect conformation of parts 
 which may be observed in a well-formed human being. 
 So the members of architecture may be said to depend, 
 in a certain sense, on those of the human body.' The 
 chief characteristic of the typical female foi^m being pure 
 and simple beauty, while that of the typical male form 
 
OPINIONS UPON BEAUTY. 195 
 
 is beauty modified by massive strengtli, tlie basis on 
 wliicli each of the figures is constructed, might be pre- 
 sumed to have reference to the sensations it would 
 awaken, the one of loveliness, the other of strength ; yet 
 the relative proportions of the parts in each case ought 
 to develope the same aesthetic laws, though in different 
 modes. Such are the properties of fitness which charac- 
 terize the beauty of the Venus as compared with that of 
 the Hercules of the ancients, and render these statues the 
 perfect types of the sexes. 
 
 ''How are we to account for the fact, that if a face, 
 though defective in symmetry and contour, is expressive 
 of certain mental states of emotion, it is universally 
 preferred to one, which is faultlessly regular, but wanting 
 in expressiveness ? 
 
 "The answer is, that in a human being we require 
 more than a fine configuration of feature ; we desire 
 certain qualities of heart and mind, indicated in what 
 we term a pleasing as distinguished from a beautiful face. 
 In saying that this is the more heautiful, that the more 
 pleasing face, we imply that we prefer the beauty of emo- 
 tion, or mind, to that of sense, — yet still we unconsciously 
 refer to a standard of beauty involving the idea of 
 symmetry or harmonious color. The face which is 
 pleasing in expression is (we say) heautiful in expression. 
 We have pleasure in both ; though a greater pleasure in 
 the expressive one. But that which we characterize as 
 beautiful par excellence, is that which is of a certain 
 mould or color. The pleasure, however, which is derived 
 from mere physical beauty of face, can never compete 
 with that which is an indication of beauty of charactei." 
 
 Cousin remarks, "Is it not an incontestable fact, that 
 before certain objects, under very different circumstances, 
 we pronounce the following judgment? — This object is 
 
196 THE CAMEEA AND THE PENCIL. 
 
 beautiful. This affirmation is not always explicit. 
 Sometimes it manifests itself only by a cry of admira- 
 tion ; sometimes it silently rises in tbe mind that scarcely 
 has a consciousness of it. The forms of this phenome- 
 non vary, but the phenomenon itself is attested by the 
 most common and most certain observation, and all 
 languages bear witness to it. 
 
 "But; although sensible objects, with most men, 
 oftenest provoke the judgment of the beautiful, they do 
 not alone possess this advantage ; the domain of beauty 
 is more extensive than the domain of the physical world 
 exposed to our view ; it has no bounds but those of entire 
 nature and of the soul and genius of man . 
 
 "Among sensible objects, colors, sounds, figures, move- 
 ments, are capable of producing the idea and the senti- 
 ment of the beautiful. All these beauties are arranged 
 under that species of beauty which (right or wrong) is 
 called physical beauty. 
 
 "If from the world of sense we elevate ourselves to 
 that of mind, truth, and science, we shall there find 
 beauties more severe, but not less real. The universal 
 laws that govern bodies ; those that govern intelligences ; 
 the great principles that contain and produce long 
 deductions ; the genius that creates, in the artist, poet, or 
 philosopher, — all these are beautiful, as well as nature 
 herself; this is what is called intellectual beauty. 
 
 "Finally, if we consider the moral world and its 
 laws, — the idea of liberty, virtue, and devotedness ; here 
 the austere justice of an Aristides, there the heroism of 
 a Leonidas, the prodigies of charity or patriotism, we 
 shall certainly find a third order of beauty that still sur- 
 passes the other two, — to wit, moral beauty. 
 
 " Physical beauty, however, is the sign of an internal 
 beauty, which is spiritual and moral beauty ; — and this 
 
OPINIONS UPON BEAUTY. 197 
 
 is the foundation, the principle, the unity of the beau- 
 tiful. 
 
 " As often as you give birth within me to the idea of 
 the beautiful, you give me an internal and exquisite joy, 
 always followed by a sentiment of love for the object that 
 caused it. The more beautiful ^an object is, the more 
 lively is the joy it gives the soul, and the more profound 
 is the love, without being passionate. 
 
 " The beauty of woman has settled and unsettled the 
 affairs of empires and the fate of republics, when diplo- 
 macy and the sword have proved futile. 
 
 " Certainly" (observes Lucian) '' more women have 
 obtained honor for their beauty, than for all other virtues 
 besides." 
 
 " And Tasso has said, that ' beauty and grace are the 
 power and arms of a woman ;' while Ariosto declares, 
 that ' after every other gift of arms had been exhausted 
 on man, there remained for woman only beauty, the 
 most victorious of the whole.' There is a great and 
 terrible testimony to the power of female beauty in the 
 history which Homer gives us of Helen." 
 
 Says the poet, 
 
 "Fair tresses man's imperial race ensnare, 
 And Beauty draws us by a single hair." 
 
 "But where are we to detect this especial source of 
 power in beauty ? Often, forsooth, in a dimple, — some- 
 times beneath the shade of an eyelid, — or perhaps 
 among the tresses of a little fantastic curl ! 
 
 " How often have we wept with affection over a lock 
 of hair, or some such dear memento of a departed 
 friend ! 
 
 " With what loving devotion the heart cleaves to the 
 
198 THE CAMERA AND THE PENCIL. 
 
 sliglitest thing, that brings back to us a name hallowed 
 in our affections !" 
 
 Fuseli says, " A genuine perception of beauty is the 
 highest degree of education, the ultimate polish of man, 
 the master-key of the mind ; it makes us better than we 
 were before. Elevated or charmed by the contemplation 
 of superior works of art, our mind passes from the 
 images themselves to their authors ; and from them to 
 the race which reared the powers that furnish us with 
 models for imitation or multiply our pleasures." 
 
 Thus far we have transcribed the utterances of sundry 
 eminent men upon various classes of beauty, which may 
 be brought under the single head of real heauty. It 
 remains, that we cite a few passages upon what goes by 
 the title of 
 
 IDEAL BEAUTY. 
 
 And here let Cousin first speak. " All the beauties 
 , hitherto enumerated, compose what is called the really 
 beautiful. But above real beauty is a beauty of another 
 order — ideal beauty. The ideal resides neither in an 
 individual, nor in a collection of individuals. Nature or 
 experience furnishes us the occasion of conceiving it, but 
 it is essentially distinct. Let it once be conceived, and 
 then all natural figures, though never so beautiful, are 
 only images of a superior beauty, which they do not 
 realize. For the Ideal constantly recedes, as we approach 
 it. Its last termination is in the Infinite, that is to say, 
 in God, — or, to speak more correctly, the true and 
 absolute Ideal is nothing else than God Himself." 
 
 Plato's remarks upon this species of beauty may wear 
 somewhat of a mystical aspect, but will, I think, reward 
 the reader's careful consideration. They are as follows : 
 
 " Eternal beauty, unbegotten and imperishable ; ex- 
 
OPINIONS UPON BEAUTY. 199 
 
 empt from decay as well as increase ; which is not beau- 
 tiful in such a part and ugly in such another; not 
 beautiful only at such a time, in such a place, in such a 
 relation ; not beautiful for some and ugly for others ; 
 beauty that has no sensible form, no visage, no hands, 
 nothing corporeal ; which is not such a thought, or such 
 a particular science ; which resides not in any being dif- 
 ferent from itself, as an animal, the earth, or the heavens, 
 or any other thing; which is absolutely identical and 
 invariable by itself; in which all other beauties partici- 
 pate, though in such a way that their birth or their 
 destruction neither diminishes nor increases, nor at all 
 changes it. 
 
 " In order to arrive at this perfect beauty it is neces- 
 sary to commence with the beauties of this lower world ; 
 and, the eyes being fixed upon the supreme beauty, to 
 elevate ourselves unceasingly towards it by passing (so 
 to speak) through all the degrees of the scale, from a 
 single beautiful body to two, from two to all others; 
 from beautiful bodies to beautiful sentiments ; from beau- 
 tiful sentiments to beautiful thoughts ; until from thought 
 to thought we arrive at the highest thought, which has 
 no other object than the beautiful itself, until we end by 
 knowing it as it is in itself. 0, that which can give 
 value to this life is the spectacle of the eternal beauty. 
 What would be the destiny of a mortal to whom it 
 should be granted to contemplate the beautiful without 
 alloy in its purity and simplicity ; no longer clothed with 
 the flesh and hues of humanity, and with all those vain 
 charms that are doomed to perish ; to whom it should be 
 given to see face to face, under its sole form, the Divine 
 Beauty V 
 
 To this passage from Plato's ''Banquet" I subjoin the 
 followinoj from his Timseus : — 
 
200 THE CAMERA AND THE PENCIL. 
 
 " The artist who, with eye fixed upon the Immutable 
 Being, and using such a model, reproduces its idea and 
 its excellence, cannot fail to produce a whole whose 
 beauty is complete ; while he, who fixes his eye upon 
 what is transitory, will, with this perishable model, make 
 nothing beautiful." 
 
 Cicero, in his De Oratore, referring to the same sub- 
 ject, says, " Phidias, that great artist, when he made the 
 form of Jupiter or Minerva, did not contemplate a model, 
 whose resemblance he would express ; but in the depth 
 of his soul resided a perfect type of beauty upon which 
 he fixed his look, and which guided his hand and 
 his art." 
 
 Ruskin remarks, " An ideal form, in the common use 
 of the term, is one containing all or most of the fully 
 developed types or characters of its species. 
 
 "Strictly speaking, ideal works of art represent the 
 results of acts of imagination. 
 
 " A perfect ideal may be wrought out of every face 
 around us by the earnest study and penetration of the 
 written history thereon, and the banishing of the blots 
 and stains, wherein we still see, in all that is human, the 
 visible and instant operation of unconquered sin." 
 
 "Every natural object," (says Cousin) "however beau- 
 tiful, is defective on some side. Everything that is real 
 is imperfect. Here the horrible and the hideous are 
 united to the sublime, — there elegance and grace are 
 separated from grandeur and force. The trai s of beauty 
 are scattered and diverse. To re-unite them arbitrarily ; 
 to borrow from such a face a mouth, eyes from such 
 another, without any rule that shall govern this choice 
 and direct these borrowings, is to compose monsters ; to 
 admit a rule is already to admit an ideal different from 
 all individuals. It is this ideal that the true artist forms 
 
OPINIONS UPON BEAUTY. 201 
 
 to himself in studying nature. Without nature he would 
 never have conceived this ideal, — but with this ideal he 
 judges nature herself; rectifies her; and dares undertake 
 to measure himself with her. 
 
 "It is difl&cult to sketch an infallible standard of a 
 beautiful woman. Canova was obliged to have sixty 
 different women sit for his Venus; and how shall we 
 dare point to any one woman, and say that she is per- 
 fectly beautiful ? 
 
 " When Zeuxis drew his famous picture of Helen, he 
 modelled his portrait from the separate charms of five 
 different virgins. 
 
 "The process, which Eaphael says he pursued in paint- 
 ing his Galatea was this, — ' I am destitute of beautiful 
 models, — I use a certain ideal, which I form for myself.' " 
 
 Says Proclus, "He who takes for his models such 
 forms merely as nature produces, will never attain per- 
 fection ; for the works of nature are full of dissonances 
 and disproportion, and fall very short of the true stand- 
 ard of beauty. On this account Demetrius was blamed 
 for being too natural, and Dionysius was ironically called 
 the man-painter., Lysippus, on the contrary, adhering 
 to the precept of Aristotle, given to painters and poets, 
 boasted that he made men, not as they were, but as they 
 ought to be ; and Phidias astonished all those who beheld 
 the forms he gave to his gods and heroes, not, according 
 to Cicero, by copying any object ever presented to his 
 sight, but by contemplating the more perfect idea of 
 beauty in his mind, to the imitation of which all his skill 
 and labor were directed. 
 
 "From this care to advance their art even beyond 
 nature itself in its individual productions, arises that 
 admiration, that almost adoration, which is paid by all 
 competent judges to those divine remains of antiquity 
 
202 THE CAMERA AND THE PENCIL. 
 
 which have come down to us. Hence Phidias, Lysippus 
 and other great sculptors are still held in veneration; 
 and Apelles, Zeuxis, and other excellent painters, though 
 their works have perished, are and for ever will be 
 admired," 
 
 COMMENTS ON THE FOREGOING. 
 
 I trust it may not seem presumptuous, if I present a 
 few remarks of my own upon the foregoing citations, 
 and the interesting subject to which they relate. 
 
 They indicate, it will be perceived, that somewhat dif- 
 ferent theories exist among artists and art-critics, as to 
 what beauty is, and how the impression of beauty is 
 stamped upon our minds. Some hold that in certain ob- 
 jects, of both the physical and the spiritual worlds, there 
 is a property which produces this impression directly and 
 antecedently to all analysis or association. That these 
 are right in their views, — at least in a great degree, — I 
 have no doubt. 
 
 Others maintain that beauty is altogether a matter of 
 association ; or that one object is beautiful and another 
 ugly solely in consequence of certain ideas or feelings 
 which have become connected with them, — as pleasure 
 or pain, or whatever else. That these persons are in 
 error, — partially, at all events, — I feel confident. Equal- 
 ly confident, however, do I feel that, in regard to what 
 are entitled intellectual and moral beauty, their views 
 are mainly if not entirely correct. For, from the very 
 nature of the case, the capacity of discerning and enjoy- 
 ing these two species of the beautiful implies somewhat 
 of cultivation and mental development ; and the una- 
 voidable result of cultivation is to environ our primary 
 ideas and feelings with a multiplicity of secondary or 
 associate ideas and feelings. 
 
OPINIONS UPON BEAUTY. 203 
 i 
 
 Still more determinately is the capability to penieive 
 and delight in ideal beauty the fruit of high culture, — 
 a culture, too, which has produced, to a more than ave- 
 rage degree, a harmonious development of the several 
 elements of our complex nature. 
 
 It has occurred to me, that by passing, in reverse order, 
 through the process whereby (according to Plato) the 
 perception of ideal beauty is attained ; that is, by descend- 
 ing from God into material nature, instead of ascending 
 from material nature to God, — we might reach a theory, 
 or at least a conception, of the beautiful, which would 
 conciliate present antagonisms and divergencies of 
 opinion on the subject, and exhibit the whole matter in 
 a simpler, compacter form, than is anywhere found in 
 the books. Let me, albeit with much dif&dence, try the 
 experiment. 
 
 What, then, is the ultimate source of beauty ? Unde- 
 niably for beauty, as for all things conceivable else, that 
 source is to be found in God. Beauty, therefore, is one 
 of the Divine manifestations. Thus contemplated, it 
 stands on the same footing with the Power manifested 
 in the primal creation and the continuous upholding 
 and regulation of the universe, — with the wisdom that 
 adapts infallible methods and means to the accomplish- 
 ment of the fittest ends, — with the benevolence, good- 
 ness, or love that has devised such multitudinous provi- 
 sions for the welfare and enjoyment of all living creatures, 
 — and with numerous other of the Divine attributes 
 which, without specifying, will at once occur to all. All 
 these alike exhibit, — and may we not reverently suppose 
 it to be one at least of their main pur2:)oses to exhibit to 
 ourselves, in such modes and degrees as our finite, im- 
 perfect natures can comprehend, — the character and will 
 
204 THE CAMEEA-AND THE PENCIL. 
 
 of the unseen, yet omnipresent, Author of universal 
 life? 
 
 Were it worth the while to go into minute analysis, 
 we might query whether beauty be not one of the modi- 
 fications or forms assumed by the Divine benevolence 
 or love, since its specific effect is to delight, elevate, 
 better its percipients, — and how could we more exactly 
 describe the intent of the Divine Benignity, than in 
 these self-same terms? 
 
 The whole boundless universe, material and spiritual, 
 — what is it but an aggregate of means whereby the 
 Deity is revealed to His creatures, — a mirror that reflects 
 with greater or less distinctness and completeness His 
 image? For the life that is in the material creation; in 
 the animal kingdom; and in human kind, is alike a 
 perpetual influx from Him, and traces of his character 
 are plainly discernible throughout each and all. In that 
 quality of physical things which gives us that delight- 
 ful impression which we call beauty, — what do we be- 
 hold but one aspect of His nature ? 
 
 Again, in those entities of the spiritual universe which 
 inspire the still more delightful and august sentiments, 
 which we name intellectual and moral beauty, — what do 
 we perceive other than the self-same aspect or element of 
 the Divine Nature disclosed more fully and by modes 
 differing from the former ? 
 
 And, finally, what is ideal beauty, but the same 
 characteristic of the Universal Father, shown us through 
 a specifiG operation of those human minds which He spake 
 into being, fashioned to be what they are, and continually 
 inspires to ''go up higher and still higher?" 
 
 It is not presumed that in this view there is anything 
 wholly new, — far less, anything at all brilliant. To 
 myself, however, it seems to have at least the single 
 
OPINIONS UPON BEAUTY. 205 
 
 advantage of placing the whole matter in an easily com- 
 prehensible shape. I cannot but look upon the majority 
 of the discussions we meet with about the origin and 
 nature of the Beautiful, as fruitless and even idle. For 
 if it be, as I think it is, a fact that all or nearly all per- 
 sons of well-tempered native faculties, whether educated 
 or uneducated, agree in calling a rose, or pine tree, or a 
 certain type of animal form, or of human face, beautiful, 
 — and thus agree because these objects make substan- 
 tially the same impression upon them all, — what practical 
 difference does it make whether that impression is derived 
 from the objects directly and "at first hand," or whether it 
 comes from certain collateral ideas, unconsciously associ- 
 ated with the objects in the minds of the beholders ? In 
 either case, the great fact remains undeniable, that the 
 cause of the impression, whatever it be, is from and in 
 the ultimate Cause of all existences, and that beauty is 
 one of His manifestations. 
 
 The question whether physical beauty be not the 
 envelope or reflection of a higher or spiritual beauty, 
 appears to me no question at all. For what are, what 
 can be, all physical entities, but embodiments and repre- 
 sentations of entities spiritual ? The former could no 
 more subsist without an ever indwelling, universally 
 perfused spiritual life, than the human body could subsist 
 without its in-living soul. 
 
 So, by certain causes, certain impressions are made 
 upon us, which we variously denominate intellectual, 
 moral, and ideal beauty. What matters it whether these 
 causes be simple or complex, — made up of 'prim.ary ele- 
 ments, or of primary combined with secondary or 
 associate elements ? It still remains a truth that these 
 causes, be they what they may, are from the Infinite of 
 causes, and are representations or manifestations of the 
 same. 
 
206 THE CAMEEA AND THE PENCIL. 
 
 To sum up, witli somewhat of reiteration. The total 
 universe, with its infinitely diverse existences, is, of 
 necessity, an aggregation of methods and means, whereby 
 the cha-acter and will of the Creator are expressed to us. 
 Beauty is the name we have agreed to af&x to 07ie of 
 these expressions ; and as the universe comprises the 
 three elements of physical, intellectual, and moral, this 
 expression must needs appear in all the three. 
 
 A thousand questions, indeed, may be, as they have 
 been, raised by perverted metaphysics upon this subject; 
 and argued without hope of solution. But for their con- 
 testants, as for all beside, the great verity stands un- 
 touched, that beauty is, — that it appears in each of the 
 several kingdoms composing the universe, — and that as 
 these kingdoms come from God, beauty must necessarily 
 be one among the multitudinous modes of Divine mani- 
 festation. 
 
 The question about the best means and appliances for 
 expressing beauty in art is a totally different one. How 
 to use lines, colors, lights and shades, &c., may properly 
 occupy the attention of artists and art-critics, for investi- 
 gation and reiterated experiment can alone solve the 
 problem. 
 
 But the question here considered is wholly as to the 
 origin and quality of beauity ; and this, I think, may best 
 be answered by going directly to the Author of existence, 
 and beholding, in all that is, an aggregate of expressions 
 of Himself. Power, wisdom, goodness, mercy, — these 
 attributes of Divinity may be clearly traced through the 
 moral, intellectual, and physical kingdoms. Not less 
 clearly through the same kingdoms may beauty be 
 traced. And for myself, at least, this account of 
 beauty, its origin and nature, abundantly sufi&ces. 
 
(JHAPTEK XXIY. 
 
 ART, WITH ITS INCIDENTS AND BELONGINGS. 
 
 Opinions of ancient and modern writers on the same — Sublimity tind Beauty, 
 for art-purposes, comprised by the latter term : Ruskin, Grace Darling, 
 Florence Nightingale, Cousin, Symonds^ — -Remarks on Genius : Reynolds, 
 Fuseli, Haydon — Imagination, Invention, Passion, Taste: Ruskin, Burke — 
 Drawing or Design : Fuseli, Barry — Grace : Allston — Repose : Ruskin, 
 Michelet — Composition : Ruskin, Haydon — Color: Opie, Fuseli — Symmetry : 
 Symonds — Light and Shadow : Quintilian, Reynolds, &c., Ovid — Expres- 
 sion : Reynolds, Du Piles, Lawrence, Curran, Stuart, Trumbull, Inman, 
 Bell, Aristides, Timanthes, Stothard, &c. — Portrait: Howard, Northcote, 
 Ac. — Sculpture : Agesander, Barry, Haydon, Allston, &o. 
 
 In attempting to bring the miscellaneous remarks of 
 various distinguished persons, collected in my leisure 
 moments, into such partial order, at least, as might make 
 them more useful to the reflective reader, it seemed to 
 me most logical to put the paragraphs on beauty at the 
 head of the series. For, rigorously speaking, beauty 
 furnishes alike the field in which, and the materials with 
 which, art works. To describe, then, what beauty is, 
 naturally precedes the description of what art is, and 
 what it does or aims to do. 
 
 And here let me offer a suggestion for which I cannot 
 cite chapter and verse, and therefore must merely ask 
 that it pass for what it may seem intrinsically worth. It 
 is this, that the terms sublime and beautiful, though, in 
 popular use, they may denote different things, should, 
 in the highest generalization, and in the view of high 
 art, be held to denote only different branches or degrees 
 
 (207) 
 
208 THE CAMEEA AND THE PENCIL. 
 
 of the one great total of beauty. For, as a general rule, 
 the perception of beauty gives pleasure or delight of 
 some species. So, also and equally, does the perception 
 of sublimity. Therefore it is, that men enjoy whatever 
 embraces either of these elements. Bat the pleasure 
 derived from the sublime differs from that caused by the 
 beautiful, certainly in degree, and, perhaps, in kind. It 
 is commonly more absorbing and overmastering, tinged 
 with awe, and not seldom with terror. Still, both are 
 alike characterized as being sources of enjoyment, and 
 therefore both are subjects of art. 
 
 Note, too, how in poetic, and even in ordinary speech, 
 the epithets denoting the one are, interchangeably, often 
 applied to the other. Thus, we speak of the "awful 
 heaut'i/^ of a thunder-storm or a tempest-vexed ocean, — 
 two scenes familiarly cited as examples of the sublime. 
 Again, 
 
 "And if the freshening sea 
 Made them a terror, 'twas a pleasing fear ; 
 For I was, as it were, a child of thee, 
 And sported with thy billows, far and near;" 
 
 says Byron, in his celebrated Address to the Ocean. 
 
 "Pleasing fear'' is a phrase combining the two several 
 emotions produced by beauty and sublimity, as these 
 terms are popularly understood. They fully substantiate 
 my suggestion above made. 
 
 A passage just lighted upon in Euskin, goes far to 
 confirm my view. "Sublimity is not a specific term,^ — 
 not a term descriptive of the effect of a particular class 
 of ideas. Anything which elevates the mind is sublime, 
 and elevation of mind is produced by the contempla- 
 tion of greatness of any kind ; but chiefly, of course, by 
 the greatness of the noblest things. Sublimity is, there- 
 fore, only another word for the effect of greatness upon 
 
AET, WITH ITS I]S'CIDENTS AND BELONGINGS. 209 
 
 the feelings. Greatness of matter, space, power, virtue, 
 or beauty, are thus all sublime; and there is, perhaps, 
 no desirable quality of a work of art, which, in its per- 
 fection, is not, in some way or degree, sublime." 
 
 Sublimity, then, according to this ablest of present art- 
 critics, is beauty in a high, or the highest, degree. The 
 devotion of Leonidas and his three hundred, at Thermo- 
 pylge, was heroic, i. e. great, noble in the highest 
 degree, and, therefore, sublime. But can any one deny 
 that the devotion of those heroes was not also beautiful ? 
 Beautiful? Why, it was beauty in its very essence; a 
 consecration to principle, to what was believed right, 
 which, at the distance of 8000 years, inspires a pleasure 
 glistening through tears, that, instead of enervating, 
 kindles an emulative desire to follow, under such condi- 
 tions as are furnished, so glorious a leading ! 
 
 Grace Darling, — Florence Nightingale, — their deeds, 
 under the circumstances, were sublime — but were they 
 not beautiful ? Yes, they were sublimely beautful — ^. e, 
 beautiful in an exalted degree. 
 
 I might illustrate by examples numberless ; but these 
 (I think) will suffice to show that, for purposes of art at 
 least, what are commonly termed the sublime and the 
 beautiful, both fall under the single designation of beauty, 
 — and that, therefore, we may philosophically say that 
 beauty is the domain of art. 
 
 Cousin remarks, '' The sole object of art is the beautiful. 
 Art abandons itself as soon as it shuns this. 
 
 " The arts are called the fine arts, because their sole 
 object is to produce the disinterested emotion of beauty, 
 without regard to the utility either of the spectator or 
 the artist. 
 
 " The problem of art is to reach the soul through the 
 body. Art offers to the senses, forms, colors, sounds, 
 14 
 
210 THE CAMERA AND THE PENCIL, 
 
 words, so arranged, that they excite in tlie soul concealed 
 behind the senses, the inexpressible emotion of beauty. 
 
 " Art is the free reproduction of the beautiful ; not of a 
 single natural beauty, but of ideal beauty, as the human 
 imagination conceives it by the aid of data, which nature 
 furnishes it. The ideal beauty envelops the infinite ; — 
 the end of art, then, is to produce works that, like those 
 of nature, or even in a still higher degree, may have the 
 charm of the Infinite. 
 
 "Every work of art, whatever may be its form, small 
 or great, figured, sung, or uttered, — every work of art,' 
 truly beautiful or sublime, throws the soul into a gentle 
 or severe revery, that elevates it towards the Infinite." 
 
 Symonds says, "Art is inclusive of nature. It is 
 nature, and something more. Nature is substance exist- 
 ing in certain forms and modes and conditions of being, 
 full of forces, which are latent or actively at work, — and 
 man is in the midst of them. If he is content with nature 
 as he finds it, he is a dwarfed, undeveloped being. But 
 it is not so ; for it is obvious, that there ever arises in his 
 mind a dissatisfaction with the world about him. He 
 has capacities of enjoyment, which this rude, uninformed 
 nature will not satisfy ; his thoughts grow, and nature is 
 compelled to grow in co-ordination with his thoughts. 
 Hence arises art," 
 
 Cousin says, "Let us be thoroughly penetrated by the 
 thought, that art is to itself a kind of religion. God mani- 
 fests Himself to us by the idea of the True, by the idea 
 of the Good, by the idea of the Beautiful. Each one of 
 these leads to God, because it comes from him. True 
 beauty is ideal beauty, and ideal beauty is a reflection 
 of the Infinite, So, independently of all official alliance 
 with religion and morals, art is by itself essentially 
 religious and moral ; for, far from wanting its own law. 
 
ART, WITH ITS INCIDENTS AND BELONGINGS. 211 
 
 its own genius, it everywhere expresses in its works 
 eternal beauty." 
 
 (I may here remark, that most of the passages in this 
 collection, though applicable, to a certain extent, to the 
 whole five of what are usually reckoned the fine arts, 
 viz. painting, sculpture, architecture, poetry, and music, 
 yet have a more particular reference to the first two of 
 these.) 
 
 Cousin says, "The arts have a common end, and 
 entirely difi'erent means. Hence there are general rules 
 common to all, and particular rules to each." 
 
 The foregoing paragraphs must suffice for the present 
 as brief, specific definitions or descriptions by standard 
 writers of the nature, origin, and objects of art. These 
 points will be found more fully dealt with further on in 
 the accounts of and remarks upon various artists which 
 are there cited. 
 
 It remains here to cite sundry passages upon what I 
 have entitled the incidents or belongings of art, — in other 
 phrase, the powers, means, and appliances employed 
 therein. And 
 
 1. GENIUS. 
 
 Reynolds (Sir Joshua) remarks, " Genius is sup- 
 posed to be the power of producing excellencies which 
 are beyond the reach of the rules of art, — a power 
 which no precepts can teach and no industry acquire. 
 When the arts were in their infancy, the power of merely 
 drawing the likeness of any object was considered one 
 of its greatest efforts. The common people, ignorant of 
 the principles of art, employ a similar language to 
 this day. 
 
 "When, however, it is found that most men may be 
 taught to do this, it should be remembered that it is the 
 man of genius only who excels in invention, expression, 
 
212 THE CAMEEA AND THE PENCIL. 
 
 dignity, and grace, — in sliort, those qualities or excel- 
 lencies, tlie power of producing whicli cannot be taaght 
 by any promulgated or known rules. 
 
 " Wbat is now entitled genius begins not wbere rules, 
 abstractly considered, end, but where the trite and 
 vulgar rules heretofore in vogue have no longer any 
 place. 
 
 " When an artist is sure that he is upon firm ground, 
 supported by the authority and practice of his predeces- 
 sors, of the greatest reputation, he may then assume the 
 boldness and intrepidity of genius." 
 
 Says Beechey, " The painter of genius first masters 
 the subject he is to represent by reading or other means, 
 and then works his imagination up into a species of 
 enthusiasm, till in a degree he perceives the whole event 
 before his eyes ; when, as with the quickness of light- 
 ning, he puts his rough sketch on paper or canvas. By 
 consequence his work has the air of genias stamped upon 
 it ; while the contrary method of proceeding will ine- 
 vitably result in tameness, and produce pictures wearing 
 the semblance of mere copies. 
 
 "Genius is mainly exerted upon historical subjects, 
 and the art of the portrait-painter is often lost in the 
 obscurity of his subject." 
 
 Says Eeynolds, "A readiness in taking such hints as 
 escape the dull and ignorant makes, in my opinion, no 
 inconsiderable part of that mental faculty which is called 
 genius." 
 
 Fuseli says, "It is the lot of genius to be opposed, and 
 to be invigorated by opposition. All extremes touch 
 each other ; frigid praise and frigid censure wait on 
 easily attainable or common powers ; but the successful 
 adventurer in the realms of discovery, in spite of the 
 shrugs, checks, and sneers of the timid, the malign, and 
 
ART, WITH ITS INCIDENTS AND BELONGINGS. 213 
 
 the envioas, leaps on an unknown or long-lost shore, 
 ennobles it with his name, and grasps immortality. 
 
 " Genius is the pupil of nature ; perceives, is dazzled, 
 and imperfectly transmits one of her features ; thus saw 
 Michael Angel o, Raflaellq, Titian, Correggio. We find 
 Michael Angelo more sublime, but we sympathize more 
 with Eaffaelle. When Eeynolds said that M. Angelo 
 had more imagination, and Eaffaelle more fancy, he 
 meant to say that the one had more sublimity, more ele- 
 mentary fire ; the other was richer in social imagery, in 
 genial conceits, and artificial variety. Simplicity is the 
 stamen of M. Angelo ; varied propriety that of Eaffaelle." 
 
 Says Henry Howard, " The principles of the fine arts 
 exist originally in the deep recesses of our nature, wait- 
 ing for genius to discover and apply them." 
 
 Haydon remarks, " The theory of Eeynolds was that 
 of the Johnsonian period, though Burke was a living 
 thunderbolt of refutation. Johnson said, 'Grenius was 
 nothing but a mind of large general powers, accidentally 
 determined to some particular object,' — and Madame de 
 Stael, in Corinne, said that ' genius was only the ordi- 
 nary faculties of us all carried to a greater pitch of 
 refinement than most men possess them; — but neither 
 theory goes far enough ; genius is a natural and not an 
 acquired power which accident develops but cannot 
 create." 
 
 Says Cousin, " Genius alone has the power to convert 
 conceptions into creations. Genius creates, — it does not 
 imitate. But genius, it may be said, is then superior to 
 nature, since it does not imitate it, and nature is the 
 work of God. No — genius is not the rival of God, but 
 it is the interpreter of Him. Doubtless in one sense art 
 is an imitation, for absolute, creation belongs to God alone. 
 
 " Art being the free reproduction of beauty, the power 
 
214 THE CAMERA AND THE PENCIL. 
 
 in US capable of reproducing it is called genius. Grenius 
 is essentially tlie power of doing, of inventing, of 
 creating." 
 
 Says Fuseli, '' By genius I mean that power, wMch 
 enlarges the circle of human knowledge ; which discovers 
 new materials of nature, or combines the known with 
 novelty ; while talent arranges, cultivates, polishes the 
 discoveries of genius." 
 
 Says Cousin, " Genius is nothing else than taste in 
 action ; that is to say, the three powers of taste carried 
 to their culmination, and armed with a new and myste- 
 rious power, — the power of execution. 
 
 '' The habit of contemplating and brooding over the 
 ideas of great geniuses, till you find yourself warmed by 
 the contact, is the true method of forming an artist-like 
 mind. It is impossible, in the presence of those great 
 men, to think or invent in a mean manner. A state of 
 mind is acquired, that accepts those ideas only, which 
 relish of grandeur and simplicity." 
 
 We will next present a few paragraphs upon another 
 of the intellectual faculties employed in art, viz. 
 
 2, IMAGINATION. 
 
 Euskin remarks, " The imagination has three totally 
 distinct functions : — 
 
 " 1st. It combines, and by combination creates new 
 forms. 
 
 " 2d. It treats or regards both the simple images and 
 its own combinations in peculiar ways. 
 
 " 3d. It penetrates, analyzes, and reaches truths dis- 
 coverable by no other faculty. 
 
 " "Whatever portions of a picture are taken honestly 
 and without alteration from nature have, so far as they 
 go, the look of imagination, because all that nature does 
 
AET, WITH ITS INCIDENTS AND BELONGINGS. 215 
 
 is imaginative, — i. e., perfect as a whole, and made up of 
 imperfect features. 
 
 "Claude was almost wholly unimaginative, and de- 
 pended on a painful but untaught study of nature. He 
 had much feeling for abstract beauty of form, though 
 none for harmony of expression. 
 
 "Gaspar Poussin had the same want of imagination, 
 disguised by more masculine qualities of mind and 
 grander Teachings after sympathy. 
 
 "In Salvator Rosa the imagination is vigorous, and 
 the composition dexterous and clever, — all, however, 
 rendered valueless by coarseness of feeling and habitual 
 non-reference to nature. 
 
 " Nicolo Poussin is always imaginative in landscape ; 
 but Tintoret and Titian are unapproachable in this 
 power. 
 
 "A sure test of an imaginative work is, that it always 
 looks as if it had been gathered straight from nature. 
 
 "Imagination never deigns to touch anything but 
 truth ; and of this we may be assured, that where there 
 is an appearance of falsehood, the imagination has had 
 no hand. 
 
 "The virtue of the imagination is its reaching, by 
 intuition and intensity of gaze, a more essential truth 
 than is seen at the surface of things. 
 
 " The first and noblest use of imagination is to enable 
 us to bring sensibly to our sight the things which are 
 recorded as belonging to our future state, or as invisibly 
 surrounding us in this. 
 
 "Its second and ordinary use is to empower us to 
 traverse the scenes of all other history, and force the 
 facts to become again visible, so as to make upon us the 
 same impression which they would have made if we had 
 witnessed them ; and in the minor necessities of life, to 
 
216 THE CAMERA AND THE PENCIL. 
 
 enable us, out of any present good, to gather the utmost 
 measure of enjoyment, by investing it with happy 
 associations, and in any present evil, to lighten it by 
 summoning back the images of other hours ; and also to 
 give to all mental truths some visible type in allegory, 
 simile, or personification which shall more deeply enforce 
 them ; and, finally, when the mind is utterly outwearied, 
 to refresh it with such innocent play as shall be most 
 in harmony with the suggestive voices of natural things, 
 permitting it to possess living companionship instead of 
 silent beauty, and create for itself fairies in the grass and 
 naiads in the wave." 
 
 Says Reynolds, "Those who depend on a native vigor 
 of imagination, generally burst forth at once in fulness 
 of beauty. Of this Homer, probably, and Shakspeare 
 more assuredly, are signal examples. M. Angelo pos- 
 sessed the poetic part of our art in a most eminent 
 degree. We will not say that M. Angelo was eminently 
 poetic only because he was greatly mechanical ; but we 
 are sure that mechanic excellence invigorated and 
 emboldened his mind to carry painting into the regions 
 of poetry, and to emulate that art in its most adven- 
 turous flights. M. Angelo possessed both qualifications 
 equally." 
 
 Says Ruskin, "The play and power of imagination 
 depend altogether on our being able to forget ourselves, 
 and enter, like possessing spirits, into the bodies of 
 things about us. 
 
 " The most imaginative men always study the hardest, 
 and are the most thirsty for new knowledge." 
 
 Says Haydon, "If you have genius, the whole will 
 flash upon that 'inward eye which is the bliss of soli- 
 tude,' with the object you have in view in selecting it; 
 the principal figure to express it; the line it makes; 
 
ART, WITH ITS INCIDENTS AND BELONGINGS. 217 
 
 the color to convey the story delightfully ; and the light 
 and shadow to develop the masses clearly." 
 
 Says Euskin, ''The imagination sees the heart and 
 inner nature, and makes them felt ; but is often obscure, 
 mysterious, and interrupted in its giving of outer detail." 
 
 3. INVENTION. 
 
 Under this head we shall give but a few brief cita- 
 tions, and these contain little more than definitions of 
 the term. Our space will allow no more. 
 
 Fuseli says, "To invent is to Jind; to find something 
 presupposes its existence somewhere, implicitly or ex- 
 plicitly, scattered or in a mass. 
 
 " The element and realm of invention are form, in its 
 widest meaning, — the visible imiverse enveloping our 
 senses, — and the invisible one that agitates our minds 
 with visions begotten by fancy on sense." 
 
 Euskin says, " One characteristic of great art is, that 
 it must be inventive, — that is, produced by the imagina- 
 tion. It must not only present grounds for noble emo- 
 tion, but furnish these grounds by imaginative power. ^^ 
 
 Eeynolds says, " Invention is one of the great tokens 
 of genius; but, if we consult experience, we shall find 
 that we learn to invent by being conversant with the 
 inventions of others, as, by reading the thoughts of 
 others, we learn to think." 
 
 Says Haydon, " If an expression must be seen before 
 it can be done, there is an end of invention. There is 
 an end, too, of all the petty and thoughtless presumption 
 of portrait-painters' placing their art for a moment on a 
 level with high art. 
 
 " The greatest art in practice is the art of using nature 
 for poetical invention. This is intuitive, and cannot be 
 oomnmnicated by words or deduction. It is visible in 
 
218 THE CAMERA AND THE PENCIL. 
 
 the very first productions of a youth. It must not be 
 too individual. It must be like nature, and not too much 
 like nature. It must be nature restored to ber essential 
 properties, and nothing more or less." 
 
 Says Opie, " The study of excellent works of every 
 class is a certain way, to improve if not to create an 
 inventive faculty ; and I have no doubt that a person 
 comparatively poor in natural gifts, who steadily pursues 
 . his purpose ; examines engravings and paintings ; reads 
 works on art ; and uses all the means open to him ; 
 would soon eclipse the strongest in native ability, who 
 neglects the same and trusts to himself alone, — for 
 whether we will it or no, nine hundred and ninety-nine out 
 of a thousand of our thoughts are necessarily suggested 
 by the works of others." 
 
 4. PASSION. 
 
 Kuskin remarks, " The use and value of passion are 
 not as a subject of contemplation in itself, but as it breaks 
 up the fountains of the ' great deep' of the human mind, 
 or displays its mightiness and ribbed majesty ; as moun- 
 tains are best seen in their stability among the coil of 
 clouds. 
 
 "In a picture, all grief that convulses the features is 
 ignoble, because it is commonly shallow, and certainly 
 temporary, as in children ; though in the shock and 
 shiver of a strong man's features, under sudden and vio- 
 lent grief, there may be something of sublime." 
 
 5. TASTE. 
 
 Euskin says, "Perfect taste is the faculty of receiving 
 the greatest possible pleasure from those material sources 
 which are attractive to our moral nature in its purity and 
 perfection. He who receives little pleasure from these 
 
AET, WITH ITS INCIDENTS AND BELONGINGS, 219 
 
 sources wants taste ; lie who receives pleasure from any 
 other sources has false or bad taste." 
 
 Barrj remar.ks, "The term taste, as applied to objects 
 of vision, is a metaphor taken from our corporeal sense 
 of tasting; and thus used, means that quick-discerning 
 faculty or power of mind by which we accurately dis- 
 tinguish the good, bad, and indifferent; the beauty or 
 deformity either in nature or in the arts which imitate 
 nature. It is a necessary ingredient not only in the 
 design of the great artist, but also in the judgment of an 
 intelligent observer." 
 
 Burke says, " Taste is that faculty or faculties of the 
 mind which are affected by or form a judgment of the 
 works of imagination or the elegant arts." 
 
 Reynolds says, " The natural appetite of the human 
 mind is for truth. It is the same taste which relishes a 
 demonstration in geometry; which is pleased with the 
 resemblance of a picture to the original, and with the 
 harmony of music." 
 
 Upon this passage Haydon remarks, "It is not the 
 same taste which relishes a demonstration in geometry ; 
 the harmony of music ; or the beauty of a picture ; but 
 a very different taste. It may be the same love of truth, 
 but not the same taste ; because if taste be, as assuredly 
 it is, the power of selecting the beautiful from the ugly 
 in nature, poetry, painting, or music, the taste which 
 relishes a mathematical demonstration is not the faculty 
 of selecting the beautiful from the ugly, but thetrue from 
 the false, — a very different power producing a very dif- 
 ferent emotion, and referable at once to an organization 
 of the brain altogether different." 
 
 Cousin remarks, " Three faculties enter into that com- 
 plex faculty called taste, — imagination, sentiment, reason. 
 
220 THE CAMEKA AND THE PENCIL. 
 
 Taste feels, judges, discusses, analyzes, but does not 
 invent. Genius is before all, inventive and creative." 
 
 6. DRAWING OR DESIGN. 
 
 Opie remarks, " Of the several branches of painting, 
 separately considered, design or drawing is, undoubtedly, 
 the most important ; for on drawing not only form, but 
 action, expression, character, beauty, grace, and great- 
 ness chiefly depend. Color represents nothing, and 
 lights and shadows have no meaning till they are cir- 
 cumscribed by form. Drawing, therefore, is evidently 
 the foundation and first element of the art, without which 
 all the others, ideal or practical, are not merely useless, 
 but nonentities." 
 
 Fuseli says, " By the word design I mean not what the 
 word denotes in a general sense — the plan of a whole, but 
 what it means in its narrowest and most specific sense — 
 the drawing of the figures and component parts of the 
 subject. The arts of design have been so named from 
 their nearly exclusive power of representing /(?rw." 
 
 Barry says, " Titian's style of drawing is not remark- 
 able for any excellence. His forms, therefore, though 
 well enough rendered, are generally imperfect. He was 
 scientific and ideal only in his coloring. 
 
 "Correggio's taste in drawing was very ideal; but 
 as his ideas were not always well and solidly founded, 
 his truth of drawing is often incorrect and affected from 
 overmuch delicacy, grace, and sentiment. The Madonna 
 and Magdalen are both exceedingly beautiful ; are both 
 remarkable for delicacy and elegance ; and the beauty, 
 grace, and interesting sensibility of these and other 
 female figures of Correggio strongly show how short 
 Eaffaelle was of perfection in this class of figures. 
 
 " When we speak of the superior intelligence of design 
 
ART, WITH ITS INCIDENTS AND BELONGINGS. 221 
 
 in the antique statues, we mean a few only. The torso 
 of the Belvidere is, as to perfection, really unique. 
 There is nothing that can be put into the same class 
 with it. The Laocoon, the Apollo, the Venus, the Fight- 
 ing Grladiator, the Farnese Hercules, and a few others 
 come next, and can hardly be overrated." 
 
 Annibale Caracci says, "First make a good outline, 
 and then, whatever you do in the middle, it must be a 
 good picture. 
 
 " In all the various schools and academies that have 
 been instituted in every country where painting has 
 obtained a local habitation, what has invariably been 
 th#ir object? Has it not been design alone? If you 
 ask them what the first requisite in a painter is, will 
 .they not answer. Drawing ? What the second ? Draw- 
 ing? What the third? Drawing? They tell you, indeed, 
 to acquire coloring, chiaroscuro, composition, &c. ; but 
 they insist on your becoming draughtsmen. 
 
 "Both Eaft'aelle and M. Angelo, great as they were 
 in design, fell extremely short of the ancients, — the 
 former in elevation, refinement, and precision; the latter 
 in variety, delicacy, and discrimination. M. Angelo 
 undoubtedly stands highest, but Eaffaelle is probably 
 the safer and more eligible model for imitation. He, 
 therefore, who wishes to be a painter or a poet, must, 
 like Imlac, enlarge his sphere of attention, keep his fancy 
 ever on the wing, and overlook no kind of knowledge." 
 
 Says Fuseli, "Eembrandt was, I think, a genius of 
 the first order in whatever relates to form. In spite of 
 the most portentous deformity, and without considering 
 the spell of the chiaroscuro, such were his powers of 
 nature; such the grandeur, pathos, and simplicity of 
 his composition, from the most elevated or extensive 
 arrangement to the homeliest and meanest, that the best 
 
222 THE CAMEEA. AND THE PENCIL. 
 
 cultivated eye, the purest sensibility, and the most 
 refined taste dwell upon them equally enthralled. Shak- 
 speare alone excepted, no one combined with so much 
 transcendent, so many (in all other men) unpardonable 
 faults, and reconciled us to them. He possessed the full 
 empire of light and shade, and of all the tints floating 
 between them ; he tinged his pencil, with equal success, 
 in the cool of dawn, in the noontide ray, in the livid 
 flash, in evanescent twilight, and rendered darkness 
 visible." 
 
 Howard says, " Beauty, character, grace and grandeur, 
 expression, motion and energy, the noblest and most 
 intellectual qualities of the art, all depend on drawii^ ; 
 which deserves, therefore, to be the determined aim of 
 the student's systematic and persevering application. 
 He must strenuously labor to render his eye mathemati- 
 cally true, and his hand firm, prompt, and obedient, that 
 he may transcribe with facility and fidelity all the 
 appearances of his model. 
 
 "No painter proves the value of style^ by its absence, 
 more than Rubens. To express, in the outward form, 
 the internal workings of the mind of man, is the legiti- 
 mate and principal effort of the painter ; a knowledge 
 of the effects of each on the other should be his constant 
 and especial aim. 
 
 "Pamphilus recommended to his scholars the study 
 of arithmetic, and may thereby have meant to inculcate 
 the science of proportion. At any rate, the Greeks 
 must have been thoroughly aware of the importance of 
 the latter, as their works abundantly show. The relative 
 proportions of the human figure, as adopted by the 
 ancients, have been partly preserved by Yitruvius, and 
 seem to be founded on geometrical principles." 
 
 Says Haydon, "Poets are not endured if their gram- 
 
ART, WITH ITS INCIDENTS AND BELONGINGS. 223 
 
 mar is bad, or their language obscure, or their versifica- 
 tion defective ; and why should drawing, form, construc- 
 tion, color, light and shadow, and surface, the grammar 
 of our art, on the same principle, be excused more than 
 in the poet ? 
 
 "It is to the Greeks we owe, as we owe everything in 
 art, the geometrical principles of arranging figures, or 
 parts taken as lines in the way most agreeable to the 
 eye, and most effective in telling a story to the under- 
 standing, without confusion, distraction, or pain." 
 
 Beechey says, " The basis of all superior art is ability 
 in drawing the human figure, — in other words, the know- 
 ledge of its anatomy. The valuable days of Reynolds's 
 youth passed away without his attaining this most 
 essential result of youthful study. But when the power 
 of design was most essential to his object, he acquired it 
 in an admirable degree ; and no painter ever drew the 
 head with more taste and decision than he." 
 
 Haydon says, " Lawrence drew better than Reynolds ; 
 but Reynolds was never guilty of many ignorances of 
 composition and design, of which the former was guilty 
 every day. In invention there is no comparison. Rey- 
 nolds was a genius, and so a genius in color ; whereas, 
 Lawrence had no eye, and I remember but one head by 
 him of exquisite color, that compares with Reynolds's — 
 a head of Lord Bathurst. Gonsalvi, and perhaps the 
 emperor of Austria, may be added." 
 
 7. GRACE. 
 
 Fuseli says, " By grace I mean that artless balance of 
 motion and repose sprung from character, founded on 
 propriety, which neither falls short of the demands nor 
 overleaps the modesty of nature. Applied to execution 
 
224 THE CAMERA AND THE PENCIL. 
 
 it means tliat dexterous power whicli hides the meahs by 
 "which it was attained, the difficulties it has conquei'ed." 
 
 "Washington Allston remarks, "It is needless to saj 
 how I was affected by Eaffaelle, the greatest master of 
 the affections in our art. In beauty he has often been 
 surpassed, but in grace, the native grace of character; 
 in the expression of intellect ; and, above all, of sanctity, 
 he has no equal. What particularly struck me in his 
 works was the genuine life that seemed, without impair- 
 ing the distinctive character, to pervade them all ; for 
 even his humblest figures have a something either in 
 look, air, or gesture, akin to the venustas {grace) of his 
 own nature. This power of infusing one's own life, as it 
 were, into that which is feigned, appears to me to be the 
 prerogative of genius solely." 
 
 Ruskin says, •' On the gentleness and decision of just 
 feeling there follows a grace of action, and through con- 
 tin aance of this a grace of form which by no discipline 
 may be taught or attained." 
 
 8. EEPOSE. 
 
 Kuskin says, " There is probably no necessity more 
 imperatively felt by the artist ; no test more unfailing 
 of the greatness of artistical treatment, than that of the 
 appearance of repose; and yet there is no quality whose 
 semblance in mere matter is more difficult to define or 
 illustrate. 
 
 "As opposed to passion, changefulness, or laborious 
 exertion, repose is the especial .and separating character- 
 istic of the eternal mind and power ; it is the ' / am' of 
 the Creator opposed to the ' / hecome' of all creatures ; 
 it is the sign alike of the supreme knowledge which is 
 incapable of surprise, the supreme power which is inca- 
 
AET, WITH ITS INCIDENTS AND BELONGINGS. 225 
 
 pable of labor, the supreme volition which is incapable 
 of change. 
 
 " No work of art can be great without repose, and all 
 art is great in proportion to the appearance of it. It is 
 the most unfailing test of beauty, whether of matter or 
 of motion ; nothing can be ignoble that possesses it, 
 nothing right that has it not." 
 
 Michelet says, '•' It milst ever be borne in mind that, 
 however great may be the charm of variety, expression, 
 and change of movement, there is still a deep desire in 
 the eye and in the mind for repose. A face always 
 changing in expression would induce a feeling in the 
 spectator far less agreeable than even the monotony and 
 lifelessness of unbroken repose." 
 
 9. COMPOSITION. 
 
 Fuseli says, "Composition has physical and moral 
 elements, — the former are perspective and light with 
 shade, — the latter unity, propriety, and perspicuity," 
 
 Kuskin says, " The essential characters of composition, 
 properly so called, are these. The mind, which desires 
 the new feature, summons up before it those images 
 which it supposes to be of the kind wanted ; of these it 
 takes the one it supposes to be fittest and tries it ; if it 
 will not answer, it tries another, until it has obtained 
 such an association as pleases it." 
 
 Haydon says, " There are several modes of arranging 
 figures and parts,^ — that is, of composing; as, for in- 
 stance, 
 
 " 1st. The circle, or the ellipsis, as in Ananias. 
 
 " 2d. The pyramid with two wings, as in Ely mas. 
 
 " 3d. The large group with one figure, as in Christ. 
 
 "4th. The three distant groups, as in the 'Beautiful 
 Gate.' 
 15 
 
226 THE CAMEEA AND THE PENCIL. 
 
 "5th. The serpentine line, like that of Eubens, and 
 of many others, who may occur to artists, 
 
 " It is agreeable to have your lights diagonally at acute 
 or obtuse angles; but never at right angles, unless for a 
 specific purpose. Thus, beauty of form, truth of ex- 
 pression, harmony of color, shape of light and shadow, 
 distinction but not separation of groups, inclinations of 
 lines, whether of figure or drapery, make up the quanti- 
 ties of the various parts which define the whole of that 
 quantity called composition. 
 
 " The greatest poets, musicians, painters, and sculptors 
 have been the greatest composers. However brilliant their 
 imaginations ; however intense their capacities ; however 
 mellifluous their language or harmonious their color ; it 
 was the power of arranging their materials which ren- 
 dered their genius useful to their fellow-creatures. 
 
 " There is one great principle of composition, if not 
 the greatest, and this, I am quite sure, it will require 
 very little eloquence to enforce. Let your color be 
 exquisite ; let your light and shadow be perfect ; let your 
 expression be touching ; let your forms be heroic ; let 
 your lines be the very thing, and your subject be full 
 of action. 
 
 " You will miss the sympathy of the world ; you will 
 interest little the hearts of mankind ; if you do not lay it 
 down, as irrefutable law, that no composition can be 
 complete, or will even be interesting, or deserving of 
 praise, that has not a beautiful woman, except as a series. 
 
 "This was the secret of Eaffaelle's and Correggio's 
 magic over our hearts ; and, be assured, it is the truest, 
 the deepest, and the most delightful, and one in which I 
 defy refutation. For it appeals to otir convictions at 
 once, that a picture without a beautiful woman is, and 
 must be, in opposition to all the sympathies of mankind, 
 
ART, WITH ITS INCIDENTS AND BEL0XGIXG3. 227 
 
 — especially in an art, the object of whicli is to instruct 
 by beauty. 
 
 " Another cunning and touching secret of Raffaelle's 
 and Correggio's power over us was, that, in every face 
 of a beautiful woman painted by them, they gave a 
 tender air of sympathy and love ; so that, in most of 
 their women, if you clear away all the figures, hut those 
 of the women, you may, without the least alteration of 
 look, put a lover declaring his passion on his knee, and 
 you will find the expression in the woman's face do 
 exactly. 
 
 "Reynolds's portraits are all historical pictures in com- 
 position ; all his smaller parts support and carry off" his 
 larger qualities. He appears to have hit the exact 
 point, composed of neither too many parts, nor too few ; 
 and, as models of the degree of composition to be admitted 
 into portrait, are (in my opinion) finer examples, than 
 either the portraits of Titian, Rubens, Raffaelle, Sebas- 
 tion del Piombo, or Vandyke. 
 
 " The first object in composition is to please the eye. 
 Composition is the means of conveying the story to the 
 mind. All objects, however exquisite individually, 
 must be sacrificed to this. Raffaelle's great excellence 
 was in expression. 
 
 " In composition Lawrence was a child, and Reynolds 
 a great master. Reynolds, from his knowledge of per- 
 spective, always planted his men upon their feet, while 
 Lawrence's nobility stood upon their tiptoes, and will 
 do so while canvas lasts. Reynolds was the philosopher 
 of art, — Lawrence the gentleman, with a tendency to 
 dandyism." 
 
 Reynolds says, " When a young artist is first told that 
 his composition and his attitudes must be contrasted ; 
 that he must turn the head adversely to the position of 
 
228 THE CAMERA AND THE PENCIL. 
 
 the body, in order to produce grace and animation ; that 
 his outline must be undulating and swelling, to give 
 grandeur ; that the eye must be gratified with a variety 
 of colors, and with light and shadow; when he hears 
 this, along with such animating words as spirit, dignity, 
 energy, grace, greatness of style, and brilliancy of tints ; 
 — he is liable to push these directions too far. He should, 
 therefore, be on his guard, reflect, and be governed by 
 calm judgment and correct taste. 
 
 " The Apollo, the Venus, the Laocoon, the Gladiator, 
 have some recommendation beside simplicity. They 
 have a certain composition of action, — have contrasts 
 sufficient to give grace and energy in a high degree." 
 
 Burnet says, "An artist ought always to recollect that 
 he paints for the higher, not for the lower classes of 
 men ; and as his business is to convey pleasure, not pain, 
 a little intercourse with society will convince him that 
 men in all ranks have often enough to vex them, or to 
 produce a variance with their fellow-creatures, without 
 hanging up on their walls representations tending to in- 
 crease either the one or the other feeling. In the early 
 ages representations of vice were necessary, as strong 
 lessons of morality ; but as mankind grew more enlight- 
 ened, they were referred to hooks, not pictures, for im- 
 provement. 
 
 " Hervey, speaking of the stars, says, ' On a careless 
 inspection, you perceive no accuracy or uniformity in the 
 position of the heavenly bodies; they appear like an 
 illustrious chaos, a promiscuous heap of shining globes, 
 neither ranked in order nor moving by line ; but what 
 seems confusion \b all regularity ; what shows \\k.Q negli- 
 gence is really the result of the most masterly contriv- 
 ance. Ostade's pictures call this passage to my mind, so 
 
AET, WITH ITS INCIDENTS AND BELONGINGS. 229 
 
 iaccurately does it describe the principles on whicli he 
 constructs his work." 
 
 10. COLOR. 
 
 Opie says, " Color, the peculiar object of the most 
 delightful of our senses, is (in the poet's language) the 
 dje of love, a hint of something celestial. The ruby, 
 the rose, the diamond, the youthful blush, the orient 
 morning, and the variegated splendor of the setting sun, 
 consist of, or owe their charms principally to, color. To 
 the sight it is the index of gaiety, richness, warmth, and 
 animation ; and should the experienced artist, by design 
 alone, attempt to represent the tender freshness of spring, 
 the fervid vivacity of summer, or the mellow abundance 
 of autumn, what must be his success ? Coloring is the 
 sunshine of the art, which clothes poverty with smiles^ 
 and renders the prospect of barrenness itself agreeable, 
 while it brightens the interest and doubles the charms 
 of beauty. 
 
 "It will, therefore, be useful to the artist to study the 
 associations of color with our ideas of character. White, 
 the symbol of innocence, and the tender tints of spring, 
 analogous to the opening of human life, become the 
 proper decoration and accompaniment of childhood and 
 youth; greater strength and vivacity of color suit riper 
 age. And thus advancing through every gradation and 
 depth, till we come to black, ' staid wisdom's hue,' every 
 actor that enters on his scene ; the young, the old, the 
 male, the female, the slave, the hero, the magistrate, the 
 prince, the philosopher ; in short, all stages of humanity, 
 from the infant 'mewling in the nurse's arms,' to the 
 decrepitude of second childhood, will derive from the 
 freshness, brilliancy, harmony, force, gravity, or sombre- 
 ness of his tints its characteristic color and shade of 
 
230 THE CAMERA AND THE PENCIL. 
 
 difference, bofh in regard to complexion and dress, the 
 essence of the accident. 
 
 " Color not only pleases by its thousand delicate hues 
 and harmonious gradations, but serves in nature, and. 
 must be employed in art, to characterize and distinguish 
 the various qualities and textures of different bodies and 
 surfaces, as the tenderness and warmth of flesh, the hard- 
 ness of stone, the polish of metals, the richness of velvet, 
 and the transparency of glass, in all their varied positions 
 of light, shade, or reflected light, and of proximity to, 
 or distance from, the eye. Nor is its operation merely 
 physical and confined to body. Every passion and affec- 
 tion of the mind has its appropriate tint and coloring, 
 which, properly adapted, lends a powerful aid in the 
 just discrimination and forcible expression of them; it 
 heightens joy, warms love, inflames anger, deepens sad- 
 ness, and adds coldness to the cheek of death itself 
 
 "Like M. Angelo in design, Titian in coloring may 
 be regarded as the father of modern art. He first dis- 
 covered and unfolded all its charms ; saw the true end 
 of imitation ; showed what to aim at, when to labor, and 
 where to stop ; and united breadth and softness to the 
 proper degree of finishing. He first dared all its depths ; 
 contrasted all its oppositions; and taught color to glow 
 and palpitate with all the warmth and tenderness of real 
 :ife." 
 
 Beechey says, "A poetic imagination, expression, 
 character, or even correctness of drawing, are rarely 
 united with that power of coloring which would set off 
 these excellencies to the best advantage ; and in this, 
 perhaps, no school ever excelled the Dutch." 
 
 Eeynolds says, " The striking brilliancy of Eubens's 
 colors, and their lively opposition to each other ; the 
 flowing freedom of his outline ; and the animated pencil, 
 
ART, WITH ITS INCIDENTS AND BELONGINGS. 231 
 
 with which every object is touched, all contribute to 
 keep alive the attention of the spectator. Eubens was, 
 perhaps, the greatest master in the mechanical part of 
 the art, the best workman with his tools that ever 
 wielded a pencil. This portion of the art, though it does 
 not hold rank with the powers of invention, or of giving 
 character and expression, has in it nevertheless what 
 may be called genius." 
 
 Opie says, " The artist in colors should invoke the aid 
 of background, chiaroscuro, and picturesque effects, 
 while he aims at action, meaning, and elevated, life-like, 
 truthful expression." 
 
 Fuseli says, " To color, when its bland purity tinges 
 the face of innocence and sprouting life, or its magic 
 charm traces in imperceptible lines the forms of beauty ; 
 when its warm and ensanguined vigor stamps the vivid 
 principle that animates full-grown youth and the power- 
 ful frame of manhood ; or, in paler gradations, marks 
 animal life ; when its varieties give truth with character 
 to individual imitation ; or its more comprehensive tone 
 pervades the scenes of sublimity and expression, and 
 dictates the medium in which they ought to move, in 
 order to strike our eye in harmony ; — to color, the florid 
 attendant of form, the master of the passions, the herald 
 of energy and character, what eye, not tinged by disease 
 or deserted by nature, refuses homage ? The principles 
 of color, as varied, are also as immutable as those of 
 nature 
 
 " To no colorist before or after Titian did nature un- 
 veil herself with that dignified familiarity in which she 
 appeared to' him. Omitting here all notice of his other 
 transcendent excellencies, his color only, considered as 
 a whole or in subordination, is our object. Manifold 
 as the subdivisions of character are, — angelic, devout, 
 
232 THE CAMEEA AND THE PENCIL. 
 
 authoritative, violent, brutal, vigorous, helpless, deli- 
 cate, — and various as the tints of the passions that 
 sway them, appear, — elevated, warmed, inflamed, de- 
 pressed, appalled, aghast, — thej are all united by the 
 general tone that diffuses itself from the interior repose 
 of the sanctuary, smoothens the whirlwind, that fluctu- 
 ates on the foreground, and gives an air of temperance 
 to the whole." 
 
 Eeynolds says, " Coloring is true when it is naturally 
 adapted to the eye from brightness, from softness, from 
 resemblance, because they agree with their great proto- 
 type, nature, and therefore are true, — as true as mathe- 
 matical demonstration, but known to be true to those only 
 who study these things." 
 
 Burnet says, " Color, though holding the station of 
 middle tint, is, nevertheless, more capable of giving the 
 true representation of natural objects, than the most 
 scientific arrangements of chiaroscuro; and by the 
 judicious management of it, a picture is rendered pleas- 
 ing and attractive. 
 
 "It appears that strong color requires rich, deep 
 shadow to support it and render it a portion of the light. 
 The warm, rich browns of Titian, Eembrandt, and 
 Correggio authorize us in this conduct. 
 
 " Grandeur of effect is produced by two different ways, 
 which seem entirely opposed to each other. One is, by 
 reducing the colors to little more than chiaroscuro, 
 which was often the practice of the Bolognian school ; 
 and the other, by making the colors very distinct and 
 forcible, such as we see in those of Eome and Florence; 
 but still the presiding principle of both t^ese manners 
 is simplicity 
 
ART, WITH ITS INCIDENTS AND BELONGINGS. 233 
 
 11. SYMMETRY. 
 
 Euskin says, ''Symmetry is the opposition of equal 
 quantities to each other; while proportion is the con- 
 nection of unequal quantities with each other. 
 
 "In all perfectly beautiful objects there is found the 
 opposition of one part to another, and a reciprocal 
 balance obtained. In animals the balance is commonly 
 between opposite sides, but in vegetables the opposition 
 is less distinct, as in the boughs on adverse sides of trees 
 and the leaves and sprays on each side of the boughs." 
 
 Symonds says, " The pleasure derived from similarity 
 enters largely into the beauty of symmetry. This side 
 is like that, — this curve corresponds to that, — and it is 
 like with a difference, the difference being in place or 
 material. It is similarity which constitutes the pleasure 
 of witnessing the successful production of likeness. 
 
 "Mere likeness, without difference, becomes distaste- 
 ful sameness or dull uniformity; just as mere variety, 
 without likeness, would be intolerable. 
 
 " The symmetrical beauty of the human face and head 
 is mainly dependent on the bony structures. The beauty 
 of expression, or the beauty belonging to variety, re- 
 sults from the action of the muscles in the play of the 
 features." 
 
 12. LIGHT AND SHADOW. 
 
 Quintilian says, "Zeuxis, among the Greeks, disco- 
 vered the principle of light and shadow." According to 
 Haydon, " The most powerful examples of this principle, 
 will be found" in the Dutch, Flemish, Spanish, Yenetian, 
 and English schools. 
 
 " Light and shadow are one thing, — light and dark 
 another. Rembrandt is the great master of light and 
 
234 THE CAMERA AND TUE PENCIL. 
 
 shadow. Here the lights are the effect of real lights, 
 and the shadows of real shadows, produced bj the direc- 
 tion of the lights upon the objects. The Venetians are 
 the model for light and dark — i. e., the production of the 
 effect of shadows by real dark colors, and lights by light 
 colors, though both are in the same light, — indeed in one 
 mass of light without any shadow at all. This is a mag 
 nificent artifice. The lights and darks of a picture are 
 regulated just like color. The subject should regulate 
 and be subservient always to the nature, character, ex 
 pression, and object of the composition." 
 
 Eeynolds says, "Eaphael never acquired that nicety 
 of taste in colors, that breadth of light and shadow, that 
 art and management of uniting light to light and shadow 
 to shadow, so as to make the object rise out of the 
 ground with the plenitude of effect so much admired in 
 the works of Correggio. 
 
 "Leonardo da Vinci's conduct and management of 
 light and shadow consisted in opposing a light ground 
 to the shadowed side of the figure, and a dark ground to 
 the light side. 
 
 " Some of our most eminent artists have, by a precisely 
 opposite procedure, produced superior splendor and 
 effect. That is, they joined light to light and shadow to 
 shadow. 
 
 " The favorite mode of giving objects relief and great 
 effect ; of representing a figure, as if we could walk 
 around it ; affords to many the highest species of grati- 
 fication," 
 
 Opie says, " By light and shadow all objects and parts 
 of objects are made to project or recede, to strike or 
 retire, to court, or to shun the attention of the spectator, 
 agreeably to truth and propriety. What, as a drawing, 
 was flat, tame, and monotonous, by the aid of this prin- 
 
ART, AVITH ITS INCIDENTS AXD BELONGINGS. 235 
 
 ciple, cliiaroscuro, bursts forth at once into roundness 
 and reality ; entire figures are detached from their ground, 
 seem surrounded by air, and spring forward to meet the 
 eye with all the energy of life. 
 
 " Thus the painting of a Venus, by an ancient artist, 
 was said to start from the canvas, as if she wished to be 
 pursued. It gives depth, and marks the various distances 
 of objects, one behind another; and if drawing be the 
 giver of form, light and shadow must be allowed to be 
 the creator of body and space. 
 
 "In addition to this, if properly managed, it con- 
 tributes infinitely to expression and sentiment ; it lulls 
 by breadth and gentle gradation, strikes by contrast, 
 and rouses by abrupt transition. All that is grave, 
 impressive, awful, mysterious, sublime, or dreadful in 
 nature, is closely connected with it. All poetic scenery, 
 real or imaginary, of 'forests and enchantments drear,' 
 where more is meant, than is expressed ; all the effects 
 of solemn twilight and visionary obscurity that fling 
 half an image on the aching sight; all the terrors of 
 storm, and horrors of conflagration, are indebted to it 
 for representation on canvas. Antonio AUegri, who was 
 at the head of the Lombard school, was commonly styled, 
 from the place of his birth, Correggio, 
 
 " Of this extraordinary man, who, in the words of 
 Milton, 
 
 " Untwisted all the strings, that tie 
 The hidden soul of harmony ;" 
 
 we are told by some, was born and bred and lived in 
 poverty and wretchedness, and died at the age of forty, 
 from the fatigue of carrying home a sack of half-pence 
 or copper money, paid him for one of his grandest works. 
 He died of a fever at Correggio. According to the best 
 authorities, however, he does not appear to have ever 
 
236 THE CAMERA AND THE PENCIL, 
 
 been in poor circumstances, and the above account is 
 probably a mere fable. 
 
 " Ovid, speaking of Cyllanus, tbe fairest of tbe Cen- 
 taurs, celebrates him as vying in perfection with the 
 most admirable statues : — 
 
 "A pleasing vigor his fair face expressed; — 
 His neck, his hands, his shoulders, and his breast 
 Did next in gracefulness and beauty stand 
 To breathing figures of the sculptor's hand." 
 
 Fuseli says, " The term chiaroscuro, adopted from 
 the Italian, in its primary and simplest sense, means the 
 division of a single object into light and shade ; and in 
 its widest compass comprises their distribution over the 
 whole composition. Whether the first derives its splen- 
 dor from being exposed to a direct light, or is produced 
 by colors in themselves opaque, its exclusive power is to 
 give substance to form, and place to figure, and to create 
 space. 
 
 " Fra Fillippo Lippi was, perhaps, the greatest master 
 of light and shade anterior to Lionardo da Yinci ; but 
 he was not so great a master of chiaroscuro as to dispute 
 the validity of Lionardo's title to being the first who 
 completely developed its powers. 
 
 " The first ideas of chiaroscuro, as of expression, 
 character, form, and color, originated in Tuscany, with 
 Masaccio, Lionardo da Vinci, Michael Angelo, and Bar- 
 tolomeo della Porta. 
 
 ^^ The Roman school, like an oriental sun, rose not 
 announced by dawn, and setting, left no twilight. Raf- 
 faelle established his school on the drama. Its scenery, 
 expression, forms, history, lyrics, portrait, became, under 
 his hand, the organs of passion and character. 
 
 " A certain national, though original, character marks 
 
ART, WITH ITS INCIDENTS AND BELONGINGS. 237 
 
 the brightest epoch of the Venetian school. However 
 deviating from each other, Titian, Tintoretto, Jacopo da 
 Ponte, and Paolo Veronese, acknowledge but one ele- 
 ment of imitation, nature itself." 
 
 13. EXPRESSION. 
 
 Fuseli says, "Expression is the vivid image of the 
 passion that affects the mind; its language and the 
 portrait of its situation. It animates the features, atti- 
 tudes, and gestures which invention has selected and 
 composition arranged. Its principles, like theirs, are 
 simplicity, propriety, and energy. It is important to 
 distinguish the materials, and the spirit of expression. 
 To give this, we must be masters of the forms and of 
 the hues that embody it. Without truth of line, no 
 true expression is possible ; and the passions, whose 
 inwaid energy stamped form on feature, equally reside, 
 fluctuate, flash, or lower on it in color, and give it force 
 by light and shade. To make a face speak clearly, and 
 with propriety, it must not only be well constructed, but 
 have its own exclusive character. Though the element 
 of the passions be the same in- all, they neither speak in 
 all with equal energy, nor are circumscribed by equal 
 limits. Though joy be joy, and anger be anger, the joy 
 of the sanguine is not that of the phlegmatic, nor the 
 anger of the melancholy, that of the fiery character." 
 
 Beechey says, "English artists, up to Keynolds's time, 
 had made portrait a mechanical operation. They painted 
 the body without reference to the soul of the sitter. 
 They had to learn how nature might be elevated, and 
 how to combine refined taste and poetic feeling (expres- 
 sion) with the executive portions of the art." 
 
 Reynolds says, "If I had never seen any of the 
 works of Correggio, I should never, perhaps, have 
 
238 THE CAMERA AND THE PENCIL. 
 
 remarked in nature the expression wliicli I find in one 
 of his pieces; or if I had remarked it, I might have 
 thought it too difficult . or perhaps impossible to be 
 executed. 
 
 "Of mere likeness in portraiture Eeynolds thought 
 very little, and used to say that he could instruct any hoy 
 whom chance might throw in his way to paint a likeness 
 in a portrait in half a year's time ; but to give an im- 
 pressive and just expression and character to a picture, 
 or to paint like Velasquez, was another thing. "What 
 (he said) we are all attempting with great labor to do, he 
 does at once. 
 
 " Du Piles recommends to us, portrait-painters, to add 
 grace and dignity to the characters of those whose pic- 
 tures we draw. In this he is undoubtedly right. Per- 
 sons of high character and dignity should be drawn or 
 taken in such an attitude that the portraits must seem to 
 speak to us (express) themselves, — to express their true 
 character, and their most elevated condition and intelli- 
 gent state of mind. 
 
 By Eaffaelle's happy correspondence between th© 
 expression of the countenance and the disposition of the 
 parts, his figures appear to thinJc from head to foot. 
 Men of superior talents alone are capable of thus using 
 and adapting other men's minds to their own purposes." 
 
 Opie remarks, '•' The genius of Eaffaelle to invention 
 united expression, grace, and propriety, such as in an 
 equal degree never before or since fell to the lot of one 
 man. However great and various his powers, his pecu- 
 liar strength — that wherein he has never been rivalled 
 and can never be surpassed — was expression. To this all 
 his efforts tended ; for this he invented, drew, and com- 
 posed, and exhausted nature in the choice of his subjects 
 to display it. Every effect of mind on matter; every. 
 
ART, WITH ITS INClDEiSTS AND BELONGINGS. 239 
 
 affection of the soul as exhibited in the countenance^ 
 from the gentlest emotion to the utmost fury and whirl- 
 wind of contending passions ; from the demoniac frenzy 
 of the possessed boy in the Transfiguration to the melt- 
 ing rapture of the Virgin Mother contemplating her 
 Divine offspring ; may be found so faithfully and ener- 
 getically represented on his canvas that we not only see 
 but feel, and are, by irresistible sympathy, made par- 
 ticipants of his well-imaged joys and sorrows. By this 
 he attracts every eye, warms every heart and sways it to 
 the mood of what he likes or loathes. This is what has 
 made him, if not the greatest, certainly the most interest- 
 ing and the most universally admired of all modern 
 painters, and rendered his name in the general mouth, 
 synonymous with perfection. 
 
 " The history of no man's life affords a more encou- 
 raging and instructive example than that of Raffaelle. 
 The path by which he ascended to eminence is open and 
 the steps visible to all. He studied all the artists of his 
 own and preceding times ; he penetrated all their mys- 
 teries, mastered all their principles, and grafted all their 
 separate excellencies on his own stock. His genius, like 
 fire, embraced and gathered strength from every object 
 with which it came in contact, and at last burst forth 
 into a flame to warm, enlighten, and astonish mankind." 
 
 Cousin says, " Expression is addressed to the soul, as 
 form is "addressed to the senses. Form is the obstacle to 
 expression, and at the same time is its imperative, neces- 
 sary, only means. Art succeeds, by care, patience, and 
 genius, in converting an obstacle into a means. 
 
 "Expression is essentially ideal, — what it tries to 
 make felt is not what the eye can see and the hand 
 touch, — evidently it is something invisible and im- 
 palpable." 
 
240 THE CAMERA AND THE PENCIL. 
 
 • Haydon remarks, " Lawrence once took a portrait of 
 Curran, whose features were mean and harsli. In tlie 
 first sittings, he saw so little of the true man that he 
 almost laid down his palette in despair of making any- 
 thing more than a common or vulgar work. But Cur- 
 ran, in discoursing on art, on poetry, on Ireland, became 
 transfigured to the painter's eye. ' I never saw you till 
 now" (said the artist), — ' you have sat to me in a mask, — 
 do give me a sitting of Curran, the orator !'." 
 
 He wrote of Byron, as follows : " Lavater's system 
 never asserted its truth more forcibly than in Byron's 
 countenance, in which you see all the character ; its keen 
 and rapid genius, its pale intelligence, its profligacy and 
 its bitterness; its original symmetry distorted by the 
 passions; his laugh of mingled merriment and scorn; 
 the forehead clear and open, the brow boldly prominent, 
 the eyes brightly dissimilar, the nose finely cut, and the 
 nostril acutely formed ; the mouth well made, but wide 
 and contemptuous even in his smile, falling singularly 
 at the corners, and its vindictive and disdainful expres- 
 sion heightened by the massive firmness of the chin 
 which springs at once from the centre of the full under 
 lip ; the hair dark and curling, but irregular in its 
 growth ; and the general effect is heightened by a thin, 
 spare form, and, as you may have heard, by a deformity 
 of limb." 
 
 Allan Cunningham says of a portrait of M. Angelo, by 
 Lawrence, " With such skill did he seize the manly 
 features of the swarthy Italian, and manage the crimson 
 velvet, the damask, the gold, and the marble, which he 
 lavished on the picture, that thousands are reported to 
 have crowded to see it," 
 
 A person in Eome says, "It may be cited, as the most 
 poetical, enthusiastic delineation of acute genius, without 
 
ART, WITH ITS INCIDENTS AND BELONGINGS. 241 
 
 flattery, that lias ever been executed. Its animation is- 
 beyond all praise. I heard Canova cry out when it was 
 mentioned." 
 
 " Lawrence" (says Haydon) " has been called the second 
 Eeynolds, — not from being an imitator of the style of 
 that great master, but from possessing very largely the 
 same singular power of expressing sentiment and feeling, 
 and of giving beauty and often dignity to his productions. 
 He was capable of great exertion, having once painted 
 37 hours without ceasing!" 
 
 Of Gilbert Stuart, whose /o7'fe in portrait-painting was 
 expression, Dr. Waterhouse says, "In conversational 
 powers Stuart was inferior to no man among us. He 
 made it a point to keep his sitters talking, each in their 
 own way, free and easy. This called up all his resources 
 of judgment. To military men he spoke of battles by sea 
 and land, — with the statesman on Hume's and Gibbon's 
 history ; with the lawyer on jurisprudence or remarkable 
 criminal trials, — with the merchant in his way, and with 
 the man of leisure in his, — with the ladies in all ways. 
 With the farmer he could descant on every point relating 
 to agriculture ; upon cattle, upon butter and cheese- 
 making, &c., &c. In sum, he could be, literally, 'all 
 things to all men.' 
 
 '' Stuart" (says his biographer) •' read men's characters 
 as easily as the newspapers. Earl Mulgrave employed 
 him to paint his brother. Gen. Phipps, who was going to 
 India, On seeing the picture, the nobleman was much 
 disturbed, exclaiming, ' This picture looks strange, sir, — • 
 how is it ? I see — I think I see insanity in that face !' 
 
 " ' It may be so,' (replied Stuart), ' but I painted your 
 brother as I saw him.' 
 
 "■ The first news of the general was, that insanity, 
 never previously suspected, had driven him into suicide !" 
 10 
 
242 THE CAMERA AND THE PENCIL. 
 
 Washington AUston savs, " Stuart was, in the widest 
 sense, a philosopher in his art. He animated his canvas, 
 not with the appearances of mere general life, but with 
 \\iQ,i peculiar distinctive life which separates the individual 
 from his kind. He seemed to dive into men's thoughts, 
 for these were made to rise and speak on the sarface." 
 
 " Henrj Inman's frank and winning address," (says his 
 biographer) " united to rare conversational powers, always 
 gave him an advantage with sitters, which he used with 
 happiest effect. He seldom failed to beguile them, by 
 his talk, of the consciousness that they were sitting for 
 a portrait, when he would seize upon the most natural 
 and characteristic expression of countenance, from which 
 he had thus banished the formality and constraint, which 
 so few, in such a position, can lay aside by any effort 
 of their own. 
 
 " Inman excelled in getting a good expression for his 
 sitters, however ugly or stupid the latter might be. ' This' 
 (Lawrence said) 'the painter might and should get, — 
 else the fault was in himself.' Inman rarely failed of 
 obtaining a likeness, and yet his portraits almost always 
 looked better than the originals." 
 
 "John Trumbull" (says his biographer) "was com- 
 missioned to paint a portrait of Washington, for the 
 City of Charleston, S. C. For the period, T. selected 
 the evening before the battle of Princeton, T. says, 
 'I told Washington m}'- object ; he entered warmly 
 into it ; and as the work advanced, we talked of the 
 scene, its dangers, its almost desperation. He looTied%h.e 
 scene ; and I happily transferred to the canvas the lofty 
 expression of his animated countenance, the high resolve 
 to conquer or to perish. The result was, in my opinion, 
 eminently successful, and Washington was satisfied.' " 
 
 Sir Charles Bell says, " Expression is to passion what 
 
ART, WITH ITS INCIDENTS AND BELONGINGS. 243 
 
 language is to thought. It is also curious that expression 
 appears to precede the intellectual operations. 
 
 " The expression of emotion may be introduced even 
 into the highest works of art ; but it requires great taste 
 to portray it without offensive exaggeration. 
 
 " That posture of the body is most expressive when it 
 seems arrested in some familiar action. 
 
 " The expression of laughter is pure in the highest 
 degree, indicating unalloyed pleasure, and will relax, by 
 sympathy, even the stubborn features of a stranger. 
 
 " In the animated human countenance, we see the eyes 
 full, clear, piercing, full of fire, — appearances indicating 
 feeling, thought, mind. 
 
 '' Model the lips for the expression of eloquence and 
 of the softer passions, and the mouth becomes beautiful. 
 
 "Expression is of more consequence than shape, — it 
 will light up features otherwise heavy ; it will make us 
 forget all save the qualities of the mind. 
 
 " On a lady's face we like at least to see the loveliness 
 that lurks in expression. M. Angelo, in addition to all 
 his other endowments, was a master of expression. 
 
 "Every artist should study the peculiarities of the 
 faces of his sitters, for thus he learns to observe nature; 
 to behold, in their minute varieties, forms which would 
 otherwise pass unnoticed ; to catch expressions so evan- 
 escent, that they must escape him, unless he is ever on 
 the alert to call, by the excitement of conversation, into 
 the sitter's face the highest intellectual expression of 
 which it is capable. 
 
 "The angles of the mouth are full of expression. 
 The lips, being the most mobile of all the features, are 
 the most direct index of the feelings. 
 
 "There is expression in the grasp and shake of the 
 hand in saluting, — in some, this act being chilling and 
 
244 THE CAMERA AND THE PENCIL. 
 
 depressing, while in others it is warm, heart-kindling, 
 soul-gladdening." 
 
 Sir Charles Bell says, ''If it be allowable to give ex- 
 amples, I would say that, in the countenance of Mrs. 
 Siddons, or of John Kemble, was presented the highest 
 character of beauty belonging to the true English face. 
 In that family the upper lip and nostrils are very ex- 
 pressive; the class of muscles which operate on the 
 nostrils was especially powerful ; and both these great 
 tragedians had a remarkable capacity for the expression 
 of the nobler passions. In their cast of features there 
 was never seen that blood-thirsty look which Cooke 
 could throw into his face. 
 
 " It is also said that we are taught by experience alone 
 to distinguish the signs of the passions in man ; that in 
 infancy we learn that smiles are expressive of kindness, 
 because accompanied by endearments, and that frowns 
 are the reverse, because they are sometimes followed by 
 blows. 
 
 " We have already remarked that expressions pecu- 
 liarly human chiefly affect the angle of the mouth and 
 the inner extremity of the eyebrow ; and to these points 
 we must principally attend in all our observations con- 
 cerning the expression of passion. They are the most 
 movable parts of the face ; in them the muscles con- 
 centre ; and upon the changes they undergo, expression 
 is acknowledged chiefly to depend. By elevating or 
 depressing the angles of the mouth and inner extremities 
 of the brow, we can readily convey the expression of 
 grief or laughter. 
 
 " When the angles of the mouth are depressed, as in 
 grief, the eyebrows are not elevated at the outer angles, 
 as in laughter. 
 
 "When a smile plays around the mouth, or the 
 
ART, WITH ITS INCIDENTS AND BELONGINGS. 245 
 
 cheek is raised, as in laughter, the brows are not ruffled, 
 as in grief." 
 
 Haydon says, " Of Raffaelle's expression the basis is 
 common sense, and Titian's color is equally founded on 
 common sense, 
 
 *■' Aristides and Timanthes were as fine in expression 
 as Eaffaelle. Aristides painted a beautiful mother dying 
 of the plague, and with her last effort pushing the dear, 
 smiling baby from her infected nipple; Timanthes, the 
 sacrifice of Iphigenia at Aulis ; and with the greatest 
 skill concealed the father's face to excite greater sensi- 
 bility to his agonies. 
 
 "Susceptibility to the expression of the passions, or 
 the beauty of color, can never be taught, even though 
 your instructor were an angel from heaven. You can 
 teach to draw and compose pretty fairly ; but to invent 
 and to color, if by nature you are deficient in imagina- 
 tion and eye, no instruction on earth can give you. 
 
 "In the expression of dignity in portrait no heads 
 exceed Eeynolds's, though Titian's and Vandyke's are 
 more delicate in execution. He was a great man, but 
 certainly a superficial thinker ; and yet, considering his 
 incessant practice in individual resemblance, it is extra- 
 ordinary that he wrote as he did. 
 
 " There were never two men so totally opposite in art 
 as Eeynolds and Lawrence, and great instruction may 
 certainly be attained by a comparison. 
 
 "Lawrence got his expression and likeness by an 
 intense perception of the individual parts and keen dis- 
 cernment of the best look of the sitter, and I believe no 
 one ever surpassed him in catching the best expression 
 of the face, — Reynolds got the same by a masculine 
 comprehension of the masses. Reynolds's men had all 
 
246 THE CAMEEA AND THE PENCIL. 
 
 the air of rank without being dandies, — Lawrence's were 
 all dandies without being men of i-ank. 
 
 "Such were the gentleness, the sweetness, the chas- 
 tity, the beauty, and bewitching modesty of Eeynolds's 
 women, that you would have feared even to approach 
 them, — while you feel quite sure you might compliment 
 Lawrence's women without much fear of offending. 
 
 "Lawrence's great power was seeing, transferring, and 
 identifying the happiest expression of the sitter ; and no 
 man can testify to his power better than myself. I had 
 under my own eye several of the nobility he had painted. 
 For the first half hour I saw no resemblance. ' At last 
 some lucky remark lighted up their features, and in these 
 few moments I witnessed Lawrence's choice." 
 
 Cousin says, " The great law which governs all others 
 is expression. Every work of art, which does not ex- 
 press an idea, signifies nothing. In addressing to one or 
 another sense, it must penetrate to the mind, to the soul, 
 and bear thither a sentiment or thought capable of touch- 
 ing or elevating it. From this fundamental rule all 
 others are derived." 
 
 Haydon says, "' Stothard could not tell a story by ex- 
 pression ; yet there was an angelic sweetness in every- 
 thing he did. He seemed to have dreamed of an angel's 
 face in early life, and to have passed the remainder of 
 his days in trying to combine in every figure he touched 
 something of its sweetness." 
 
 14. POETRAIT. 
 
 Howard says, "The coarsest portrait of a valued 
 friend may give us more real pleasure than the finest 
 picture of a stranger by Vandyke himself. Our per- 
 sonal affections and ties will always bid defiance to any 
 rivalry from art ; but works of fiction do not pretend to 
 
ART, WITH ITS INCIDENTS AND BELONGINGS. 247 
 
 vie witli realities; their aim is to give an agreeable 
 stimulus to our imaginations or affections by reproducing 
 to our notice whatever is permanently grand, beautiftil, 
 emphatic, or expressive in our observations and concep- 
 tions of nature wherever found." 
 
 Haydon says, "Do you suppose I undervalue por- 
 trait, — that delightful art which brings down to us 
 the beautiful and intellectual, the hero and the sage of 
 past ages, and carries onward the resemblance of those 
 equally celebrated now for the admiration of ages that 
 approach ? How often have I studied Vandyke's and 
 Eeynolds's portraits with delight, enthusiasm, and 
 profit !" 
 
 Opie says, "It has been my aim, in my little work, to 
 treat chiefly of portrait Not that characteristic por- 
 trait by which Silanion, in the face of Apollodorus, per- 
 sonified habitual indignation, — Apelles, in Alexander, 
 superhuman ambition, — Raffaelle, in Julius IL, pontifical 
 fierceness, — Titian, in Paul III., testy age with priestly 
 subtlety, — and in Cassar Borgia and Machiavelli, the wily 
 features of conspiracy and treason. Not that portrait 
 by which Eubens contrasted the physiognomy of philo- 
 sophic and classic acuteness with that of genius, in the 
 conversation-piece of Grotius, Mauritius, Lipsius, and 
 himself Not the nice and delicate discriminations of 
 Vandyke ; nor that power which, in our day, substanti- 
 ated humor in Sterne, comedy in Garrick, and mental 
 and corporeal strife (to use his own words) in Samuel 
 Johnson. On that broad basis portrait takes its exalted 
 place between history and the drama. 
 
 "The portrait I mean is that common one as widely 
 spread as confined in its principle, — mere human resem- 
 blance. The artist's aim and the sitter's wish are mostly 
 confined to external likeness. 
 
248 THE CAMERA AND THE PENCIL. 
 
 "Since liberty and commerce liave more levelled 
 social ranks, and more equally diffused opulence, private 
 importance has increased, and family connections and 
 attachments liave been more numerously forced. Hence 
 portrait-painting, which formerly was the exclusive pro- 
 perty of princes, or a tribute to beauty, prowess, genius, 
 talent, and distinguished character, is now become a kind 
 of family calendar, engrossed by the mutual charities 
 of parents, children, brothers, nephews, cousins, and 
 relatives of all degrees." 
 
 Haydon says, "There is something in the thorough- 
 bred, regularly drilled portrait-painter, which no imagi- 
 native painter ever got, or ever will get. 
 
 " It is curious that portrait-painters, when they paint 
 high art, are always too individual for even a likeness ; 
 and when the historical painter paints a portrait, he is 
 more individual than the portrait-painter. The portrait- 
 painter selects the best of what he sees, but still keeps 
 the likeness. The historic painter selects the best of 
 what he sees, to realize what he imagines. The painter 
 of high art makes a portrait of what he imagines, by the 
 help of his model, without retaining an atom of likeness ; 
 the portrait-painter of what he sees. Thus, when a 
 portrait-painter comes to high art, he cannot help making 
 a portrait of his model ; and when the historical painter 
 comes to portrait, he cannot idealize without losing like- 
 ness. 
 
 " Though Fuseli had more of imagination and con- 
 ception than Eeynolds ; though West put things together 
 quicker than either ; though Plaxman and Stothard did 
 what Reynolds could not do ; and Hogarth invented a 
 style never before thought of in the world ; yet Reynolds 
 is undeniably the greatest artist of the British school, 
 and the first artist in Europe since Rembrandt and 
 
ART, WITH ITS IlfCIDENTS AND BELONGINGS. 249 
 
 Velasquez. It is impossible for any one to look at a 
 portrait by bim, witbout instruction, benefit, and deligbt." 
 
 Says Nortbcote, "It is in painting, as in life, — wbat is 
 greatest is not always best. I sbould grieve to see Rey- 
 nolds transfer to beroes and goddesses, to empty splendor 
 and airy fiction, tbat art wbicb is now employed in diffu- 
 sing friendsbip, in renewing tenderness, in quickening 
 tbe affections of tbe absent, and continuing the presence 
 of tbe dead. 
 
 "As every man is always present to bimself, be bas, 
 therefore, little need of bis own resemblance ; nor can 
 be desire it but for tbe sake of tbose be loves, and by 
 wbom be bopes to be remembered. Tbis use of tbe art 
 is a natural and reasonable consequence of affection ; 
 and tbougb, like otber buman actions, it is often com- 
 plicated witb pride, yet even sucb pride is more laudable 
 tban tbat by wbicb palaces are covered witb pictures 
 wbicb, however excellent, neither imply nor excite the 
 virtue of the owner." 
 
 Reynolds says, "When a portrait is painted in the 
 historic style, as it is neither an exact, minute representa- 
 tion of an individual, nor completely ideal, every circum- 
 stance ought to correspond to tbis mixture. Small 
 excellencies sbould be viewed, not studied, — they ought 
 to be viewed, because nothing should escape a painter's 
 observation." 
 
 Haydon says, " The proportion and shape of the bones 
 are visible in the head, joints, hands, feet, and shoulders ; 
 the bones are moved by the muscles, influenced by the 
 will, excited by an idea or an intention of the brain, — 
 how, tbe profoundest anatomists are not wiser than we 
 are. 
 
 " Tbe interesting muscles of the face and head are the 
 hidden causes of the expression of tbe passions by 
 feature." 
 
250 THE CAMEEA AND THE PENCIL. 
 
 15. SCULPTUEE. 
 
 Agesander says, " Sculpture is an art of much more 
 simplicity and uniformity than painting. It cannot, with 
 propriety and the best effect, be applied to many subjects. 
 The objects of its pursuit may be comprised in two 
 words, form and character; and these qualities are 
 presented to us in but one manner or style. Imitation 
 is the means, and not the end, of art. It is employed by 
 the sculptor as the language whereby his ideas are 
 presented to the mind of the spectator. 
 
 " Thus from the character and posture of the figure, 
 Apollo, he is supposed to have just discharged his arrow 
 at the great serpent, Python ; and by the head retreating 
 a little towards the right shoulder, he appears attentive 
 to its effect. What we would remark is the difference 
 of this attention from that of the Discobolus, who is 
 occupied with a kindred purpose, watching the effect of 
 his discus, or quoit. The graceful, negligent, though 
 animated air of the one, and the vulgar eagerness of the 
 other, furnish a singular instance of the judgment of the 
 ancient sculptors in their nice discrimination of character. 
 They are both equally true to nature, and are alike 
 admirable. We may remark, that gTace, character, and 
 expression, though words of different import, and so 
 understood, when applied to paintings, are used indis- 
 criminately, when we speak of sculpture. These quali- 
 ties are exhibited in sculpture rather by form and 
 attitude, than by the features solely, and therefore can 
 be expressed in but a very general manner. 
 
 " Though the Laocoon and his two sons have more 
 expression in the countenance, than perhaps any other 
 antique statue, yet it is only the general expression of 
 pain; and this passion is still more forcibly expressed. 
 
ART, WITH ITS INCIDENTS AND BELONGINGS. 251 
 
 bv the "writliing aud contortions of the body, than by the 
 features." 
 
 Barry says, " Socrates was himself a sculptor by edu- 
 cation. A Mercury and a draped marble group of the 
 Graces by him are noticed by Pausanias, as standing in 
 the Propylaea, leading to the Acropolis at Athens." 
 
 Agesander, the sculptor, says, " The figure of Laocoon 
 is a class. It characterizes every beauty of virility 
 verging on age. The prince, the priest, the father are 
 visible ; but absorbed in the man, they serve only to 
 dignify the victim of one great expression." 
 
 Haydon says, '• At my first entrance among the Elgin 
 Marbles the first thing I saw was the wrist of the right 
 hand and arm of one of the Fates leaning on her thigh, 
 which, mutilated as it was, proved that the great sculptor 
 had kept the shape of the radius of the ulna, as always 
 seen in fine nature male and female. 
 
 "I felt at once, before turning my eyes, that there were 
 the nature and ideal beauty joined, which I had gone 
 about the art, longing for and never findipg. I saw at 
 once I was among productions, such as I had never 
 before witnessed in the art ; and that the great author 
 merited the enthusiasm of antiquity, of Socrates and 
 Plato, of Aristotle, Juvenal and Cicero, of Yalerius 
 Maximus, Plutarch and Martial. 
 
 " If such were my convictions on seeing this dilapi- 
 dated but immortal wrist, what think you they were on 
 turning round to the Theseus, the horse's head, and the 
 fighting Metope, the Frieze, the Jupiter's breast ? 
 
 " I saw that union of nature and ideal perfected in 
 high art, and before this period pronounced impossible. 
 I bowed to the immortal spirit that still hovered near 
 them, 
 
 " M. Angelo was a tremendous genius and a grand 
 
252 THE CAMERA AND THE PENCIL. 
 
 moral being, with a vast power of intellect. His effect 
 on the art was vital; but he did not allow, like the 
 Greeks, the "unalterable principles of life to keep in check 
 his anatomical knowledge of the human figure. He 
 often overstepped the modesty of truth, and gave a 
 swaggering air ; every figure of his looks as if he was in- 
 sulted, and was preparing to return a blow; if they sleep, 
 they seem as if they would kick. His art is a perpetual 
 effort; his figures always seem irritated and in a passion. 
 
 "In poetry of sentiment the Medici Tombs would, 
 perhaps, have competed with Phidias ; for M. Angelo, 
 being a painter as well as Phidias, combined in his 
 sculpture a knowledge of effect. But in the naked 
 figures, both at the Tombs and in the Sistiiie Chapel, he 
 must yield to Phidias. 
 
 "But why is Phidias superior to M. Angelo in the 
 naked ? Because his most abstract and heroic figures 
 were based on common sense." 
 
 Washington Allston says, " Of M. Angelo I know not 
 how to speak in adequate terms of reverence. With all 
 his faults, even Eaffaelle bows before him. As I stood 
 beneath his colossal prophets and sibyls, — still more 
 colossal in spirit, — I felt as if in the presence of mes- 
 sengers from the other world, with the destiny of man in 
 their breath, — even in repose terrible !" 
 
 Yasari gives a long list of painters and sculptors who 
 formed their taste and learned their art by studying his 
 works. Among these he names M. Angelo, L. da Yinci, 
 Pietro Perugino, Eaffaelle, Bartolomeo, Andrea del 
 Sarto, II Kosso, and Pierino del Yaga. 
 
 Euskin says, " The chisel of Mino da Fiesole leaves 
 many a hard edge, and despises down and dimple ; but it 
 seems to cut light and carve breath, the marble burns 
 beneath it, and becomes transparent with very spirit." 
 
CHAPTER XXV. 
 
 MISCELLANEOUS REMAEKS FROM VARIOUS AUTHORS. 
 
 Sexes, how distinguished ; Barry, Opie, Fuseli, Apelles — Analysis of Da Vin- 
 ci's Last Supper : Howard, Ruskin, Lawrence, Burke, Cuvier, Dryden, Mrs. 
 Siddons, Reynolds. 
 
 Barry says, " There is a general character distinguish- 
 able in the sexes as contrasted with each other. The 
 whole and every part of the male form, taken generally, 
 indicates an aptness and propensity to action, vigorous 
 exertion, and power. 
 
 " In the female form the appearance is very different. 
 It gives the idea of something rather passive than active, 
 and seems created not so much for the purposes of labo- 
 rious utility, as for the exercise of all the softer, milder 
 qualities." 
 
 Opie remarks, "Lionardo da Yinci was considered, 
 in his time, one of the first luminaries of modern art, 
 and one of the most extraordinary of men. If it be 
 true that 'one science only will one genius fit,' what 
 shall we say of the man who, master of all mental and 
 all bodily perfections, excelled equally in painting, 
 sculpture, poetry, architecture, chemistry, anatomy, 
 mathematics, and philosophy ; who renders credible all 
 that has been related of the 'admirable Crichton,' who 
 attempted everything and succeeded in every attempt ; . 
 who, sailing round the world of art, touched at every 
 port and brought home something of value from each ? 
 
 (253) 
 
254 THE CAMERA ANP THE PENCIL. 
 
 This was Lionardo's glory. His genius gave the death- 
 blow to flatness and insipidity by the invention of that 
 deep tone of color, strength of shadow, and bold relievo 
 which, afterwards carried to perfection, enchant us in the 
 dreams of Oorreggio, and electrify us in the mysterious 
 visions of Eembrandt." 
 
 Fuseli says, " The name of Apelles, in Pliny, is the 
 synonym of unrivalled and unattainable excellence. He 
 knew better what he could do, what ought to be done, 
 at what point he should arrive, and what lay beyond his 
 reach, than any other artist, Grace of conception and 
 refinement of taste were his elements, and went hand in 
 hand with grace of execution and taste in finish. The 
 acuteness and fidelity of eye and obedience of hand, pos- 
 sessed by him, form precision ; precision, proportion ; 
 proportion, beauty ; that is, the little more or less, im- 
 perceptible to vulgar eyes, which constitutes grace, and 
 establishes the superiority of one artist to another, 
 
 " Such were the principles on which Apelles formed his 
 "Venus, or rather the personification of female grace ; the 
 wonder of art and the despair of artists ; whose outline 
 bafQed every attempt at emendation, while imitation 
 shrank from the purity, the force, the brilliancy, the 
 evanascent gradations of her tints," 
 
 Howard says, " Those works which, for ages, have 
 maintained their reputation as chefs d'oeuvres, must be 
 held to have supplied a large amount of real instruction 
 in art ; and the artist, in the beginning of his career, 
 will act far more wisely in adopting the most approved 
 rules, than in attempting to form them directly from 
 nature ; for, unless he avails himself of the science of his 
 predecessors, he can have slight chance of advancing far 
 in his art. 
 
 "A sketch-book should be the artist's inseparable 
 
EEMAEKS FROM VARIOUS AUTHORS. 255 
 
 companion, in whicli lie may note down, on the spot, 
 every interesting group, figure, action, fall of drapery, 
 or other characteristic circumstance which may interest 
 his fancy, in his daily haunts. This practice will in- 
 crease his facility in drawing, and gradually supply him 
 with stores of incomparable value. This was the habit 
 of Da Yinci and M. Angelo, of Flaxman and Stothard; 
 and it has, doubless, led to some of their most exquisite 
 inventions and compositions. The beautiful groups of 
 the Sistine Chapel ; the attitudes of the prophets and 
 sibyls in the same place ; and manj^ of the figures in the 
 'Last Judgment,' are probably ' taken immediately from 
 nature. 
 
 "No man has hitherto been master of all the parts of 
 painting in an equal degree of perfection. M. Angelo 
 excelled in composition and drawing, but not in color. 
 Eaffaelle was distinguished for expression and grace ; 
 but had neither the greatness of style of his rival, nor 
 the sweetness and unction of Correggio; v>^hile Titian, 
 a perfect colorist, was deficient in form." 
 
 " THE LAST supper" OF LIONARDO DA VINCI. 
 
 Howard remarks, " In this picture the subject required 
 that the apostles should be placed six on each side, with 
 the Saviour in the midst. At each extremity of the table 
 are three figures (more separated than those next to 
 them) which are combined in two close and varied 
 groups. One of these is more connected than the other 
 with the principal figure, which gives due predominance 
 to the central mass, and prevents the composition from 
 appearing too positively divided into triads. The heads 
 are at unequal distances, and form in themselves an 
 agreeable waving line. There is an ingenious modula- 
 tion in the arms and in the conduct of all the hands: 
 
26"6 . THE CAMERA AXD THE PENCIL. 
 
 every figure presents a different quantity ; and the princi- 
 pal line being horizontal, the forms above it are con- 
 trived to pass from one end to the other, in a sort of 
 undulating chain. It would be difficult to point out a 
 more perfect specimen of intricate grouping, than that 
 of Peter, Judas, and John ; Peter, stretching over Judas, 
 with the impetuosity belonging to his character, addresses 
 the affectionate John, who (his hands clasped in grief) 
 inclines toward him ; Judas leans back to support him- 
 self, and assumes the firmness and surprise of innocence. 
 
 "This, with another group, as energetic, and almost 
 as fine, on the other side, is happily opposed to the calm 
 resignation of the Saviour, producing great richness and 
 effect in the centre, and a fine alternation of action and 
 repose throughout. Nothing is neglected in this pro- 
 found work, which, from the variety of its excellencies, 
 may be esteemed a school in itself." 
 
 A brief pointing out of the persons of the piece by 
 name may be of service to the reader. We quote from 
 Gio Gherardo De Eossi. 
 
 1. In St. John, nearest to Jesus, sweetness and purity 
 are expressed, as in the downcast eyes, &c. 
 
 2. Judas, the traitor, between John and Peter, leans 
 his right arm on the table, with the purse in his hand, 
 and turns eagerly to Jesus, as one who would hide his 
 treason under affected frankness. 
 
 3. Peter looks full of ardor and more agitated than 
 the rest ; he touches John's shoulder, while speaking in 
 his ear. 
 
 4. Andrew, Peter's brother, has before him a dish of 
 fish, probably symbolizing his vocation; his hands are 
 raised and outspread, and his face manifests a bewildered 
 surprise. 
 
EEMAEKS FEOM VAEIOUS AUTHOES. 257 
 
 5. James tlie Greater, who sits next, seems amazed, 
 and is touching Peter's arm, as if to address him, 
 
 6. Philip, at the end of the table, on the right, wears 
 the Roman dress. His face expresses doubt, — perhaps 
 as to whether he had rightly understood Christ's remark, 
 — and a question as to who was the traitor. 
 
 On Christ's left we see, first, 
 
 7. Thomas, who also seems astonished, and manifests 
 a sort of half-doubt as to whether this supposed treason 
 is a fact. 
 
 8. Jude, or Thaddeus, the next, expresses much 
 affliction, and, in his excitement and agitation, his fore- 
 finger is raised as if in enforcement of some suggestion. 
 
 9. Simon appears painfully excited, and as if anxious 
 to clear himself of suspicion ; while, by opening his vest 
 with both hands, he might be supposed to symbolize the 
 exhibition of a heart free from the guilt in question. 
 
 10. Matthew, formerly a publican, and thus versed in 
 the world's ways, appears to be questioning his neighbors 
 about the matter under consideration. 
 
 11. Bartholomew has a look of sincerity, and appears 
 to be talking with James the Less in a mood of indigna 
 tion at the treachery revealed. 
 
 12. James the Less wears an expression of habitual 
 goodness, and would seem to repeat and confirm the 
 words of the Master. 
 
 The Master himself, seated at the centre of the table, 
 has his eyes cast down as if shunning to meet those of 
 the betrayer. Purity, holiness, and grief are depicted 
 on the face, which the painter, however, after putting 
 forth his utmost efforts, still pronounced imperfect. 
 
 Fuseli says of the picture, " Sublimely calm, the 
 Saviour's face is an abyss of thought, and broods over 
 the immense revolution in the economy of mankind, 
 17 
 
268 THE CAMERA AND THE PENCIL. 
 
 whicli presses inwardly on his absorbed eye ; while every 
 face and every limb around him, roused by bis mysteri- 
 ous word, fluctuate in restless curiosity and sympathetic 
 pangs. 
 
 ''Neither during the splendid period immediately 
 subsequent to Lionardo, nor in the interval between that 
 time and ours, has a face been produced of the Eedeemer, 
 which I will not say equalled, but even a^iproached the 
 sublimity of Lionardo's conception, and in quiet and 
 simple features of humanity embodied Divine, or, what 
 is the same, infinite and incomprehensible powers. 
 
 " The moment is that, in which the Saviour says to 
 his disciples, 'One of you will betray me!' On every 
 one of the innocent men, the word acts like lightning ; 
 he who is farther distant, distrusting his own ears, applies 
 to his neighbor ; others, according to their variety of cha- 
 racter, betray raised emotions. One faints ; one is fixed in 
 astonishment ; this wildly rises ; the simple candor of 
 another tells, that he cannot be suspected. Judas, mean- 
 while, assumes a look of intrepidity ; but, though he 
 counterfeits innocence, he leaves no doubt of his being 
 the traitor. 
 
 "Da Yinci said, he wandered about for a year, per- 
 plexed how to produce a face representing so black a 
 soul- as that of Judas. At last, in a street haunted by 
 villains he met with a man, whose face, with some altera- 
 tions and additions, answered his purpose." 
 
 Ruskin says, " That virtue of originality, which men 
 so strain after, is not newness,^it is only genuineness. 
 
 "Lawrence had a true enthusiasm for his art, and 
 would not hastily dismiss anything for which he was to 
 be paid, as a picture. He detained his sitters often for 
 three hours at a time ; had generally eight or nine of 
 these sittings ; and all the while studied their looks anx- 
 
REMARKS FROM VARIOUS AUTHORS. 259 
 
 iously, and seemed to do nothing without care and con- 
 sideration." 
 
 He greatly admired Eeynolds, and, amid all the won- 
 ders of art, which he saw in a visit to Italy, his love of 
 Reynolds's works seemed to increase daily ; and though 
 still considering M. Angelo as the head of all that was 
 sublime, he looked upon Raffaelle, Correggio, Titian, and 
 Reynolds as the gods in art, at whose shrines he should 
 hereafter bend. Of Turner, too, though an opponent to 
 him in the Academy, he spoke in terms of no ordinary 
 praise. He declared that Reynolds excelled all other 
 masters save Rembrandt, the most complete imitator of 
 *"he effect of nature that art had ever produced. 
 
 " An artist should have fine pictures in all parts of 
 his house to catch his eye and entrap him into reflection 
 as he passes by. By such artifices he keeps his attention 
 ever on the alert." 
 
 Edmund Burke says, ''The painter, who wishes to 
 make his pictures what fine pictures ought to be, nature 
 elevated and improved, must first gain a perfect know- 
 ledge of nature as she is. Before he makes men as they 
 ought to be, he must know how to make them as they 
 are ; he must acquire an accurate knowledge of all the 
 parts of the body and countenance. To know anatomy 
 will be of little use, unless physiology and physiognomy 
 are joined to it." 
 
 Says Haydon, " Show me a hero, a poet, a painter, a 
 musician, a tyrant, a murderer, a thief, — all, remember, 
 illustrious in their respective departments, and in which 
 their phrenological development does not prove the truth 
 of phrenology, and I yield. 
 
 " The great proportion of mankind can be modified 
 by education and circumstance ; but there are some so 
 constituted, inefficiently or powerfully, that no circum- 
 
260 THE CAMERA AND THE PENCIL. 
 
 stance or training, in the latter instance, will ever turn 
 them aside from realizing their burning impressions, or, 
 in the former, elevate them to produce anything. 
 
 "The man was wrong who found fault with nature 
 for not placing a window before the heart, in order to 
 make visible human thoughts and intentions. There is, 
 in truth, provision made in the countenance and outward 
 bearing for such discoveries. 
 
 " Cuvier reduces the varieties of our species to three, — 
 the Caucasian, or white ; the Mongolian, or yellow ; and 
 the ITegro, or black. The Caucasian, to which we belong, 
 is known by the beauty of the oval-formed head, varying 
 in complexion, and color of the hair. From this variety 
 the most civilized nations have originated — ourselves 
 for instance. 
 
 "In every head, painted by M. Angelo, Eaffaelle, 
 Titian, Correggio, Rubens, or Vandyke, you behold a 
 knowledge and mastery of the skull. 
 
 " On beholding the Elgin Marbles, I foresaw at once 
 a mighty revolution in the art of the world for ever. I 
 saw that union of Nature and Ideal perfected in high art, 
 and before this period pronounced impossible. I thanked 
 God, with all my heart and my whole being, that I was 
 ready to comprehend them from dissection, I bowed to 
 the Immortal Spirit, that still hovered near them. I 
 instantly predicted their vast effect on the art of the 
 world, and was smiled at for my boyish enthusiasm ! 
 
 "Fame cannot spread widely or endure long, which 
 is not rooted in nature and matured by art. 
 
 " Dryden said there was no royal road to knowledge ; 
 and we may say, there is no railroad to perfection in 
 art. 
 
 " In using nature for poetic invention, Reynolds, Van- 
 dyke, and even Titian and Rubens fail. Reynolds, 
 
REMARKS FROM VARIOUS AUTHORS. 261 
 
 especially, could elevate wliat he saw, if lie kept the 
 elements of what he had before him. The instant he 
 left his model, he was abroad. 
 
 " Mrs. Siddons, as the Tragic Muse, is more poetical 
 than his own inventive Tragic Muse in Garrick, between 
 her and Comedy. Mrs. S. was an elevated portrait, while 
 the other was his own invention, and the two completely 
 illustrate the principle laid down. Reynolds was a great 
 artist in the second rank ; but with a different education 
 and in a different period, he would have been a great 
 artist of the first rank ; but his genius for high art was 
 not intense enough to make him a great artist in spite 
 of time and education. 
 
 " As the painter has but one moment ; first, his subject 
 must be one of palpable interest, big with the past and 
 pregnant with the future, — next, his actions must be 
 doing, his passions expressing, his lights and shadows 
 fleeting; something must be past, something must be 
 coming, and he chooses the point of interest, the point 
 between. 
 
 " Reynolds's broad, masculine touch ; his glorious, 
 gemmy surface ; his rich tones ; his graceful turn of the 
 head, will ever be a source of instruction to the great 
 artist, let him practise in what style he may." 
 
 PORTRAIT. 
 
 Burnet says, "Alexander would never sit for his por- 
 trait to any one but Apelles, who knew how to ennoble 
 the likeness ; while Cromwell desired Lely to represent 
 all his warts and excrescences. A very little practice 
 will soon convince an artist that most of his sitters will 
 be actuated by the feelings of Alexander, rather than by 
 those of Cromwell. 
 ' "Lawrence used to say, that even in the majestic heiad 
 
262 THE CAMEEl AND THE PENCIL, 
 
 of Mrs. Siddons there were parts and forms wHcli did not 
 appear to belong to Mrs. Siddons, and sliould, therefore, 
 be omitted in lier portrait. To every bead where cha- 
 racter as well as resemblance is required, the same 
 remark will apply. 
 
 " In regard to actual resemblance, there are those 
 whom nothing will satisfy but a real, striking, startling 
 likeness, — a something which a child might not only 
 know, but mistake for the reality. Those who demand 
 such proof from art, may find it in the merest daub, in 
 the harshest caricature, but will look for it, in vain, in 
 the finest pictures. 
 
 " To Titian, the father of portrait painting, we must 
 look for most of those qualities which ennoble and 
 dignify the subject, — simple and unaffected air of the 
 figure, grandeur in the contour, and the greatest breadth, 
 alike in the light and shade, and the color. 
 
 " In the portraits of Titian we find every portion of 
 the countenance laid out with reference to its grandeur 
 and its greatest breadth and dignity. For example, the 
 pupil merges in the outer line of the iris, thus giving its 
 greatest bulk, while the upper and lower eyelids are 
 extended, by shadows, to the eyebrow; the darks of 
 which are carried out by a union and dependence with 
 the adjoining hair ; thus making the extreme boundary 
 of every feature its definition, 
 
 " By the study of the antique, in the first instance, we 
 acquire a more perfect knowledge of form, indicative of 
 beauty and correct discrimination of character. The 
 want of this previous study is perceptible in the early 
 German and Flemish schools ; and the adoption of it has 
 stamped a grandeur and dignity on the works of the 
 great masters of the Italian schools. 
 
 " Giving a work the exact look of nature, unless com- 
 
REMARKS FROM VARIOUS AUTHORS. 263 
 
 bined with the scientific arrangements of refined art, 
 may create wonder in the ignorant, but seldom gives 
 satisfaction to persons of refined taste. It is mentioned 
 of a portrait by Titian, of Charles Y., that on its being 
 placed on the terrace, in the sun, the passers-by took oft" 
 their bonnets, thinking it the emperor himself." 
 
 But I must, however unwillingly, bring these extracts 
 to a close. I cannot but think that I shall have the 
 reader's approbation for having occupied so many pages 
 of this volume in such a way. For, if I mistake not, 
 the heliographer and the artist, in whatever department, 
 and the general reader not less, will find entertainment 
 and direct instruction and matter for useful reflection in 
 these utterances of many of the ablest and most accom- 
 plished minds in both the past and the present time. If 
 such be the result, I shall not regret the time and labor 
 expended in bringing them into such order as I have 
 been enabled to give them. 
 
 Note. — What High Art is. — " High art," says a modern critic, " if there bo 
 any such thing, must be that use of the arts which has the efiFect of elevating 
 and refining the morals. Thus, in painting, while the delineation of the sub- 
 ject, the harmony of all its features, and the combination and blending of the 
 colors, must be so perfectly true to nature as to satisfy the highest and most 
 intelligent perception of excellence, the subject itself, or its treatment, must 
 be suggestive of ideas tending to elevate the moral sentiments; without 
 which, no picture, however admirable the execution, can be called a work of 
 high art. Historical pictures, therefore, unless recording some event in which 
 great principles were involved, are not necessarily high art, although it is 
 common so to consider them. 
 
 " Music, which specially appeals to the feelings, proves the correctness of 
 this theory, the devotional being universally acknowledged as the highest 
 order. Still, it is very questionable whether the use of such a term is justifi- 
 able, under any circumstances, because there are many pictures that would 
 suggest various ideas to diS'erent people; so that what would excite in one 
 man merely sensual desire, in another might call into activity the highest 
 and purest sentiments of which the human mind is capable." 
 
CHAPTEE XXYI. 
 
 ON COLORING PHOTOGEAPHS. 
 
 Introduction — Necessity for color to an artistic photograph — Influence of white 
 and black on colors — Blonde and brunette complexions — Water colors — 
 Coloring in oil, some knowledge of drawing requisite — Concluding remarks. 
 
 As the subjects treated in the foregoing chapters have 
 been so discussed, as to indicate to the student, the 
 amateur, and the general reader, the principles lying at 
 the basis of a good portrait, and giving it value both as 
 a Ukeness and a work of art, — the truth of which princi- 
 ples is confirmed by the opinions of the ablest and most 
 eminent artists of former times ; — so I here introduce a 
 chapter upon finishing and coloring the Photograph in 
 several of the most approved styles in vogue. These 
 styles, if carried skilfully into efi'ect, will impart to a 
 portrait a permanence, and a charm, which ever satisfies 
 and delights, without tiring. 
 
 Here the practical Photographer and the professional 
 Artist work together — the Camera and the Pencil are 
 companions. 
 
 THE PRINCIPLES OF HARMONIOUS COLORING. 
 
 As I have repeatedly shown in the present volume, a 
 heliograph which, chemically and mechanically, may be 
 pronounced perfect, may, when considered as a work of 
 art, be exceedingly imperfect. I need scarcely add, that 
 judgment and taste enough may be shown in its pro- 
 duction, in the arrangement of position, and the distribu- 
 tion of lights and shadows, to entitle it to the name of 
 picture, while, regarded as a portrait, it may still be very 
 defective. The effect of color may, in many instances, 
 
 (2^4) 
 
PRINCIPLES OF HARMONIOUS COLORING. 265 
 
 be absolutely essential to anything like a faithful repro- 
 duction of the original. 
 
 To obtain good results in coloring, it is not requisite 
 merely to possess the manipulative aptitude to imitate, 
 with somewhat of success, the color of the object copied. 
 One of the first requirements in the education of the 
 painter, is a knowledge of the value of his colors ; of 
 their relations and harmonies ; and of their results in 
 juxtaposition and combination. As in music an ex- 
 haustless world of beauty and delight is produced by the 
 various combinations and sequences of seven different 
 sounds, so in painting a source of beauty, scarcely more 
 circumscribed, results from the combination and arrange- 
 ment of three primary colors ; and in painting, as in 
 music, the beauty consists not in any single color, any 
 more than it does in any one note, but in the relation it 
 is made to bear fco others. 
 
 True it is, that, in this respect, the field of the portrait 
 painter is perhaps more contracted than that of the 
 painter of works of imagination and fancy, or even than 
 that of the landscape painter ; while the province of the 
 colorist of heliographic pictures is more limited still. 
 Nevertheless, without some acquaintance with the prin- 
 ciples of harmonic coloring, he can hardly hope even to 
 approximate to the best results. And while in portraiture 
 the painter is required to reproduce, in many respects, as 
 nearly as possible, the colors inherent in the object repre- 
 sented, still in the selection of colors for draperies, back- 
 grounds, &c., greater freedom is allowable ; and he may 
 employ such analogies or contrasts of color, as, while 
 producing a harmonic total, give value and effect to the 
 colors of the complexion. To aid the colorist in this 
 particular, I will here present a very brief summary of 
 the leading principles belonging to this subject, limiting 
 
266 THE CAMERA AND THE PENCIL. 
 
 myself to the bare statement of them, with as little com- 
 ment as possible. 
 
 The source of all color is light, and a beam of white 
 light is divisible into three separate rays, — blue, yellow, 
 and red. These constitute the three (so named) primary 
 colors, and by their various combinations every possible 
 hue may be obtained. White light, when decomposed by 
 passing through a prism, yields what is entitled the solar 
 spectrum., which consists of the seven colors seen in the 
 rainbow, arranged in the following order : — violet, indigo, 
 blue, green, yellow, orange, and red; and hence it was 
 formerly thought, that each of these was an elementary 
 color. Subsequent observation, however, has shown, 
 that all, save blue, yellow, and red, are produced by 
 these overlapping or impinging upon each other. 
 
 These colors, in their several combinations, are named 
 hues. These hues, when weakened by commingling with 
 white, are called tints, and when deepened by admixture 
 with black, are entitled shades or shadows. The varied 
 gradations of tints and shades of a single color, constitute 
 a scale. 
 
 The presence, in felicitous proportions, of the three 
 primary colors, or their combinations, in a picture pro- 
 duces harmony. 
 
 Any two primary colors mingled in certain propor- 
 tions, produce a secondary color which is complementary 
 to the remaining primary color. For instance, the 
 mixture of blue and yellow produces green, which is 
 complemental to red. 
 
 The mixture of yellow and red produces orange, which 
 is complemental to blue. 
 
 The mingling of red and blue produces purple, which 
 is complementary to yellow, as may be seen by trying 
 the experiment indicated by the following diagram. 
 
PRINCIPLES OF HARMONIOUS COLORING. 267 
 
 Divide a circle into six equal parts, numbered 1, 2, 3, 
 4, 5, 6, as in the annexed diagram. Let the spaces 1, 2, 
 3, be colored blue; 3, 4, 5, yellow; and 5, 6, 1, red. 
 
 It will appear, that the space 1 is now colored purple, by 
 the combination of red and blue, and that it is located 
 opposite to its complementary, yellow, the remaining 
 primary. 
 
 The space 3 is colored g^-een by the combination of 
 blue and yellow, and is opposite to its oompl mental, red, 
 the remaining primary. 
 
 The space 5 is colored orange, by the commixture of 
 yellow and red, and is opposite to red, its complement- 
 ary. 
 
 These combinations may be carried, with like results, 
 to an extent virtually unlimited. For example, the com- 
 bination of any two secondary colors produces a tertiary, 
 which is complemental to the remaining secondary. 
 
 Thus, the mixture of orange and green produces 
 citrine, which is the complemental oi purple; purple and 
 green produce olive, which is complementary to orange; 
 purple and orange produce russet, which is complemental 
 to green, and so on. 
 
 This description of the relations of colors is not a mere 
 
268 THE CAMERA AND THE PENCIL. 
 
 arbitrary one, nor is it the result of fancy or taste; but 
 it is based on absolute inherent principles. These rela- 
 tions exist, as a physical necessity of onr organs of 
 sight, as may be demonstrated by a few simple experi- 
 ments. 
 
 If, for example, a red wafer be laid on a sheet of white 
 paper, and the eye be steadily fixed upon it for a short 
 time, and then transferred to another part of the paper, 
 a similar spot will appear before the eye, but of green, 
 the color complementary to red. This spot, named an 
 ocular spectrum, will remain visible for a few minutes, till 
 it is gradually removed by the white light reflected from 
 the paper. 
 
 If the same experiment be tried with a blue wafer, the 
 color of the spectrum, thus produced, will be orange ; if 
 with a yellow wafer, a, pzirple spectrum is the result, and 
 so on with the others. 
 
 This principle is applicable to every combination and 
 variety of tint. Thus, if a red inclines somewhat to 
 yellow, as in scarlet, then the complemental, green, 
 will incline a little to blue, and become a bluish 
 green. 
 
 If, contrariwise, the red inclines a little to blue, as in 
 crimson, the complementary will incline somewhat to- 
 wards yellow, and become a yellowish green. 
 
 These combinations may be multiplied by gradations, 
 so minute and delicate, that to enumerate them is impos- 
 sible. 
 
 The quality of their relations, however, may be illus- 
 trated by the appended diagram, wherein the cample- 
 mental of each color will be noted in the space directly 
 opposite to it ; each pair exhibiting a harmonic balance 
 of the three primary colors. 
 
PKINCIPLES OF HARMONIOUS COLORING. 
 
 269 
 
 Green Blue. 
 Blue Green. 
 Green, 
 
 Yellow Green. 
 
 Green Yellow. 
 
 Yellow. 
 
 Orange Yellow, 
 
 Yellow Orange. 
 
 Violet Blue. 
 Blue Purple. 
 Purple. 
 
 Bed Purple. 
 
 Purple Red. 
 
 Orange Red. 
 
 Each pair of colors, comprising a 'primary with its 
 complemental secondary, exhibit also, sundry special con- 
 trasts peculiar to themselves. 
 
 For instance, blue is, at once, the coldest color and the 
 most retiring, while orange, its complemental, is the 
 warmest color and the viost advancing . Every combina- 
 tion of colors, as it approaches towards orange or blue, is, 
 in its effect, warm or cold, and, in a picture, wears the 
 appearance of approaching the eye or receding from 
 it. 
 
 Yellow is the brightest of colors, aad is most nearly 
 allied to light ; while purple, its complemental, is the 
 darkest of colors. 
 
 We may here state that white and hlack, which contrast 
 most perfectly as Light and Darkness, are not considered 
 as colors : white, which most nearly resembles light, being 
 regarded as representing a combination of all colors, and 
 hlack, like darkness, the absence alike of color and light. 
 
 Red is the most positive and exciting of all colors ; 
 while green, its complemental, is the least stimulative and 
 most soothing of all colors. 
 
 It may be noted that, while each combination of two 
 
270 THE CAMERA AND THE PENCIL. 
 
 primary colors produces a new and perfect hue, each 
 subsequent combination tends to create neutrality. The 
 neutral tints, however, which are thus produced, partake 
 in a greater or less proportion of the special character- 
 istics of the primaries, to which they are most closely 
 allied. 
 
 Complemental colors in juxtaposition, mutually con- 
 tribute to enrich each other, and produce what is entitled 
 the harmony of contrasts. For instance, purple and yelloic, 
 of like purity and intenseness, become each the brighter 
 from contact with each other, — the yellow becoming 
 intensified by the additional yellow rays reflected from 
 the purple, and the purple having its richness enhanced 
 by the purple rays yielded by the yellow. From the 
 same cause neutral tints, put in juxtaposition with full 
 hues, appear to be tinged with the complemental colors 
 of such hues. Gray, for example, placed in juxtaposition 
 with red, takes on the appearance of greenish gray, green 
 being the complementary of red. 
 
 Colors not complemental to each other, are reciprocally 
 injured by contact. 
 
 For instance, blue and purple put in juxtaposition are 
 both injured ; the hlue growing greenish from the yellow 
 ]'ays emitted by the purple taking a russet tinge from the 
 orange rays reflected from the hlue. 
 
 From this fact, it appears that neutral tints put in con- 
 tact with full hues, should, in order to yield the best 
 results, incline to the complemental of such hues. 
 
 For example, olive placed in juxtaposition with yellow, 
 should, to produce the finest effects, incline to purple 
 rather than to green, purple being complementary to 
 yellow. 
 
 Over and above the results produced by contrast of 
 hue, that flowing from contrast of intensity should be 
 
PRINCIPLES OF HARMONIOUS COLORING. 271 
 
 considered. If two tints, of like color, but of different 
 degrees of depth or intensity, are placed side by side, the 
 deep tint will appear still deeper, while the light tint will 
 appear still lighter, the difference in intenseness appear- 
 ing greatest at the points of contact. 
 
 Contrasting colors, also, of various degrees of intensity, 
 are doubly modified by contact ; in brilliancy of hue, as 
 before described, and likewise in intenseness, the deepest 
 color appearing still deeper, and the least intense appear- 
 ing still more diluted. 
 
 Hence, all colors gain depth by contact with white, as 
 the white takes the complemental tint of the color near 
 it. Contrariwise, black tends to weaken the colors in 
 its immediate vicinity. 
 
 The influence of the several hues on black is varied in 
 a similar way, its depth being materially modified by 
 contact with colors having luminous complementaries. 
 For instance, black, in juxtaposition with purple, loses 
 depth from being tinged with the yellow rays emitted by 
 the purple ; in contact with blue or green, it grows rusty 
 from the orange or red rays reflected by these colors. 
 
 On the other hand, black is intensified by contrast with 
 orange, yellow, or red. 
 
 The juxtaposition of gray, which is a commixture. of 
 white and black, imparts brilliancy to all pure colors. 
 
 Besides the harmony resultant from judicious con- 
 trasts, there is the harmony of analogy, produced by the 
 combination of the several gradations of a single color 
 in its own scale, or of the hues and broken tints in the 
 order wherein they occur in the solar spectrum. A 
 measureless sum of pleasing effects may be obtained by 
 the judicious arrangement of analogous tints in harmonic 
 relations. Being, however, less striking, much nicer 
 
272 THE CAMERA AND THE PENCIL. 
 
 perceptions, and more skilful management, are required 
 to produce felicitous effects. 
 
 It has been already remarked, that the laws regulating 
 harmonious coloring are not suggested by fancy, but are 
 based on absolute inherent relations. A very little 
 observation of nature will furnish pleasing illustrations 
 of both species of harmony. A striking instance of the 
 harmony of analogy may be witnessed in the beautifully 
 graduated and blended colors of the rainbow; and, more- 
 over, in almost every landscape, where the blue of the 
 far distance blends with the cool greens and grays of the 
 middle distance; and these merge into the warmer greens, 
 yellows, and browns of the foreground ; while, if the sun 
 be setting in the landscape, every object is beautified by 
 the play of golden lights and purple shadows. With 
 specimens of the harmony of contrast, nature teems in 
 every garden, meadow, and moor: as witness the damask 
 rose, with its yellowish green leaf; the scarlet holly 
 berry, and its deep green foliage ; and the well-nigh un- 
 varied mingling of yellow gorse and purple heather. 
 
 In applying these principles to the coloring of pro- 
 traits, it were well to remember, that M. Chevreul,* 
 whose investigations of this subject entitle him to the 
 highest rank, as an authority, while discussing the har- 
 mony of colors, as belonging to the human complexion, 
 considers the blonde, or fair complexion, as always allied, 
 more or less, to an orange tint throughout ; remarking 
 that, as the color of light hair is essentially the result of 
 a commingling of red, yellow, and brown, we must esteem 
 it as a very pale orange brown. 
 
 * To the student, who would make himself thoroughly fiimiliar with the 
 subject, may be recommended M. Chevrenl's work, on "The Simultaneous 
 Contrasts of Colors ;" as also Mr. Redgrave's excellent little " Manual of Color." 
 
 Wo maj', further, refer him to our chapter entitled, " The Harmony of 
 Colors, pp. 67-83." 
 
PKINCIPLES OF HARMONIOUS COLORING. 273 
 
 By this we are to understand merely that orange is 
 i\iQfull hue, to which blonde complexions approach most 
 nearly. In what is termed decidedly red hair, the orange, 
 certainly, is sufficiently pronounced, as also, though, to 
 be sure, in a less degree, in auburn and chestnut hair, 
 the approach to orange growing less decided, as the yel- 
 low or brown tint predominates. 
 
 He adds, " the color of the skin, though of a lower 
 tone, is akin to that of the hair, except in the red parts ; 
 and, moreover, blue eyes are, really, the sole portion of 
 the fmr type, which exhibits a contrast of color with the 
 ensemble; for the red parts produce, with the residue of 
 the skin, merely a harmony of analogy of hue, or, at 
 most, a contrast of hues and not of colors; and the por- 
 tions of the skin nearest to the hair, the eyebrows, and 
 the eyelashes, present a harmony of analogy, either of 
 scale or of hueP 
 
 In the/a?'r type, then, the harmonies of analogy mani 
 festly prevail over the harmonies of contrast. 
 
 When hazel eyes exist in the fair type (as is often the 
 case), in combination with chestnut hair, the analogic 
 harmony is perfect. In the several complexions usually 
 classified under the title Brunette, wherein black or dark 
 hair predominates, there is a prevalence of the harmony 
 of contrast. 
 
 "In fact" (remarks Chevreul), "the hair, eyes, and 
 eyebrows contrast, in color and tone, not alone with the 
 white of the skin, but also with the red portions, which, 
 in this type, are actually redder, or less rosy, than in the 
 blonde type. Nor shoald we forget, that a decided red, 
 combined with black, communicates to the latter the 
 aspect of an exceedingly deep color, either blue or 
 green." 
 
 A proper understanding of the principles here indi- 
 18 
 
274: THE CAMEKA AND THE PENCIL. 
 
 cated, will enable the colorist to secure fidelity to 
 nature, in the particulars absolutely inherent in his 
 model, while he so arranges the draperies, background, 
 &c., as to impart value to the complexion, and produce 
 a harmonious and perfect picture. 
 
 The putting into verse of maxims, of any species, is 
 so valuable an aidance to the memory, that it has been 
 styled the "Shorthand of Thought;" and it will be 
 scarce needful to allude to the trite quotation from 
 Fletcher of Saltoun, wherein he declares, without quali- 
 fication, that a "Nation's verse exerts a higher and more 
 potent influence than its laws," in order to justify the 
 annexing to the present chapter of the following lines, 
 from the facile pen of Henry Hopley White, Esq., of 
 England, aptly embodying, as they do, the principles to 
 which this chapter is devoted. It is entitled : 
 
 " THE RELATIONS AND HAEMONIES OF COLOR." 
 
 Blue — Yellow — Red — pure simple colors all, 
 (By mixture not obtained) vie primaries call; 
 From these, in various combinations blent, 
 All other colors trace their one descent. 
 
 Each mixed with each, — their powers, combined, diffuse 
 
 New colors, which are secondary hues; 
 
 Yellow, with red makes orange; with blue, green; 
 
 In blue, commixed with red, is purple seen. 
 
 Each of these hues in harmony we find, 
 
 When with its complementary combined ; 
 
 Orange, with blue and green, with red agrees, 
 
 While purple tints, near yellows, always please. 
 
 The secondaries tertiaries produce, 
 
 And citrine, olive, russet, bring to use. 
 
 Thus green and orange, blent, produce citrine, 
 
 While olive springs from purple, mixed with green; 
 
 Orange and purple, mingled, russet prove. 
 
 And wrought upon hy the law, named above. 
 
PRINCIPLES OF HARMONIOUS COLORING. 276 
 
 The complemental secondary/ hue 
 Harmonious with each tertiary we view. 
 
 Thus citrine, olive, russet, harmonize 
 With purple, orange, green, their true allies ; 
 These hues, by white diluted, tints are made, 
 AVhile by black deepened into darkest shade. 
 Pure or combined, the primaries, all three, 
 To please the visual orbs, must present be; 
 If the support be lacking even of one, 
 In that proportion, harmony is gone : 
 Should red be unsustained by a due share 
 Of blue and yellow />«rey combined they are 
 In green ; which, secondary, thus we see, 
 The harmonizing medium of the three. 
 
 Yellow, for light, contrasts dark purple's hue, 
 
 Its complemental, made of red and blue, 
 
 Red most exciting is, — let nature tell 
 
 How grateful and how soothing green's soft spell. 
 
 So blue retires, beyond all colors cold, 
 While orange warm, advancing, you behold ; 
 The mingling of two primaries makes a hue 
 As perfect and decided as 'tis new : 
 But all the mixtures, which the three befall, 
 Tend to destroy or neutralize them all, — 
 Nay mix them, three parts yellow, five of red, 
 And eight of blue, the colors all are fled; 
 When primaries are not ^ure, you're sure to see 
 Their complementals change in due degree. 
 
 If red (with yellow) to a scarlet tend. 
 Some blue its complemental green will blend; 
 So, if your red be crimson (blue with red). 
 Your green with yellow would be varied ; 
 If yellow tends to oranger then you find 
 Purple (its complement) to blue inclined; 
 But, if to blue it leans, then mark the change. 
 Nearer to red you see the purple range. 
 If blue partakes of red, the orange then 
 To yellow tends; — if yellowish, you ken, 
 The secondary orange glows with red. 
 Reader, farewell ! my lesson now is said. 
 
 H. H. W 
 
276 THE CAMEEA AND THE PENCIL, 
 
 WATER COLORS. 
 
 The colors, required for coloring photographs, are the 
 same as are employed for miniature painting, with such 
 difference in their combinations, as the tone of the pho- 
 tograph renders necessary. The following list comprises 
 all that are essential ; and if used perfectly pure, they 
 will not injure the picture. 
 
 Antwerp Blue, Chinese White, Bistre, Chrome Yellow, 
 1, 2, 3, Black Lead, Cobalt Blue, Blue Black, Cologne 
 Earth, Bright Roman Ochre, Constant White, British Ink, 
 Crimson Lake, Bronze. Dragon's Blood, Brown Madder, 
 Emerald Green, Brown Pink, French Blue, Burnt Car- 
 mine, Gallstone, Burnt Sienna, Gamboge. Burnt Umber, 
 Green Bice, Cadmium Yellow, Green Oxide of Chro- 
 mium, Carmine, Chalons Brown, Hooker's Green, 1, 2, 
 Chinese Yermilion, Indian Lake, Indian Bed, Prussian 
 Blue, Indian Yellow, Prussian Green, Indigo, Purple, 
 Intense Blue, Purple Brown, Intense Brown, Purple 
 Lake, Italian Pink, Purple Madder, Ivory Black, Raw 
 Sienna, King's Yellow, Raw Umber, Lamp Black, Red 
 Chalk, Lemon Yellow, Red Orpiment, Light Red, Rose 
 Madder, Madder Carmine, Roman Ochre, Malachite 
 Green, Sap Green, Mars Brown, Scarlet Lake, Mars 
 Orange, Sepia, Mars Red, Sepia Page's, Mars Yellow, 
 Sepia Warm, Naples Yellow, Smalt, Neutral Tint, Terra- 
 Yerte, Olive Green, Ultramarine, Orange Ochre, Ultra- 
 marine Ashes, (Olive Yermilion, 2), Yandyke Brown, 
 Yenetian Red, Payne's Gray (for Scarlet), Yerditer, Per- 
 manent Crimson, Yermilion, Pink Madder, Yellow Lake, 
 Yellow Ochre. 
 
 Carmine. — This is a brilliant red, inclining to crimson, 
 
PRINCIPLES OF HARMONIOUS COLORING. 277 
 
 very clear in its pale washes, and in its full touches 
 intense. As it is somewhat fugitive in its nature, it 
 should, in flesh tints, be used with caution. 
 
 Burnt Carmine is a rich, deep crimson, very useful in 
 the full touches of drapery. 
 
 Rose Madder. — A most valuable color for flesh, — its 
 pale washes being delicate, clear, transparent, and very 
 permanent. 
 
 Pinh Madder. — Similar to the last named, but some- 
 what deeper in tint. 
 
 Crimson Lake. — Somewhat akin to carmine, but less 
 brilliant ; chiefly useful in draperies. 
 
 Venetian Red. — A beautiful color for flesh; works well 
 and is permanent. Its pale washes are very clear, and 
 slightly modified with Indian Yellow, it constitutes, in 
 the hands of the miniature painter, a valuable general 
 tint for most complexions, though for photographs it 
 is often too deep. 
 
 Light Red. — Is analogous in general character, but 
 more inclining to orange. 
 
 Lndian Red. — A powerful red, of a purplish hue. It 
 works well and is durable, but is useful only when in 
 combinations, as a shadow for flesh. 
 
 Vermilion. — A very brilliant red, not generally suita- 
 ble for flesh tints, as it is heavy and does not work well. 
 With a little lake, it is useful for the lower lips of child- 
 ren. 
 
 Orange Verr/iilion, ISTo. 2. — Works more favorably than 
 the last preceding, and, as suggested by its name, it in- 
 clines somewhat to yellow. (This color, which is one of 
 Newmans, is the nearest approach to a pure scarlet, that 
 is permanent.) 
 
 Roman Ochre. — Useful for dark flesh, as also for dra 
 
278 THE CAMEEA AND THE PENCIL. 
 
 peries. It is used, moreover, in combination with sepia, 
 for light hair. 
 
 Yellow Ochre. — Used in combination for light hair, 
 and also in landscape backgrounds. 
 
 Indian Yelloiv. — A brilliant and intense yellow, which 
 works well. From its purity of tint, it is a most useful 
 yellow for mixing in flesh tints. For many photo- 
 graphs, however, it is too intense. 
 
 Cadmium Yellow. — A very brilliant and durable color 
 for draperies, as also useful in producing orange tints. 
 
 Gamboge. — A fine, rich yellow, useful in forming 
 green combinations. It, moreover, washes well, but is 
 not suitable for flesh. 
 
 Lemon Yellow. — A beautiful light, vivid, and perma- 
 nent yellow, useful in draperies for high lights. 
 
 Yellow Lake. — A bright, transparent yellow, though 
 somewhat fugitive. 
 
 Italian Pink. — A yellow very like the last mentioned, 
 but deeper and richer. 
 
 Naples Yellow. — A fine light yellow, which, when 
 mingled with pink madder, is valuable as a general wash 
 for flesh, and alone, where a body color is needed for the 
 high light. Like most mineral colors, it is damaged by 
 impure air, and, therefore, the picture should ever be 
 ciirefully protected from this. 
 
 Raio Sienna. — A brownish yellow, which is perma- 
 nent, and works favorably, and is specially useful in 
 backgrounds. 
 
 Burnt Sienna. — A fine, transparent brown, of an orange 
 tint, valuable in dark, warm complexions, as likewise in 
 backgrounds. 
 
 Brown Madder. — A rich russet brown, which works 
 well and is permanent; which is useful for the darkest 
 touches in flesh, and for lowering red draperies. When 
 
PRINCIPLES OF HARMONIOUS COLORING. 279 
 
 united with blue, it makes a delicate gray, useful in flesh 
 shadows. 
 
 Burnt Umher. — A good brown, useful for hair, dra- 
 peries, and backgrounds. 
 
 Sepia, — A cool, translucent brown, useful equally in 
 its full touches or pale washes, and valuable for hair, 
 whether in combination or alone. With lake, or lake 
 and indigo, it yields a fine transparent black for the 
 shadows of draperies, of either silken or woollen fabric. 
 
 Sepia, Warm. — Similar to the substance just named, 
 in its every property, though of warmer tint. 
 
 Yandyke Brown. — A fine warm brown, useful, from 
 its great transparency, in glazing numerous other tints, 
 which it both warms and deepens. Care in its use is 
 requisite, since it is liable to '' worh up,'''' when a large 
 amount of it is employed. 
 
 Neutral Tint. — A valuable gray, which may be modi- 
 fied for almost any shadow, by the addition of other 
 tints. 
 
 Purple Madder. — A deep warm purple, of great rich- 
 ness and intensity, which works well and is permanent, 
 and is, moreover, useful for very deep, warm shadows. 
 
 French Blue or French Ultramarine. — A fine blue very 
 closely resembling the tint of genuine ultramarine, while 
 working to better results. 
 
 Cobalt. — A bright, durable blue, which enters largely 
 into the shadow colors of flesh. 
 
 Prussian Blue. — A deep blue, useful in draperies, and 
 with the addition of carmine constituting all varieties of 
 purple and violet. It should not be used in flesh, as it 
 is liable to turn green. 
 
 Indigo. — A good dark blue, useful in combination for 
 producing a variety of greens for backgrounds. 
 
280 THE CAMERA AND THE PENCIL. 
 
 Ivory Black. — A ricli translucent black, in its washes 
 inclining somewhat to brown. 
 
 Chinese White. — A valuable, permanent white, of great 
 body and working well ; useful for the light of eyes, 
 lace, &c., and also for giving body in draperies. 
 
 BRUSHES, ETC. 
 
 The operant's pencils should be moderate-sized sables. 
 When charged with water, they should terminate in a 
 good point, with no uneven hairs, and should spring well 
 on being pressed with the finger. 
 
 For large washes, a few good camel's-hair pencils should 
 be provided. For hatching, a sable, of which the point 
 has been worn off, will serve sufficiently well. 
 
 Small pencils should be discarded, as tending to pro- 
 duce a feeble, wiry effect, which is extremely undesirable. 
 
 Good pencils are essential, alike to comfort in opera- 
 ting, and to the production of excellence in results. 
 
 THE PHOTOGRAPH ; TO CHOOSE AND PREPARE IT. 
 
 To obtain fine results in coloring, it is requisite that 
 the photograph approach, in some degree at least, to 
 excellence. It is important, that the distribution of light 
 and shade, in the picture, be effective and natural ; that, 
 throughout, it be properly focussed and sharp ; and, that 
 it be a clear, well-defined, and bright photograph. 
 
 A direct vertical light for producing the portrait 
 should be avoided, since the effect of light and shadow, 
 so obtained, is generally unnatural, — the intense light at 
 the crown of the head often imparting, even to dark, 
 glossy hair, an aspect of grayness, while the shadows 
 under the eyes, nose, and chin, appear unpleasantly 
 heavy. 
 
PRINCIPLES OF HARMONIOUS COLORING. 281 
 
 A portion of skylight joining a side-light, and both 
 facing the north, will furnish the best picture. The 
 sitter should be placed somewhat back from beneath the 
 skylight, while the head quarters a little from the side- 
 light. The whole figure will then be well illumined ; 
 the deepest shadow on the face of a three quarters' view 
 (which, as being usually the best, we are speaking of 
 here), will be on the retiring cheek, while the partial 
 profile will be well lighted and clearly defined on the 
 shadowed cheek. 
 
 The position of the head in relation to the body is a 
 matter of taste. When both are placed in one and the 
 same direction, the effect is most simple ; while the turn- 
 ing of the body in one direction, and of the head in 
 another, imparts to the figure greater animation. Care, 
 however, should be taken, not to give too much move- 
 ment to the figure, or to put it in a strained unnatural 
 posture. See chapter on sitting, pp. 105-112. 
 
 The background should be of a tint somewhat about 
 midway between the highest lights and the deepest sha- 
 dows of the picture, in order to give to all parts due 
 relief, and produce the best effects in coloring. If the 
 sitter be placed a few feet from the screen, serving as a 
 background, the figure will possess greater relief. 
 
 Sufficient space for background should be secured 
 both above and around the figure ; since nothing looks 
 clumsier, than a picture with scarce any background, as 
 though the sitter were cramped for space. The position 
 of the figure on the background, is the sole means of 
 indicating the size and proportions of the model. A 
 figure placed high on the plate, suggests a tall person, 
 while a figure low down in the picture, intimates a short 
 one, A background, instead of being crowded with use- 
 less objects, should be devoted to a few simple items, 
 
282 THE CAMERA AND THE PENCIL. 
 
 that neither agitate the feelings nor draw off the atten- 
 tion, which ought to be fixed upon the principal figure 
 or object. 
 
 For water colors, the tone of the picture is of consider- 
 able importance. A warm neutral tint or gray is the 
 best tone for coloring. Heavy shadows of purple, brown, 
 or of an inky tone, are very undesirable, from the lack 
 of harmony between these tones and the natural shadows 
 of flesh. 
 
 TO MOUNT THE PICTURE FOR COLORING. 
 
 The first step in preparing the photograph, is to mount 
 it on a card-board. For this purpose a solution of gela- 
 tine, or of clean fresh glue, should be used. Paste or 
 gum water should be avoided, as these are prone to 
 generate acid, which would injure the picture. 
 
 The gelatine or glue should be brushed over the back 
 of the photograph, which should then be laid on the 
 board. A sheet of clean paper should now be placed on 
 the surface, and then pressed gently yet firmly down, 
 and finally the picture should be put under a weight. 
 The items of its subsequent preparation depend some- 
 what on the process of its production. As the various 
 photographic papers, through the diverse processes they 
 are subjected to by operants, present almost numberless 
 varieties of surface, no universal mode of procedure can 
 be prescribed for preparing a surface to receive water 
 colors. 
 
 To apply water colors to paper with facility and effect, 
 it should have a surface whereon the colors wash easily, 
 sinking in sufficiently to allow other colors to be worked 
 over them without washing up. To secure such surface, 
 the photograph will invariably require some preparation. 
 
 In a matter so important and so greatly affecting sue- 
 
PRINCIPLES OF HAEMONIOUS COLORING, 283 
 
 cess, not less than comfort, in working, we would urgent- 
 ly recommend "Newman's preparation;" which, applied 
 to the picture, gives a fine surface, whereon the colors 
 wash easily, and enables the operant to produce the most 
 brilliant results. 
 
 This preparation should be applied with a camel's hair 
 brush, and spread evenly over the whole surface of the 
 picture, which then should be dried. For the most part 
 one application will suffice, and this may be ascertained 
 by trying a corner with a little color. 
 
 If it wash on easily, without sinking too far into the 
 surface, it is ready for coloring. If, contrariwise, it is 
 much absorbed, it will, especially if the operant be a 
 tyro, require another application. Before beginning to 
 color, the surface may advantageously be washed with 
 clean water and a brush, and then dried. 
 
 Some albuminized paper requires no preparing, though 
 it is, mostly, improved by one application. If the colors 
 work greasily on albuminized paper, a little prepared 
 ox-gall may be united with them. 
 
 Besides its use for preparing the surface to receive the 
 color favorably, this "preparation" is invaluable, as a 
 medium for adding to the water colors in vogue. In any 
 preparation for this purpose, it mixes readily with water 
 in whatever proportion, and has the important property 
 of becoming insoluble when dry, so that a wash of color, 
 wherewith it has been combined, is not liable to work 
 up in applying another wash over it. The colorist is 
 thus enabled to obtain a depth and transparency resem- 
 bling those of oil colors, and wholly unattainable by 
 mingling the colors themselves on the palette. 
 
 In employing it, only a small portion of color should 
 be mixed at one time, — not more, indeed, than is requi- 
 site for immediate use; since, when the color mixed 
 
284 THE CAMERA AND THE PENCIL. 
 
 therewith has once dried en the palette, it is unfit for 
 subsequent use. The palette and pencils should, more- 
 over, be washed before the color hardens, or its remoyal 
 will be troublesome. 
 
 The "preparation," so often alluded to, may frequently 
 be used profitably both upon salted and albuminized 
 paper, to which dry colors should be applied, in case 
 they do not "bite" or suflaoiently adhere. 
 
 METHOD OF COLORING. 
 
 Though the coloring of photographs differs, in some 
 items, essentially from that of miniature paintings, yet, 
 as b(.>ch the manugement and manipulation of the colors 
 are similar, the amateur should, at the outset, know 
 somewhat of the principles on which water color painting 
 is based. 
 
 The operant, wholly imacquainted with these, will be 
 surprised to leiirn that, by mixing his colors to the tint 
 desired, and then simply washing them on to his impres- 
 sion, he will obtain but a meagre and unsatisfactory 
 result. There is scarce any part of a human facs so flat, 
 as to be correctly represented by a simple wash. lb is 
 so full of inequalities, that the gradations of light and 
 shade are, virtually, numberless; and these gradations 
 between the high lights and deepest shadows, are named 
 " pearly tints," "demitints," or grays. In using these, 
 and indeed all gradations of color, upon the local flesh 
 tint, in order to obtain transparency and depth, it is re- 
 quisite to employ "hatching," or "stippling." 
 
 Hatching consists in working on the color in short 
 strokes, following, as closely as possible, the form of the 
 features : — for instance, the strokes nearly horizontal on 
 the forehead, while circular about the eyes, mouth, and 
 
PRINCIPLES OF HARMONIOUS COLORING. 285 
 
 general contour. These strokes are then crossed with 
 similar ones, avoiding, however, the forming of direct 
 right angles. This should be done with a firm touch, 
 making every little stroke as even as may be. 
 
 Stippling is a process somewhat similar, save that fine 
 dots, with the point of the brush, are employed in place 
 of lines. 
 
 The eft'ect, in either case, is to impart depth and trans- 
 parency, while also retaining greater purity of tint, than 
 could be produced by any washing of mingled colors. 
 
 The amateur would profit at the outset, by procuring 
 a few skilfully composed and painted miniatures, where- 
 of he should next obtain photographic copies. These 
 let him color, copying minutely the several tints of the 
 originals. Thus he will learn what are the various colors 
 used in producing, in the original, the desired effect, and 
 what are the modifications of these made necessary by 
 the tone of his photograph. 
 
 As a general rule, warm, gray-toned photographs are 
 best for coloring ; that for fair persons, especially for 
 ladies and children, a light impression, free from abrupt, 
 heavy shadows, but perfect in half-tone and definition, is 
 best; while for dark persons, especially for strongly 
 marked men's heads, a more vigorous impression may 
 be advantageously employed. 
 
 Let the learner endeavor to effect his object by one 
 bold touch, rather than by several hesitating attempts. 
 Nor let him forget, that, in water colors, the first tints 
 should be conserved, pure, and brilliant, as they may 
 easily be lowered, subsequently, to any tone required; 
 but, if once rendered dull or muddy-looking, nothing can 
 restore their purity. 
 
 We subjoin a few maxims, applicable alike to every 
 mode of coloring, whether in oil, water, or dry colors. 
 
286 THE CAMERA AND THE PENCIL. 
 
 The substance of them has been already presented, but 
 the colorist may find it useful to have them stored in 
 his memory, in this epigrammatic form. 
 
 I.— Flesh, while receding from the eye, appears to 
 grow colder in tone. 
 
 II. — The edges of all cast shadows are gray. 
 
 III. — The high lights of flesh should be of a yellowish 
 white. 
 
 lY. — As light is color, every gradation to shadow is a 
 gradation from color, and, therefore, the color in shadows 
 should never be too bright. 
 
 Y. — Local colors are found neither in lights nor sha- 
 dows. 
 
 YI. — Warm colors (or those approaching to orange) 
 advance ; while cold colors (or those approximating to 
 blue) retire. 
 
 YII. — Contrasts yield brilliancy of effect, yet they 
 should never be violent or inharmonious. 
 
 YIII. — Colors should be laid on with the least possi- 
 ble rubbing with the brush, to preserve them fresh and 
 bright. 
 
 IX. — Harshness should be avoided, and every line 
 should be softened ; for in nature there exist no real out- 
 lines, though the boundary of vision is distinctly marked. 
 
 X. — Let all cast shadows be kept of a single tone, and 
 always warm (save at the edges), varying, of course, 
 with the local tint. 
 
 XL — Let reflected lights be kept warm, unless the 
 object they are projected from be visible, then they par- 
 take of its especial color. 
 
 XII. — Where the outline of a figure is ungraceful, it 
 may judiciously be hidden, to some extent, in the shadow 
 of the background. 
 
 XIII. — Massing together lights and shadows, will se- 
 
PRINCIPLES OF HARMONIOUS COLORING. 287 
 
 cure breadth of grandeur and effect. A background will 
 greatly aid in this respect. 
 
 XIV. — Every portion of the background should appear 
 to recede from the figure, which should never seem to be 
 cut in or inlaid. 
 
 XY. — Breadth of light and shade should be properly 
 preserved, or the most careful manipulation and elaborate 
 finish will be tame and ineffective. 
 
 A perpetual reference to the duplicate photograph, 
 will enable the operant to preserve the likeness of his 
 picture ; while continual attention to these maxims will 
 enable him to impart to it some value as a work of art. 
 
 TO PAINT THE HEAD. 
 
 The photograph being prepared, ascertain whether it 
 be in a condition to receive the color by trying one cor- 
 ner. If the color be too much absorbed, another sizing 
 will be desirable ; but while a slight absorption of the 
 color renders more care necessary, it has the advantage 
 of enabling the artist to gain depth and transparency, by 
 working over his previous painting without disturbing 
 the color. 
 
 The picture should be placed on a small desk, the light 
 falling upon it from the left hand. A piece of clean 
 paper should be kept over the lower part, whereon to 
 rest the hand while painting the head ; as, otherwise, it 
 will get greased with the hand and with difficulty receive 
 the color. A duplicate copy, clearly and strongly de- 
 fined, should be ever near for reference. 
 
 Naples yellow, with a little madder pink, will be best 
 for a general wash, the slight opacity having a good 
 eflect in softening the harshness of the shadows, too com- 
 mon in many photographs. 
 
288 THE CAMERA AND THE PENCIL. 
 
 Commence by giving the retiring shadows of the fore- 
 head, eyes, and mouth, a wash of gray, composed of 
 Naples yellow and cobalt, the green or blue tint predom- 
 inating, as the complexion is dark or fair. Next give a 
 general wash of Naples yellow with a little pink madder. 
 While this is drying the hair may be colored ; the tone 
 of the picture materially modifying the choice of tints to 
 be employed. 
 
 The eyebrows and eyelashes may now be touched, and 
 the pupil put in with sepia, while the iris is put in with 
 sepia and cobalt, if the eye be gray or blue, or with 
 burnt sienna if the eye be dark. The lips should now 
 be colored with vermilion and pink madder, the upper 
 lip being kept in shadow. The lips of children require 
 more vermilion, and of aged persons more pink madder. 
 
 The shadows around the mouth and nostrils may now 
 be touched with brown madder and pink madder. Fi- 
 nally, heighten the general flesh tint by hatching, using 
 the color thin and flowing, while following the form of 
 the face. 
 
 If high finish be not desired, the head might now be 
 finished by enhancing the color on the cheek with ver- 
 milion and pink madder. 
 
 These photographs are called " tinted" paintings. More 
 elaborated, however, will often be required. In such 
 case, proceed to wash in the general tint of the back- 
 ground, and commence the draperies by giving them the 
 general wash ; next heighten the color of the cheek with 
 vermilion and pink madder. 
 
 Saich over the shadows of the forehead with a bluish 
 gray, and with a light tint of the same hatch over the 
 receding cheek, the temples, and about the chin. 
 
 Put in the blue shadows beneath and at the corners 
 of the mouth, and then stipple the socket of the eye with 
 
PRINCIPLES OF HARMONIOUS COLORING. 289 
 
 a cool green. The reflected lights may next be warmed 
 by stippling with the flesh tint ; finish the lips by stip 
 pling with vermilion and pink madder, making a little 
 Chinese white for the high light, if needful. Touch the 
 edge of the upper eyelid with Indian red, and soften the 
 shaded side of the iris with shadow color. The sclerotic 
 or white of the eye, in many persons will require slightly 
 touching with cobalt, and the corner next the nose with 
 pink madder. 
 
 The hair may now be finished, keeping it in mass to 
 avoid the efiect of wiry hairs. Work on the edges of 
 the hair and flesh with gray, to avoid the appearance of 
 the hair being cut into the face. 
 
 The chief work on the head will now be to give it 
 finish and softness, by stipjjUng in the grays and pearly 
 tints, and to impart spirit and character by putting in 
 the deepest "touches" about the eye with sepia and pink 
 madder, mixed with a little dilute gum arable, and about 
 the mouth and nose with sepia and gum-water. The 
 light in the pupil of the eye must be carefully put in with 
 Chinese white. 
 
 The neck, bosom, hands, and arms, having been washed 
 with the local tint, may now be completed. The tips of 
 the knuckles, fingers, and elbows, may be hatched with 
 pink madder, and the divisions of the fingers touched 
 with the same. 
 
 In finishing the draperies and background (the next 
 process), the choice of colors must be determined by the 
 complexion of the model. 
 
 Lastly, go again over the face and give it the finishing 
 
 touches. The high lights in the photograph should be 
 
 strictly preserved throughout. If it be a copy of a 
 
 daguerreotype, &c., the high lights may require to be 
 
 imagined and strengthened. A little gum- water, used in 
 19 
 
290 THE CAMERA AND THE PENCIL. 
 
 the deepest shadows of the hair, eyes, &c., gives trans- 
 parency, if required, and the picture is completed. But 
 avoid using gum-water too freely, especially in the dra- 
 peries. 
 
 COLOR OF HAIR. 
 
 The various colors of hair are so numerous, and the 
 tones of photographs so varied, as to make it impossible 
 to give any special combinations of color for painting 
 hair. We may, however, present some general hints. 
 
 In such heavy photographs as require it, some body 
 color may be used. Chinese white or Naples yellow 
 added to the color, for lights, will answer. 
 
 Flaxen Hair. — The lights may be made with Roman 
 ochre, and the shadows are often greenish. 
 
 Auburn and Chestnut Hair. — The lights should be neu- 
 tral, inclining to purple; the local color burnt umber, 
 and the shadows glazed with lake. 
 
 Bright Red Hair. — Hair of this color should usually 
 be somewhat subdued. Roman ochre may be used for 
 the lights ; for the local color Venetian red, and sepia, 
 or burnt Sienna. Shadow with sepia and lake. 
 
 Dark Broivn Hair. — Lights, purple; local color, sepia; 
 shadows, warm. 
 
 Raven Black Hair. — Lights, neutral ; local color, indi- 
 go, lake, and gamboge, in requisite proportions. 
 
 Gray Hair. — Cobalt and sepia, properly modified with 
 neutral tint and umber. 
 
 DRAPERIES. 
 
 "We have before remarked that, in portrait painting, 
 certain colors, inherent in the model, must be rendered 
 accurately, by being colored with the utmost fidelity, 
 while the management of others is very much under the 
 
 I 
 
PRINCIPLES OF HARMONIOUS COLORING. 291 
 
 operant's control, and by their judicious arrangement, he 
 gives to the essential colors their utmost value, while 
 preserving the harmony and keeping of his picture. 
 Under this head, comes the management of draperies. 
 We here refer the operant to the previous statement 
 of the principles on which is based the harmony of 
 color. 
 
 Blue is somewhat troublesome for the artist, as such a 
 mass of cold color makes it requisite to introduce some- 
 thing warm to conserve the harmony of the picture. In 
 painting, use cobalt for the lights, and French blue and 
 lake for the shadows. 
 
 Yellow. — All positive colors, in any mass, should be 
 avoided, or used with subdued brilliancy. 
 
 Hed. — Whether vermilion, carmine, or lake be used, 
 sepia and lake, in modified combinations, will make a 
 good shadow color. 
 
 For uniforms, a most brilliant scarlet is produced by 
 first washing with cadmium yellow, and when this is 
 dry, using vermilion over it, and shadow with carmine 
 and sepia. 
 
 Purples, greens, orange, and all compound tints, are 
 produced by the mixture of some of the primaries. 
 Practice must enable the operant to select the most 
 appropriate for the moment. 
 
 White. — Chinese white is the most useful and durable. 
 The middle tints may be made of cobalt and Indian red, 
 and the shadows of sepia. 
 
 Black. — Sepia, indigo, and lake ; or gamboge with the 
 latter two make a good transparent black for silks, &c. 
 
 Gold Ornaments. — May be touched with Roman ochre, 
 the lights with Chinese white and chrome or Naples yel- 
 low, and the shadows with burnt umber. 
 
 Cloth Fabrics. — These, unlike silks, are often painted 
 
292 THE CAMERA AND THE PENCIL. 
 
 in opaque colors ; and then it is best to partially cover 
 the photograph with the local color, and paint the lights 
 and shadows upon it. 
 
 The deep shadows of all draperies are improved by- 
 adding a little gum-water, which, however, should be 
 used sparingly. 
 
 BACKGROUNDS. 
 
 These should be devoted to repose, and should never 
 be so painted, as to distract attention from the principal 
 figure. The fewer objects here introduced, the better. 
 
 When white spots occur in the background, they 
 should be touched with a somewhat deeper tint of the 
 local color, which is commonly lampblack or sepia. 
 
 VIGNETTE PHOTOGRAPH. 
 
 This is a pleasing style of photograph, not requiring 
 the same degree of finish as others, but looks very well 
 when tinted as before described. 
 
 GELATINIZING POSITIVES. 
 
 As especially applicable to stereoscopic photographs, 
 and partially, to paper positives generally, it may be 
 well to describe a mode of coating pictures with gelatine, 
 successfully practised in France, and excelling all other 
 varnishes in its results. 
 
 To 20 grs. of the purest gelatine (Italian gelatine is 
 the best, and isinglass will not answer), add 1 oz. of cold 
 water, and put it near a fire till dissolved, and then 
 strain it through muslin. Take a proper-sized piece of 
 well-polished plate-glass, free from imperfections, and 
 after cleaning it thoroughly and drying, sponge it over 
 
PRINCIPLES OF HARMONIOUS COLORING. 293 
 
 with prepared ox-gall. Before the gall is dry, cover the 
 plate with a hot solution of gelatine, and put it away to 
 set where it will be free from dust. 
 
 When the gelatine is sufficiently set, lay the picture 
 gently upon it, face downwards, pressing it and taking 
 care to avoid air-bubbles ; then leave it some hours to 
 harden thoroughly. When the gelatine is perfectly dry, 
 a penknife, run round the edge of the picture, will readily 
 separate it from the glass, and present a highly polished 
 surface, exhibiting the smallest detail with the greatest 
 delicacy and beauty. 
 
 MEZZOTINT PHOTOGRAPHS. 
 
 Touching up paper prints in light and shade, chiefly 
 requires care and some knowledge of drawing. The 
 colors to be used must somewhat depend on the tone of 
 the photograph. Indian ink plain or tinted is generally 
 pleasing, 
 
 GENERAL REMARKS. 
 
 In ©oncluding these remarks on painting in water 
 colors, we repeat, that they are merely suggestive, and 
 will require continual modifying to suit the complexions 
 to be imitated, and the tone of the photograph to be col- 
 ored. A right method of coloring is the main considera- 
 tion. 
 
 PHOTOGRAPHIC COLORS. — POWDER. 
 
 Dry colors are used for coloring positives on glass, 
 silver plate, or albuminized paper. They are employed 
 in the state of an impalpable powder, and are so pre- 
 pared, as to adhere to the surface of the picture by the 
 simplest manipulation. 
 
 Newman's colors, after a large and varied experience, 
 
294 THE CAMERA AND THE PENCIL. 
 
 we pronounce incomparably better than any other we are 
 acquainted with. They are also the cheapest, as well as 
 the best in vogue. 
 
 VAENISH. 
 
 A varnish for glass positives, to give the operant the 
 greatest facilities, and present, when completed, the most 
 artistic effect, should not (as has been thought by many, 
 both manufacturers and photographers) exhibit a hard, 
 glassy surface, from which the colors must blow like 
 dust ; but a surface which, while free from tackiness, 
 should present a tooth to the color. On such a surface 
 the dry colors will adhere like crayons. A varnish, of 
 such properties, has lately been introduced by Mr New- 
 man, and sold by American stock dealers. 
 
 METHOD OF COLORING. 
 
 The method of coloring is nearly the same, whether on 
 daguerreotypes, glass positives, or positives on paper. 
 The first of these are colored exactly like glass positives, 
 ind not usually being varnished, when once colored 
 throughout, they are finished. 
 
 Our own method of dealing with the glass positive is 
 to color first on the collodion surface. Commence on 
 the forehead, using flesh No. 1. 
 
 .Having, with No. 1 flesh, colored the lights of the 
 forehead, next, with No. 2 flesh, fair or dark, begin on 
 the lights of the cheeks, softening into the shadows, and 
 joining the high lights already colored. Speaking gen- 
 <grally, fleshes, reds, greens, and yellows, may be advan- 
 tageously employed; while browns, purples, light blue, 
 and some other colors are best till after varnishing. 
 
 The first coloring finished, carefully blow away every 
 
PRINCIPLES OF HARMONIOUS COLORING. 295 
 
 particle of color, whicli has not adhered to the surface, 
 as it will else run with the varnish. Let the varnish 
 be now flooded on, as collodion is, with like care to 
 insure an even coating, and drained off at one corner. 
 The former objection to dry colors, their tendency to 
 fade, is here obviated by the varnish combining with 
 the color on the plate, and making a coating like that 
 of oil paint. 
 
 In the second and last coloring, the high lights should 
 be touched with No. 1 flesh, the local tint with No. 2 
 flesh, and the cheeks heightened with Nos. 1 or 2 com- 
 plexion. 
 
 In the backgrounds almost every color may be used, 
 though various combinations of the grays, greens, browns, 
 and purples are most useful. 
 
 Positives on glass, produced by the "Alabastrine pro- 
 cess," may effect finer results with dry colors, than can 
 be obtained on any other species of glass picture. The 
 picture is varnished before beginning to color ; we then 
 proceed as in the second coloring above, using tints sim- 
 ilar to those prescribed for water colors. 
 
 Positives on albumenized paper or on salted paper, 
 sized with its appropriate preparations, may be colored 
 in the same way, though, as a rule, the latter should be 
 colored in oil and water colors. 
 
 ENLARGED PICTURES ; COLORING IN CRAYONS. 
 
 Since the introduction of the Solar Camera, life-size 
 and other enlarged photographs have begun to excite 
 popular attention. These pictures, from causes both in- 
 herent and incidental, require, more than any other pho- 
 tographs, some aid from the artist's touch. 
 
 The nearer the picture approaches the life-size, the 
 
296 THE CAMEEA AND THE PENCIL. 
 
 more palpably is felt the need of the hues of life, and 
 thus the colorist's aid becomes imperative. 
 
 To meet either the want of color or of finish, nothing, 
 Derhaps, is more suitable, than the employment of col- 
 ored crayons, or black and white chalk. We shall, 
 therefore, give a few suggestions as to the mode of using 
 these. 
 
 PREPAEATION o:F THE PHOTOGRAPH. 
 
 Enlarged portraits, by the solar camera, are common- 
 ly, in this country, produced by the process of develop- 
 ment-printing, and therefore are on plain paper, without 
 an albumeji surface. Any kind of paper, with a surface 
 somewhat rough, which will present a tooth to the chalk, 
 will answer. 
 
 Should the surface, when tried, fail to "bite" suffi- 
 ciently, rub it with pumice or sepia powder, till a proper 
 surface is obtained. A surface, in imitation of the pumice 
 paper prepared for pastel painting, is produced by ap- 
 plying to the paper a warm solution of isinglass, and 
 then dusting, through a sieve, pumice or cuttle fisb pow- 
 der, till an even surface is obtained, which, on drying, 
 presents an excellent tooth. This treatment is suitable 
 only for pictures, which are to be finished in colored 
 pastels. In most cases, drawing paper, especially after 
 the size is removed by a final wash in hot water, will 
 serve every purpose. 
 
 FINISHING IN MEZZOTINT. 
 
 Prints, developed on plain paper, have generally a 
 somewhat unfinished effect, which may, however, by a few 
 skilful touches, be wholly removed. The crayon tint to 
 be used will depend on the tone of the picture, and will 
 
PRINCIPLES OF HARMONIOUS COLORING. 
 
 297 
 
 consist of black, grays, browns, purples, and wbite ; the 
 last to be sparingly used in putti'ag in such high lights 
 as those in the eyes, &c. 
 
 COLORING IN PASTELS. 
 
 To color in pastels requires considerable skill and 
 knowledge of drawing ; but, if well done, no coloring is 
 more effective or suitable for finishing life-size photo- 
 graphs. 
 
 It is best beginning with the face, and the tints here 
 used will be like those described in the instructions for 
 water and oil colors. The face being first colored, and 
 the color blended, great brilliancy may be secured by 
 hatching over the features with tints of the same scale, but 
 in a higher key. Great care only will keep the picture 
 from being cold and chalky on the one hand, or raw and 
 red on the other. The works of M. Louis Gratia supply 
 the finest possible models for the imitation of the student. 
 
 The best mode of preserving the picture is to place a 
 glass at the back as well as the front of the canvas, as 
 this will fully protect the colors from injury. 
 
 COLORING IN OIL. 
 
 The photographer, who would color his productions 
 artistically, should possess a knowledge of drawing. 
 Some colorists have given the palm to water colors, for 
 the inadequate reason, that the use of oil requires an 
 artist's experience and skill. If, however, the water color 
 advocates rightly judge that the use of oil demands 
 greater ability and skill, their argument must assuredly 
 recommend oil colors, as, in their use, they guarantee 
 the talent and competency of the colorist. To the writer 
 (long experienced in the use of both oil and water colors), 
 
298 THE CAMEEA AND THE PENCIL. 
 
 it seems that, in either art, the persons possessing the 
 highest degree of artistic merit will best succeed; and 
 that it is no less easy to do a little in the one than in the 
 other. 
 
 To prepare the photograph, mount it free from dust, 
 coat it carefully with "Newman's preparation," (of which 
 two applications will sometimes be requisite,) and let it 
 be rolled bj some hot presser. 
 
 The operant will require nut oil and poppy oil, var- 
 nishes, brushes, palette, rest stick and palette knife, to- 
 gether with the following colors, which should be gotten 
 ready prepared, viz., white, Naples yellow, yellow ochre, 
 raw sienna, burnt sienna, light red, extract of vermilion, 
 vermilion, pink madder, crimson lake, &c., &c. Procure 
 also a megilp tube, and some sugar of lead; the one as 
 vehicle, the other to aid colors that are bad driers. 
 
 The student, who mixes observantly the tints above 
 named, will at once perceive their uses in the various 
 stages of his work ; and his practice will suggest all the 
 modifications which his model may demand. 
 
 PAINTING- THE PHOTOGRAPH. 
 
 Employ sufficient megilp with your colors to make 
 them thin and transparent; but let the lights be opaque 
 and well coated with color. 
 
 Consider carefully the gradations of tint by which the 
 hair and flesh are softened into each other, and note the 
 shadows cast by raised or over-falling locks, &c. 
 
 Use gray and shadow tints to blend the hair and the 
 flesh. 
 
 Black coats are first glazed with a warm, transparent 
 black, into which paint the lights with different tints of 
 
PRINCIPLES OF HARMONIOUS COLORING. 299 
 
 black and white, strengthening the shadows with Van- 
 dyke brown and a little lake and bitumen. 
 
 All draperies may be treated as recommended in tbe 
 case of a black coat. 
 
 COLORS FOR HAIR. 
 
 Light Hair may be made with Vandyke brown and 
 ochre, with raw umber for the shadows ; the same for the 
 local tint, and the same, mixed with Naples yellow, for 
 the lights ; the grays are identical with those used for 
 the flesh. 
 
 Dark Hair. — Use a little black with some Vandyke 
 brown and lake ; for black hair use a larger proportion 
 of warm black. Bitumen is useful in this part of the 
 work, as also is brown madder, mingled with French 
 blue. In painting hair, preserve carefully the grays or 
 half-tones. 
 
 SECOND PAINTING. 
 
 When the first paintiog is perfectly dry, soften the 
 work by passing over it a brush charged with poppy oil, 
 and rub in the oil, with a piece of soft leather. Glaze the 
 entire face with a proper tint ; repaint the shadows with 
 transparent colors ; strengthen and brighten the lights ; 
 improve the blues, greens, and grays of the flesh, and 
 soften the lines ; repaint the background, and blend its 
 tint with a clean, soft brush ; strengthen the folds of 
 draperies ; employ glazing tints wherever practicable ; 
 and preserve the colors warm, clear, and bright. 
 
 THIRD PAINTING. 
 
 The second painting having dried, complete the pic- 
 ture with transparent touches and markings, to strength- 
 
300 THE CAMEEA AND THE PENCIL. 
 
 en the shadows, force the lights, and secure a masterly 
 and artistic style of finish. When this is thoroughly 
 dry, the picture is ready for varnishing. 
 
 Those, who cannot draw, should use their colors well- 
 thinned with megilp, to preserve their transparency. 
 And they, who can draw, should not, conceitedly, neglect 
 that care to preserve the life-like truthfulness of the 
 picture, without which it is impossible to succeed in pho- 
 tographic coloring. 
 
 PORTEAITUEE. 
 
 The class of photographic portraits, chiefly in favor at 
 the present day, and known as Cartes de Visite, or album 
 portraits, make larger requisitions on the operant's know- 
 ledge of art, with its principles in regard to composition 
 and arrangement, than any other phase of photography 
 has hitherto done. 
 
 It should, at the outset, be remembered, that the mere 
 delineation of an object, or the mere production of a 
 likeness, does not constitute a picture. To constitute a 
 good portrait, and, at the same time, to produce a pleas- 
 ing picture, the original should be represented under 
 such circumstances of position, arrangement, light and 
 shade, and accessories, as shall suggest character, while 
 also conducing to pictorial effect. 
 
 One of the first considerations, in connection with por- 
 traiture, and especially where the full-length figure is 
 shown, will be as to position. This has much to do with 
 the expression of character, as well as pictorial efiect. 
 
 The figure should rarely, if ever, be in the middle of a 
 picture, or equidistant from each side ; nothing is more 
 destructive of pictorial efiect, than such a position. 
 Generally, more space should be in front of the figure 
 
PKIJSrCIPLES OF HARMONIOUS COLORING. 301 
 
 than behind. If the figure be placed equidistant from 
 the top and bottom of the piptnre, it is still more destruc- 
 tive of pictorial effect and suggestive verity, than if equi- 
 distant from the sides. The distance from the top and 
 bottom is the chief means of suggesting the height of the 
 figures. The higher the head is towards the top of the 
 picture, the taller will the figure appear; and the wider 
 the space overhead, the shorter will be the appearance 
 of the model. 
 
 Not less important than position, is a purpose in such 
 position. It is not meant by this, that the sitter should 
 always be engaged in some occupation, but care should 
 be taken to avoid the appearance of total vacancy, or of 
 the self-consciousness of having a portrait taken. 
 
 As regards composition, the greater the simplicity the 
 better will be the result. 
 
 It is, moreover, desirable that the heaviest part of the 
 picture, alike in form and color, should be at the base. 
 
 Contrast, in both lines and tones, is an important 
 element in pictorial effect. These, however, should never 
 be harsh or violent, as these properties destroy one of the 
 most important requisites in a picture, breadth. 
 
 An essential element, in securing a harmonious con- 
 trast of tones, is the judicious lighting of the model. A 
 direct front light should be avoided, as destructive of all 
 relief. Let the light fall on the model at an angle of 
 about 45° ; direct vertical light should be avoided, while 
 side light may be used freely. 
 
 In grouping for portraiture, small portraits admit the 
 exercise of considerable discretion, and make the task ■ 
 less difficult than in larger photographic groups ; fewer 
 accessories being requisite for the purposes of composi- 
 tion. 
 
302 THE CAMERA AND THE PENCIL. 
 
 CONCLUDING EEMARKS. 
 
 The general principles of coloring have sometimes 
 been reiterated in the directions for different kinds of 
 coloring. Where reiteration has been avoided, it should 
 be remembered, that the instructions for one style of 
 coloring will often be found to comprise hints applying 
 equally to all styles. Bearing this in mind, it will 
 appear, it is thought, that nothing essential, which could 
 aid the amateur in gaining a practical acquaintance with 
 the subject, has been omitted in this chapter. 
 
 PICTUKE FEAMES. 
 
 Oil pictures require gilt frames, unless the pictures have in them much 
 yellow, in which case the contrast " kills" the painting. Ebony, or oak, or 
 black walnut must never be used, if there is much brown in the picture. 
 
 Gilt frames are too bright for the ordinary run of water colors, unless a strip 
 of white, more or less wide, intervenes between the painting and the frame. 
 Water colors, however, sometimes look well in a narrow gilt frame, provided 
 such frame be little more than a plain fillet, and the prevailing tone of the 
 drawing be dark, with much brown. Lithographs and engravings require the 
 same treatment as water colors. 
 
 The simple rule, then, is that the frame should "bring up" the picture, and 
 not "kill" it by its higher brilliancy. A wall of paint or paper in olive -gray or 
 pale-gray is the best possible, as its mass in some degree neutralizes the gilt 
 frame, and thus tends to set oflF the pictures. 
 
 In very large pictures a gilt frame is almost a necessity. It is only in cases 
 of smaller cabinet pictures that the gold is too bright. The best method of 
 showing a picture is one, that is impracticable in ordinary rooms and galleries. 
 For it should be surrounded by neutral hangings, and be illumined by its own 
 peculiar light, and not by that, in which the spectator stands, and be viewed 
 through an opening, as in a diorama. Then the work of the painter's pencil 
 becomes almost as animated as is Nature's self. 
 
 Note. — It is found, singular as it may appear, that the gilding on a broad 
 frame draws the eye away from the picture less, when completely covered 
 with small ornamentation, than when it is plain. The flat surface glares 
 more, than a surface subdivided and broken up, though the latter may be the 
 richer. 
 
CHAPTEE XXYIL 
 
 PORTRAITS — SEVERAL VARIOUS MODES OF PRODUCING OR 
 FINISHING PERMANENT SOLAR IMPRESSIONS. 
 
 The Ivorytype, a picture printed through a negative on artificial ivory, intro- 
 duced in England, by Mayall of London ; also a photograph, colored and 
 sealed upon plate-glass, called the "Ivorytype," introduced in the United 
 States by Wenderoth, 1855. 
 
 The Alabastrine, a positive upon glass, colored on the back of the film, and 
 finished with a solution invented by Wharton Simpson, called his rede- 
 veloper. For sale by E. & T. H. Anthony, New York. 
 
 The Diaphanotype, a good photograph, cemented to glass and painted on the 
 back in oil colors. 
 
 The Hallotype and its variations, are pictures, made on a similar principle 
 with the above, finished in either water or oil colors, or both, on back and 
 *"ront. The two last named are said to be mere applications of Grecian or 
 Oriental painting to photography. 
 
 The Melainotype, a positive collodion picture made upon japanned iron 
 plates. 
 
 The Sphereotype, simply a collodion positive on glass, with certain peculiari- 
 ties in the method of making and mounting the picture. 
 
 The Crayon, or Spherical Vignette Daguerreotype, a picture representing 
 the head and bust, made spherical by pressing it over a convex glass paper- 
 weight, or other oval surface, and cased with a convex glass over the impres- 
 sion. 
 
 The Hillotype. — Having learned, that I, as well as others, was misled in 
 regard to the mode in which these pictures were made, I feel that the 
 explanation, given below, is due to the public. 
 
 IVORYTYPES — OR, PHOTOGRAPHS ON ARTIFICIAL IVORY. 
 
 This is an invention of the distinguished heliographer, 
 J. E. Mayall, of Eegent Street, London. These pictures 
 are declared, by English writers on sun-painting, to com- 
 bine the merits of the daguerreotype and the photograph, 
 exhibiting the delicacies of outline and the beautiful 
 middle tints of the former, devoid of the unpleasant 
 
 (303) 
 
304 THE CAMERA AND THE PENCIL. 
 
 glare whicli so intercepts its effects, and the accuracy and 
 distinctness of the latter without its attendant deficiencies. 
 
 They are taken upon a species of artificial ivory, pos- 
 sessing all the excellencies of the real substance without 
 its eiefects. This imitation is a compound of barytes and 
 vegetable albumen, which, kneaded together and rolled 
 into sheets, is permitted to dry, and is then submitted to 
 a polishing process, whereby a surface of the smoothest 
 texture and purest ivory color is obtained, constituting 
 an admirable recipient for the image, as a basis for the 
 artist's operations. 
 
 Plates of this material are manufactured expressly for 
 photographs, to be colored in imitation of miniatures 
 upon ivory, and may be procured at Eisler Heilman's 
 Photographic Depot, Paris, France. 
 
 The process of printing must be performed wholly by 
 tiraing, as it cannot be inspected while going forward. 
 Two or three trials will determine the amount of time 
 required. A good, vigorous negative is best for print- 
 ing on artificial ivory. (See chapter on printing on 
 ivory, wood, linen, silk, &c. Second part.) 
 
 I have elsewhere remarked, that connoisseurs and 
 writers on art have been accustomed to pronounce helio- 
 graphy a mere mechanical operation; as incapable of 
 attaining a higher rank than that of being a faithful 
 copyist — a literal transcriber. Since the appearance of 
 this invention, we perceive the tone of the critics to be 
 changing. The following is a single brief exemplification 
 of this change: " Photograiphy,^'' says an able writer, ^'has 
 never trod so closely on the footsteps of the painter'' s art, as in 
 the pictures on Mr. MayalVs new patent 'material^'' 
 
 Another writer says: "It is not a little curious that 
 the salt, by which the sensitiveness of this artificial ivory 
 to the photographic image is produced, is one, the very 
 existence of which is denied by many English chemists.' 
 
THE AMEEICAN IVOEYTYPE. 305 
 
 THE AMEBIC AN IVOEYTYPE. 
 
 This picture was recently invented and introduced by 
 Wenderoth, It is a colored photograph, finished so as 
 to resemble a miniature or portrait on ivory. 
 
 The mode of making it: — Select a vigorous, clearly 
 defined impression, with margin enough to allow for 
 mounting upon the painter's stretcher or painting-board. 
 Dampen the print with a sponge dipped in clear water ; 
 then paste its edges upon the stretcher, and, with a clean 
 paper over its face, rub the print down smoothly. When 
 dry, it will be tight and firm for the artist to operate upon. 
 
 Or mount it upon a sheet of glass, with its edges ground 
 to hold the paste. 
 
 The photograph is now colored upon the face, as a 
 miniature, with permanent colors ; but colors much 
 stronger than are commonly employed on surface-paint- 
 ing, as the manner of mounting the completed pictures 
 upon plate-glass has the effect to lower the tone of the 
 colors used. 
 
 As transparent colors are reduced, or lose considerably 
 in tone by the mode of mounting, they should be painted- 
 in much more strongly than for surface-painting ; while 
 the body-colors should be kept down or reduced in tone, 
 since they are heightened, or made more brilliant and 
 vigorous by the manner of mounting. 
 
 The colored print is now mounted on a perfectly clean 
 sheet of plate-glass, face downward, as follows : melt 
 bleached, pure white wax, and while hot, pour it upon 
 the glass plate, which is also made and kept hot on a 
 steel or iron plate, or a soapstone slab, under which one 
 or two spirit lamps are continuously burning. While 
 the wax is quite liquid, take the print by the ends, spring 
 it in the middle, and lower it gently into the heated wax, 
 20 
 
306 THE CAMERA AND THE PENCIL. 
 
 carefully pressing from the middle outward both parts 
 of it down into the wax, and then with a strait-edged 
 paper-folder, of ivory, or bone, or some similar article 
 suited to the purpose, press and work out all the air- 
 bubbles and superfluous wax. This operation must, of 
 course, be executed while the plate is quite warm. 
 
 The paper-folder should be carefully rubbed from one 
 extremity of the print to the other without lifting it 
 therefrom, or suspending the process, as a mark would 
 thus be left on the picture, which will be thoroughly 
 saturated with wax, and which, if properly handled, will 
 be transparent, smooth, and beautiful. 
 
 Some artists use a compound of one part gum dem mar 
 to eight parts wax ; or Canada balsam and wax ; or gum 
 elmer and wax ; same proportion of one to eight parts 
 of wax. Others use a larger proportion of the gum- 
 varnishes. 
 
 Finally the picture is finished, by placing upon its 
 back and firmly sealing to the glass a clean sheet of white 
 paper or card-board ; with a card-board border or mat 
 oetween the picture and the paper, and with small lumps 
 of hard wax stuck upon the dark or opaque parts of the 
 picture, so arranged as to keep them about y'gth or ^'^th 
 of an inch asunder. This distance must be determined 
 by the effect or appearance produced, and regulated by 
 the judgment of the artist, when the picture is ready for 
 the frame. Sometimes a duplicate tinted print of the face 
 is placed behind, to give more color or vigor. 
 
 To produce this picture in its perfection requires the 
 highest degree of artistic skill. 
 
 THE ALABASTRINE PROCESS. 
 
 r By AVharton Simpson, 
 
 \ Editor of the Photographic News. 
 
 Pictures, by this process, are taken upon a surface of 
 
THE ALABASTEINE. 307 
 
 polislied glass. The shadows are of purple velvet, put 
 behind the glass and showing through it. The lights are 
 produced bj calomel, a purely white chloride of mercury, 
 an excellent material for the purpose, when spread upon 
 such a background. 
 
 The picture is colored as a miniature ; not, hgwever, 
 with colors applied to the front, as in other processes, 
 but to the hack of the film, so as to show through, without 
 hiding any of the beautiful details of the photograph. 
 
 Frederic Scott Archer, who first applied collodion to 
 photography, discovered the means of whitening collo- 
 dion positives with bichloride of mercury. This deposit, 
 however, is too opaque, and has a ghastly appearance. 
 This defect has been remedied by the alabastrine solution 
 discovered by Mr. Wharton Simpson. This solution 
 modifies the action of the bichloride, and causes it to 
 form a thinner precipitate, of an alabastrine or pearly 
 whiteness. Mr. Simpson has also discovered a varnish 
 that does not discolor the whites of the picture ; and still 
 further, a penetrating varnish, by means of which the 
 colors, put upon the back of the film, are made to show 
 through without hiding any of the details. As a con- 
 sequence of these improvements, this process is pro- 
 nounced, by not a few good judges, the best, for portrai- 
 ture, now existing. For smoothness of surface, delicacy 
 of detail, and artistic beauty of effect, there is nothing 
 comparable with it. 
 
 Nor is the manipulation at all difficult, since you have 
 only to take a good collodion positive, fix and wash it, 
 then place it upon a levelling stand, and pour over it a 
 little of the solution in question. In about one hour the 
 re-development is complete, and the dull lights of the 
 positive are changed into the whiteness of pearl. 
 
 The alabastrine solution may be procured of the stock 
 
308 THE CAMERA AND THE PENCIL. 
 
 dealers generally. It requires no special directions for its 
 application, as it may be left indefinitely on the picture 
 without injuring it. 
 
 This process, however, has its difficulties, which have 
 hitherto prevented its general use. They do not pertain 
 to the process itself, but to the preservation of the beau- 
 tiful shadings in the high lights. These, apparently, are 
 injured by a too dense precipitate of calomel, which 
 makes the picture look fiat in the lights, and, when 
 over-exposed, also fogged in the shadows. 
 
 To remedy these defects, the positive should be some- 
 what under-exposed, whereby the shadows are kept 
 black and vigorous, while the re-developing solution 
 whitens the faint details, and renders visible what before 
 could scarce be discerned. 
 
 Next, the effects of light and shade on the sitter, should 
 be carefully studied. The model must look round and 
 not flat ; the contrasts between light and shade must be 
 not too strong ; and the shadows must be relieved by 
 the reflex lights produced by white screens. The pro- 
 cess does not seem suitable for out-door views, or subjects 
 exhibiting strong contrasts of light and shade, or impro- 
 perly illumined by cross-lights, or a generally diffused 
 glare. 
 
 In coloring an alabastrine portrait only four colors are 
 used, viz.: white, black, vermilion, and light-red. The 
 shadows are first painted with mixed -black and vermil- 
 ion, which make a warm, transparent color. 
 
 Then the edges of the shadows are painted with a 
 mixture of black and white (the lead color of house- 
 painters), blended partially into the shadows. 
 
 Next the local flesh-color is laid on all over the lights. 
 This is made by mixing white and light-red, and is 
 blended into the gray edges of the shadows. 
 
 I 
 
THE DIAPHANOTYPE. 309 
 
 Some vermilion is then applied to the cheeks, lips, &c., 
 and some gray to other parts, and this constitutes the 
 first painting of a face. 
 
 The principle to be observed is, that the shadows are 
 not a cold, dirty black, but a warm red in their deepest 
 parts, where reflex lights enliven them, while their edges 
 only are gray ; the edge of a shadow being the part of 
 the model, where the light strikes the rounded surface 
 at a tangent. 
 
 There is nothing to compare with a well-colored 
 alabastrine portrait. The beauty of a small portrait 
 consists in the delicacy and perfection of its details. A 
 miniature on paper is far too coarse, and will not bear 
 close inspection. Its eyes are indistinct and fishy, while 
 in a direct positive on glass, as in a daguerreotype, you 
 can trace numerous exquisite gradations of shade within 
 the iris. Paper, even when albumenized, will not bear 
 close examining or magnifying with a lens. 
 
 For portraiture, then, the alabastrine process is well 
 worthy the careful attention and the diligent study of the 
 photographer. 
 
 THE DIAPHANOTYPE. 
 
 This picture is a variation of the principle described 
 under the head of Hallotype, and originated with B. 0. 
 Hawkins, of Cincinnati, Ohio. It is made as follows : 
 
 A good plain positive paper photograph, after being 
 well fixed by the hyposulphite, is thoroughly washed to 
 secure permanence. It is first worked up in ink, and the 
 completed picture is the finer in proportion to the amount 
 of work and retouching devoted to it by a skilful oper- 
 ant. 
 
310 THE CAMEEA AND THE PENCIL. 
 
 For large pictures, heavy plate- glass, of a quarter-incli 
 thickness, is pronounced the best ; it gives the picture an 
 enamelled appearance, and is not easily broken or effaced. 
 Cleanse the plate carefully, and with a brush go over the 
 entire surface, while in a horizontal position, with a 
 mixture of four parts fir balsam and one part dem mar 
 varnish thoroughly incorporated. Meanwhile, let the 
 photograph to be "put down" float on a pan of clear 
 water, face upward. When the picture is soft and pliant, 
 lift it carefully to avoid wetting the upper surface, and 
 lay it on a sheet of bibulous paper to absorb the super- 
 fluous moisture. 
 
 The picture being now placed face uppermost, the 
 balsam surface of the glass is firmly pressed down upon 
 it. After lying there about five minutes, so that the 
 balsam may permeate the picture and expel the moisture, 
 a little linseed or nut oil is poured upon the plate, and 
 the excess of balsam is removed by rubbing with the 
 finger. 
 
 It is also a good method to rest the plate on one edge 
 or corner, with the glass surface uppermost, and, with 
 the index-finger slightly bent, to press against the picture 
 in the centre, and draw the finger towards you. Thus 
 you may remove all the superfluous balsam as well as 
 the air-bubbles. Keep turning the glass from corner to 
 corner till every blister is removed. Lay it flat, and 
 continue rubbing with the finger-tip, till a smooth, level 
 surface is secured. Finally pour oil upon it, and let it 
 remain there till you are ready to paint it. 
 
 The painting-easel differs from the ordinary one in not 
 growing narrow towards the top, but in making the two 
 supports parallel, and also in having two back legs 
 instead of one. See engraving. 
 
THE DIAPHANOTYPE. 
 
 311 
 
 The frame in tlie centre has 
 a pin A, on which it swings ; 
 allowing you, while painting 
 the photograph, which is at- 
 tached to the posterior surface, 
 to swing it round and examine 
 the front surface, and thus as- 
 certain what is done, and what 
 remains to be done towards 
 completing the picture. B in- 
 dicates a dark cloth, designed 
 to shut off the light during the process of painting. 
 
 The surface of the photograph, whereon you paint, 
 must be perfectly free from balsam, and clean generally. 
 After the glass with the adhering picture has been 
 fastened in the frame, it must be cleansed with a rag dipped 
 in turpentine. 'then wiped dry ; and, finally, a few drops 
 of oil rubbed over the surface, just enough to oil it 
 properly, and no more. 
 
 In painting commence with the eyes ; next go to the 
 high lights of the forehead, nose, &c.; then proceed to 
 the lower lights, and so on down to the shadows of the 
 flesh. Put the tints firmly in their places and blend 
 them, then paint the hair, and lastly the drapery and 
 background. 
 
 The colors requisite are white, Naples yellow, brilliant 
 yellow, chrome yellow, raw sienna, yellow ochre, Eoman 
 ochre, scarlet lake, vermilion, Venetian and cobalt blue, 
 permanent blue, Prussian blue, burnt Koman ochre, 
 burnt sienna, Vandyke brown, and ivory black. 
 
 A good diaphanotype (as its surface is in oil) can be 
 painted only with a good body of color. Thin painting 
 gives but thin, flat, dead pictures, devoid of all good 
 effects. 
 
312 THE CAMEKA AND THE PENCIL. 
 
 The peculiarities, belonging to the manipulation of this 
 picture, make it very difficult to finish by any save well 
 trained, skilful artists of genius. The number, therefore, 
 is small of those, who succeed in producing creditable 
 pictures. When well executed, they are exquisitely 
 beautiful, and promise to be durable. 
 
 THE HALLOTYPE. 
 
 This is a species of picture, patented by J. Bishop 
 Hall of New York, January 20th, 1857. Its principle 
 consists in combining two or more pictures, which are 
 fac-similes or duplicate impressions on semi-translucent 
 material, so as to form one picture. The principle may 
 be applied to engravings, lithographs, &c., as well as to 
 photographs. If applied to the last named, let two copies 
 oe taken on photographic paper in the ordinary way. 
 Make the paper of both partially transparent with oil. 
 Cement each to a separate glass with copal or other 
 varnish, which should first be applied to the glass, and 
 partially dried to the state, called " tacky." In putting 
 the picture on the glass, press carefully out all air- 
 bubbles between the paper and the glass. Each being 
 then dried, or nearly so, scrape all excrescences thor- 
 oughly from the back. Then put on the pictures one or 
 more coats of copal, or other proper varnish. These 
 being dried, join the two glass plates, so that the pictures 
 shall coincide, then cement and exclude from air. 
 
 Such is the simplest form of this picture. Different 
 effects are produced by attaching to the glass the front 
 picture only, and placing the second some way behind, so 
 as to correspond to the other. So, by cutting out certain 
 parts of the back picture, and thus permitting more light 
 to reach the front one, fine effects are obtained. Other 
 
THE HALLOTYPE. 313 
 
 effects, again, are procured bj other variations. These 
 pictures wear somewhat of the appearance of wax figures. 
 
 Mr. Hall's originality in this invention has been ques- 
 tioned — whether justly or not, we leave the reader to 
 decide — merely placing before him certain authenticated 
 historical facts. 
 
 The system of putting color on the hack of the image 
 has been practised in Germany ever since 1824; was 
 patented there in 1827, and applied to engravings and 
 lithographs. 
 
 M. Minotto, a few years since, applied the same prin- 
 ciple to photography. His application was in three dif 
 ferent modes : — 
 
 1. The paper, bearing the image to be colored, is held 
 up to the light, so that the operant can pencil on the 
 back the outlines of the various tints ; then put the 
 colors, either oil or water colors, on the different portions 
 of the back of the paper. 
 
 2. Begin by varnishing the paper, then dry, and finally 
 color on the back. Here the colors being seen at once, 
 may be corrected at pleasure, and the crayon -sketching is 
 needless. Of course colors must be used, which will take- 
 on varnish. 
 
 3. Trace the outlines of the picture on a separate 
 paper, and apply the colors thereon. Then af&x this 
 paper to the one bearing the image, the outlines of the 
 two being made to coincide, and, the two being pressed 
 together, the colors shine through. 
 
 The advantages, possessed by this over the other two, 
 are : 1st. We preserve uncolored (though varnished) the 
 original image produced by the light. 
 
 2d. The colors may be easily corrected by painting 
 over the primal tints. 
 
 3d. We may give the same image several different 
 
314 THE CAMERA AND THE PENCIL. 
 
 aspects, by executing a number of various-colored dupli- 
 cates, and tbus cbange tbe tints of the dress, hair, &c. 
 
 4th. We may cut out the paper bearing the colors, and 
 apply it upon several backgrounds, to find which suits 
 best. 
 
 These operations are all simple, yet require care. 
 The paper should be even-textured, and neither too thick 
 nor too thin, as either excess produces different defects ; 
 and the colors should be very vivid, their force being 
 diminished by the veil of the photographic paper, and 
 the varnish should be colorless. 
 
 "The chromatint," the right to practise which was 
 sold a few years ago for $25, as a new invention, was 
 a bare-faced filch from Minotto. "Whether the •'' hallo- 
 type" was, or was not, borrowed from the same source, 
 our readers must determine for themselves. 
 
 Furthermore, Wenderoth affirms unqualifiedly, that 
 all three of these differently -named processes are nothing 
 other than applications of Grecian or Oriental painting 
 to photography. 
 
 VARIATIONS OF THE PRINCIPLES OF THE HALLOTYPE. 
 
 One of these is to seal the photographic proof to a 
 smooth fine card-board, cut of the same size as the glass, 
 with the face up, and colored with water colors. 
 
 Then make a duplicate proof transparent with sweet 
 oil; take the excess of oil off by placing it between sheets 
 of blotting paper ; then tint the eyes, cheeks, &c., slightly 
 with transparent oil colors. 
 
 Next take the proof mounted on card-board, and color 
 it on the face with dry colors (using stumps) or oil, or 
 water colors; then put the two together, making the 
 
COPYING OF ENGRAVINGS — THE HILLOTYPE. 315 
 
 lines to match, and seal with gum arabic dissolved in 
 water, a little " rop j," 
 
 Another successful mode (if executed by a skilful artist) 
 is to color the proof slightly and carefully with water 
 colors, before it is made transparent with oil; then seal the 
 two together with gum dem mar. This is the most satis- 
 factory picture, though gum arabic is best, if it can be 
 used without making air-bubbles. 
 
 THE COPYING OF ENGRAVINGS AND DRAWINGS BY SIMPLE 
 CONTACT AND WITHOUT THE USE OF THE CAMERA. 
 
 This process, which presents no difficulty, is very con- 
 venient in numerous cases : e. g. when an engraving or 
 drawing is to be transcribed in the same proportions as 
 the original. It may be compared to the process called 
 by engravers counter- drawing, and in this respect may 
 be extremely useful to them; since, without injuring the 
 original, they can transfer, with readiness, a drawing 
 or engraving, &c., to a metallic plate as often as they 
 may wish. 
 
 To obtain this result, procure a silvered plate, of the 
 same size as the engraving to be copied. This plate is 
 iodized and brominized in the usual manner as for a 
 daguerreotype. When it has received the sensitive coat- 
 ing, apply to it in the dark the engraving, in such a 
 manner that its surface may be in contact with the 
 iodized and brominized surface of the plate. Then place 
 over the engraving a smooth plate of glass, of suitable 
 dimensions, designed to assure the perfect contact of the 
 engraving and plate, without, however, intercepting the 
 luminous action to which the whole is to be submitted. 
 These arrangements being made^ raise with both hands, 
 at the same time, the engraving, plate, and glass, which 
 
316 THE CAMEEA AND THE PENCIL. 
 
 press gently together ; then expose them to diffused light 
 from five to fifteen seconds, according to its intensity. 
 In the sun, from two to five seconds would suffice. Then 
 carry the whole into the dark ; cautiously remove the 
 glass and engraving ; submit the . plate to the mercurial 
 vapors; and, if the operation has been carefully per- 
 formed, the impression will speedily appear. After it 
 has been carefully developed, it may be washed and fixed 
 by the ordinary methods of treating photographs. 
 
 . THE HILLOTTPE. 
 
 The pictures thus styled, and exhibited to the Patent 
 Office Committee, chosen by the United States Senate, in 
 1853, were probably made on the same principle men- 
 tioned above, with some variations — colored prints being 
 used, and the impression made on daguerreotype plates 
 afterwards varnished or lackered, and finished over strong 
 heat. No portraits from life were exhibited, and the 
 few, cautiously shown to private persons, were probably 
 common daguerreotypes, carefully colored by hand, and 
 secured by amber- varnish or some other translucent 
 substance. The one which fell into my hands, after the 
 publication of Mr. Hill's book, was examined by me under 
 a strong magnifier, and proved to be only an ordinary 
 colored daguerreotype — the dry colored powder being 
 undeniably and distinctly visible on the face and hair. 
 Such was, probably, the substance of the trich, which 
 created so much excitement throughout our country, and 
 injured the heliographic artists to the amount of many 
 thousands of dollars. It seems to have been started 
 merely to get money, and, backed up by the respectable 
 title of Reverend, it had a very considerable run. 
 
THE SPHEEEOTYPE. 317 
 
 CRAYON OR VIGNETTE DAGUERREOTYPE, 
 
 A picture of this kind, where the head and bust, or 
 the head alone is taken upon a light ground, may be 
 greatly improved, and enhanced in beauty, by giving it 
 a spherical surface. 
 
 This may be effected in several different ways. Take 
 the vignette picture upon the one-sixth size, or medium 
 plate, or even smaller, with light ground. When gilded, 
 place the picture or plate, face up, upon a glass paper- 
 weight, not over two inches in diameter, smooth and 
 convex or oval. 
 
 Then with a tin ring, large enough to touch the plate 
 on all sides, without injuring the picture, press gently 
 down upon the plate, so as to give it a form regularly 
 and completely spherical. Finally mount, or set in a 
 case under an American miniature spherical glass, and 
 the effect will be exceedingly beautiful. 
 
 THE SPHEREOTYPE. 
 
 This picture was patented in 1856, by Bisbee, a helio- 
 graphic artist of Columbus, Ohio. 
 
 It is simply a positive collodion picture, taken upon 
 glass, by placing a mat before the plate, with an opening 
 of the same size as that with which it is to be mounted, 
 or placed in the case. Through this opening alone does 
 the light pass and act upon that portion of the sensitive 
 coating of the plate, which is thus reached in the camera. 
 
 Afterwards develop, wash, fix, and finish in the ordi- 
 nary mode. Mount, or set in the case, with a matt 
 behind or beneath the picture, as well as over or before 
 it. By this means a spherical appearance is imparted to 
 the picture, and hence it takes its name. When skilfully 
 finished in dry colors, this style of spherical positive 
 picture is pleasing. 
 
318 THE CAMERA AND THE PENCIL. 
 
 THE ECTOGRAPH. 
 
 f Patented by "William Campbell, 
 1 Jersey City, N. J. 
 
 The name ectograph was adopted, as giving some 
 intimation of the manner in which the picture was 
 finished; i. e. "from behind." 
 
 The picture is made as follows : — 
 
 Take such a negative as is customary for the solar 
 camera,; i. e.full in detail, hut not dense, and wholly with- 
 out fault. No pains should be spared in this first step, 
 as every after-step will faithfully reproduce whatever 
 failing there may be. 
 
 Place the negative in the copying camera, and turn it 
 towards a clear, though not too strong, north light — the 
 sky being, if possible, made to serve as the background ; 
 as every object that intercepts the light, however distant, 
 will palpably aftect the resulting photograph. When 
 the sky cannot subserve this purpose, then any purely 
 white object, sufiiciently large to cover the negative 
 when at a distance, will answer. 
 
 The negative being in position, the finest French plate 
 glass should be used for the positive. The details of this 
 process may be found in any work on photography. 
 
 Supposing a perfect positive to have been obtained, the 
 subsequent process described below is very simple. 
 
 The picture may be varnished, or not, at the operant's 
 choice. The application of a clear, good varnish may 
 possibly be of some utility, though Mr. Campbell says 
 he has tried both methods, without detecting any differ- 
 ence between their results. The positive must now be 
 coated on the c<^llodion side with a thin layer of white 
 wax, and, being held to the light, must be colored either 
 with oil or water colors. If "Wiater colors are employed, 
 the wax must be prepared to take the color kindly, by 
 
THE ECTOGRAPH. 319 
 
 slightly rubbing it over with a little ox-gall or soap and 
 water. A very little will suffice. 
 
 If the operant be unused to coloring, lie may first 
 varnish the wax and then color. If he does not succeed 
 to his liking, he can rub or wash the color off and com- 
 mence anew. Whereas, without so varnishing, and if 
 the color be laid immediately upon the wax, it cannot be 
 removed easily, if indeed at all. 
 
 If elaborate work be desired, the lines and shades of 
 the photograph will indicate where to put the colors, and 
 taste will prescribe how to arrange them. Dispatch, 
 however, is sometimes of moment, in which case the 
 whole drapery of the figure may, with a full brush, be 
 covered in ten minutes with one color, producing an 
 effect as beautiful as could be desired. 
 
 Be it noted, that the materials used in this process 
 must be of the best quality, and all the appliances and 
 manipulations marked by perfect cleanliness. 
 
 Thus the glass should be the finest plate ; the wax 
 should be sun-bleached (as no other will answer) ; and 
 the colors should be brilliant in hue and not liable to 
 fade. With such appliances and care there need be no 
 apprehension of failure. Forformula, see Yolume Second. 
 
 The Porcelain Picture. — This was invented by J. 
 Wallace Black, of Boston, Massachusetts. It is made 
 upon a species of porcelain glass, manufactured expressly 
 for Mr. B., to apply to this object solely. It resembles 
 both the alabastrine picture and the ectograph in being a 
 positive, copied on glass from a negative. 
 
 It is a rich and beautiful picture, even without coloring, 
 and has all the fine details of the daguerreotype, without 
 its reflection. It is susceptible of being so colored as 
 strongly to resemble a miniature on ivory, but surpasses 
 this in truthfulness. It is believed to be durable. 
 
 For formula, see Volume Second. 
 
CHAPTEE XXYIII. 
 
 Microscope at first undervalued — Pope — Addison — Ehrenberg's discovery 
 thereby, 1839 — Infusoria at Berlin — Lunoburg — Virginia, U. S. — Tripoli 
 powder. Infusoria — Microscopic vegetables abundsint as animals — Ocean mud 
 and pond scum, organic life, viz., desmidiae and diatomace£B — Divine ends 
 subserved by infusoria — Calcareous earth eaten in South America — Guinea, 
 Finland, China, <fco., composed of organic remains — Islands formed by ani- 
 malcules — Ocean phosphorescence by same — Red Sea thus colored — Lewen- 
 hoeck — Codfish milt — 17,000 divisions of butterfly's eye — In one pound 
 cochineal 70.000 insects — Divine purpose in animalcular creation — Serve as 
 scavengers — Prevent diminution of earth's existing matter — Services of 
 microscope to commerce — Jurisprudence, sciences, arts, &a. — Life-saving 
 application of microscope in France, <fcc. — Connection of microscope with 
 heliography. 
 
 THE CAMERA AND THE MICROSCOPE — OR MICRO-PHO- 
 TOGRAPHY. 
 
 The important aid rendered by the microscope to the 
 heliographic art, makes some account of this instrument, 
 and of the various discoveries achieved by its means, not 
 irrelevant to the present work. Of these discoveries I 
 shall first and chiefly speak, reserving my description of 
 the instrument and of the nature of its connection with 
 our art to the second part of this treatise. 
 
 The microscope, strangely enough, met with little 
 favor on its first introduction. For reasons peculiar (it 
 would seem) to that day, a slur had been cast upon ento- 
 mology and kindred pursuits, as dealing with minute 
 and of consequence (according to the vulgar estimate) 
 useless, if not despicable objects. Not unnaturally, this 
 reproach was reflected upon the microscopists and their 
 instrument, since the entomologist employed it habitually 
 
 (320) 
 
MICRO-PHOTOGAEPHY. 321 
 
 in the pursuits thus contemned. It is, certainl}'-, a 
 strange spectacle to see Pope and Addison devoting the 
 talents, then wielding so potent and wide an influence, to 
 heaping ridicule upon a class of philosophers, to whom 
 we owe the revelation of a veritable universe, not less 
 curious or replete witli wonders, than the universe dis- 
 closed to us by the telescope. Nor is it less strange, that 
 a British peeress should have been declared a lunatic on 
 account of her enthusiastic devotion to entomologic 
 studies ; and that an attempt to invalidate her last will 
 and testament should have been made on this pretext 
 solely. 
 
 To enhance to the utmost the absurdity of this vulgar 
 prejudice, it so chanced that, at this very date, all mi- 
 nutest products of human skill were more inordinately 
 prized and more passionately sought after, than ever 
 before or since. 
 
 But it is time I commence what must, perforce, be 
 both a brief and a desultory account of the discoveries 
 effected through the microscope. I shall ask the reader's 
 attention first, to the composition of our globe's crust. 
 
 In 1839 Professor Ehrenberg published the remarka- 
 ble fact of his discovery, by this instrument, of a stratum 
 of soil, in the Prussian city of Berlin, composed almost 
 wholly of living infusoria. It lies about fifteen feet 
 beneath the surface, and is from twenty to sixty feet 
 thick. Of the mass of minute siliceous infusoria, consti- 
 tuting most of this stratum, a considerable portion is 
 still living and reproducing. Oxygen for sustaining life 
 can reach these animals only in the water, which perco- 
 lates this infusorial mass, as well as the superincumbent 
 soil ; and yet life is actively existent throughout this 
 enormous population. Situated beneath the pavement 
 trodden by the city's inhabitants, a few separate cabie 
 21 
 
822 THE CAMERA AND THE PENCIL. 
 
 feet of tliis stratum swarm witli a population, outnumber- 
 ing, a billionfold, the human crowd abore. 
 
 At about tlie same date, in the vicinity of Hanoverian 
 Liineburg, and one foot and a half below the surface, was 
 found a bed, twenty feet thick, of light siliceous earth, 
 consisting entirely of the shells of defunct infusoria, so 
 minute as to be invisible to the naked eye, and identical 
 with infusoria still living in neighboring ponds. 
 
 In Virginia, also, are extensive beds of siliceous marl, 
 composed mainly of infusorial shells. Their forms are 
 discerned, by the microscope, to be of exquisite beauty, 
 as well as of incalculable variety ; and the least stain left 
 by the evaporation of a drop of slightly muddy water, is 
 perceived to be teeming with these beautiful and tiny 
 forms. Richmond and Petersburg, of that state, are built 
 upon strata, several yards thick, of infusorial bodies. 
 
 The metal-polishing powder, called tripoli, procured 
 chiefly in Bohemian Bilin (and the state of Maine, in U. S.), 
 and forming series of beds fourteen feet thick, is composed 
 wholly of the siliceous shields of infusoria in very com- 
 plete preservation, though the interior organism is com- 
 paratively gone, from (supposed) exposure to a high tem- 
 perature. The shop of a single Berlin druggist is 
 reported to contain above a ton-weight of this substance 
 yearly ; and yet the supplying beds seem hardly dimin- 
 ished. How minute these creatures are, individually, 
 may perhaps be approximately conceived from the state- 
 ment, that one cubic inch of this powder, weighing 220 grs.,. 
 contains forty thousand millions of single organisms ! 
 
 Minute, hov.^ever, as some of these creatures are, they 
 are yet quite complicated in structure, having a mouth, 
 several stomachs, and sundry mobile processes named 
 cilia (eyelashes), a millionfold more delicate than the 
 eyelash of a human infant I Some possess exquisitely 
 
MICRO-PHOTOGRAPHY. 323 
 
 carved shields, of pure translucent flint, distinct and 
 unvarying for the same species, and, therefore, supplying 
 a means of classification. Of the smallest of them, ten 
 million million individuals would be required to fill the 
 space of a cubic inch ; and yet each has every organ 
 needful for life, enjoyment, and reproduction, with all 
 conditions corresponding to its nature and wants! 
 
 But discoveries still more interesting and important 
 than these were made by Ehrenberg, in the same year 
 (1839), while prosecuting special researches into the form 
 of the harbor of Wismer, in the Baltic Sea. He ascer- 
 tained, that from one-twentieth to one-fourth of the mud 
 there deposited, consisted either of living infusoria, or 
 of the empty shells of dead ones. It being found, that 
 upwards of 200,000 lbs, of mud are deposited here 
 weekly, it follows that, during the last century, the 
 deposition must have amounted to 3,240,000 hundred 
 weight, one-tenth of which consisted of infusorial ani- 
 malcula ! 
 
 At Pillau, M. Hagen found, that half the total volume 
 of mud often consists of infusoria. He estimates, that 
 from 7200 to 14,000 cubic metres of pure infusorial 
 organisms are here annually deposited in the form of 
 mud. By consequence, a century would accumulate 
 from 720,000 to 1,140,000 cubic metres of tripoli stone 
 or infusorial rock. 
 
 Ehrenberg discovered, moreover, that the Nile mud, 
 immemoriably famed for its fertilizing properties, con- 
 tained these infusoria in such prodigiouss abundance, 
 that every particle, of half a pin-head's size, contained at 
 least one, and frequently several of them ! 
 
 Yet universal as is the prevalence of microscopic 
 animal life, hardly less abundant are various forms of 
 vegetable life, too minute for discrimination by the naked 
 
324 THE CAMERA AND THE PENCIL. 
 
 eye. The green scum of the wayside stagnant pool and 
 the mud of the ocean, are alike found to be teeming with 
 organized vegetable existence. 
 
 The plants discovered in these two states are divided 
 into two families : the desmidae, inhabiting fresh water 
 solely, and the diatomacese, salt water principally. Though 
 styled plants, however, they bear little or no similitude 
 to other vegetable beings. They are circular, triangular, 
 and even parallelogramic in shape ; and, possessing the 
 singular property of assimilating to their organisms the 
 silex existing in solution in the waters they inhabit, their 
 bodies are indestructible. By consequence, these bodies 
 form incessantly enlarging beds at the bottom of the 
 ocean, as well as of lakes and ponds. This process 
 having been going on from the dawn of time, we now 
 find extensive rocky strata, chains of hills, beds of marl, 
 and soils of every description, whether superficial, or 
 raised from far depths, composed, in a greater or less 
 degree, of these plantal reliques ; while some large tracts 
 of country are literally built up with the same. 
 
 According to Dr. Hooker, the waters and even the ice 
 of the whole Antarctic Ocean, between the parallels of 
 60° and 80° South, so abound in these plants, that the 
 sea wears everywhere a pale ochrous shade. The same 
 plants are probably dispersed uniformly over the whole 
 ocean, though from their minuteness imperceptible, save 
 when massed abundantly together, as in the icy sea. On 
 this vegetation, the animal occupants of these waters 
 depend largely for sustenance, while their defunct organ- 
 isms form deposits, which are to ultimate in islands and 
 continents. 
 
 But these Diatomaceae also perform long journeys on 
 the wings of the wind. Darwin, having collected an 
 impalpable dust, which fell on the ship Beagle., whep. 
 
MIUHO-PHOTOCiKAPHY, 325 
 
 sailing to the west of the Cape de Verd Isles, found it, 
 on microscopic inspection, to consist of the skeletons of 
 diatomacese, ejected probably from some volcano then 
 active. These siliceous skeletons, being indestructible 
 bj fire, constitute, jointly with infusoria, portions of the 
 ashes and pumice vomited from the eruptive crater. 
 
 Besides suppl3dng food to classes of animals, these 
 plants prepare the soil for the production of higher 
 vegetable organisms, through the minute division of the 
 siliceous particles laid up in their tissues, whereby these 
 particles are rendered fitter for assimilation by such 
 organisms. ISTor is there reason for doubting, that the 
 diatomacese, like other vegetables, decompose carbonic 
 acid and liberate oxygen, thus performing a due share 
 of that life-sustaining function of the plantal world. 
 
 It is well known that chalk beds constitute a quite 
 considerable portion of the globe's crust. This chalk is 
 composed almost entirely of shells and corals, the reliques 
 of animalcular life. So minate are these shells and 
 corals individually, that one million of them are embraced 
 by a cuhic inch of chalk ! These shells consist mainly 
 of foraminifera, which swarm in unimaginable numbers 
 in our seas, and are incessantly augmenting the existent 
 sub-oceanic deposits. The miliola species of the fora- 
 minifera so abound in the valley of the Seine, that Paris 
 and the towns of the neighboring territory are, almost 
 exclusively, built of them; nor is the south of France 
 hardly less prolific of the same. 
 
 On the banks of the Orinoco, the Meta, and the Magda- 
 lena, in South America ; in Guinea and the island of 
 Java ; in Finland, in Swedish Lapland, in China, and 
 elsewhere, the natives make more or less use of various 
 species of calcareous earth for food ; and in periods of 
 extraordinary scarcity, subsist principally thereupon. 
 
326 TH£ CAMEEA AND THE PENCIL. 
 
 The microscope lias disclosed, that all these varieties of 
 earth consist mainly of the remains of organized beings. 
 
 In January, 1687, a great mass of black paper-like 
 substances fell during a storm in Courland, and the 
 learned in vain endeavored to detect its nature. Some 
 of it, however, having been preserved in the Berlin 
 Museum, was finally examined through the microscope, 
 and found to be a matted mass of minute organisms, 
 comprising some thirty species of infusoria, together 
 with a few confervae. Thus the instrument, once so 
 contemned, revealed, in one instant, a truth, which had 
 baffled the most earnest inquiry for one hundred and fifty 
 years ! 
 
 So in 1736, an overflow of the Silesian river Oder 
 cast a paper-like substance on shore, which, a century 
 later, was discovered by the same microscopic scrutinist 
 (Ehrenberg), to consist of nineteen several species of 
 infusoria, with a filamental tissue of confer vse. 
 
 From these facts we learn, that animalcular life enacts 
 a vast and important part in forming the solid crust of 
 our globe. Indeed, as regards this end, the agency, 
 exerted by the whole immense residue of the animal 
 kingdom, is quite inconsiderable, compared with that of 
 these tiny creatures. 
 
 We have noticed, moreover, the existence of animal- 
 cules in the seas, with the various purposes they fulfil 
 therein; one of which is the formation of new islands 
 and continents. In what inconceivable numbers they 
 occupy the sea, may be illustrated by an estimate of 
 Scoresby. Thus, portions of the Arctic Ocean, frequent- 
 ly covering an area of twenty or thirty square miles, are 
 made turbid by the multitude of animalcules therein 
 contained. He estimates that 80,000 persons working 
 without cessation from the date of man's creation to the 
 
MICRO-PHOTOGRAPHY. 827 
 
 current hour, could count only the animalcula comprised 
 within the compass of two miles of this turbid water ! 
 What, then, must be the sum, representing the total of 
 organic existences in the Polar Seas, where one-fourth of 
 the Greenland Sea, for ten degrees of latitude, consists 
 of water com'pletely surcharged with animalcules ? 
 
 As Humboldt remarks, it is still a moot point, whether 
 life is more abundant on the land or in the ocean. That 
 natural phenomenon, the phosphorescence of the sea, 
 which is witnessed in all latitudes, and is beautiful in all, 
 but is, in the tropics, beautiful beyond expression, is now 
 ascribed to the light-emitting powers of innumerable 
 minute animalcules sporting on the waves. This light is 
 considered electro-magnetic, and is evolved from the 
 animal concerned by its voluntary vital act. With these 
 light-emitting living organisms are mingled, in phospho- 
 rescent waters, vast quantities of organic matter, the 
 reliques of dead animalcules, which shine by the chemical 
 decomposition, set up in all decaying organic substance. 
 
 Besides the diatom acege, before spoken of, other classes 
 of minute vegetation abound, in certain seas, in numbers 
 beggaring all calculation. Thus, the Red Sea derives its 
 title from the presence therein of a species of extremely 
 minute algae of red color. The same plant was found by 
 Darwin in other seas. 
 
 But the land and the waters do not exclusively teem 
 with microscopic animal and vegetable life. The atmo- 
 sphere also is, at all times, copiously charged with it. 
 By evaporation, by sudden gusts of wind, and kindred 
 means, these creatures are uplifted into the air, and after 
 having been borne by its currents whole degrees, it may 
 be, of latitude or longitude, are dropped upon the land 
 or into the water, there to recommence their ordinary 
 vital functions. Th3 yellow meteoric sand or mist, often 
 
828 THE CAMERA AND THE PENCIL. 
 
 falling upon the Atlantic, and sometimes carried even to 
 Central Europe, was discovered, through the microscope, 
 to consist of siliceous shelled animalcula. 
 
 But, besides these already developed animals and vege- 
 tables, the atmosphere contains multitudinous germs of 
 life, such as eggs of insects and seeds of plants, which by 
 means of hairy or feathery crowns, are carried forward 
 on vast aerial journeys. So, too, the vivifying pollen of 
 the blossoms is borne by winds, by birds, and by winged 
 insects, often across lands and seas, to the plant which 
 it is needed to fructify. 
 
 Perhaps no physical phenomenon is more wonderful, 
 than the seeming omnipresence of fungus-germs in the 
 air. A morsel of ripe fruit, a little water spilled on a 
 bread-crumb, a drop of stale ink, or a neglected bottle 
 of medicine may, either of them, furnish evidence of this 
 fact. Very shortly the decomposing mass is enveloped 
 by a velvety covering, which speedily acquires a luxu- 
 riant growth. Beneath the observer's eye, myriads of 
 delicate forms lengthen, swell, burst, and scatter their 
 invisible germs into the surrounding air. Fries declares, 
 that in a single individual of the fungi, he has reckoned 
 above 10,000,000 seeds — ^adding, that, being so numerous 
 and so light, it is difficult to imagine a place from which 
 they can be excluded. They have been found living 
 within the lungs of a living man ; they are in the waters, 
 since a fungus envelopes the fish of our ornamental 
 ponds ; and they penetrate the bowels of the earth, for a 
 luminous fundus lights the coal mines of Dresden. 
 Guano from Ichaboe Island contains more beautiful 
 dratoms, than any other known substance, of course 
 having been swallowed by the birds. 
 
 The phenomenon of colored snow, commonly red 
 though occasionally green, is familiar to scientific men. 
 
MICRO-PHOTOGEAPHY. 329 
 
 It is now ascertained, that this phenomenon is due to the 
 presence therein of both vegetable and animal life. 
 
 Before proceeding to inquire what offices in the grand 
 system of creation are subserved by the varied forms of 
 microscopic existence, we insert a description of a few 
 additional discoveries effected through this instrument. 
 
 Thus, Lewenhoeck, the microscopic observer, calcu- 
 lates that a thousand millions of animalcula, which are 
 discovered in common water, are not altogether so large 
 as a grain of sand. In the milt of a single codfish there 
 are more animals than exist upon the whole earth ; for 
 a sand-grain is bigger than 4,000,000 of them. The 
 white matter, that adheres to the teeth, also abounds in 
 animalcules of various shapes, to which vinegar is fatal ; 
 and it is known that vinegar contains animalculee in the 
 form of eels. A mite was anciently thought the limit 
 of littleness ; but now we are not surprised at being told 
 of animals twenty-seven million times smaller than a 
 mite. Monsisa de 1' Isle has computed the celerity of a 
 little creature, scarce visible from its sraallness, which 
 he found to run three inches in half a second. If now 
 you suppose its feet to be the fifteenth part of a line, it 
 must take five hundred steps in the space of three 
 inches; i. e. it must shift its legs five hundred times per 
 second, or in the ordinary pulsation of an artery. 
 
 The proboscis of a butterfly, which winds round in a 
 spiral form, like the spring of a watch, serves for both 
 mouth and tongue, by entering the hollows of flowers 
 and extracting their juices. The seeds of strawberries 
 rise out of the pulp of the fruit, and appear themselves 
 like strawberries, when viewed with the microscope. 
 The farina of the sunflower seems composed of flat, cir- 
 cular, minute bodies, sharp-pointed round the edges ; the 
 middle of them appears transparent, and somewhat re- 
 
330 THE CAMERA AND THE PENCIL. 
 
 sembles the flower it springs from, The powder of the 
 tulip is shaped exactly like the seeds of cucumbers and 
 melons. The farina of the poppy looks like pearl-barley. 
 That of the lily is verj'- like that of the tulip. The hairs 
 of the head are tubular fibres. The sting of the bee is a 
 horny sheath, which includes two bearded darts ; and 
 that of the wasp has eight beards on the sides of each 
 dart, somewhat like the beards of fish-hooks. The eyes 
 of gnats are pearled, or composed of many rows of small 
 semicircular protuberances, ranged with the utmost exact- 
 ness. The wandering or hunting spider, who spins no 
 web, has two tufts of feathers attached to its paws, of 
 exquisite beauty and coloring. Its feet have a comb on 
 each, which enable it to move on and fashion its web. 
 A grain of sand will cover two hundred scales of the 
 human skin, and also cover twenty thousand of the pores 
 from which issues the perspiration. Justly has a philos- 
 opher (Mr. Baker) observed : " To the Deity, an atom is 
 a world, and a world is but as an atom." 
 
 The following facts are mentioned, to show how man's 
 mechanical ingenuity has been favored by means of the 
 microscope : 
 
 In a certain museum was exhibited a golden chain, of 
 300 links, all being but an inch in length, fastened to 
 and dragged along by a flea. And Mr. Baker narrates 
 his having seen, and examined with a microscope, a 
 chaise having four wheels, with all the usual apparatus 
 pertaining thereto, together with a man seated in the 
 chaise, all framed of ivory and drawn forward by a flea, 
 without any seeming difficulty. The weight of the whole 
 establishment, flea inclusive, was barely a single grain. 
 The same gentleman, at the same place and time, also 
 weighed a brass chain made by the same artificer, con- 
 taining 200 links, with a hook at one end and a padlock 
 
MICKO-PHOTOGRAPHY. . 331 
 
 and key at the other, all about two inches long, and 
 found it to weigh less than one-third of a grain. He 
 speaks also of having seen a quadrille table, with a 
 drawer in it, an eating table, a side-board table, a looking- 
 glass, twelve chairs with skeleton backs, two dozen 
 plates, six dishes, a dozen knives and as many forks, 
 twelve spoons, two salts, a frame and castors, together 
 with a gentleman, lady, and footman — all contained in a 
 cherry-stone, and not filling much more than half of that ! 
 In our day may be purchased cherry-stones highly 
 polished, with ivory screws, each containing one hundred 
 and twenty perfect silver spoons ! And it is reported, 
 that a certain Oswald Merlinger fabricated a cup of a 
 pepper-corn, which held twelve hundred other little cups, 
 turned in ivory, each of them gilt on the edges, and 
 standing upon a foot, and that so far from being crowded 
 or wanting room, the pepper-corn would have held four 
 hundred more ! So, one pennyworth of crude' iron can, 
 by art, be manufactured into watch-springs, so as to pro- 
 duce a thousand pounds sterling! 
 
 Lewenhoeck reckoned seventeen thousand divisions in 
 the cornea (anterior coat) of the eye of a butterfly — each 
 of which, he thought, possessed a crystalline lens. Spi- 
 ders are similarly supplied. 
 
 By microscopic examination, it has been discovered, 
 that spiders have four paps for spinning their threads — 
 each pap having about one thousand holes — and the fine 
 web itself is the union of four thousand separate threads. 
 No spider spins more than four webs — and if the fourth 
 be destroyed, it seizes on the webs of others. 
 
 Every pound of cochineal contains seventy thousand 
 insects boiled to death — and from six hundred thousand 
 pounds to seven hundred thousand pounds are taken 
 annually to Europe for dyeing scarlet and crimson colors. 
 
332 THE CAMERA AND THE PENCIL. 
 
 It will, of course, be understood, that tlie microscope" 
 is concerned alike in tlie discoveries and tlie manufac- 
 tures alluded to above. 
 
 The question, for luliat end have the multitudinous 
 forms of animal and vegetable life first revealed to us bv 
 the microscope, heen created, is not yet fully settled 
 by the savans. That one of their offices is that of 
 scavengers, is however obvious enough. Feeding, as 
 both kinds do, on decaying animal and vegetable parti- 
 cles, they aid in conserving the salubrity of our air, by 
 removing one principal cause of its taint. 
 
 A second and still more important function of theirs, 
 would seem to be the arresting the diminution of the 
 existing amount of organized matter on our globe. For 
 when such matter has reached that stage of decay, imme- 
 diately preceding its decomposition into the elemental 
 gases ; or (in other phrase) its passage from the organic 
 to the inorganic world ; these swarming myriads of 
 nature's invisible police intercept the escaping organized 
 atoms, and retrovert them into the ascending stream of 
 animal life. Having first converted the dead particles 
 into their own living substance, they become themselves 
 the food of numerous other animals ; and thus, by ascen- 
 sive gradations, the identical atoms, which were on the 
 eve of escaping from the realm of organic matter, come 
 eventually to be a part of the highest organic beings, 
 man himself inclusive. These animalcules may well be 
 compared to the minute capillaries in the animal body — • 
 receiving organized matter in its state of utmost attenua- 
 tion, and on the point of escaping from the system, and 
 turning it back, by a new route, towards the central and 
 highest portion of that system. 
 
 Monads, the smallest of creatures hnown, are said to 
 swim by myriads in a dro'p of water. It has been com- 
 
MICRO-PHOTOGEAPHY. 333 
 
 puted, that, within this compass, five hundred million 
 could be comprised ! The monad is never found longer 
 than the twelve-thousandth part of an inch. 
 
 In a cubic inch of a certain kind of mould, consisting 
 wholly of animalcula, Ehrenberg estimated, that over 
 forty-one millions of distinct beings existed! 
 
 The services, moreover, transcend all estimate, which 
 the microscope is capable of rendering alike to commerce, 
 to jurisprudence, to science, and to the arts, useful and 
 ornamental, of life. 
 
 Thus, Professor Owen, by a microscopic inspection of 
 0. fragment of fossil-tooth, demonstrated the existence, 
 immemorial ages since, of an animal belonging to the 
 genus of the modern sloths ; but of a bulk so enormous, 
 as to be able to uproot and push down the largest trees 
 of the Tropic forest — an act which this animal was 
 accustomed to perform, for the sake of feeding, as do 
 contemporary sloths, on their leaves and tender shoots. 
 In fact, neither the hammer nor the blow-pipe is so 
 essential to the geologist, as the microscope. Through 
 the latter, he has already made many valuable discoveries 
 in his superb science ; and by these discoveries has 
 already been constrained to re-classify, to a not inconsider- 
 able extent, the fossilized animal tribes. At the same 
 time, it is manifest, that he has but just entered upon a 
 vast field of kindred discoveries. 
 
 Hardly, if at all, less important is the microscope to 
 chemical science. A European professor of medical juris- 
 prudence, some years ago, discovered an infallible test 
 for detecting the presence of arsenic. It is briefly this : 
 Take the contents of the alimentary canal of a person 
 supposed to be arsenically poisoned, and apply them to 
 small strips of copper ribbon, prepared in a certain pre- 
 scribed mode. Dry these strips and put them in a clean 
 
334 THE CAMERA AND THE PENCIL. 
 
 glass tube, to the bottom of wliicli tbe flame of a spirit- 
 lamp is applied. If arsenic be present, it soon crystal- 
 lizes in a brilliant zone round the upper end of the tube. 
 It is known, that arsenious acid forms beautiful crystals 
 of an octohedral figure. To remove, then, all shade of 
 doubt whether this zone be arsenic, or not, apply the 
 microscope. If it he such, the octohedral figures will 
 instantly appear. How momentous this discovery is to 
 the interests of justice, is plain at a glance. 
 
 Another illustration of the worth of this instrument in 
 legal concerns, is furnished by an incident that occurred 
 in France twenty years ago. A murder had been perpe- 
 trated — the body was found, covered with blood — and the 
 murderer was entirely unknown. A certain person, how- 
 ever, being suspected, his domicil was searched, though 
 nothing suspicious was discovered, except a hatchet, 
 whereon were some stains and a few hairs. On inspect- 
 ing the hatchet with a microscope, the hairs were found 
 to be those of an animal, and the man was cleared. 
 Very probably the preservation of life was, in this case, 
 due to this once contemned instrument. 
 
 Some years ago it was found by microscopic investiga- 
 tion, that the Paris milkmen were accustomed to defraud 
 their patrons by first removing the cream of the milk, 
 and then restoring the richness of its appearance, by 
 adding thereto the brains of calves or sheep. With an 
 instrument of a power of from three hundred to five 
 hundred diameters, fragments of cerelral substance were 
 distinctly perceived beside the milk globules. 
 
 The microscope, moreover, is employed in selecting 
 wet-nurses, as it reveals great diversities in the quality 
 of the milk of different women. 
 
 The merchant, too, is beginning to find this instrument 
 of great utility in his business. It enables him to detect 
 
MICRO-PHOTOGEAPHY. 335 
 
 tlie adulterations of commodities, from teas, sugars, and 
 drugs, down to guano itself; while by examining the 
 textures of manufactured fabrics, he can determine 
 whether or not thej are made of the material alleged. 
 
 The foregoing statements will suf&ce to show the vast 
 importance of the instrument which discloses to us such 
 a world of wonders ; for the singular beings, thus brought 
 before us, bear no resemblance to those which are visible 
 to the unaided eye ; and their modes of progression, 
 existence, and increase are, in most respects, entirely 
 dissimular. 
 
 But life, with its rich endowments, is theirs; and, 
 though millions can be contained within the bulk of a 
 mustard-seed, yet each individual of this vast assemblage 
 is, in its organization, as perfect as an elephant which, 
 in its size relatively to this sentient atom, is as a universe 
 in comparison with ourselves. The living creatures of 
 the microscopic world are, probably, far more numerous 
 than those which are perceivable by the naked eye. 
 And, from the splendid discoveries already made, we 
 may reasonably infer that, if our vision could become 
 indefinitely more piercing, and progressively advance 
 from the minutely visible, through the successive realms 
 of the invisible, exploring onward towards the inmost 
 shrine of nature, new scenes of beauty would be inces- 
 santly unfolded, and new fields of divine display would 
 continually reveal that God was still present in His 
 creative energy, and that we saw but the "hidings" of 
 His power and wisdom. 
 
 The microscope, in connection with heliography, has 
 become indispensable. By a simple contrivance, the 
 minutest infusoria and vegetable monads can be photo- 
 graphed and enlarged to almost any extent, and the out- 
 lines of their beautiful and delicate germs perfectly 
 
SS.6 THE CAMERA AND THE PENCIL. 
 
 preserved. The minute spots and striae on the navicula ; 
 the structure of many of the confervas ; cross-sections of 
 many of the polysphonise, and other marine algae, have 
 been represented by the aid of the microscope and the 
 camera more perfectly than it could be done with human 
 hands. 
 
 The reader is referred to Vol. 2d, for a brief de- 
 scription of the mode of making these pictures ; and 
 if amateurs and professionists will but direct their atten- 
 tion to the study of the microscope, they will, in a short 
 time, be able to master this beautiful branch of photo- 
 graphy. 
 
OHAPTEE XXIX. 
 
 HISTORY OF THE HELIOGRAPHIC ART IN THE UNITED STATES. 
 
 Camera obscura — Professor Draper's early researches — Used bromine and 
 sensitive paper — Made the first sun-portrait — Professor Morse's early 
 experiments and their success — A. S. Wolcott and J. Johnson — their dis- 
 coveries and performances — Dr. Bird — Joseph Saxton, first daguerreotype in 
 Philadelphia — Drs. Goddard and Parker — Professors J. Frazer and W. R. 
 • Johnson — Messrs. Mason and Cornelius — Professors Grant and Davis — Drs. 
 J. E. Parker and Wildman — Mr. Reed — Mr. Langenheim, his services to 
 heliography — First brought talbotype and stereoscope to United States — 
 Van Loan, Anthony, Edwards, N. G. Burgess, Charles Williamson, Fizeau, 
 Cady, Gurney, Brady, Quail, Haas, and Lavprence, of Nev? York — Southwertb 
 & Hawes, Whipple & Co., and French, of Boston — Thompson, Schriver. 
 Mayall, M. A. Root, of Philadelphia — Mr. Root bought Mr. Mayall's stand, 
 140 Chestnut St., 1846 — Beckers — Faris, of Cincinnati, Ohio — Hesler, of 
 Illinois — Fitzgibbons, of Missouri — Crystal Palace, New York — Shives — 
 Howard — Sun-painters in United States — Decline of daguerreotype — 
 McClees & Germon, crystallotype — Collodion process, 1852 — Drs. Charles 
 Cresson and Langdell — Cutting — Rehn's Photolithography, &c. 
 
 It will not be irrelevant to the following history, if 1 
 preface it with a brief extract from an English work of 
 a century or more old. 
 
 •'• We may well imagine," says its author, "that could 
 a young painter but view a picture by the hand of nature 
 herself, and study it at his leisure, he would profit by it 
 more than by the finest performances from the hand of 
 man. 
 
 "Now nature is constantly forming such pictures in 
 our eyes ; the solar rays, coming from exterior objects, 
 entering the pupil and being refracted by the crystalline 
 22 -■> (337) 
 
338 THE CAMERA AND THE PENCIL. 
 
 ipns, stamp on the retina at the bottom of the eye the 
 object, to which the pupil is directed. The soul, receiv- 
 ing instant intelligence of this image, sees the object it 
 represents. 
 
 " A method was discovered of imitating this natural 
 process, entitled the camera optica or obscura, which 
 may be named ' an artificial eye,' and this is too familiar 
 to the reader to need describing here. We may imagine 
 how the pictures thus formed must have charmed the 
 earliest beholders. Our author rises into enthusiasm in 
 their description." 
 
 He remarks, that "the best of the modern Italian 
 painters have been greatly aided by the instrument, 
 as, probably, many tramontane artists as well." 
 
 He says, he " was present when an able artist first 
 saw a camera. He was enraptured with it, and his 
 delight increased the longer he examined it, and he con- 
 fessed, that these pictures were incomparable." 
 
 "Another of equal eminence," he says, "declared, that 
 an academy, with the camera and a few casts of the 
 finest Greek busts, would alone suffice to revive the 
 pictorial art." 
 
 Our author, therefore, counsels the young painter to 
 study these divine pictures his life long, as he can never 
 give them too much attention. 
 
 What would have been the ecstasies of his artist- 
 friends and his own, could they, like ourselves, have 
 seen these impressions permanently fixed, and even 
 heightened in beauty by the brilliancies of color in the 
 hand of genius? 
 
 Our author, however, spoke wisely in advising the 
 painter to study assiduously and long even the unstable 
 images projected by the instrument. Yei0 likely such 
 study may have helped the great masters in creating 
 
HISTORY OF THE HELIOGEAPHIC ART. 339 
 
 tlieir pictured immortalities. Yery likely, too, the sam^ 
 study may have been one among the causes, that impelled 
 our eminent savant, Professor J. W. Draper, M.D., to go 
 so deeply and largely into those studies to which helio- 
 graphy is related, and which, among numerous dis- 
 coveries, led him so far, that he was able to make the 
 first human photographic portrait the world ever saw. 
 How much the art and its affiliated sciences are indebted 
 to him will presently appear. 
 
 Desiring to give an authentic history of the introduc- 
 tion of heliography into this country, as well as of its 
 subsequent progress therein, I addressed letters to Pro- 
 fessors John W. Draper and S. F. B. Morse, the latter 
 of whom brought home from Europe the first accounts 
 on the subject, which were published in the New York 
 Observer, requesting of them to detail, for my use, their 
 earliest experiences in the art. 
 
 Prof. Draper, in his reply, referred me to his statement 
 in relation to the matter contained in a communication 
 to the New York Mechanics' Institute, of which the fol- 
 lowing are extracts : 
 
 "Nearly ten years before any one in America had 
 turned attention to the subject, I had been occupied with 
 the chemical efiects of light, and had published in the 
 Journal of the Franklin Institute and elsewhere a good 
 deal in relation to it. 
 
 " For years before either Daguerre or Talbot had pub- 
 lished anything on the subject, I had habitually used 
 ' sensitive paper' for investigations of this kind. It was 
 thus (as you will find by inspecting the above-named 
 journal for 1837), that I had examined the impressions 
 of the solar spectrum ; proved the interference of chemical 
 rays (z. e. thigir destroying of each other's effect); investi- 
 gated the action of moonlight, and of flames, either com- 
 
340 THE CAMERA AND THE PENCIL. 
 
 mon or colored, red or green ; and also the effects of 
 yellow and blue solutions and other absorbing media ; 
 the decomposition of carbonic acid by light, &c. In 
 these experiments I used the preparations of bromine, 
 recently so much spoken of. The then diiSiculty was 
 in fixing the impressions. I had long known what 
 "Wedgwood and Davy had done in copying objects ; 
 had amused myself with repeating some of their experi- 
 ments; and had even tried, though unsuccessfully, the 
 use of hyposulphite of soda, having learned its proper- 
 ties in relation to the chloride of silver from Herschel's 
 experiments, but abandoned it because I found it re- 
 moved the blacks no less than the whites. This want 
 of success was probably owing to my having used too 
 strong a solution, and kept the paper in it too long. 
 
 " When Talbot's experiments appeared in the spring 
 of 1839, they interested me greatly, as I had been at work 
 so many years on the action of light. I repeated what 
 he published with variations. I tried to shorten the 
 long time required for getting the picture of a house or 
 tree, by using lenses of large aperture and short focus, 
 and from this germ portraiture finally arose. This was 
 prior to the publication of anything by Daguerre. 
 
 "It was during my repetitions of Talbot's experiments, 
 that I recognised the practical value of the experiments 
 I had made in 1835 and published in 1837, respecting 
 the chemical focus of a non-achromatic lens, and saw 
 that the camera must be shortened in order to obtain a 
 sharp picture. 
 
 " My first knowledge of the particulars of Daguerre's 
 process was from their publication in the London Literary 
 Gazette, which contained Arago's Eeport of the meeting 
 of the Academy of Sciences, on August 19th, and this I 
 saw at the time of its arrival in New York. I do not 
 
HISTOEY OF THE HELIOGEAPHIC ART. 341 
 
 remember the date, but it strikes me it was in September. 
 I at once bougbt some of the common silver-plated 
 copper, and directly after tried Daguerre's process. I 
 believe I was, at that moment, the only person in Amer- 
 ica, who bad any practical skill in experiments witb 
 light ; but then I had had ten years' experience in such 
 matters. Those, who know the failures and disappoint- 
 ments, incident to photographic experiments, can fully 
 appreciate the worth of such a schooling in a delicate 
 operation like Daguerre's. I succeeded, without other 
 difficulty than the imperfection of the silver-plating, in 
 copying brick buildings, a church, and other objects seen 
 from my laboratory windows. 
 
 "I now returned to the attempts at portraiture, and 
 upon the principles I had ascertained hefore Daguerre's 
 publication, I resorted to a lens of five inches diameter 
 and seven inches focus, which I still have. I dusted 
 the sitter's face with flour and pushed the back of the 
 camera to the violet focus. At this period I did not well 
 understand the manner of illuminating an object, and 
 making the trial in a room succeeded in getting an im- 
 pression. But, observing that the dark spots of the 
 dress impressed themselves, I perceived it was needless 
 to whiten the face, and found ou trial, that the forehead, 
 cheeks, and chin, whereon the light fell most favorably, 
 would come out first.* By augmenting the illumination 
 and prolonging the time, I could get the entire counte- 
 nance. At this time the problem of portraiture might 
 be regarded as virtually solved. 
 
 "About this time I became acquainted with Professor 
 Morse, and we subsequently had a building on the top 
 of the New York University, in which we took many 
 portraits, at first with a four-inch lens, and then with 
 
 * This was the first portrait taken from life. , 
 
342 THE CAMERA AND THE PENCIL. 
 
 an acliromatic lens and plates, both French, which we 
 imported. 
 
 "In March, 1840, I wrote to the editors of the London 
 and Edinburgh Philosophical Magazine, stating my suc- 
 cess in solving the problem of photographic portraiture ; 
 and in the following September I published a detail of 
 the whole process. Meanwhile I had forwarded speci- 
 mens to Europe, and had received letters of acknowledg- 
 ment. 
 
 " From the foregoing statements, it will be seen that 
 my connection with portraiture dates back to the summer 
 preceding the publication of Daguerre's process ; that I 
 had secured various partial successes ; but that within a 
 day or two after the daguerreotype was made known 
 here by the above gazette, I had accomplished the 
 object. 
 
 " Photographic portraiture implies the use of a lens of 
 large aperture and short focus, together with a know- 
 ledge of the correction for the chemical focus, and per- 
 haps the use of bromine. All these things I knew before 
 Daguerre was named on this side the Atlantic. How any 
 doubt can now be entertained as to who took the first 
 sun-portrait, passes my comprehension. 
 
 Yours, truly, 
 
 Messrs. Stetson, Cohen, Seely, J. W. Draper. 
 
 Committee of Mechanics' Club." 
 
 The remark in the closing sentence of the above inter- 
 esting letter is confirmed by the following extract from 
 an article, by Sir David Brewster, in the Edinburgh 
 Eeview for January 1843 : — 
 
 "Dr. Draper," we believe "was the first who, under 
 the brilliant summer sun of New York, took daguerreo- 
 type portraits. This branch of photography seems not 
 
HISTORY OF THE HELIOGRAPHIC ART. 343 
 
 to have been regarded as a possible application of 
 DagueiTe's process, and no notice is taken of it in the 
 reports to the French legislative bodies. We have been 
 told, that, at that period, Daguerre had taken no por- 
 traits, and when we consider, that twenty or twenty-five 
 minutes were then deemed necessary to get a dagij^reo- 
 type landscape, we do not wonder that portraiture was 
 unthought of in this connection," 
 
 Besides those mentioned in his letter. Professor Draper 
 has published numerous other memoirs, having more or 
 less connection with the heliographic art : e. g., on the 
 analogy of the chemical rays and radiant heat ; on spec- 
 tral appearances and latent light; on the tithonometer, an 
 instrument for measuring the chemical or actinic power 
 of the sunbeam ; on a new imponderable ; on the nega- 
 tive rays of the sun; on the phosphorescence of bodies, 
 &c. These are a portion of a series of papers which, 
 collected, would make a considerable volume. Many 
 were published in London, and have been translated into 
 the languages of Germany, France, and Italy, and pub- 
 lished in those countries. Many, too, may be found in 
 the Franklin Institute Journal from 1834 to 1839. Be- 
 sides all these, he has written a treatise on physiology, 
 illustrated by himself, by means of micro-photography. 
 He was chosen first president of the New York Photogra- 
 phical Society, and has been annually re-elected until now. 
 He continues to investigate every new phase of the art, 
 and is one of the best practitioners among our scientific 
 amateurs. His son, Dr. Henry Draper, has constructed 
 the largest reflecting telescope ever made in the United 
 States; and, with it, has taken perfect photographs of the 
 moon, over two feet in diameter. He has favored me with 
 many facts on Lunar Photography, Actinism, &c., and 
 has kindly aided me with his counsels and suggestions 
 
344 THE CAMEEA AND THE PENCIL. 
 
 in the preparation of this work, whicli I take this occa- 
 sion to thankfully acknowledge. Within the present 
 year he has published an octavo entitled : " The History 
 of the Intellectual Development of Europe ;" a work 
 pronounced by many his chef d' oeuvre, and, like his 
 other writings, not only doing great credit to himself, 
 but reflecting high honor on the American name. Our 
 limits forbid our speaking more fully of his multitudi- 
 nous performances. 
 
 I mentioned, that I wrote to Professor Morse, as well 
 as to Professor Draper. My letter to the former con- 
 tained the following queries, viz.: 
 
 1st. When did you commence your (photographic) 
 experiments ? I was told by an Englishman (name lost), 
 that your first successful effort was an impression of your 
 coat hanging upon the wall. Is this the fact ? 
 
 2d. How long was the time required to obtain this 
 impression ? 
 
 3d. Of what kind were the instruments employed by 
 you? 
 
 4th. Who first followed you in your experiments ? 
 
 5th. Who began the taking of portraits ? 
 
 6th. Who made the first portrait in New York city ? 
 
 The professor's very obliging reply was as follows : 
 
 PouGHKEEPSiE, Feb. 10th, 1855. 
 My dear Sir : — 
 
 Yours of January 30th I found on my 
 table, on my return to New York, after an absence of 
 some days. I hav« been and am still much occupied, 
 but will give you as satisfactory answers as I can, to 
 your questions. 
 
 To question 1st, I answer, that I was in Paris when 
 Daguerre's discovery was announced in the winter of 
 
HISTORY OF THE HELIOGRAPHIC ART. 345 
 
 1838-9. Early in the spring of 1839, I Bad the gratifi 
 cation of being invited by Daguerre to see bis results in 
 private. He bad not tben sbown tbem, except to tbc 
 Royal Family, to Arago, and to a few others. His 
 process was tben secret, awaiting the action of the Gov- 
 ernment, respecting the pension to be granted him in 
 case be would publish bis process. My letter, announcing 
 the discovery and my examination of the results, was 
 written to my brothers, the editors of the New York 
 Observer, about the first week in March 1839, and was 
 published by them, I think, in April following. This 
 was the first knowledge of the discovery obtained by the 
 American people. In July or August of the same year, 
 I think, Daguerre received his pension, and the process 
 was published. Some copies of the work were imme- 
 diately sent to this country, one of which I received the 
 latter part of August or September ; and immediately I 
 bad made for me the apparatus from the description in 
 the book. This, I find, answers questions yi?-5i! and third. 
 To question 2d, I repl}'-, that as soon as the apparatus 
 was made, I commenced experimenting with it. The 
 greatest obstacle I had to encounter was in the quality 
 of the plates. I obtained the common plated copper in 
 coils at the hardware shops, which of course was very 
 thinly coated with silver, and that impure. Still I was 
 enabled to verify the truth of Daguerre's revelations. 
 The first experiment, crowned with any success, was a 
 view of the Unitarian Church, from the window on the 
 staircase, from the third story of the New York City 
 University. This, of course, was before the building of 
 the New York Hotel. It was in September, 1839. The 
 time, if I recollect, in which the plate was exposed to the 
 action of light in the camera, was about fifteen minutes. 
 The instruments, chemicals, &c., were strictly in accord- 
 ance with the directions in Dagfuerre's first book. 
 
34:6 THE CAMERA AND THE PENCIL. 
 
 To question 4t'h, I answer, that there were several per- 
 sons who immediately began experimenting. An English 
 gentleman, whose name at present escapes me, but who 
 is (I believe) now living in Mexico, obtained a copy of 
 Daguerre's book, about the same time with myself. He 
 commenced experimenting also. 
 
 But an American, named Wolcott, was very successful 
 with a modification of Daguerre's apparatus — substitu- 
 tuting a metallic reflector for the lens. Previous, how- 
 ever, to Wolcott' s experiments, my colleague and friend, 
 Professor John W. Draper, of New York City University, 
 was very successful in his investigations ; and with him 
 I was, for a time, engaged in attempting portraits. 
 
 As to taking portraits, in answer to your 5th question, 
 I would say, that in my intercourse with Daguerre, I 
 specially conversed with him in regard to the practica- 
 bility of taking portraits of living persons. I well re- 
 member that he expressed himself somewhat sceptical 
 as to its practicability, only in consequence of the time 
 necessary for the person to remain immovable. 
 
 The time for taking an out-door view was from fifteen 
 to twenty minutes; and this he considered too long a 
 time for any one to remain sufficiently still for a success- 
 ful result. No. sooner, however, had I mastered the 
 process of Daguerre, than I began to experiment with a 
 view to accomplish this desirable result. I have now 
 the fruits of these experiments, taken in September or 
 the beginning of October, 1839. They are full-length 
 portraits of my daughter, single, and also in group with 
 some of her young friends. They were taken out of 
 doors, on the roof of a building, in the full sun-light, and 
 with the eyes closed. The time was from ten to twenty 
 minutes. The following is a transcript of the daguerreo- 
 type alluded to. 
 
HISTORY OF THE HELIOGRAPHIC ART. 
 
 347 
 
 (Fig. 6.) 
 
 As the eyes in tlie dagaerreotype, from which the 
 above engraving is copied, were tolerably well defined, 
 we presume, that, at the taking, they were open a part 
 of the time, and a part of the time closed. Therefore, 
 we represent them as open. 
 
 About the same time, Professor Draper was successful 
 i 1 taking portraits ; though whether he or myself took 
 the first portrait, I cannot say. Soon after, we com- 
 menced together taking portraits ; causing a glass build- 
 ing to be constructed for that purpose on the roof of the 
 
348 THE CAMERA AND THE PENCIL, 
 
 University. As our experiments had put us to consider- 
 able expense, we made a charge to those who sat to us, 
 to defray this expense. 
 
 To the 6th question, the foregoing is, to some extent, 
 an answer. But Professor Draper's other duties calling 
 him away from the experiments, except as to their bear- 
 ing on some philosophical investigations, which he pur- 
 sued with great ingenuity and success, / was left to 
 pursue the artistic results of the process, as more in 
 accordance with my own profession. My expenses had 
 been great, and for some time (five or six months), I 
 pursued the taking of portraits by the daguerreotype, as 
 a means of reimbursing these expenses. After this 
 object had been attained, I abandoned the practice to 
 give my exclusive attention to the telegraph, which 
 required my whole time, 
 
 I have thus given you a hasty reminiscence, which, I 
 hope, may serve your purpose. 
 
 Respectfully, your obedient servant, 
 M. A. Root, Esq., Samuel F. B. Morse. 
 
 Philadelphia. 
 
 At a session of the Mechanics' Club, April 14th, 1858, 
 Mr. John Johnson detailed the early attempts at daguer- 
 reotype portraiture, illustrated by the apparatus employed 
 in 1839, by specimens of pictures, and by original docu- 
 ments of that period. He was of the firm of Wolcott 
 (Alexander S.) & Johnson (John), who commenced work- 
 ing the daguerreotype process soon after its publication 
 in this country, October 6th, 1839. About this time, 
 they obtained two pretty successful impressions, one 
 positive and the other negative, a fact which perplexed 
 them not a little. Their first portrait was made on the 
 6th or 7th of October, 
 
HISTORY OF THE HELIOGRAPHIC ART. 349 
 
 Early in February, 1840, Johnson, Senior, visited 
 England, and arranged witli Eev. Eichard Baird to 
 patent and woi'k in that country an apparatus got up by 
 Mr. AVolcott. The latter, after examining the camera 
 described by Daguerre, thought that an image could be 
 obtained in less time, than by that, by employing a 
 reflector of wide aperture and short focus. Therefore 
 a reflector, designed for taking portraits from life, was 
 determined on, having eight inches diameter, and twelve 
 inches focal distance for parallel rays. While engaged 
 upon this, Mr. Henry Fitz, who had, in former times, 
 been associated with Mr. Wolcott, and was well versed 
 in optics, returning from abroad, offered Mr. Wolcott his 
 valuable aid. This was gladly accepted ; the reflector 
 was properly polished, and experiments in daguerreotypy 
 were tried with tolerable success. It was this apparatus 
 for which English patents were obtained by Johnson, Sr., 
 and Eev. Mr. Baird, and enrolled June 14th, 1840, it 
 having been previously exhibited in London, March 23d, 
 1840. 
 
 Mr, Johnson, Sr., paid Daguerre £150 for the use of his 
 process, as Claudet subsequently paid him £200 for the 
 privilege of using three cameras. Still later, Eev. Mr. 
 Baird purchased the whole of Daguerre's right in England. 
 
 On May 8th, 1840, Mr, Wolcott procured an American 
 patent for his reflecting apparatus. 
 
 Mr. John Johnson seems to be of opinion, that Mr. 
 Wolcott and himself were the first who took portraits in 
 New York by Daguerre's process. The first after them 
 (he says) was a Mr. Prosch, who was followed by numer- 
 ous others, most of whom employed Wolcott's reflector. 
 Till the beginning of 1840 (he continues), no means of 
 abbreviating the time of sitting for a portrait was in use, or 
 had even been attempted, save Wolcott's instrument above 
 
350 THE CAMERA AND THE PENCIL. 
 
 mentioned. Early in this year, Wolcott tried bromine 
 for this purpose, but unsuccessfully. Mr. Johnson inti- 
 mates, that he and Wolcott were the first users of this 
 chemical in New York. He moreover states, that he 
 and his establishment were the earliest to employ chloride 
 of iodine to secure short sittings. He further declares 
 that, in 1842, he discovered a combination of chemicals 
 (now known in London, as "Wolcott's mixture"), which 
 was very sensitive to the action of light. 
 
 Our limits allow us no further present space for Mr. 
 Johnson's reminiscences. If the seeming clash between 
 some of his statements and those of Professors Draper and 
 Morse, be pronounced by our readers a real one, it is 
 beyond our power to harmonize them, and we must leave 
 to each individual to settle his own views. 
 
 I now proceed to detail summarily the progress, in the 
 United States, of the art thus introduced. 
 
 In 1839, and on the very day of the publication of 
 Daguerre's discovery in the Philadelphia daily papers, 
 Dr. Bird, then chemical professor in one of our medical 
 schools, was asked, at a gathering of several scientific 
 men, what he thought of this new mode of copying 
 objects with the sunbeam ? 
 
 The Doctor, in a lengthened reply, pronounced the 
 whole report a fabrication — a new edition of the famed 
 "moon-hoax" — such a performance being, in his view, 
 an intrinsic improbability. 
 
 Much to his credit, however, he soon after gave the 
 subject a thorough investigation, and examining, with 
 the requisite appliances, eveiy nev/ phase assumed by 
 the art, he mastered each successive discovery and im- 
 provement as fast as they appeared, so that, at his 
 decease in 1854, he was probably the ablest writer on 
 sun-painting in the United States. 
 
HISTORY OF THE HELIOGRAFHIC AliT. 301 
 
 Joseph Saxton, a cultured man of genius (who was not 
 present on the above occasion), had, on the day in ques- 
 tion, carefully examined the same subject, and had con- 
 cluded that Daguerre's announcement was literal truth. 
 He forthwith proceeded to experiment in the art, accord- 
 ing to the following method. 
 
 He constructed a camera by fixing an ordinary sun- 
 glass in one end of a cigar-box ; while a seidlitz powder 
 box, with an aperture in its top somewhat smaller than 
 the plate to be used, and containing a few flakes of dry 
 iodine, served as a coating box. His mercury-bath was 
 made by excavating a hole through a dogwood-block, 
 and attaching thereto a piece of sheet iron so bent, as to 
 hold a little quicksilver. And finally, for a plate, he 
 burnished a piece of silver one and quarter by two 
 inches in size. 
 
 With these primitive implements he produced, that 
 day, the first heliograph ever made in Philadelphia, a 
 transcript of which, in size and appearance, can be seen 
 on next page. The original was recently presented to 
 me for this illustration by a member of the Philadelphia 
 Historical Society, George M. Justice, to whom it be- 
 longed. The picture represents the old Arsenal and the 
 cupola of the old Philadelphia High School, taken from 
 a window of the United States Mint, in which Mr. S. was 
 an ofl&cial. 
 
 I have in my possession another view taken by him, 
 soon after, from the same Window, and representing 
 certain buildings west of Broad street. It was presented 
 to me by Mr. Saxton himself. 
 
 These heliographs naturally created no small excite- 
 ment among the curious in such matters ; and from this 
 date many of our Philadelphia savans began cultivating 
 the art. 
 
852 
 
 THE CAMERA AND THE PENCIL. 
 
 (Fig. 7.) 
 
 Among these were Eobert Cornelius, Drs. Paul Beck 
 Goddard, Parker, Bird, and Kennedy, Professors John 
 Frazer, and Walter E. Johnson, William Gr. Mason, 
 engraver, Dr. Wildman, and many others. Some of 
 these have kept pace with the progress of the art, through 
 all its phases, while contributing largely thereto. 
 
 In the United States, Dr. Goddard (at the time engaged 
 with Dr. Hare, Professor of Chemistry in the Pennsyl- 
 vania University) merits special mention for his services 
 to the new art. His claim to the introduction of bromine, 
 as a sure and valuable accelerator, is sustained by the 
 record of it in the Journal of the American Philosophi- 
 cal Society for 1840. 
 
 In English heliographic works, John Goddard, a Lon- 
 don optician, has erroneously received the credit of 
 having earliest suggested this use of bromine. 
 
 In Daguerre's process, dry iodine had, hitherto, been 
 exclusively employed for acceleration. This substance, 
 
HISTORY OF THE HELIOGEAPHIC ART. 
 
 353 
 
 (Fig. 8.) 
 
 however, is slow-acting even for views ; while for por- 
 traiture, its use, by itself solely, is impracticable. 
 
 In 1839, Professor Grrant, of " Calcium Light" noto- 
 riety, and Mr, Davis, of Boston, Massachusetts, made 
 daguerreotypes, on the third day after the discovery was 
 published in Boston. 
 
 The first Philadelphian who produced portraits, was 
 Eobert Cornelius. Importing his lenses, he himself 
 manufactured the cameras, plates, and mats, he employed. 
 For coating the plates, he used dry iodine exclusively ; 
 and by several large reflectors, set at different angles, 
 both within doors and without, he was enabled, in strong 
 sunshine, to concentrate upon his sitter light enough to 
 obtain through a side-window facing south, an impression 
 within from one to five minutes. (See Fig. 8.) Mr. 
 Cornelius obtained much of his knowledge of the proper 
 mode of proceeding, e. g. the arrangement of lights and 
 shadows, the use of reflectors, &c., from a visit to the 
 rooms of Wolcott & Johnson, corner of Chambers Street 
 23 
 
854 THE CAMEEA AND THE PENCIL. 
 
 and Broadway, New York. These gentlemen were taking 
 portraits at the date of this visit, which (Mr. Johnson 
 thinks) was early in April, 1840, and theirs were the 
 first rooms open for portraiture in the United States. 
 Meanwhile Dr. Groddard, privately experimenting for the 
 discovery of an accelerator, had, with bromine, gotten 
 views, and even portraits, in the open air instantaneously. 
 
 Subsequent to this discovery of his, Mr. Cornelius, 
 with bromide of iodine, procured fair impressions, even 
 without reflectors, in from ten to sixty seconds — and 
 this too within doors. 
 
 It was auspicious for the new art, that it won the 
 interest of the distinguished dental surgeon, of Philadel- 
 phia, Dr. J. B. Parker. At this early date he surpassed 
 all others in producing out- door views of street-scenes, 
 buildings, &c. He and Mr. Reed, an ingenious silver- 
 plate manufacturer, effected numerous improvements in 
 the apparatus used. Their bromine-box, alike peculiar 
 and admirable in construction, was charged with pure bro- 
 mine, and is yet in the Doctor's possession in good work- 
 ing order. Dr. P. is also among our ablest microscopists, 
 and takes a deep interest in micro-photography and the 
 progress of the art generally. 
 
 Mr. Mason having, as a professed engraver, been pre- 
 viously skilled in metal-polishing, very naturally excelled 
 in preparing plates. For cleansing, he used clean, fine 
 cotton-wool together with well washed rotten-stone. And 
 for polishing he employed rouge on a small hand-buff, 
 made of a wooden block, about two and a half by three 
 inches in dimensions, covered either with common, or cot- 
 ton flannel in five or six thicknesses, over which was drawn 
 fine buckskin; and on this buff the rouge was thrown 
 by striking thereon the muslin bag containing the same. 
 The buff' was rubbed circularly over the plate, which was 
 
HISTORY OF THE HELIOGRAPHIC ART. 355 
 
 held fast by sealing wax upon a block matching the 
 plate in size. 
 
 In 1839 Mr. M. produced, by the light of a small gas- 
 burner, a perfect copy of a certain engraving. This was, 
 probably, the first picture ever taken by artificial light. 
 It is still perfect, and remains in his possession. The 
 exposure was one hour. He also made a daguerreotype 
 on steel at this date, which he presented to the writer. Mr, 
 Mason's pictures exhibited a pure and exquisitely finished 
 surface. And indeed some of the heliographs produced 
 at that early period (1839 and 1840, or twenty-four years 
 ago) by him, as also by Messrs. Goddard, Cornelius, and 
 Parker, are rarely transcended even now, despite the 
 improvements made in the art and its appliances. 
 
 Among these early amateurs was Dr. Wildman, a 
 gentleman of considerable mechanical genius, a most 
 able practising dentist, and skilful manufacturer of artifi- 
 cial teeth. At that date, and without receiving any aid 
 or suggestions from the experiments of others, he pro- 
 duced several views, which, for beauty of delineation and 
 tone, for fidelity of detail, and for artistic effect, have 
 never been surpassed even to this day. They are still 
 perfect, and promise to endure for ages. 
 
 The earliest experiments were performed, either with 
 single lenses, or with plano-convex lenses variously com- 
 bined. These were succeeded by the achromatic object- 
 glasses of Voigtlander & Sons, of Vienna, after Professor 
 Petzval's calculation. The latter were introduced into 
 the United States by Langenheim, Voigtlander's brother- 
 in law. He took up the art where Cornelius left it, and 
 for several years was the leading photographer, not only 
 in Philadelphia, but probably in the world. And the 
 fact should be commemorated, that he has done as much 
 as, if not more than, any other to advance this art, and 
 
356 THE CAMERA AND THE PENCIL. 
 
 render it worthy the notice of the most intelligent and 
 cultured classes in the community. In just recognition 
 of his liberality, skill, and artistic enthusiasm, six or 
 seven valuable gold medals were conferred upon him by 
 European sovereigns, on their receiving from him a large 
 panorama of Niagara Falls. 
 
 In 1848, he introduced, at great expense, the talbotype 
 into the United States, by which he printed from paper 
 negatives. 
 
 In.l850 he also introduced the stereoscope here, and 
 by his efforts the American Stereoscopic Company was 
 established. After this had been effected by many years' 
 hard labor, and the public had learned to appreciate and 
 demand these interesting pictures of scenes and objects 
 both familiar and distant, the London Stereoscopic Com- 
 pany was encouraged to send hither an artist to take 
 views, as also to establish an agency in New York. By 
 this agency, with the furtherance of the booksellers in 
 our large cities, the stereoscope has been circulated 
 throughout the land, and thousands of families a.re draw- 
 ing alike entertainment and instruction from this beauti- 
 ful variety of the solar sketch. 
 
 Professors Draper and Morse, Dr. Chilton, and Messrs. 
 Wolcott, Johnson, Fitz, &c., of New York, appear to 
 have commenced experimenting with the daguerreotype, 
 about simultaneously with our Philadelphia savans. 
 They continued practising the art as amateurs, improv- 
 ing, the while, its instruments and manipulative methods 
 until its practicability and utility were both demon- 
 strated. 
 
 Mr. Johnson, of New York, claims that Wolcott & 
 Johnson were the first to make photographic portraiture 
 a profession for pay in that city. He says, that all the 
 time they could so use was devoted to this object, and to 
 
HISTORY OF THE HELIOGRAPHIC ART. 357 
 
 preparing apparatus, plates, &c., long before the close 
 of 1839, and subsequently still more vigorously, while 
 they were preparing rooms for the purpose. 
 
 In the Journal of the Franklin Institute, for October, 
 1839, Professor J. F. Frazer, of Philadelphia, published 
 a translation (made by himself from the French) of a full 
 and detailed description of the new sun-painting process 
 discovered by Daguerre. Following the directions there- 
 in given, he succeeded in producing a daguerreotype 
 picture. His further prosecution of the study of the art 
 was prevented by the pressing duties of his professor- 
 ship, and the specimen he then produced has unfortu- 
 nately got lost. For the amount of practical interest, 
 however, then taken by him in heliography, we are 
 happy to give him this mention among its earliest 
 devotees. 
 
 At a visit made by Niepce, the after-associate of 
 Daguerre, to England, in 1827, he exhibited to his 
 friends, and left with them, several specimens of sun- 
 limnings, produced by himself, nearly as perfect as those 
 of Daguerre, made public in 1839. 
 
 Mr. Bauer, one of these friends, says he received from 
 Niepce copies of engravings, fixed permanently by the 
 action of light ; copies of scenes from nature ; also 
 metallic plates thus engraved, and engravings copied 
 therefrom. Mr. Bauer's belief was, that no engraving 
 tools were employed upon these, but that the drawings 
 were fixed by the action of light, and the plates subse- 
 quently engraved by a chemical process discovered by 
 Niepce. 
 
 As early as 1829, Niepce and Daguerre formed an 
 agreement to prosecute the new art together. 
 
 At the inauguration of the opening of a railroad to 
 Courtrai, Belgium, in 1839, a daguerreotype picture was 
 
358 THE CAMERA AND THE PENCIL, 
 
 taken of tlie locomotive-engine, the wagon, train, and 
 cortege, &c., exactly at the moment when the inaugura- 
 tion address was commenced. The time required for 
 taking the impression was seven minutes. 
 
 It was reported that the Eussian Czar offered Daguerre 
 500,000 francs ($100,000) for his secret, which was 
 refused. Daguerre got from his own government only 
 a 6000 franc pension per annum, which was only the 
 6 per cent, interest of 100,000 francs; i.e. $1200 per 
 year. 
 
 As we have before stated in another place, the first who 
 took portraits in Philadelphia was Robert Cornelius — fol- 
 lowed by Thompson, Retzer, and John Plumb, for whom 
 Truman Shew acted as agent. The earliest daguerreotype 
 portrait from life, taken in Philadelphia, was probably 
 one of Dr. Kennedy, the principal of the Polytechnic 
 Institute, by the late Professor "Walter R. Johnson 
 in 1839. 
 
 The first portrait of this kind, made and sold in Phila- 
 delphia, was one of our long and well-known optician, 
 John McAllister (founder of the house, now entitled 
 McAllister Brothers), by Robert Cornelius, now the head 
 of the firm of Cornelius, Baker & Co., our enterprising 
 chandelier manufacturers. 
 
 Fizeau's discovery of the process for securing the 
 impression on the plate by a coating of gold, which was 
 introduced into Paris, in 1842, was soon after brought 
 to the United States. 
 
 Laborde, Professor of Sciences in Corbigny, Navarre, 
 was the first to recommend coating the plate a second 
 time, or returning it from over the bromine back again 
 to over the iodine, for a short time, before exposing it in 
 the camera. This great improvement, which completely 
 changed the cold blue linen collars, shirt-bosoms, &c., to 
 
HISTORY OF THE HELIOGRAPHIC AET. 359 
 
 a pure natural white, was introduced into Philadelphia 
 bj Samuel Yan Loan, and into the country at large by 
 John Johnson, of New York, early in 1844. 
 
 The earliest implements used by our heliographic 
 operants were rude indeed, and their failures, of course, 
 numerous. Vigilance, however, and persistent energy 
 would achieve an occasional success. Such a specimen 
 would be circulated among friends, as a something mar- 
 vellous; although, as compared with some of the best 
 present productions of the art, it may have been a flat, 
 indistinct, leaden-looking thing, which a breath might 
 almost blow away. For the now familiar process of 
 securing the impress by gilding was then unknown. 
 
 After the successful experiments of Messrs. Draper & 
 Morse, in New York, and of Cornelius, in Philadelphia, 
 together with the improvements made by them and others 
 in the heliographic apparatus and manipulative methods, 
 and the great advance consequent thereon in the mode 
 of obtaining portraits from life, quite a number of persons 
 directed their attention to the art from the hope of 
 making it a source of profit. They secured the services 
 of individuals possessing activity and mechanical skill, 
 who contributed to the progress of the art and its rapid 
 introduction to public notice. Thus the chief towns of 
 the Union became, ere long, familiar with the produc- 
 tions of the solar pencil. 
 
 Among the most prominent of those who earliest 
 entered this field, were the elder Yan Loan, Anthony, 
 Edwards, &c., in New York ; Southworth in Boston ; and 
 Thompson in Philadelphia. Thompson was, in 1855, 
 the leading American heliographer in Paris. 
 
 J. Gurney commenced practising the art in 1841, and 
 has closely applied himself thereto ever since (twenty-two 
 years) in all its phases. He has uniformly striven to 
 
860 THE CAMERA AND THE PENCIL. 
 
 make it a reputable vocation, by producing the finest 
 possible specimens in tbe various styles of the art. 
 
 Mr. A. Morand commenced practice in 1841, and has 
 continued it with the feeling of a true artist down to the 
 present date. He succeeded the elder Van Loan, corner 
 of Chambers Street and Broadway, New York, In 1842, 
 he introduced the daguerreotype into Brazil, South 
 America. He waited upon the emperor, Don Pedro II., 
 and took daguerreotypes for him, his family, and many 
 of his friends. He took one instantaneous portrait of his 
 majesty, as he alighted from his carriage in front of his 
 palace. He also took the portrait of the wife of the 
 French Prince De Joinville, and was present at her mar- 
 riage to the prince. He commenced practising the art, 
 in Brooklyn, New York, in 1860, and has often been 
 favored with the valuable advice of the most eminent 
 artists, such as Page, Huntingdon, Elliott, and Inman. 
 
 Few only of those, who commenced practising the art, 
 as a calling, in 1841, have followed it through all its 
 changes and improvements, so as to stand, to-day, in the 
 front rank of its practitioners. Among these I am 
 happy to name J. Gurney and A. Morand, of New York, 
 and Samuel Broadbent, late of the firm of Broadbent & 
 Co., Philadelphia. Mr. B. commenced as a pupil with 
 Professor Morse, and for several years practised in the 
 South. He came to Philadelphia in 1851. 
 
 Thomas Faris, a native of Ohio, commenced practice 
 in 1841, and introduced the art into that state. He has 
 still in his possession daguerreotype portraits, in good 
 preservation, which were made by him twenty-two years 
 ago. He introduced also the use of bromine into Ohio, 
 and was, for many years, the leading daguerreotypist in 
 Cincinnati, of that state. 
 
 To these should be added the intelligent and enterpris- 
 
HISTORY OF THE HELIOGRAPHIC ART. 361 
 
 ing John Plumb, wlio early established galleries in most 
 of the large cities of the United States ; placing them 
 under the supervision of his employes, in whose charge 
 they flourished for the first four years. With so many 
 "irons in the fire," however, he necessarily neglected 
 some of them. The consequence was, that he became 
 sadly reduced through the heedlessness and wastefulness, 
 if not the absolute dishonesty of his agents. So that, 
 from being possessed of a competence, the year 1847 
 found him literally penniless. Most of his fine establish- 
 ments passed into the hands of those in whom he had 
 confidently trusted. 
 
 In 1844-7, the leading practitioners of the art were 
 Southworth & Hawes, Litch & Whipple, French & Hale, 
 Chase & Ives, in Boston ; and in New York, Anthony, 
 Edwards & Clark, the proprietors of the National Gal- 
 lery, J. Gurney, Edward White, and M. B. Brady. 
 
 Messrs. Anthony Brothers (Edward and Henry T.), 
 originally civil engineers, were prompted, on the appear- 
 ance of the new art, to make themselves practically 
 acquainted with it. E. Anthony accompanied to the 
 Aroostook territory in Maine, the commissioners ap- 
 pointed to run the boundary line between the United 
 States and the British Dominions. He then took, for our 
 Government, photographic views of the "Highlands," 
 involved in that controversy between the two govern- 
 ments, which Lord Ashburton and Mr. Webster were 
 appointed to settle. These views are preserved in the 
 national archives, and, so far as we know, this was the 
 first recourse ever had. by any government, to the ser- 
 vices of the sun-painting art. 
 
 They also took from life in 1839, or early in 1840, the 
 portrait of a laborer, standing on the sunny side of a 
 house at Tarrytown, with the lens of a telescope. 
 
362 THE CAMERA AND THE PENCIL. 
 
 The firm of Anthony, Edwards & Clarke took daguer- 
 reotype portraits of the members of Congress, in 1843 
 and 1844 ; and in 1845 published the large and fine 
 picture entitled " Clay's Farewell to the Senate." The 
 portraits in this picture were striking for life-like artistic 
 effect. This was the first notable engraving taken from 
 daguerreotypes, extant at that date (1846), when this firm 
 stood at the head of the art in New York. 
 
 Edward Anthony, the head of both the above-named 
 firms, has, from the outset, manifested a deep interest in 
 the art, and has been zealous and liberal in promoting all 
 the measures adopted and the efibrts made for its advance- 
 ment. In 1854, he offered two magnificent and valuable 
 prizes, to be awarded to the two artists who should 
 produce the three best and the three second best speci- 
 mens of the daguerreotype. This offer, of course, was 
 made, as a stimulus to those engaged in the art. 
 
 The first prize, a massive silver pitcher, highly orna- 
 mented, was awarded to J. Gurney ; and the second, 
 two beautiful silver goblets, to Samuel Eoot. The com- 
 petitors were quite numerous, and there was no great 
 difference in the manipulative or artistic excellence of 
 the effects produced. A favorable subject, as a model, 
 or some lucky circumstance, probably determined the 
 award, as there was no very decided difference in the 
 specimens presented, all being highly creditable to the 
 makers. The condition, attached by Mr. Anthony to 
 his offer of these prizes, was that each competitor should 
 furnish him a full description of the process whereby he 
 operated — to be published for the general benefit. This 
 was done, and the processes of each were published. 
 
 Henry T. Anthony, a member of the Photographic 
 Club, and a brother of Edward, was (we believe) the first 
 who took instantaneous views by the collodion process ; 
 
HISTORY OF THE HELIOGRAPHIC ART. 368 
 
 the first not only in the United States, but (so far as we 
 know) in the world. 
 
 The following paragraph is extracted from an exceed- 
 ingly complimentary letter, written by Thomas Sut- 
 ton, Esq., of Eng]and, editor of the "Photographic 
 Notes," to Mr. H. T. Anthony, in reply to a letter by 
 the latter, accompanied by some of his instantaneous 
 photographs, and asking Mr. S. how these compared with 
 similar results obtained in Europe. 
 
 "In reply to Mr. Anthony's query about us European 
 photographers, we can only say we know of no pictures, 
 save two or three of WilsorCs best, which could he put in com- 
 parison with those he has sent; and we old stick-in-the-mud 
 fellows must take care, or the Yankees will go ahead of us." 
 
 In copartnership with a brother, he is, at present, 
 one of the largest stock-dealers in the United States, 
 manufacturing and keeping ever on sale, the best quali- 
 ties of all the materials and implements employed in 
 the profession. 
 
 Next after them in New York, followed Gurney, Brady, 
 Haas, and Lawrence. In 1845-6, F. Langenheim, in 
 Philadelphia, was generally acknowledged to be the first 
 scientific and practical daguerreotypist in this country, 
 and probably in the world. He has skilfully applied the 
 new art to the manufacture of magic lantern slides, of an 
 exquisite quality. His micro-photographs are far supe- 
 rior to any we have seen made by others on either side 
 the Atlantic. Following him were Yan Loan, Mayall, 
 Plumb, and Simons. 
 
 Mayall became sole proprietor of the since widely 
 known establishment at 140 Chestnut Street, in 1845. 
 On June 20th, 1846, he disposed of it to M. A. Eoot, and 
 returned to London, where he now has a flourishing 
 establishment, in which all branches of sun-limning are 
 Buccessfully practiseH.^ 
 
364 THE CAMERA AND THE PENCIL. • 
 
 Through Mr. Shadbolt, the able editor of the London 
 Journal, I have learned that Mr. M. has been honored 
 with the patronage of England's Eoyal Family. This, I 
 trust, will compensate him for his many years of zealous 
 devotion to his favorite art, with his indefatigable efforts 
 to place it high on the list of honorable professions. 
 
 In 1842, John A. Whipple, of Boston, Massachusetts, 
 manufactured the chlorides of iodine and gold, and hypo- 
 sulphite of soda for daguerreotype amateurs. The firm 
 of Litch, Whipple & Cannon was formed in 1846, and 
 dissolved in 1848. 
 
 In 1849, Whipple, by help of the Cambridge Observa- 
 tory telescope, supervised by Dr. Bond, daguerreotyped 
 a gpoup of double stars ; apd a few months later, by the 
 same help, he took excellent daguerreotypes of the moon. 
 These were the first pictures of the kind ever obtained 
 by the new art. 
 
 ^ In 1860, he took stereoscopic views of the moon on 
 collodionized plates, and as two views of the same object, 
 taken at slightly different points, are required to repre- 
 sent such object stereoscopically, Mr. Whipple took his 
 first view of the moon in February 5th, and ^e second in 
 -4-pril 6th. The moon having changed her position and 
 aspect during the interval, the two pictures, whfen pro- 
 perly mounted and seen through the stereoscope, were 
 represented as one moon, alike interesting and wonderful 
 to behold. These are perfect marvels for their rotundity 
 of effect, the moon standing out ^.s round as a billiard 
 ball. The definition is both clear and beautiful. The 
 time of exposure was from four to five seconds each. 
 
 Whipple introduced the use of steam-power in polish- 
 ing plates, as also in other branches of his business, 
 thereby saving much time and labor. He still prosecutes 
 daguerreotypy, in connection wit^?iall other -branches of 
 
 Q 
 
'HISTORY OF THE HELIOGRAPHIC AET. 365 
 
 sun-painting. He has tested the art in all its phases, 
 and has, probably, labored as diligently and done as 
 much to make it popular and useful, as any man in the 
 United States. He has generally been first in introducing 
 improvements. His largest lenses, which are also the 
 largest in the country, were constructed by Alvin Clarke, 
 of Boston. 
 
 He was among the first in the United States to enlarge 
 daguerreotypes up to life-size, by his own arrangement 
 of lenses. Having a condenser fixed in the roof, the 
 light is thrown down through a small set of lenses upon 
 the paper, which is fixed upon a platform so arranged 
 with weights and pullies, as to be elevated or lowered, 
 as required to regulate the size of the impression. He 
 made at once with a camera the largest street- view ever 
 taken. The negative was 5 ft. X 3, — and the finished 
 proof, when trimmed and mounted, was 4 ft. 6 in. X 2 ft. 
 6 in. 
 
 Whipple's galleries, which occupy the upper part of 
 three buildings, cost over $25,000, and are admirably 
 appointed ; ever}'' appliance is convenient, and of the 
 most approved construction. He employs nearly forty 
 persons, mostly females. His work, of all styles, stands 
 deser^^l|||ly high, and is appreciated by the intelligent 
 and opulent, and his business is large and profitable. 
 
 My personal interest in the art commenced with its 
 earliest appearance in Philadelphia in 1839, and for the 
 next few years, I devoted to its study and practice the 
 whole time and attention not absorbed by my ordinary 
 vocation. In 1844, I commenced practice in Mobile, 
 Alabama, having bought out John A. Bennett, a young 
 practitioner there. From Mobile I went to New Orleans, 
 where, for some time, I paid attention to the art. In the 
 same year I opened a gallery in St. Louis, under the 
 
366 THE CAMERA AND THE PENCIL. 
 
 name of Eoot & Miller, and another in Philadelphia, 
 under that of Boot & Collins. 
 
 Since June 20th, 1846, when I commenced giving my 
 undivided time and labor to sun-limning, in Philadelphia, 
 I have strictly maintained my original prices, or else 
 have advanced upon them ; and have constantly striven 
 to make the profession as widely popular and as lucrative 
 as possible. To this end I have expended nearly $20,000 
 in advertising, &c., in order to draw public attention to 
 the excellencies of the art, and to the value of first-class 
 specimens of the same, as subserving a multitude of most 
 important ends. 
 
 My extra-liberal use of "printer's ink," coupled with 
 my reputed success in producing good pictures, not only 
 augmented largely my own business, but induced hun- 
 dreds beside to adopt the same vocation. So that, at the 
 close of the first sixteen years from its introduction, 
 nearly every village of note in the United States had at 
 least one heliographer, who made it his head-quarters, 
 while most of our large towns had from two to a dozen. 
 In 1849 I opened a gallery at the corner of Franklin 
 Street and Broadway, New York, under the supervision 
 of my brother Samuel. In 1856, this was sold to Mr. 
 Paris, and my brother commenced practice in m'Buque, 
 Iowa. 
 
 In 1852 I opened a gallery in Washington, D. C, 
 under the care of a former pupil of mine, John Clark, 
 who, at this date (1863), has a flourishing establishment 
 in New Orleans. 
 
 In 1856 I was severely injured by a railroad collision, 
 
 and was confined to my house, crippled and helpless, for 
 
 nearly four years. Within this period most of the first 
 
 part of this volume was prepared and put on paper. 
 
 The total number practising the art, in 1860, through- 
 
HISTOEY OF THE HELIOGRAPHIC ART. 367 
 
 out the United States, was believed to exceed ten 
 thousand. It was, however, undeniable that a great 
 proportion of this number were not qualified to achieve 
 even a high mechanical success therein, being ignorant 
 alike of its theory and practice. 
 
 Of this large number of operants, we regret the neces- 
 sity of saying, that the proportion is inconsiderable who 
 appear to us to be artists in judgment, feeling, and 
 executive genius, or in the discipline obtained from 
 scholastic training or self-teaching. Nor is the sum v&ry 
 considerable of first-class proficients, even in the chemi- 
 cal or mechanical departments. This remark applies, 
 with slight if any difference, to all the main sections of 
 the United States. 
 
 Within the interval from 1851 to the present date (1855), 
 practitioners have grown so numerous and the resulting 
 competition so sharp, that prices have gradually sunk 
 from a moderate amount to the bare cost of the often 
 indifferent materials employed. So that heliographs, 
 not unfrequently, were sold for one shilling apiece. 
 
 Now that this state of things is attended with evils of 
 no slight moment, will (I suppose) be freely conceded. 
 Among these is the disrepute thus cast upon the art and 
 its professors, as are also the hindrances thereby put in the 
 way of its development, and its progress towards that 
 eminent status and that multiform utility, which both, 
 under genial auspices, are capable of attaining. 
 
 Let us not, however, forget that this condition of affairs 
 has its own compensations, and that even cheap photo- 
 graphs are not without some benefits to the community. 
 Their cheapness brings them within reach of all, how- 
 ever little cultured and however depressed in the social 
 scale. It is rare to find any one of these, which has not 
 in it something to fix and reward the attention ; and mul- 
 
368 THE CAMERA AND THE PENCIL. 
 
 titudes of the humbler classes are not, by education, 
 qualified to appreciate the highest products of art, so as 
 to give them instant preference to the lowest. 
 
 Very many, therefore, may draw both pleasure and 
 mental profit from pictures, which the able connoisseur 
 would fling contemptuously aside. 
 
 Let us not, then, despise what is capable of delighting 
 and advantaging any considerable number of our fellow- 
 beings. To borrow the language of a friend, who be- 
 lieves that " God hath made of one blood all nations upon 
 earth," 
 
 " The desire for specimens of art may be as strong 
 with the poor in their cabins, as with the rich in their 
 palaces ; and the poor widow, as she pays her twenty-five 
 cents (which, probably, are her whole savings, through 
 many weeks, from her scanty pittance), for a likeness of 
 her cherished one (perhaps her only son bound for the 
 field of war), who is about leaving her, it may be to 
 return no more, will feel a glow of gratitude to the art 
 that has enabled her to have always within view a 
 'counterfeit presentment' of one so fondly loved. She 
 will, moreover, be quite as happy in this her possession, 
 and possibly as respectable, as the opulent ladies and 
 gentlemen, who ride in their carriages, for their costly 
 portraits to the studios of the highliest famed celebrities 
 of the art." 
 
 If thus the indifferent sun-painting may be a solace in a 
 multitude of cases, of which the above is an example, 
 and a positive delight in as many others, so it may also 
 serve as a partial means of culture to the whole com- 
 munity of the lowly poor, by training, to some extent, 
 within them a taste for the beautiful in nature and in 
 art, as also the capacity to judge between various degrees 
 of merit; thus tending to elevate and to bring them 
 
HISTORY OF THE HELIOGKAPHIC ART. 369 
 
 nearer, in intellectual condition, to those more favored 
 of fortune. 
 
 In 1848, John Quail invented, and employed for several 
 subsequent years, in his daguerreotype gallery in Phila- 
 delphia, a multiplying camera, with a very convenient 
 plate-holder, having both horizontal and perpendicular 
 movements, whereby several impressions could be taken 
 at one sitting. This camera still exists. He also used a 
 "greasy buff, magnetized" with spermaceti oil, and took 
 pictures of children, almost instantaneously, and usually 
 without the " head-rest," 
 
 Mr. Cady, of New York, in 1851, took instantaneous 
 views of steamboats while leaving the wharf, with the 
 wheels in rapid motion. The waves, the spray, and 
 objects generally, were defined as beautifully as though 
 standing still at the taking. 
 
 Alexander Beckers, in 1851, made instantaneous views 
 in Broadway, New York, wherein all moving objects 
 were clearly and beautifully delineated on a silvered 
 plate. He also invented and, for many years, used a 
 movable plate-shield, which comprised lateral and per- 
 pendicular movements, that brought the image into 
 the middle of the plate and through the centre of the 
 lens. 
 
 In the Crystal Palace exhibition, at New York city, in 
 1853, our leading daguerreotypists placed there on show 
 the finest collection, probably, of daguerreotypes, ever 
 brought before the public, either in this or any other 
 quarter of the world. 
 
 The daguerreotype business was at its zenith in 1853, 
 since when it has been declining. And I venture the 
 prediction, that this decline will go on till large numbers, 
 especially in our principal cities, have abandoned it. By 
 this means, I think, it will ultimately fall into the hands 
 24 
 
370 THE CAMERA AND THE PENCIL, 
 
 of comparatively a few — such, moreover, as are qualified 
 for it alike by native genius and by education, and who 
 will so practise all its several branches, as to secure the 
 approval of the most accomplished connoisseurs. It will 
 then attract the regards of artists more than it has here- 
 tofore dune, and will essentially aid them in their own 
 special departments, and, at the same time, will be 
 patronized by amateurs and by the more opulent classes 
 of the community. In such circumstances, sun-pictures 
 will be far more likely than now to be appreciated, and 
 to receive the awards due to their absolute merits. 
 
 In 1855, Hesler, of Chicago, Illinois, excelled most 
 others in his daguerreotype views. He had a genuine 
 love of his art, and worked it with veritable artistic 
 feeling. His subjects were usually well chosen, and the 
 mechanical and chemical manipulations displayed evi- 
 dence of a genius, of which the profession should be 
 proud. He did much to elevate his art both in excel- 
 lence and in public estimation, 
 
 Fitzgibbons, of St. Louis, Missouri, also exhibited 
 great energy and skill in his street-views, his pictures 
 of steamboats, his portraits of Indians, &c. These, 
 taken in 1852-3, were wonderful for delineations, depth, 
 tone, and beauty. 
 
 But to proceed with our history. — In Paris, where 
 Daguerre's discovery was first made public, it lies at 
 present in partial abeyance, if it be not well-nigh forgotten ; 
 while photography, by the albumen and collodion pro- 
 cesses, has been carried to a high degree of excellence. 
 The march of improvement is, at this moment, not less 
 steady and rapid than at any prior date, and men of 
 science and accomplishments, all over Europe, may be 
 found taking solar portraits and views, both as profes- 
 sionists and amateurs. 
 
HISTORY OF THE HELIOGRAPHIC AKl'. 3-71 
 
 Talbot's process (patented in 1840) was purchased by 
 William & F. Langenlieim, and by them introduced, at 
 great expense, into the United States, in 1849. Unhappily 
 for the purchasers, this process proved impracticable, and 
 was soon superseded by the albumen process, first prac- 
 tised (as already stated) by Niepce St, Victor, in Paris, 
 whereby pictures were impressed on glass, and entitled 
 "Hyalotypes." In 1850 this process was patented by 
 Langenheim, and at the " World's Fair" in the Crystal 
 Palace, in London, he received a medal for the superior 
 excellence of his specimens. 
 
 John A. Whipple and William B. Jones, of Boston, 
 also obtained, in 1845, a patent for a certain variety of 
 the albumen process, styled by them the "Crystallotype." 
 In the hands of Whipple, one of the most original 
 geniuses in the profession, and more especially (perhaps) 
 of J. Wallace Black, who was noted for his extraordinary 
 energy and skill, this picture was greatly improved and 
 to some extent brought to the knowledge of the Boston 
 public. Strictly considered, we believe this process is 
 simply that of Niepce, whose description of it was 
 translated for Whipple, and for this he procured a patent 
 from the United States Grovernment. 
 
 In New York, several daguerreotypists in 1853 es- 
 sayed the introduction there of this process for portraiture, 
 but they did not succeed. It is suited only for views, 
 and for transcribing pictures, where prolonged exposures 
 can be had. 
 
 McClees & Germon introduced Whipple's crystallotype 
 into Philadelphia, and, after much trouble and heavy 
 expense, succeeded in producing some very fine pictures, 
 as also in copying good daguerreotypes so well, that but 
 slight labor was requisite for an artist to make of them 
 very pleasing and creditable productions. McClees copied 
 
372 THLi CAMEEA AND THE PENCIL. 
 
 and transferred to boxwood blocks, ready for the en- 
 graver, an admirable /ac simile of the Japan treaty, which 
 was faithfully cut upon wood, stereotyped or electro- 
 typed, and printed in the Japanese language. This may 
 be seen in Perry's account of the United States treaty 
 with Japan, published in 1853. 
 
 Mr. Schreiber who, in 1850, succeeded Langenheim in 
 Philadelphia, has practised the albumen process with fair 
 success. He has excelled, especially, in copying poor 
 daguerreotypes. 
 
 The collodion process, discovered, in 1850, by Le Grray, 
 of Paris, and Frederick Scott Archer, of London, was, in 
 1851, introduced to the English public, together with its 
 formulas. 
 
 In January and February of 1852, Dr. Charles Cresson, 
 of Philadelphia, was by myself supplied with cotton for 
 making collodion, and instruments for experimentation. 
 Early in February he obtained encouraging results, and 
 in March he produced views and portraits, at brief 
 exposures, in a series of experiments with iodine, bro- 
 mine, and sundry other substances, suggested by the late 
 John Price Wetherill, Esq. 
 
 In 1853, Dr. Griles Langdell, now of Philadelphia, 
 procured, while residing in Boston, a published account 
 of Archer's process, and, after several experiments, suc- 
 ceeded in making very good collodion portraits on paper. 
 My impression is, that he was the first to operate success- 
 fully with this process in the United States. 
 
 After considerable improvements, this process was first 
 introduced, in 1854, into various daguerrean establish- 
 ments, in the Eastern and Western States, by Cutting & 
 Eehn. In June of this year, Cutting procured patents 
 for the process, though Langdell had already worked it 
 from the printed formulas. 
 
HISTORY OF THE HELIOGRAPHIC AKT. 373 
 
 The process has since been introduced, as a legitimate 
 business, into the leading establishments of our country. 
 The positive branch of it ; i. e. a solar impression upon 
 one glass-plate, which is covered by a second hermetically 
 sealed thereto, is entitled the " Ambrotype," (or the 
 ^imperishable picture"), a name devised in my gallery. 
 
 Isaac Rehn, formerly a successful daguerreotypist, in 
 Company with Cutting, of Boston, perfected and intro- 
 /luced through the United States the "Ambrotype," or 
 /the positive on glass. Since then, he has investigated 
 and mastered, on its appearance, every new phase of the 
 heliographic art. Portraiture in all its branches — from 
 the small and exquisite stereoscopic picture, up to the 
 life-size by the solar camera enlargement — has been 
 executed, with remarkable excellence and beauty, by his 
 artistic genius and skilful manipulation. 
 
 Not content with limiting his attention to this branch 
 alone, he turned his investigations to other branches 
 also ; e. g photo-lithography and micro-photography. 
 His productions, in these two departments, so useful and 
 important for numerous purposes, have proved him to 
 be a perfect and successful master of both. Government 
 gave him large orders for patent of&ce delineations. So, 
 too, the scientific members of the Philadelphia Academy 
 of Natural Sciences have expressed themselves surprised 
 and delighted with his exactly and beautifully executed 
 representations of microscopic objects, enlarged thousands 
 of times, and photo-lithographed clearly in all their 
 minutest details, 
 
 A distinguished scientific gentleman and heliographic 
 amateur, in a recent letter to me, writes of Mr, B. as fol- 
 lows : — " Mr, Rehn knows more about photo- lithography 
 than any other man in the world ! I judge from the 
 beautiful specimens of his work, some of which you sent 
 
374 THE CAMERA AND THE PENCIL. 
 
 me. I saw nothing in Europe lilce themP'' We congratu- 
 late our friend E. on calling forth a judgment so eulo- 
 gistic from so capable a judge and art-critic. 
 
 This species of picture (the Ambrotype) had, at the 
 very outset, an extraordinary popularity, which, how- 
 ever, for reasons stated otherwhere, has palpably and 
 generally declined ; so that, at present, comparatively 
 few are made. Positives taken upon enamelled or 
 japanned iron plates, instead of glass, are, at this date 
 (1863), quite popular. 
 
 The principal use now made of the collodion process, 
 is in taking and printing positives on paper from a nega- 
 tive taken upon glass. From one such negative an 
 indefinite number of paper positives can be made. And, 
 all things considered, these pictures must, probably, be 
 pronounced the finest of sun-limnings as yet produced. 
 Some, however, would doubtless insist upon at least one 
 exception — the daguerreotype. 
 
 Charles Williamson v/"ho, in 1849, had been for a 
 while in my employ, opened a photographic establish- 
 ment in Brooklyn, New York, in 1851. He introduced 
 the " Cameotype," which was simply a small vignette 
 daguerreotype, making a pretty picture, tastefully got 
 up and cased. He kept pace with the improvements in 
 the art, always introdccing these, as suggested by scien- 
 tific amateurs at \iqds, and abroad, employing first-class 
 artists, and, for tLo most part, supplying his customers 
 with artistic aud ^u,tisfactory portraits. He employs, at 
 oresent, about forty persons, and has one of the best 
 appointed, most beautiful and popular establishments in 
 our country. 
 
 0. C. Harrison, so widely known as a manufacturer of 
 camera lenses and tubes, for heliographic use, was, in 
 .1 846, a daguerreotype manipulator. He prosecuted this 
 
HISTORY OF THE HELIOORAPHIC ART. 375 
 
 business for several years, making, the while, lenses both 
 for his own use and for sale. The value of his lenses 
 eventually became so extensively kn:-wn, and the de- 
 mand for them so great, that he was constrained to 
 give his undivided attention to this manufacture, in 
 which he has, at present, constantly employed over thirty 
 workmen. Up to May 15th, 1863, he had constructed 
 eight thousand eight hundred and seventeen of the lenses 
 in general use, and three hundred and seven of his 
 new globe lenses, so highly prized for landscape-pho- 
 tography, copying, &c. (See chapter on Optics. Part 
 Second.) 
 
 M. B. Brady commenced the daguerreotype practice in 
 1843. He received, in 1844, the first medal ever awarded 
 by the American Institute for the best specimens ex- 
 hibited, and, in subsequent years, received several others. 
 The first medal was awarded to him at the London 
 Crystal Palace, in 1851. 
 
 He has always been energetic and untiring in his 
 efforts to improve and elevate the art — employing, at 
 high prices, the best artists to finish portraits in India 
 ink, water, and oil colors for his patrons. He took the 
 photographs of the members of the United States Senate 
 and House of Kepresentatives, and combined them in a 
 single group, just before the rebellion broke out. He has 
 also photographed " war scenes," or " incidents of the 
 war," having eighteen or twenty assistants employed on 
 the work for months. 
 
 The most remarkable productions of his establishment 
 for artistic effect, and that expression, which imparts to a 
 picture an air of intelligence and thought, were a series 
 of photographic representations of Mr. Forrest in his 
 various dramatic characters, finished in India ink. In 
 these pictures the several characters were admirably 
 
376 THE CAMERA AND THE PENCIL, 
 
 expressed, and told each its own individual storj. For 
 the series Mr. F. paid $1000. 
 
 The work was, in all its departments, executed in the 
 finest style of the art, and was, in the highest degree, 
 creditable to Mr. Brady. 
 
 Sundry other species of pictures, chiefly variations of 
 the collodion process, have been invented in this country, 
 receiving their names either from their inventors, or from 
 some circumstance associated with them. I shall here 
 do little more than enumerate them. 
 
 1st. The Hillotype is so styled from Eev. L. L. Hill, 
 of the interior of New York, who attempted thereby to 
 produce pictures, colored as in nature. As his endea- 
 vor succeeded but partially, if at all, and as there appears 
 to have been deception in the matter, I shall meddle with 
 it no further. 
 
 2d. The Hallotype was invented by J. Bishop Hall, of 
 New York city, and patented in January 1857. Its 
 principle consists in a certain mode of combining two or 
 more pictures, which are fac simile or duplicate impres- 
 sions, so as to constitute one picture. There are numer- 
 ous varieties in the application of this principle, and 
 some items of the process have been practised in Europe 
 for over thirty years. 
 
 3d. The Diaphanotype is a method of applying the 
 principle of the hallotype, originating with E. E. Haw- 
 kins, of Cincinnati, Ohio. The picture has an enamelled 
 appearance, and being cemented to plate-glass, and colored 
 on the back in oil colors, it is believed to be durable. 
 
 4th. The Melainotype is simply a collodion positive, 
 made upon an iron instead of a glass plate, the invention 
 of Professor H. L. Smith, of Kenyon College, Gambier, 
 Ohio. The Ferrotype plate, so named, manufactured by 
 V. M. Griswold, of Ohio, has a similar appearance. 
 
HISTOKY OF THE HELIOGEAPHIC AET. 377 
 
 5th. The Sphereotype was patented in 1856, by Bisbee, 
 of Columbus, Ohio. It is nothing else than a positive, 
 impressed on glass in a certain peculiar way, and is 
 named from its spherical appearance, when finished and 
 encased. 
 
 6th. The Atrephograph is an invention of James M. 
 Letts, of Dundee, New York. The name in English, is 
 "not reversed," and denotes its character. It is simply a 
 collodion positive taken upon glass, which is coated, first 
 with India rubber dissolved in chloroform, and then with 
 collodion. After the impression has been fixed and 
 washed, it is flowed over with thin transparent varnish 
 or with water, and, while damp or " tacky," it is rolled 
 off upon black paper, upon thin cards, or japanned 
 leather having a fine polish. 
 
 In a daguerreotype the reversal, above mentioned, 
 does occur — the right and left sides changing places. 
 (Mr. Johnson, of New York, remarks, however, that " it 
 does not occur, when the picture is produced by the 
 reflecting camera," constructed by his former partner, 
 A. S. Wolcott.) 
 
 7th. The "Imperial Photograph" is a picture taken, in 
 the usual way, on a plate 20 by 17 or 17 by 14 inches, — 
 or on a small plate and magnified to that size by the solar 
 camera or other means, — and then completed by the 
 artist. It was introduced to the public by M. B. Brady, 
 of New York city. 
 
 In 1854, after the introduction of the albumen process 
 into some of the leading establishments of our principal 
 cities ; and before the collodion process had attracted 
 much notice, or had been successfully worked by any of 
 our American practitioners ; Messrs. Gurney, Fredericks 
 & Pennebeart, very greatly to their credit, introduced 
 into New York from Paris several accomplished practical 
 
378 THE CAMEEA AND THE PENCIL. 
 
 artists, who liad had much previous experience in color- 
 ing photographs, with both oil and water colors. This 
 proceeding served to corroborate a statement of mine, 
 repeatedly made in the heliographic journals, viz.: that 
 this art belongs to the category of both the fine and the 
 useful arts ; that it merits the attention and is certain, 
 eventually, to secure the skill and endeavor of able 
 artists, who are versed in working in Indian ink, crayon, 
 pastel, and oil and water colors. 
 
 In 1854, soon after artists were employed to finish 
 photographs in colors, &c., occasion called for pictures of 
 this kind, enlarged to a size not producible by ordinary 
 camera lenses; and Woodward's solar camera, now so 
 widely known, was invented and patented. This instru- 
 ment, and others designed for the same purpose, are 
 described elsewhere in this work. (See Part Second.) 
 
 In 1858, Mr. Shives invented and patented another 
 enlarging instrument, whereby direct light and a con- 
 densing lens are employed, in lieu of Woodward's re- 
 flector. This is capable of enlarging pictures to any size 
 required. (See chapter on enlarging cameras. Part 
 Second.) 
 
 A solar or enlarging camera was also patented by Mr. 
 Howard, of Beading, Pennsylvania. It is manufactured 
 and kept on sale by Greorge Dabbs & Co. (See Chapter, 
 Second Volume, on enlarging cameras.) 
 
 Portraitists generally are now constrained to concede 
 the capabilities of the collodion process in skilled and com- 
 petent hands, and are glad to avail themselves of its 
 great advantages. Thus a superior photograph, taken 
 by an operant of genius and feeling under favorable 
 auspices, may be variously finished ; e. g. in Indian ink 
 or colors, upon diverse materials ; and be by him im- 
 proved and idealized, without losing in the least the 
 
HISTORY OF THE HELIOGRAPHIC ART. 379 
 
 verity of the picture. Indeed it may be affirmed, tliat 
 only by heliographic aid can likenesses, perfectly truthful, 
 be obtained of the "human face divine." 
 
 So well is this fact apprehended at this date (1860), 
 that not a few of our leading heliographers have intro- 
 duced, while others are, from time to time, introducing 
 into their establishments, thoroughly educated and skilled 
 artists to finish, in colors or Indian ink, photographs for 
 those who, on perceiving the exact truthfulness of these 
 representations, appreciate and pay liberally for such 
 portraits of relatives and friends. 
 
 In fine, all indications promise that the era is rapidly 
 drawing nigh, when sun -painting shall be recognised as 
 one of the fine arts ; nor this alone, but as one among 
 the most useful of all the useful arts. That such are its 
 capabilities and its possibilities is a doctrine which, as 
 the reader will find, is earnestly advocated in this work 
 from the first to the last of its pages. 
 
 Messrs. Case & Getchell, successors to Measury & 
 Silsby, of Boston, have also a large and popular estab- 
 lishment in that city. Their cartes de visite and larger 
 photographs are, for beauty and artistic effect, surpassed 
 by few, if by any. They closely resemble the produc- 
 tions of the celebrated Disderi, of Paris, which are the 
 finest I have seen of their class, and are veritable gems 
 of art. 
 
 Among the most remarkable productions of the solar 
 camera that I have met with (and these are numerous), 
 none are superior to certain full, life-size portraits pro- 
 duced by Mr. Burnham, of Boston. They are taken 
 on "cartoon" paper, seven feet by five feet, and are 
 purer, softer, and more beautiful in their lights and 
 gradations, while their shadows are bolder and more 
 forcible than those of the finest crayon drawing. 
 
380 THE CAMEEA AND THE PENCIL. 
 
 Mr. Miller, of Boston, an artistic heliographer, and 
 equally able and well skilled in all branches of the pro- 
 fession, took several exceedingly interesting stereoscopic 
 and larger-sized views, in the crater of a volcano, at 
 one mile's depth, on Fayal, an island of the Portuguese 
 Azores. The smoke and the steam rising from a gushing 
 spring (hot enough to boil eggs in three minutes), to 
 nearly the summit of the crater, and flowing gracefully 
 over to one side, was so exquisitely reproduced by him, 
 as to constrain every admirer of art to bless the "light- 
 sketching pencil," when wielded by artistic genius. 
 
 Mr. Miller also devised an admirable solar or enlarg- 
 ing camera, of simple construction, which is widely used 
 in the Eastern States, and vended at moderate rates by 
 John Sawyer & Co., Boston. 
 
 The first successful heliographic views, taken from 
 the balloon, of which we have any account, were by J. 
 "Wallace Black, formerly of the firm of Whipple & Black, 
 Boston. In consequeoce of the incessant swaying, twist- 
 ing, and rolling movements of the balloon, as well as its 
 rapid flight, the operations were extremely difficult. 
 
 The instrument used was an 8-4 Yoigtlander lens 
 and camera, of open or full aperture, affixed to a side 
 of the balloon-basket. It had a stop, or a sliding paste- 
 board for excliading light, having in its middle a hole 
 as wide as the tube, and, in length, twice its diameter. 
 One end of this slide closed the camera tube till ready 
 for exposure. 
 
 Being arranged with India rubber springs set by a 
 trigger, these, when all was ready, were snapped, and 
 the slide changed ends ; admitting the light through the 
 lens, as the aperture in the slide passed, and making the 
 impression wstan taneous ly. 
 
 Some of the views are very fine, and the results of the 
 
HISTORY OF THE HELTOGRAPHIC ART. 381 
 
 experiment are highly creditable to Mr. Black, as an 
 able, energetic sun-limning artist, whether stayed by the 
 solid globe or cleaving the unstable air. After his 
 former partner, Whipple, had represented the moon and 
 stars above, he soared aloft and pictured the earth he 
 left below. 
 
 Mr. Black's success for the last five years in all 
 branches of his profession, is probably without a parallel 
 in the United States at this date (1863). He has one of 
 the most extensive and best-planned establishments, now 
 existing, for every department of the art. He gives 
 constant employment to over sixty persons, male and 
 female. 
 
 The excellent specimens here produced, coupled with 
 his energy and courteous deportment, have placed him 
 where he now stands, — in the front rank of the pro- 
 fession. 
 
 The card picture has given a new impulse to the helio- 
 graphic art. 
 
 The French were its inaugurators, and gave it the 
 name of Carte de Yisite. Messrs. C. D. Fredericks & Co., 
 Broadway, New York, with their characteristic enter- 
 prise and energy, introduced the making of portraits and 
 views, of this class, into the United States. 
 
 In 1860, J. E. Mayall, of London, was honored with a 
 commission to visit Buckingham Palace, and take card- 
 portraits of the Queen, Prince Albert, and the rest of the 
 royal family. The sale of these small pictures, at a 
 moderate rate, gave the British people the pleasure of 
 possessing life-like representations of their universally 
 loved queen and her interesting family. Imitating this 
 high example, distinguished persons, of every rank and 
 pursuit, availed themselves of the photographer's services, 
 and left with him a negative impression of themselves, 
 
382 THE CAMERA AND THE PENCIL. 
 
 from which, thousands could be printed. Thus their 
 friends and acquaintances, and the curious alike in Great 
 Britain and in foreign lands, could easily procure por- 
 traits of the country's notabilities, whose names so often 
 appeared in books and the public journals of the day. 
 The natural result was, that the sun-painting art received 
 an impulse which has carried it to a height before 
 unparalleled. 
 
 The Messrs. Appleton, of New York, were (we. believe) 
 the first booksellers in the United States, who introduced 
 stereoscopic pictures to the public. The influence, given 
 them by their eminent standing and large resources, in 
 this branch of trafl&c, enabled them to popularize this 
 new species of photograph, and to put hundreds of 
 thousands, ere long, in circulation throughout the land. 
 
 More recently, they have commenced manufacturing 
 the cartes de visite, consisting of portraits of celebrities 
 and of citizens generally, and have made an arrangement 
 with A. A. Turner, who employs over forty persons, in 
 producing such pictures as are likely to be in demand, to 
 be put on sale at their counter. 
 
 It is auspicious, both for the art and its practitioners, 
 that a house so eminent and influential as the Appletons, 
 have become so connected with this new variety of the 
 art. 
 
 To show, by a few statistics, how high is the elevation 
 which the art has now attained, we introduce the few 
 lines below. They prove that, as at the outset a few 
 hundreds of dollars would start a daguerreotypist in 
 practice, now as many thousands are required to set up 
 a photographer. 
 
 The first who had the foresight and courage to risk 
 seven or eight thousand dollars, in fitting a ground-floor 
 reception room, and pay $iOOO per annum for rent alone, 
 
HISTORY OF THE HELIOGRAPHIC ART. 883 
 
 for the single purpose of prosecuting our art, was Eufus 
 Anson, of Broadway, New York, His bold venture was 
 justified by the speedy increase of his business fourfold. 
 
 Charles D. Fredericks & Co., of New York, took a 
 house at $9500 rent, and expended eight or ten thousand 
 dollars in fitting it with a ground-floor, ofiice, and recep- 
 tion room, and furnishing the establishment throughout 
 with appliances for carrying on all branches of the busi- 
 ness to the best advantage. The spirited enterprise was 
 a rich pecuniary triumph. 
 
 In Philadelphia, O. H. Willard, Eehn, Hurn, Cooper, 
 Gutekunst, Hippie, Turner, Morgan, and some others, 
 have also ground-floor reception and sky-light rooms, 
 elegantly and expensively fitted up. 
 
 Although the advance of the heliographic art has, 
 within the last five years, been rapid almost beyond 
 calculation, yet, strange to say, comparatively few of the 
 profession appear to have kept a complete set of books, 
 comprising a full and accurate account of their business 
 transactions. 
 
 Mr. A. Bogardus is one of these few. Commencing 
 the daguerreotype practice in New York city, in 1846 ; 
 in 1862 he refitted the old Eoot Gallery, 363 Broad- 
 way, and made his spacious and convenient rooms pleas- 
 antly attractive to his numerous visitants and friends. 
 
 Order the most complete is visible throughout. Mr. 
 Montgomery, his book-keeper, has devised and intro- 
 duced a perfect system of accounts and check books, 
 specially adapted to the photographic business, whereby 
 all confusion in the management of affairs is prevented. 
 No losses, moreover, are now sustained, but much on 
 the contrary is saved. 
 
 In the first year after opening in Broadway, the 
 business amounted to over $33,000, and between twenty 
 
884 THE CAMERA AND THE PENCIL. 
 
 five and thirty persons, male and female, are employed 
 therein. 
 
 The Messrs. Lewis, father and sons, of New York city, 
 have, during the last twenty years, been widely known 
 throughout the United States, as inventors and manu- 
 facturers of the finest qualities of almost every species 
 of instrument used in the daguerreotype, as well as the 
 heliographic business in general. The profession are 
 deeply indebted to them for their valuable improvements, 
 which have essentially aided in the prosecution and 
 advancement of the art in all its numerous branches. 
 
 E. A. Lewis, manufacturer of Lewis & Holt's cele- 
 brated collodion, Chatham street, has, after twenty years' 
 experience, and persistent energetic effort, created a 
 business that requires from thirty to forty employes, 
 male and female, to take and fill orders. The amount 
 of materials used, and the number of card-portraits, and 
 of plain and finished pictures of the several styles, taken 
 by this establishment, are absolutely amazing. 
 
 1. Blue Glass, — for sky -lights, first suggested to M. B. 
 Brady, by H. H. Snelling, in May, 1849. 
 
 2. Instantaneous Daguerreotypes, — first practically made 
 by H. H. Snelling, in September, 1849, at which date he 
 invented an electric camera-box for that purpose. 
 
 3. Condensing Mercury hath top, — to prevent the escape 
 of mercurial fumes into the room, invented by H. H. 
 Snelling in 1851. Never adopted. 
 
 4. Pantograph, for enlarging Photographs, — invented by 
 H. H. Snelling, in July, 1853. First used in 1855, by 
 C. D. Fredericks. 
 
 5. Colors, — to be employed in printing bank notes, to 
 prevent photographic counterfeiting, first suggested by 
 H. H. Snelling, in 1854. 
 
 6. Besinized Paper process, — discovered by H. H. Snel- 
 
HISTOEY OF THE HELIOGRAPHIC ART. 386 
 
 ling in 1856, and first put in practice in December of 
 that year. 
 
 7. Printing in Colors by Carhon process, — first attempted 
 and executed by H. H. Snelling, in July, 1858, one year 
 before any other attempt. 
 
 It may not be generally known, that Dagnerre had so 
 strong an objection to having his portrait taken, that he 
 never (it is believed) sat to but one photographer ; and 
 this was our countryman, Charles E. Meade, of the firm 
 of Meade Brothers, in New York. Mr. Meade being in 
 France, in 1848, visited Daguerre's Chateau, atBrie-sur- 
 Marne, for the purpose of taking his portrait, — not being 
 aware of Daguerre's objection to being thus represented. 
 Mr. Meade's request was politely but firmly negatived, 
 as had been the request of many others, — among them 
 two artists from the United States. Eventually, however, 
 through the urgent persuasion of his wife and niece, 
 Daguerre was induced to sit, and five or six daguerreo- 
 types of him were taken by Mr. Meade, from which 
 numerous copies were afterwards produced in the various 
 modes of representation. The artist also took a daguer- 
 reotype of Daguerre's Chateau at this time. In 1853, 
 his brother, H. N. Meade, took one of Daguerre's monu- 
 ment, in the cemetery of Brie, and worked in the labora- 
 tory where Daguerre made all his experiments. He 
 also visited M. Niepce St. Victor, and saw him make 
 daguerreotypes in the natural colors by the camera solely. 
 These, however, could not be rendered permanent. 
 
 In 1841, Charles Fontayne began daguerreotyping in 
 Baltimore, Maryland. In 1846, he removed to Cincin- 
 nati, Ohio. In this year he discovered the property of 
 the camera to throw a magnified image on a screen. In 
 1853, he made some collodion pictures. In 1854, he 
 produced life-size photographs — the first ever made in 
 25 
 
386 THE CAMEEA AND THE PENCIL. 
 
 the United States, he says ; and his statement is backed 
 by H. H. Snelling. In 1855, he made two full-length 
 portraits, of five and a half by seven feet size. In 1858, 
 he invented a machine for rapid photographic printing, 
 designed for illustrating books, which, with the most 
 sensitive paper, and by development, produces four 
 prints per second, or fourteen thousand four hundred 
 per hour. By enlarging the condensing lens to twenty 
 inches, fifty thousand per hour might easily be produced. 
 Mr. Fontayne says, he made several large pictures with 
 the condenser some years before this was patented by 
 Mr. Woodward. He is now printing with his machine, 
 large quantities of pictures on albumen paper, as well as 
 vignette portraits. 
 
 In May, 1854, Mr. Holmes, Broadway, New York, 
 invented the double camera for taking two pictures at 
 once, and got it patented by the United States Govern- 
 ment. This invention comprises both a mode of pro- 
 ducing two pictures at once, and a double box, whereon 
 the tubes or lenses are fastened, and worked upon an 
 angle or a parallel to the object, as required for stereos- 
 copes, &c. 
 
 In August, 1862, he made improvement in back- 
 grounds, with ornamental floor-ground combined in per- 
 spective upon the back-ground — giving depth and finish, 
 in illustrating interior or exterior scenes. 
 
 Our history of the art in this country has occupied so 
 much space, that a few paragraphs more must close it. 
 We would gladly speak at some length of many other 
 American photographers, whom we cannot even mention 
 for lack of room. 
 
 The few names, added below to the list already given, 
 are of men, with most of whom we have been personally 
 acquainted ; men who, commencing with the daguerreo- 
 
HISTORY OF THE HELIOGKAPHIC ART. 387 
 
 type, and struggling manfully with the numerous diffi- 
 culties attending the introduction of a new art, have 
 kept pace with all its improvements, and mastered all 
 the new phases and forms it has assumed, and have done 
 very much towards raising it to that position of popu- 
 larity and lucrativeness which it at present holds. The 
 3''oung aspirants to excellence and distinction in this 
 now highly reputable, extensively useful, and profitable 
 profession, may study with advantage the history of these 
 pioneers; finding a healthful stimulus to their career, 
 in the tireless energy, the unwearied patience, and 
 the indomitable perseverance, which that history dis- 
 closes. 
 
 Among this class are Gabriel Harrison and Douglas, 
 of Brooklyn, New York ; Griswold, of Columbus, Ohio ; 
 Ryder and North, of Cleveland, Ohio ; Perkins, Pollock, 
 and Whiteharst, of Baltimore, Maryland ; Page, of 
 Washington, D. C. ; Greorge S. Cooke, Charleston, South 
 Carolina; Porter, Cincinnati, Ohio; Webster & Brother, 
 Louisville, Kentucky ; Long and Brown, St. Louis, 
 Missouri; Samuel Fassett, Chicago, Illinois; S. Eoot, 
 Dubuque, Iowa; II, S. Brown, Milwaukie, Wisconsin; 
 Douglas Hovey, Rochester; Arthur Cobden, Troy; Henry 
 Glosser, New York; D. C. Collins, New Haven, Con- 
 necticut ; and John Keenan and Reimer, Philadelphia. 
 
 This enumeration has been extended far enough for 
 the purposes of a mere historic record. A few facts and 
 comments will complete what we have to say here. 
 
 Landscape Photography, executed by artists possessing 
 the genius of a Cole, a Durand, a Hart, a Church, a 
 Webber, a Sontag, a Hamilton, or a Russell Smith, has 
 hitherto received but little attention in the United States. 
 Government, however, has employed some in various 
 public works, while others, under private patronage or 
 
888 THE CAMEEA AND THE PENCIL. 
 
 as amateurs, have produced battle scenes and views of 
 different military operations, as well as of landscapes 
 noted for sublimity or beauty. In Europe, highly accom- 
 plished art-amateurs have produced, and are still con- 
 stantly producing exquisite views and " choice bits" of 
 scenery, architecture, &c., which are highly prized and 
 promptly secured, wherever put on sale. 
 
 Colonel Nicholas Pike, formerly our minister for 
 several years to Portugal, practised as an amateur, while 
 abroad, all the various processes, whereby landscapes 
 have been taken in Europe. He moreover became 
 personally acquainted with many who had made dis- 
 coveries and improvements in this branch of photogra- 
 phy; with scientific amateurs, editors of journals, authors, 
 &G., engaged therein, and was (we believe) the first to 
 introduce the dry process into the United States. 
 
 Since his return, Colonel Pike has practised, as an 
 amateur, all the varieties of the art which have succes- 
 sively appeared ; and he now understands the whole art, 
 both theoretically and practically, quite as well as, if 
 not better than, any other amateur in our country. As 
 the corresponding secretary of the New York Photogra- 
 phical Society, he was by his position, as well as by his 
 rare photographic knowledge and skill, enabled to render 
 me (as he has actually done) most valuable aid in collect- 
 ing facts and preparing the second, or practical part of 
 this work. His love for science and art in general, and 
 his special devotion to the heliographic branch of the 
 same, have appeared to make of this a pleasing task ; 
 and while I can congratulate my readers on their thus 
 enjoying the results of the Colonel's labors, I am happy 
 in having this opportunity to present my grateful ac- 
 knowledgments for his kind services in my behalf. 
 
HISTORY OF THE HELIOGKAPHIC ART. 389 
 
 PHOTOGRAPHIC JOURNALS. 
 
 The first journal of this class, which was established 
 in the United States, for promoting the interests of the 
 photographic profession, and the improvement of the art, 
 was started, in 1850, by S. D. Humphrey, in New York 
 city, and is now widely known, as "Humphrey's Journal 
 of Photography, and the allied arts and sciences." 
 
 This was soon followed by the "Photographic and 
 Fine Art Journal," edited by H. H. Snelling. 
 
 These journals labored long, assiduously, and faithfully 
 for the advance of the art. Unfortunately for the pro- 
 prietors, there seems to have been too little intelligence 
 in the Photographic Fraternity, to give to both these 
 publications a liberal and living support. 
 
 Mr. Snelling's energetic and generous efforts not being 
 appreciated and sustained by those, who were so greatly 
 benefited by the vast amount of various information, 
 which he carefully gleaned from every available source, 
 domestic and foreign, and laid monthly before them ; his 
 journal was finally suspended, and his subscription-li^ 
 was transferred in 1860 to the "American Journal of 
 Photography," conducted by Charles A. Seely, A. M. 
 
 From this date the collodion process began to attract 
 general attention, and to engage the efforts of all who 
 were interested in sun-painting ; and under these circum- 
 stances, the art has progressed with marvellous celerity. 
 By the fostering care of more intelligent professionists 
 and amateurs, scientific institutions, and government 
 patronage, it has been placed on a solid foundation, 
 invested with artistic dignity, and made a vocation that 
 promises large and constantly enlarging pecuniary re 
 turns. 
 
 Treatises on the art have been published in the United 
 
390 THE CAMERA AND THE PENCIL. 
 
 States, by Snelling, Hill, Humphrey, Seely, Gage, Cole, 
 Simons, Hewett, Bisbee, Waldack, Burgess and others ; 
 while probably over one thousand have appeared in 
 Europe. 
 
 The last two of the above named have passed through 
 several editions ; Burgess having recently issued his 
 tenth. His work is a neat, well-arranged little hand- 
 book, of much practical value to the student and the 
 amateur of the art. 
 
 Mr. N. Gr. Burgess was in Paris, early in 1840, — the 
 period when Daguerre, through his recent discovery, 
 was "the observed of all observers," — and naturally 
 made some investigations of the art, as then known (and 
 practised). His business there brought about an ac- 
 quaintance with one of the artisans, who had taken part 
 in constructing Daguerre's first sun-painting apparatus. 
 From him and another person he took his earliest 
 daguerreotype lessons, and sketched some of the public 
 edifices of Paris. Owing to his imperfect appliances, his 
 pictures (he says) were very unsatisfactory. Hearing 
 that Professors Draper and Morse had produced portraits 
 from life, he proposed to the artisan, above mentioned, 
 to attempt his (Burgess') portrait. The result, however, 
 of eight or ten minutes' exposure to the solar ray was so 
 wretched, that the experiment was abandoned, under the 
 conviction that portraits could never be thus taken. 
 
 Mr. Burgess saw Daguerre, and says his manner was 
 reserved and distant. He appeared very nervous and 
 restless — symptoms ascribed to his being affected with 
 dyspepsia. 
 
 The following are extracts from the speech of Professor 
 S. F. B. Morse, at the annual supper of the National 
 Academy of Design, April 24th, 1840 : — 
 
 " Gentlemen : — I have been requested to give my 
 opinion of the probable effects to be produced, by the 
 
HISTORY OF THE HELIOGRAPHIC ART. 39^1 
 
 discovery of Daguerre, on the Arts of Design. It is 
 known to most of you, that, for many months, I have 
 been engaged in experiments with the daguerreotype, 
 more particularly for the purpose of forming an intelligent 
 judgment on this point. 
 
 " The daguerreotype is undoubtedly destined to pro- 
 duce a great reuolution in art, and we, as artists, should 
 be aware of it and rightly understand its influence. This 
 influence, both on ourselves and the public generally, 
 will, I think, be in the highest degree favorable to the 
 character of art. 
 
 "Its influence on the artist must be great. By a sim- 
 ple and easily portable apparatus, he can now furnish his 
 studio with facsimile sketches of nature, landscapes, 
 buildings, groups of figures, kc, scenes selected in 
 accordance with his own peculiarities of taste ; but not, 
 as heretofore, subjected to his imperfect, sketchy transla- 
 tions into crayon or Indian ink drawings, and occupying 
 days, and even weeks, in their execution ; but painted by 
 Nature's self with a minuteness of detail, which the 
 pencil of light in her hands alone can trace, and with a 
 rapidity, too, which will enable him to enrich his collec- 
 tion with a superabundance of materials and not copies ; — 
 they cannot he called copies of nature, hut portions of nature 
 herself. 
 
 "Must not such a collection modify, of necessity, the 
 artist's productions ? Think how perspective, and, as a 
 consequence, proportion also, are illustrated by these 
 results. How the problems of optics are, for the first 
 time, confirmed and sealed by nature's own stamp ! See, 
 also, what lessons of light and shade are brought under 
 the closest scrutiny of the artist ! 
 
 " To the architect it offers the means of collecting the 
 finest remains of ancient, as well as the finest productions 
 of modern architecture, with their proportions and details 
 
392 THE CAMERA AND THE PENCIL. 
 
 of ornament, executed in a space of time, and witli an 
 exactness^ whicli it is impossible to compress in the 
 ordinary modes of an architect's study. 
 
 "I have but a moment to speak of the effect of the 
 daguerreotype on the public taste. Can these lessons of 
 nature's art (if I may be allowed the seeming paradox), 
 read overj day by thousands charmed with their beauty, 
 fail of producing a juster estimate of the artist's studies 
 and labors, with a better and sounder criticism of his 
 works ? Will not the artist, who has been educated in 
 Nature's school of truth, now stand forth pre-eminent, 
 while he, who has sought his models of style among 
 fleeting fashions and corrupted tastes, will be left to 
 merited neglect ? 
 
 " I should feel, gentlemen, that I had been greatly 
 deficient, if I did not add a few words attesting my 
 admiration for the genius of the great discoverer of this 
 photogenic process, I have for months been occu- 
 pied with experiments, repeating those of Daguerre, and 
 modifying both the apparatus and the process, by my 
 own experience and the suggestions of scientific friends, 
 and, as the result of all, I must say that, at every step 
 of my progress, my admiration for his genius and perse- 
 verance has increased. I could not but constantly reflect, 
 if. with the details fully revealed, of a process, whereby 
 a sure result could' be obtained, so much to discourage be 
 encountered, what must have been his discouragement, 
 who, when one experiment after another failed, had only 
 darkness, uncertainty, and doubt for his comforters! 
 And yet he triumphed over all, and in the lists of fame 
 the name of Daguerre will deservedly stand by the side 
 of Columbus and Gralileo, and Papin and Fulton. 
 
 "Gentlemen, in closing, I offer you the following 
 sentiment : — Honor to Daguerre, who has first introduced 
 Nature to us, in the character of PainterP 
 
CHAPTER XXX. 
 
 HISTORY OF THE HELIOGRAPHIC ART IN EUROPE. 
 
 Rapidity of the progress of the art and its numerous applications — Camera 
 obscura discovered two hundred years ago — Crystallizing of various salts by 
 light, discovered in eighteenth century — Investigations of these subjects in 
 that century by several savans — Wedgewood and Davy first tried to fix 
 images by light in 1800-3 — Unsuccessful — Hyposulphite soda discovered by 
 Hersehel, 1819 — Niepce, Daguerre, and Talbot first fixed images in Europe — 
 Anecdote of Daguerre's wife and Dr. Dumas — Variations of the calotype by 
 difierent operants — Waxed-paper process — Glass plates for pictures suggested 
 by Hersehel — Albumen, gelatine, &e., used for coating such — Collodion now 
 preferred to all other coatings — Variations and improvements made by 
 several practical photographers and amateurs. 
 
 Among the most extraordinary phenomena of modern 
 days may be counted the rapidity with which the sun- 
 painting art has been developed, and the great variety 
 of applications, both useful and ornamental, which have 
 already been made of it. But twenty-four years have 
 elapsed since Daguerre made known his process to the 
 world, and submitted to public inspection pictures, which 
 in comparison with those now produced, would be called 
 quite inferior, and even poor: and yet within this brief 
 interval, heliography has become one of the most valua- 
 ble and generally prized of existing arts. The beautiful 
 toy, entitled the Camera Obscura, and the observation 
 of the effects of the sunbeam on certain chemically 
 prepared surfaces, were the two main agencies to which 
 the discovery of our art was due. 
 
 The camera obscura, one of these, was discovered 
 about two centuries ago, by Giovanni Baptiste Porta, a 
 Neapolitan physician. 
 
 It seems strange, that the ancient philosophers should 
 not have observed and applied to some use the chemical 
 
 (393) 
 
394 THE CAMEEA AND THE PENCIL, 
 
 properties of liglit, whicli are, in many ways, so obvious, 
 even to casual inspection. If they did so, no record of 
 their proceedings has hitherto reached us. 
 
 There is a tradition existing, that the Oriental jugglers 
 possessed for ages a secret process, whereby they could 
 rapidly transcribe a person's profile by the agency of 
 light. Whatever the fact may once have been, this class 
 of individuals are not known to possess any such know- 
 ledge now. 
 
 The alchymists of the middle ages, in their search for 
 the philosopher's stone and the elixir vitse, chanced 
 upon a peculiar combination of silver with chlorine, an 
 element with which they were unacquainted, and which 
 they named horn-silver, from the resemblance borne to 
 horn by the white precipitate obtained through fusion. 
 As early as the 16th century they noticed, that this 
 silver was blackened by light ; but, as thej^ failed to get 
 gold, as they expected, from this substance, they merely 
 recorded the blackening, without investigating the phe- 
 nomenon farther. The 18th century brought a more 
 thorough examination of this curious fact, and about the 
 same period, the effect of light in the crystallizing of 
 various salts was first observed. In 1722, Petit pub- 
 lished his investigations of this latter subject, while 
 Chaptal published his in 1788, and Dieze his in 1789. 
 
 Scheele studied closely the phenomenon of the black- 
 ening of chloride of silver by light ; more especially the 
 influence of the several prismatic rays in producing this 
 effect ; and published the results of his studies in 1777. 
 He discovered, among other things, that the violet ray 
 wrought this change much sooner than any of the other 
 colors. 
 
 In 1790, Sennebier found, that fifteen minutes' expo- 
 sure to the violet ray imparted to chloride of silver the 
 
HISTORY OF THE HELIOGRAPHIC ART. 395 
 
 same blackness whicli it required twenty minutes' action 
 of the red ray to produce. 
 
 In 1801, Eitter discovered, that the chemical action 
 of light extends beyond the colored rays of the spectrum, 
 there manifesting itself through invisible rays. 
 
 In a recent publication of Lord Brougham, he states, 
 that in 1796 he had published in the "Philosophical 
 Transactions" a paper on light and color, containing 
 remarks on the effects of exposing a plate of ivory, 
 moistened with nitrate of silver, to the sun's rays passing 
 through a narrow aperture into a dark room. The secre- 
 tary of the society, for reasons of his own, omitted these 
 remarks, and thus, it may be, delayed the discovery of 
 heliography for nearly half a century. 
 
 Scheele's researches, mentioned above, seem to have 
 had a powerful influence upon the scientific world, for 
 he was followed, in the same or similar tracks of inquiry, 
 by numbers of the leading savans in all parts of Europe. 
 Among these may be mentioned Berard, Seebeck, Ber- 
 thollet, Wunsch, Sir William Herschel, Sir Henry En- 
 glefield. Dr. Wollaston, Count Rumford, Morichini, Con- 
 figliachi, Berzelius, and that admirable specimen of 
 womanhood, Mrs. Somerville. Sir Humphrey Davy 
 also made some curious discoveries, which, with those 
 made by the others above named, constituted a mass of 
 materials, which brought the world to the verge of the 
 great discovery we are recording. 
 
 But the following experiment, detailed in sundry old 
 books, is so definite in its forward-pointings, as to cause 
 wonder that more was not made of it : " Dissolve chalk 
 in aqua fortis to the consistence of milk, and add thereto 
 a strong solution of silver. Keep this liquid in a well- 
 stopped glass decanter ; then cutting out from a paper 
 the letters you would have appear, paste it on the 
 
396 THE CAMEKA AND THE PENCIL. 
 
 decanter, and lay the latter in tlie sun's rays, so that the 
 rays may pass through the spaces cut out of the paper 
 and fall on the surface of the liquid. Then will that 
 part of the glass through which the rays pass, be turned 
 black, while that beneath the paper remains white. 
 Special care, however, must be taken that the bottle be 
 not moved during the operation." 
 
 It is not very unlikely that the experiments next men- 
 tioned were suggested by this. 
 
 The earliest known attempts at fixing images by the 
 chemical influence of light, were those of Davy, and of 
 "Wedgwood, the great improver of English porcelain 
 manufacture. In the "Journal of the Royal Institution," 
 of 1803, appeared a paper by the latter, with appended 
 comments by the former, entitled " An account of a 
 method of copying paintings upon glass, and of making 
 profiles by the agency of light upon nitrate of silver." 
 
 White paper, or white leather, saturated with a solu- 
 tion of nitrate of silver (instead of the chloride) was 
 selected as the impressible surface. They made nume- 
 rous experiments, with greater or less degrees of success 
 in getting the images of objects. Neither, however, was 
 able to produce a surface sufficiently sensitive to receive 
 proper impressions from the subdued light of the camera, 
 Davy used to better purpose the solar microscope for 
 obtaining images of small objects. He states, moreover, 
 that he found the chloride more sensitive than the nitrate 
 of silver. 
 
 Having no agents to fix the images and to prevent the 
 coloring of the white parts by exposure to light, these 
 gentlemen relinquished their experiments. Iodine was 
 not discovered till 1811, and hyposulphite of soda was 
 discovered by Sir John Herschel only in 1819 ; and 
 without these indispensables to the art, heliography 
 
HISTORY OF THE HELIOGRAPHIC ART. 397 
 
 could not advance further than "Wedgwood and Davy 
 had carried it. 
 
 In 1814 Joseph Nic^phore Niepce, a retired business 
 man, residing at Chalons, on the Saone, directed his 
 attention to the chemical effects of light, with the object 
 of "fixing" the images of the camera. Having found 
 that the sunbeam would alter the solubility of various 
 resinous substances, he spread a thin layer of asphaltum 
 on a glass or metal plate, and placed this in the camera. 
 Five or six hours after he found on the plate a latent 
 image, which became visible by the application of a 
 solvent to the surface of the plate. 
 
 Thirteen years later (in 1827) Niepce experimented 
 with the art at Kent, in England. Some of the pictures 
 there made are still left. They somewhat resemble the 
 daguerreotypes, though far inferior to them. 
 
 Louis Jacques Maude Daguerre, resided about nine 
 miles from Paris, at the town of Brie upon the Marne ; 
 was a painter by profession ; a member of the French 
 Academy of Fine Arts and other similar institutions; 
 stood high as a scientific man ; and was, moreover, much 
 esteemed for his goodness and geniality of character. In 
 1824 he began experimenting, to fix the images of the 
 camera by various chemical agencies, employing, like 
 Wedgwood, both the chloride and nitrate of silver spread 
 upon paper. In 1826 he became acquainted with Niepce, 
 and from that time forward the two pursued their re- 
 searches and experiments jointly. In 1829 a copartnery 
 contract was executed between them for mutually 
 investigating the subject. Niepce had, in 1826, already 
 solved the problem that had baffled Wedgwood and 
 Davy, and made his copies of objects insensible to the 
 rays of the sun. He called his discovery "Heliography," 
 or Sun-sketching, a more accurate title than "Photo- 
 
398 THE CAMERA. AND THE PENCIL. 
 
 graphy," or Liglit-sketching, since the pictures are not 
 produced by the light-rays, but by the actinic rays of the 
 solar orb. 
 
 The reader, I think, will be interested in the following 
 anecdote in relation to Daguerre, related by the distin- 
 guished French chemist, Dumas. A lady, says he, came 
 up to him at the close of a lecture in 1825, and said : 
 " Monsieur Dumas, as a scientific man, I have a question, 
 of vital importance to myself, to ask you. I am the 
 wife of Daguerre, the painter. For some time he has let 
 the idea seize him, that he can fix the image of the 
 camera. Do you think it possible? He is always at the 
 thought ; he can't sleep at night for it. I am afraid he 
 is out of his mind. Do you, as a man of science, think 
 it can ever be done, or is he mad?" "In the present 
 state of knowledge," said Dumas, " it cannot be done ; 
 but I cannot say it will always remain impossible, nor 
 set the man down as mad who seeks to do it." 
 
 If such was Daguerre's mood fourteen years before he 
 had brought his process to a fitness for publication, we 
 may form some conception of what his discovery must 
 have cost him. At any rate, he exhibited the true 
 temper of one of the few whom genius predestines to 
 immortality. 
 
 In 1829 Daguerre and Niepce, for the first time, 
 employed for blackening the heliographic plate, iodine, 
 which was discovered in 1811, by M. Courtois, of Paris, 
 in the kelp or ashes of sea-weeds. 
 
 Niepce died in 1833, and his son Isidore succeeded him, 
 as copartner of Daguerre in heliographic researches and 
 experiments. 
 
 In January 1839, Daguerre announced his great in- 
 vention, which has since, by common consent, borne his 
 name. In the following July, the Chamber of Deputies 
 
HISTORY OF THE HELIOGRAFHIC ART. 899 
 
 voted to Daguerre an annual pension of 6000 francs 
 (subsequently increased to 10,000), and one of 4000 
 francs to Isidore Niepce, on condition that they should 
 publish to the world a full description of the processes 
 by which their pictures were produced, and also make 
 known all the improvements which might, from time to 
 time, be made therein. Eeversions of one-half these 
 several sums were, by the same law, secured to the 
 widows of Daguerre and Niepce. 
 
 At the time the copartnership was formed between 
 Daguerre and the elder Niepce, it appears, that both 
 made their experiments chiefly on plates of copper or 
 silver, coated with different kinds 'of varnishes and 
 essential oils, without the use either of iodine or mercury. 
 Finally, however, after a long course of observations and 
 experiments, Daguerre exposed an iodized plate in the 
 camera, and then over boiling mercury in an iron cruci- 
 ble. At first there was no favorable result ; but, on 
 repeating the experiment, he found, after the exposure 
 of the plate to the mercury, a dim shadow on the outer 
 edge of it, and the thought occurred, that here the heat 
 had been less intense. Whereupon he reduced the tem- 
 perature, and obtained a picture. Daguerre remarks, 
 that the image is finer on copper plated with silver than 
 on silver. If such be the fact, does it not intimate that 
 electricity plays a considerable part in the operation? 
 (See chapters on Galvanizing and Actinism.) 
 
 Daguerre employed only iodine in coating the plate. 
 Since that date, as we shall see further along, great im- 
 provements have been made by using accelerating sub- 
 stances, and thus rendering the plate far more sensitive 
 to the action of light. Among these accelerators are 
 bromine, chloride of iodine, and finally, a compound of 
 
400 THE CAMERA AND THE PENCIL. 
 
 the three, of which I shall speak with some detail here- 
 after. 
 
 On January 31st, 1839, Henry Fox Talbot communi- 
 cated to the Royal Society his photographical discoveries, 
 and, on the 21st of February following, he published a 
 description of his methods of preparing the paper used 
 in his processes. He did this by dipping the paper into 
 a solution of common salt, and then applying to the sur- 
 face a solution of chloride or nitrate of silver — mostly 
 the latter. After getting the image in the camera, he 
 fixed it by again immersing the paper in a strong solu- 
 tion of common salt. He was able to make paper so 
 sensitive, as to obtain the picture of an object, under full 
 sunshine, in half a second. The paper here referred to, 
 was that used by him for taking copies of objects by 
 means of the solar telescope. 
 
 Whether Talbot's attention was first turned to helio- 
 graphic researches by Niepce's communication to the 
 Royal Society in 1827, or whether he had commenced his 
 investigations before this, I know not. It is understood, 
 however, that he conducted his experiments indepen- 
 dently, and without even being acquainted with the 
 Frenchman. 
 
 On March 14th, 1839, Sir John Herschel made a com- 
 munication to the Royal Society, recommending the use 
 of hyposulphite of soda as a fixing agent. On February 
 20th, 1840, he sent to the Society a paper on the " chemi- 
 cal effects of light in the solar spectrum," wherein he 
 recommends using this solution hot in the case of iodide 
 of silver, as this salt is less readily dissolved by the cold 
 solution of the hyposulphite, than is chloride of silver. 
 
 In 1840, Rev. J. B. R- de used, with good effect, the 
 hvposulphite solution to fix, and the infusion of galls to 
 accelerate, the formation of the picture. At the same 
 
HISTORY OF THE HELIOGRAPHIC ART. 401 
 
 time the former is known to have been habitually em- 
 ployed by Daguerre, Kobert Hunt, and others, in addition 
 to Herschel. 
 
 In the last paper named, Herschel also recommended 
 the employment of iodide of potassium, to convert the 
 nitrate of silver on the paper into iodide of silver, and 
 gave, moreover, the peculiar properties of the iodized 
 paper. 
 
 In July 1841, Robert Hunt read, before the British 
 Association at Plymouth, a paper " On the influence of 
 the yellow ferrocyanide of potassium upon iodide of 
 silver, and on the high sensitiveness of the same, as a 
 photographic preparation," giving also instructions how 
 to prepare the iodized paper. 
 
 Iodized paper was used likewise by Eyan, Lassaigne, 
 and others ; and it seems pretty certain that this paper, 
 as prepared according to the instructions given by Her- 
 schel, Hunt, and others, was an article of commerce, 
 before the patent for the Calotype of Talbot had been ob- 
 tained. 
 
 I have already stated, that in 1839, Talbot published 
 to the world his photographic discoveries, together with 
 his methods of producing his pictures. From this period 
 he continued his studies and experiments until 1842, 
 when he published and procured a patent for a process, 
 which was a considerable improvement upon his original 
 one, and was called by him the " Calotype," from the 
 two Greek words, yiaXoq rur.oq^ " beautiful sketch." In this 
 country, however, I believe his pictures are oftenest en- 
 titled Talbotypes, on the same principle that Daguerre's 
 are called Daguerreotypes. Talbot subsequently obtained 
 a second patent for his calotype process, in which he had 
 introduced still further (supposed) improvements. To 
 what extent the calotype is now in vogue across the water, 
 26 
 
402 THE CAMEEA AND THE PENCIL. 
 
 I know not, I believe, however, that albumen, collodion, 
 and some other pictures have, to a great degree, taken its 
 place. 
 
 It will fall next in the order of this historic summary 
 to give some account of several variations of heliography 
 on paper,^ which closely followed, and may be supposed 
 to have been suggested by Talbot's discovery. I have 
 space merely to name these, with their discoverers, leaving 
 to the reader to seek their description elsewhere. 
 
 1. The Chrysotype. This process was communicated 
 to the Eoyal Society, June 1842, by Sir John Herschel. 
 
 2. The Cyanotype was also a discovery of Herschel. 
 He describes several varieties of this process, which it 
 were hardly worth the while to introduce here. 
 
 3. The Chromotype was, substantially, a discovery of 
 the French savans, Pontin and Becquerel. Under this 
 specific name, however, it appears to have been first an- 
 nounced to the British Association, in 1843, by Eobert 
 Hunt. 
 
 4. The Catalissotype was communicated in 1854 to 
 the British Association by Dr. Thos. Woods, of Dublin. 
 
 5. The Amphitype is another of Herschel 's discoveries. 
 Its name " double sketch," is derived from the fact that 
 two pictures are produced by the same action of light, 
 with different subsequent manipulations. 
 
 6. The Anthotype seems to have been a joint produc- 
 tion of Herschel, Chevreuil, and Robert Hunt. Its na- 
 ture is defined by its etymology "flower sketch," the 
 juices of various flowers, bruised and treated with small 
 portions of alcohol, being used for washing the paper, in- 
 stead of mineral solutions. See Prof. Draper " On the 
 Growth of Plants," 1860. 
 
 7. The Gaudinotype takes its name from its French 
 discoverer, Gaudin. 
 
 8. The Energiotype was a discovery of Robert Hum, 
 
HISTORY OF THE HELIOGRAPHIC ART. 403 
 
 and made public througli the Athengenm. I suppose it 
 was thus named from the sensitiveness of its impressible 
 surface, and the consequent energy with which the sun- 
 beam acts upon it. 
 
 9. Thermography means, etymologicallj, heat-sketch- 
 ing. The process, a very curious one, was discovered 
 by Moser, of Koningsberg, in Prussian Poland. 
 
 The above variations of the talbotype are not known 
 to be much used, or ever to have been, by professional 
 heliographers. They have, however, subserved a good 
 purpose by enlarging our knowledge of the materials, 
 the agencies, and the methods of operation pertaining to 
 the general art. (See Prof. Draper's Tithinotype). 
 
 10. The waxed-paper process has been and still is 
 much more in vogue than either of the above. Its in- 
 vention is generally ascribed to Le Gray ; though some 
 hold, that its first announcement to the public was due to 
 Fabre. A peculiarity of this process is, that the first 
 step is to saturate the paper with pure white wax. A 
 great advantage of paper th us prepared is, that it may be 
 used some time after excitement, and that even the hottest 
 weather does not impair its capacity for use. For this 
 reason it is very serviceable to excursionists and travellers. 
 This process has been very successfully practised by sev- 
 eral eminent photographers, among whom Mr. Fenton 
 has been one of the most successful. 
 
 11. Albumen process. Sir John Herschel is said to 
 have first suggested glass plates for heliographic uses, 
 M. Niepce de St. Victor, nephew of Niepce, the associate 
 of Daguerre, published, in 1848, a mode, devised by him- 
 self, for applying albumen to such plates. Blanquart 
 Everard followed ; and albumen, gelatine, serum, and 
 other substances were successively recommended for appli- 
 cation to glass. Albumen, however, employed according 
 
404 THE CAMEEA AND THE PENCIL. 
 
 to Le Gray 's directions, is found to answer better than 
 any other of these. The methods of Mayall and Negretti 
 are also good. 
 
 12. Collodion process. Collodion, at present, is put 
 by general consent at the head of all heliographic agents. 
 It is prepared from gun-cotton. Gun-cotton, according 
 to an English authority, was discoyered by Schonbein, a 
 German professor in the Swiss University of Berne, in 
 1841. He made it by dissolving cotton in a mixture of 
 nitric and sulphuric acids. The German's claim has 
 been somewhat contested, but the matter is unimportant. 
 Collodion — a name taken from the Greek Y.oXhv , " to ad- 
 here" — is made by dissolving gun-cotton in ether mixed 
 with alcohol. The best authorities make Dr. Josiah Curtis, 
 of Boston, Mass., the discoverer of it, early in 1846. The 
 first use of it was its application to wounds, in place of the 
 ordinary bandages. An attempt was made, in Philadel- 
 phia, 1848, to use collodion for heliographic purposes, by 
 Frederick Langenheim, at the suggestion of Dr. Chas. S. 
 Rand, of the same city. The attempt failed ; and Fred- 
 eric Scott Archer, of England, is generally accredited as 
 having first used it successfully. He published his pro- 
 cess in 1851. Collodion soon came into general use, and 
 numerous variations, greater or less, from his method 
 became common, to which we shall briefly refer. 
 
 The applications of collodion may be ranged under 
 two principal heads. 
 
 1st. The Ambrotype, a positive picture made upon 
 a collodion-covered plate of glass, upon which is laid 
 a second plate, hermetically fixed thereon by some 
 adhesive substance, so that neither air nor water can 
 reach the impression. Hence the title, derived from the 
 Greek Ambi-otos, immortal, imperishable. 
 
 2. A negative picture is impressed upon a plate, and 
 
HISTORY OF THE HELIOGBAPHIC ART. 405 
 
 from this are printed indefinite numbers of positives 
 upon prepared paper. The latter species of picture is at 
 present in most general vogue. 
 
 In the waxed-paper process, we saw, that bj means of 
 the wax, papers, already excited, might be kept for some 
 time before being placed in the camera, and yet answer 
 an equally good purpose as if used immediately after 
 excitation. This property in prepared heliographic sur- 
 faces would obviously be a great convenience for travel- 
 lers and excursionists, who might desire to take views 
 under circumstances that made it difficult or impossible 
 to sensitise these surfaces at the moment. 
 
 As it were equally desirable to impart the same pro- 
 perty to collodion surfaces, several attempts have been 
 made to this end. Three of these, which have been suc- 
 cessful, I will briefly mention here : — 
 
 1st. Messrs. Spiller k Crookes effected this purpose by 
 nitrate of magnesia — a collodion plate, sensitised as 
 usual, being dipped in a bath, of which that substance 
 forms one of the ingredients. 
 
 2d. Shadbolt's Honey process, in which a syrup, made 
 with pure honey and distilled water in equal parts, takes 
 the place of the nitrate of magnesia in the above pro- 
 cess. 
 
 3d. H. Pollock's Glycerined Collodion process, where- 
 in glycerine, an ingredient of several neutral fats and 
 oils, subserves the purpose of nitrate of magnesia and of 
 honey in the two processes above named. 
 
 4th. Dr. Taupenot's Collodio- Albumen process, which 
 consists in first coating a plate with collodion and excit- 
 ing it, and then putting upon this a coating of albumen 
 and exciting it, after which the plate is ready for the 
 camera. This twofold coating serves the two purposes 
 of keeping the plates sensitive for a considerable time 
 
406 THE CAMERA AND THE PENCIL. 
 
 and of increasing the rapidity of their action. This is 
 thought by some to transcend all other processes in the 
 quality of its results. 
 
 5th. Grutta Percha, as a sensitised medium ; as a sub- 
 stitute for glass, &c. It is not settled whether the dis- 
 covery of the heliographic capabilities of this substance 
 is due to Mr. Archer or Eev. J. B. Eeade. 
 
 It is used in three ways : — 1st. You coat a glass plate 
 with gutta percha ; upon this you put a collodion coating 
 and produce a picture in the ordinary way; and the 
 gutta percha basis being then detached from the glass, 
 you have a substitute for the latter, which is as tough as 
 leather, while flexible and portable. 2d. You may iodize 
 a sheet of gutta percha, and take pictures upon it without 
 using collodion at all. 3d. You can employ a mixture 
 of gutta percha and collodion in the same way. 4:th. You 
 prepare a glass plate with collodion, and conduct the 
 process in the usual mode. The picture being completed, 
 you pour over it the gutta percha solution. The latter 
 being cold, the united films are separated from the glass 
 in a single sheet. 
 
 The ivorytype is an invention of Mr. Mayall, of Eegent 
 Street, London. These pictures are taken upon an artifi- 
 cial ivory, a compound of barytes and vegetable albumen. 
 A plate, made of this substance, is treated substantially 
 as you treat the paper in producing the talbotype, and 
 the result, especially if touched up with a skilful pencil, 
 is a picture exhibiting all the delicate beauties of the 
 finest miniature painting upon ivory. 
 
 The dry collodion process is commonly regarded as 
 the invention of Fothergill, but has been varied more or 
 less by MuUer, Neville, Norris, Mayall, Powell, Col. Pike, 
 and many others, so that we shall not attempt to decide 
 whose process is the best. Probably some may prefer one. 
 
HISTORY OF THE HELIOGRAPHIC ART. 
 
 407 
 
 and some another. What is common to most, is to coat 
 the plate first thinly with albumen, which being dried 
 slowly, a coating of collodion is then put on, and the plate 
 is treated in the same manner as in the wet process. 
 MuUer varies the process of the others, by first collodion - 
 izing and sensitising the plate, and then pouring on 
 a mixture of two liquids — the first composed of white 
 of egg, creosote, and distilled water, and the second of 
 honey, animal charcoal, and water. The advantage of 
 the ury collodion process is, that the plates may be used 
 long after being first prepared. 
 
 In concluding this chapter on the history of the helio- 
 graphic art, it is thought that it may prove of some 
 interest to append the following table, compiled with 
 much care for the British Association, by Eobert Hunt, 
 and printed by that body in their Eeports for 1850. It 
 is believed that the dates of discovery are accurately 
 given, the date of publication being, of course, in all 
 cases, taken where there was the slightest doubt. 
 
 Silver. 
 
 Nitrate of 
 
 (photographically employed) 
 
 with organic matter . . . , 
 
 with salts of lead .... 
 
 Chloride of 
 
 (photographically employed) 
 
 darkened, and hydriodic salts 
 
 Iodide of (photographically used) 
 
 with ferrocyanate of potash . 
 
 with gallic acid (Calotype) 
 
 with protosulphate of iron (Ferrotype) 
 
 with iodide of iron (Catalysotype) 
 
 Bromide of 
 
 Fluoride of 
 
 Fluorotype 
 
 Oxide of 
 
 Hitter 
 
 . 1801 
 
 Wedgwood and Da\ 
 
 y 1802 
 
 J. F. Herschel . 
 
 . 1839 
 
 J. F. Herschel 
 
 1839 
 
 C. W. Scheele . 
 
 . 1777 
 
 Wedgwood . 
 
 1802 
 
 Talbot 
 
 . 1839 
 
 Fyfe, Lassaigne . 
 
 1839 
 
 Herschel . 
 
 . 1840 
 
 Ryan . 
 
 1840 
 
 Hunt 
 
 . 1841 
 
 Talbot . 
 
 1841 
 
 Hunt 
 
 . 1844 
 
 Woods . 
 
 1844 
 
 Bayard 
 
 . 1840 
 
 Channing , , 
 
 1842 
 
 Hunt 
 
 . 1844 
 
 Davy . 
 
 1803 
 
408 
 
 THE CAMEEA AND THE PENCIL. 
 
 Silver. 
 
 Oxide of with ammonia .... 
 
 Phosphate of 
 
 Tartrate — Urate — Oxalate — Borate, &c. 
 
 Benzoates of 
 
 Fortniates of Do, 
 
 Fulminates of Do 
 
 TJncertain 
 Fyfe 
 Herscbel 
 Hunt 
 
 Silver Plate. 
 With vapor of iodine (Daguerreotype) . 
 With vapor of bromine 
 With chlorine and iodine 
 With vapor of sulphur . . . 
 With vapor of phosphorus . . . 
 
 Daguerre 
 
 Goddard 
 
 Claudet 
 
 Niepce 
 
 Niepce 
 
 Gold. 
 
 Chloride of 
 
 f Rumford 
 
 I Herschel 
 
 Ethereal solution of Rumford 
 
 Ethereal solution of, with peroyanide of potas- 
 sium Hunt 
 
 Ethereal solution of, with protocyanide of 
 
 potassium Do. . 
 
 Chromate of ...... . Do. 
 
 Plate of gold and iodine vapor . . . Goddard 
 
 Platinum. 
 
 Chloride of Herschel 
 
 Chloride of, in ether Herschel 
 
 Chloride of, with lime ..... Herschel 
 
 Iodide of Herschel 
 
 Bromide of . Hunt 
 
 Percyanate of ..... . Do. 
 
 Mercxjrt. 
 
 Protoxide of . . . . . . . Uncertain, 
 
 Peroxide of . . ... Guibourt. 
 
 Carbonate of . . . . . . . Hunt 
 
 Chromate of ..... . Do. 
 
 Deutiodide of . . . • . . Do. . 
 
 Nitrate of . . . . . ... Herschel 
 
 Protonitrate of ..... . Herschel 
 
 Chloride of BouUay 
 
 Bichloride of Vogel 
 
HISTORY OF THE HELIOGRAPHIC ART. 
 
 409 
 
 InoN. 
 
 Protosulphate of. 
 Persulphate of. 
 Ammonio-citrate of. 
 Tartrate of. 
 Attention was first called to the very pecu- 
 liar changes produced in the iron salts, 
 
 by Sii John Herschel . 1845 
 
 „ . , ^ ^ . ^, ^ f Schc-ele . . 1786 
 
 Cyanic compounds of (Prussian blue) . ■{ ^ ; ,„,^, 
 
 •' ^ ^ -" I Desmortiers . . 1801 
 
 Ferrocyanates of Fischer . . 1795 
 
 Iodide of Hunt . . . 1844 
 
 Oxalate of . . . . . . . Do. . . . 1844 
 
 Chromate of Do 1844 
 
 Several of the above combined with mercury Herschel . . 1843 
 
 Copper. 
 
 Chromate of (Chromatype) .... Hunt . . . 1843 
 
 dissolved in ammonia . . . Do. . . . 1844 
 
 Sulphate of Do 1844 
 
 Carbonate of Do. . . . 1844 
 
 Iodide of Do 1844 
 
 Copper-plate iodized ..... Talbot . . . 1841 
 
 Manganese. 
 
 Permanganate of potash .... Frommherz . . 1824 
 
 Deutoxide and cyanate of potassium . . Hunt . . . 1844 
 
 Muriate of Do 1844 
 
 Leas. 
 
 Oxide of (the puce-colored) . 
 Red lead and cyanide of potassium 
 Acetate of lead .... 
 
 Davy 
 Hunt 
 Do. . 
 
 1802 
 1844 
 1844 
 
 Nickel. 
 
 Nitrate of . . . 
 with ferroprussiates 
 
 Iodide of 
 
 [■Do. 
 
 1844 
 
 Tin. 
 Purple of cassius . 
 
 Cobalt 
 Arsenic sulphuret of 
 
 Uncertain. 
 Hunt 
 
 1844 
 1803 
 
410 
 
 THE CAMEEA AND THE PENCIL. 
 
 Arsenical aalis of ..... ' 
 
 
 
 Aktimony 
 
 
 
 BiSUUTB ■ . 
 
 Hunt 
 
 1844 
 
 Cadmium 
 
 
 
 Rhodium 
 
 
 
 Chkomium. 
 
 
 
 Bichromate of potash 
 
 Mungo Ponton . 
 
 1838 
 
 with iodide of starch 
 
 E. Becquerel 
 
 1840 
 
 Metallic chromates (Chromatype) . 
 
 Hunt 
 
 1843 
 
 Chlorine and Hydrogen .... 
 
 Gay-Lussac & Th6nard 
 
 1809 
 
 
 Draper 
 
 1842 
 
 and ether ...... 
 
 Cahours . 
 
 1810 
 
 Glass, maoganese, reddened .... 
 
 Faraday . 
 
 1823 
 
 Cyanogen, solution of 
 
 Pelouse andliichardsor 
 
 1838 
 
 Methyle. 
 
 Cahours . 
 
 1846 
 
 f Petit . 
 
 Crystallization of salts influenced by light . < Chaptal 
 
 ( Dizg . 
 
 ( Sehulze 
 Phosphorus ■{ ^. 
 
 ^ I Ritter . 
 
 in nitrogen Beckman 
 
 Phosphorus and ammonia .... Vogel . 
 
 Nitric acid decomposed by light . . Scheele 
 
 Fat matter Vogel . 
 
 Development of pores in plants . . Labillardiere 
 
 Vitality of germs Michellotti 
 
 Resinous Bodies {Heliography) . . . Niepee 
 
 Asphaltum Niepce 
 
 Resin of oil of lavender . . . . Niepce and Daguerro 
 
 Guaiacum . . . . . . . Wollaston 
 
 Bitumen all decomposed .... Daguerre . 
 
 All residua of essential oils .... Daguerre 
 
 Flowers, colors of, expressed, and spread upon 
 
 paper ...... Herschel . 
 
 Yellow wax bleached .... Senebier 
 
 r Licetas 
 
 I Kircher 
 Phosphorescent influences of solar rays . \ Canton 
 
 j Biot . 
 
 [ E. Becquerel 
 
 Vegetation in stagnant water 
 
 Influence of light on electrical phenomena- 
 
 Morren 
 
 E. Becqtaerel 
 
 1722 
 1788 
 1789 
 1727 
 1801 
 1800 
 ISOfi 
 1786 
 1806 
 1801 
 1803 
 
 1814 
 1814 
 1830 
 1803 
 1839 
 1839 
 
 1842 
 1791 
 1646 
 1646 
 1768 
 1840 
 1839 
 1841 
 1839 
 
HISTORY OF THE HELIOGRAPHIC ART, 411 
 
 CHAPTEE XXXI. 
 
 THE HELIOGRAPHIC ART — ITS PRESENT STATE AND APPLI- 
 ANCES, AND ITS FUTURE POSSIBILITIES. 
 
 The three great modern discoveries : 1st. Steam — 2d. Magnetic Telegraph — 
 3d. Heliography — All tend to produce an improved human condition — 
 Heliography, its direct effects : 1st. A substitute for travel — 2d. Strengthens 
 and perpetuates ties of kindred and friendship — 3d. Makes familiar to us 
 the great and good of all ages and countries — 4th. Serves as an efficient 
 means of general culture — 5th. Is an important help to the knowledge and 
 practice of chemistry, geology, medical and surgical science, architecture, 
 engineering, military operations, astronomy, &e. — Journals, photographic 
 and other, now advocate the claims of photography to be a fine art — Sir 
 David Brewster and Claudet favor this view — Why should not the painter 
 and photographer work together; one with the camera, and the other with 
 the pencil ? — Quotations from various eminent modern writers, specifying the 
 benefits flowing from art in general, and the photographic art in particular. 
 
 The tradition of a millennium, to occur at some stage 
 of the Christian History, has, for nearly nineteen centu- 
 ries, been floating through Christendom. What, at the 
 outset, were the material form and literal sense of that 
 tradition, is too generally known to need explanation 
 here. 
 
 I presume, most of my readers are also aware that, 
 during the last century, a spiritual construction has been 
 put upon the term millennium, whereby it is held to 
 signify a rapid and vast improvement in the universal 
 condition of our race — its exaltation to a plane of intelli- 
 gence, virtue, and happiness, unparalleled before. And, 
 what is somewhat singular, these recent constructionists 
 have agreed in placing the dawn of this new era at or 
 near the present time. Thus, Swedenborg represents it 
 as the "New Jerusalem descending from heaven to 
 earth ;" the event to become distinctly manifest (if I rightly 
 
412 THE CAMERA AND THE PENCIL. 
 
 remember) between tbe years 1850 and 1880 ; Fourier, 
 as a series of barmonic pbalanxes covering tbe entire 
 globe, tbe process commencing at about the same date; 
 and Fatlier Miller, under an aspect too absurd for any 
 but a disturbed brain to accredit. 
 
 But whether this tradition be groundless and worth- 
 less or the reverse, it is undeniable that our age, for the 
 celerity and extent of the multiform improvements going 
 on in man's condition, stands alone in the authentic his- 
 tory or even the traditions of the globe. These improve- 
 ments are manifestly due to various scientific and practi- 
 cal discoveries, of which the most important are : 
 
 1st. Steam in its several applications to land and 
 water locomotion, and to numerous purposes beside. 
 
 2d. The magnetic telegraph. 
 
 3d. Heliography in its multitudinous forms. 
 
 These three discoveries, in addition to all their other 
 beneficent results, alike serve to bring the individuals 
 of our race, however widely dissevered by material 
 distances, into more or less close proximity and com- 
 munion with each other. And if, as experience has 
 often proved, the poet says truly, that 
 
 " Mountains interposed make enemies of nations •" 
 
 experience also teaches, that the first and most essential 
 step towards the mutual regard and unity both of indi- 
 viduals and communities is, that they should know each 
 other alike in their dispositions and sentiments, and in 
 their exterior modes of life. For the promotion of this 
 end, the discoveries in question have a value beyond 
 calculation. 
 
 My present purpose, however, is to indicate briefly 
 what heliography has done, is doing, and promises to do 
 for the world's future ; and, 
 
HISTOKY OF THE HELIOGRAPHIC ART. 413 
 
 1st. Travelling, whether in foreign lands or our own, 
 is regarded as one of the most efficient means of self- 
 culture within our knowledge. Comparatively few, how- 
 ever, are able to leave home and business and bear the 
 heavy expenses thus required. 
 
 But photography enables us to enjoy the pleasure and 
 the advantages of travel without even crossing our own 
 thresholds. Sun -pictures in abundance may be had at 
 so cheap a rate, as to bring them within reach of all save 
 the literally penniless. And in these we behold vivid 
 and life-like presentments of all the objects which would 
 most strongly attract the actual traveller's notice in 
 distant countries or our own. All forms and diversities 
 of natural sublimity and beauty — the architecture, the 
 paintings, and the sculptures, wherewith Genius, during 
 the lapse of centuries, has embellished the earliest civil- 
 ized of modern lands, while eternizing its own memory ; 
 the stupendous or magnificent ruins, which still survive 
 to show what the most advanced of ancient peoples could 
 achieve ; the localities wherein events have occurred, 
 either of war or of peace, which have changed the des- 
 tinies of nations ; and the inhabitants of various regions 
 of the globe, with their personal aspects, their usages, 
 secular and religious, and their modes of life, whether 
 private or public, domestic or social, — all these, and a 
 myriad objects besides, may be inspected in their minu- 
 test particulars by the day-laborer, surrounded by his 
 family at his own fireside. And he thus may often get 
 a completer and truer impression of them, than if stand- 
 ing on the very sites they occupy. 
 
 2d. Photography serves to draw closer, to strengthen 
 and to perpetuate the ties of kindred, of friendship, and 
 of general respect and regard. The exigencies of life, in 
 most cases, necessitate the dispersion of relatives, bore 
 
414 THE CAMERA AND THE PENCIL. 
 
 and reared under the same roof, towards various points 
 of the compass, and often to remote distances, and by 
 this means the primal household affection almost inevi- 
 tably becomes impaired, and is frequently transformed 
 into comparative indifferen_ce, if not absolute coldness. 
 How great are the loss and injury thus inflicted on those 
 concerned, it were impossible to measure. For in the 
 love of kindred is found one of the most potent preser- 
 vatives of a life of purity, virtue, and honor, as also one 
 of the most active stimulants to a laudable and manly 
 social ambition, A nation is virtuous and united accord- 
 ing as the households composing it are well ordered and 
 bound together by mutual regard. 
 
 And the photographs of parents, brothers, and sisters, 
 now within the universal reach, constitute the most 
 effectual means of keeping freshly alive the memories ot 
 the dear absentees, long associated with us round the 
 same fireside, and of those young days, when the world 
 before us, under the golden rays of imagination and hope, 
 seemed to us one vast realm of brightness and beauty 
 and gladness. What, better than such memories, can 
 preserve the freshness of feeling and tenderness of con- 
 science proper to our opening existence ? 
 
 3d. Photography brings within the general and daily 
 inspection, the portraits of the patriots and heroes, the 
 saints and sages, and the eminent in every sphere of life, 
 and of all ages and countries. And the sight of such 
 representations awakens the desire of learning the history 
 of their originals, with their magnificent achievements 
 and noble endurances. If, according to the trite adage, 
 " evil communications corrupt good manners," good com- 
 munications must work reverse effects. To breathe 
 habitually an atmosphere of high principles and thoughts 
 and sentiments, is to be moulded into the same image 
 
HISTORY OF THE HELIOGRAPHIC ART. 415 
 
 and practical character, even as the respiring of a pure 
 and bracing air is to secure physical health and sound- 
 ness and vigor. But, 
 
 4th. Photography serves as a most efficient means of 
 general culture. In the numerous pictures which the 
 art has sown broadcast through all civilized communities, 
 those of all ages and conditions daily behold objects, that 
 appeal to and awaken to activity the inborn sense of 
 beauty and grace ; that provoke to comparison between 
 the good and the bad, and between the bad and the 
 worse ; and that gradually thus form, in even the 
 lowliest, somewhat of an artistic judgment. But such 
 judgment, first reared upon, and by means of, artificial 
 representations, naturally finds a sphere for its exercise 
 in the limitless domain of beauty opened to it in the 
 material universe ; in the varieties of imitative beauty 
 created by man, and in man himself. How elevating 
 and great is the influence of such a mental action on the 
 character, both intellectual and moral, we have indicated 
 elsewhere. 
 
 But the judgment, educated to the sense of the beauti- 
 ful, cannot restrict itself to this single department of 
 nature and life. It measurably extends to all other 
 spheres as well, and thus a process of general culture is 
 originated and carried forward, by means so simple as 
 sun-stricken impressions on plate, or paper, or glass, 
 numbers of which are daily gazed on by the newsboy, 
 and even the child-beggar, at photographic doors in 
 almost every street. 
 
 A multiplicity of other and miscellaneous uses is sub- 
 served by the photograph, a few of which I will now 
 briefly mention. The Eev. Mr. Statbam, to whom I am 
 indebted for several facts in this chapter, remarks, that 
 
416 THE CAMEEA AND THE PENCIL. 
 
 photography may, among other things, be called the 
 "handmaid of the sciences," For example, it has 
 
 1st. Eendered important aid to chemistry. The mere 
 fact of its being based on this science has, of necessity, 
 multiplied students of the same to the number of the 
 thousands interested in photography, either as profes^ 
 sionists or amateurs. Moreover, by causing a large 
 increase in the number of existing chemicals to be 
 employed in the art, it has brought to light not a few 
 entirely new combinations of matter — enough indeed to 
 constitute a laboratory of its own. It also serves to 
 train in the young chemist, several qualities of great 
 utility in chemical experimentation, e. g. patience, manipu- 
 lative cleanliness, self-reliance, and an adventurous spirit 
 of research — all of which are essential to success in 
 photographic operations, and which he acquires in their 
 performance. After all, however, the uses of photogra- 
 phy to chemistry are, comparatively, but beginning to 
 be known. 
 
 2d. Geologic inquiry is essentially furthered by our 
 art. A distinguished English writer aply entitles the 
 professors of this grand science the "Anatomists of 
 Nature.'''' The bulk of its students are forbidden, by the 
 nature of the case, to read, in the original, that "testi- 
 mony of the rocks," wherewith nature has registered' 
 earth's long past history, but must needs rely on such 
 copies of the same, as its few privileged readers can sup- 
 ply. And when we consider how slow and toilsome is 
 the task of reproducing, by hand, geologic specimens 
 and views, and how unavoidably inexact and inadequate 
 such representations must be, how indescribably great 
 must appear our obligations to that art which, within a 
 few seconds, or it may be instantaneously, grants us a 
 fac simile of the scenes and objects desired, so absolutely 
 
HISTORY OF THE HELIOGRAPHIC ART. 417 
 
 perfect, that even under the microscopic lens, the origi- 
 nal has scarce an iota of advantage over the transcript I 
 But, 
 
 3d. Medical and surgical science is greatly advantaged 
 by sun-painting. Exact copies of the aspects of morbid 
 anatomy in general ; of disease in every varying shape, 
 and of the appearances of each several malady, at its 
 different stages, must be of incalculable service alike to 
 practising physicians and to medical students. Both 
 derive therefrom the same benefit (or nearly such), as 
 they would from inspecting the patient in person; and 
 one immeasurably greater than he could from reading 
 verbal descriptions, even the minutest, of what, after all, 
 it is impossible fully to describe. For the photographic 
 presentment, unlike the verbal, may be microscopically 
 examined. To the leading European hospitals are al- 
 ready attached skilled draughtsmen and modellers in 
 wax, to copy from the living patient, or the dissected 
 corpse, any appearance throwing light on the origin or 
 progress of the malady, which may aid in after practice. 
 Of how much greater value would be an accomplished 
 sun-painter in this office ! Medical consultations, too, 
 can easily and profitably be held with distant physicians, 
 through photographic representations sent them, and 
 this without their stirring from home or the vicinity of 
 their own patients. 
 
 4th. The progress of architectural improvement is 
 secured by our art. The professionist and student, of 
 '"scantiest means, may possess, for models and for helpers 
 in artistic discipline, exactest transcripts of the noblest 
 edifices and other architectural constructions in present 
 occupancy, in every known region on earth, and of the 
 reliques of the finest ancient achievements in this art, 
 which have immortalized the localities that hold the dust 
 27 
 
418 THE CAMERA AND THE PENCIL. 
 
 of long-buried nations, and whicTi have to a considerable 
 extent survived the assaults of over four thousand years. 
 
 For example, the pyramids, the catacombs, and the 
 labyrinths of Egypt ; the rock-temples of India, Nubia, 
 and Petra ; the weird and wondrous Babylonian remains ; 
 the matchless ruins which Grreek genius left, as its 
 memorials in both the Grecian and Italian peninsulas, — 
 all these are at their service in pictures so exact, as 
 virtually to answer every purpose of their originals, 
 when viewed on the sites they occupy. 
 
 The same remarks apply to photographic transcripts 
 of natural scenery, in the shapes of mountain and glen 
 and expanded plain, and of river and lake and ocean, 
 which travellers, seeking the gratification of curiosity in 
 all quarters of the globe, have agreed to place at the 
 highest point of material grandeur and sublimity, or 
 loveliness; and of the localities in different lands, which 
 have been glorified in the world's memory, by the 
 momentous and critical events, whether of war or peace, 
 that occurred therein, alike in the early twilight of 
 human tradition, or within the scope of authentic history. 
 
 It is an opinion of the writer to whom we are so 
 greatly obliged in this chapter, that a contem.plation of 
 the fine sketches, recently brought by our art within the 
 universal inspection, has wrought the considerable im- 
 provement manifest in our contemporary architecture— 
 an improvement visible alike in our public and private 
 constructions. 
 
 One very important advantage conferred by the sun- 
 picture, is that an eminent architect can supervise, at the 
 same time, from a half dozen to one hundred works, of 
 whatever class, during their progress from commence- 
 ment to completion, without the necessity of being at the 
 localities they occupy. This is effected simply by help 
 
HISTORY OF THE HELTOGRAPHIC ART. 419 
 
 of skilfully executed sketches of them, in whole or in 
 part, at successive stages of their advancement. 
 
 Thus Colonel Bowman, the accomplished head of West 
 Point Military Academy, is reported to have at one time 
 superintended and directed, as he had primarily laid out, 
 the plans of one hundred of the United States public 
 works by the aid of these pictures, which subserved the 
 same end as the inspection of their originals would have 
 done, 
 
 5th. It has become a custom of manufacturers to 
 advertise machinery, mortuary monuments, and a multi- 
 tude of articles beside, by forwarding to all sections of 
 the country and (I believe) to foreign lands, sun-stamped 
 copies of the same, alike in their wholes and in their 
 several parts. While the manufacturers and the persons, 
 at what distance soever living, who are likely to need 
 their wares, are thus essentially convenienced, the public 
 are instructed where to apply for any articles which such 
 manufacturers, from the nature of their vocations, are 
 probably able to furnish. It is obvious at a moment's 
 thought, that, by this means, all parties concerned may 
 save a vast amount of time, trouble, and expense. 
 
 6th. Civil engineering, mining works, and all military- 
 operations may profit largely from photography. The 
 reader may see tuhy and hoio, without our specifying 
 particulars. In the construction of the Grand Trunk 
 Railway of Canada, it is said the chief engineers of Great 
 Britain were able to supervise the work, virtually m 
 person, without leaving their homes. 
 
 In war the camera is variously useful in taking views 
 of fortifications, or other places, to be attacked, and in 
 exhibiting the effects of cannon-fire upon breaches ; in 
 giving correct representations of the difficulties of any 
 route to be traversed by troops ; or in getting from a 
 
420 THE CAMERA AND THE PEXCIL. 
 
 balloon a view of tlie enemy's forces, and of the mode in 
 which they are stationed, whereby their probable move- 
 ments can be conjectured. 
 
 It was recently stated, in a Eichmond rebel journal, that 
 General Grilmore, the present commander-in-chief of the 
 United States troops before Charleston, experimented in 
 cannon-firing at a target for three years or more, photo- 
 graphing each time the spot struck by the ball ; and that 
 it was through this practice he became, what that journal 
 pronounces, the first military engineer now living. Whe- 
 ther this account be true or false, I know not, as, accord- 
 ing to the adage, "a. liar cannot be credited when he 
 speaks the truth." In the nature of the case, however, 
 it might be true, and it serves to verify the proposition 
 we are now discussing. The general's recent feat of 
 throwing a shell, charged with Greek ^re,Jiv€ miles into 
 the pestilent city where the rebellion was conceived and 
 came into life, and where the first decisive insurrectionary 
 crime was perpetrated, is a further corroboration of what 
 we have suggested, and is an ample fulfilment of what 
 the hero had promised to perform. 
 
 Would it not, then, be a most useful arrangement to 
 have a skilful photographic teacher attached to every 
 military school, as also to every institution where engi- 
 neering, surveying, architecture, and all other applica- 
 tions of the sciences to the arts are studied? For our- 
 selves we have no doubt of this. ISTor of this alone. For 
 we would have the same official introduced into every 
 college and higher academy throughout the land. 
 
 7th. Public order seems likely to be, in some measure, 
 secured by the custom lately adopted, of taking photo- 
 graphic likenesses of all criminals sentenced, after trial, 
 to some term of incarceration. Such persons, on the expi- 
 ration of their allotted periods, will find it not easy to 
 
HISTORY OF THE HELIOGRAPHIC ART. 421 
 
 renew their criminal careers, while their faces and general 
 aspects are familiar to so many, especially to the keen- 
 sighted detective police. There would seem to be at 
 least a possibility, if not a likelihood, that old infractors of 
 law may be absolutely driven out of the " broad road 
 leading to destruction," into the '''strait and narrow way," 
 wherein alone is found safety, as well as freedom, by the 
 almost inevitable certainty that, in the former, he must 
 speedily be re-arrested and doomed to a more protracted 
 imprisonment. 
 
 10th. It is familiarly known that the sun and the 
 moon have already been transcribed, by means of the 
 camera, with literal exactitude. In the further large 
 improvements certain to be made in our present photo- 
 graphic materials and processes, who shall measure the 
 additions which may thus be furnished to our existing 
 knowledge of the magnificent science of astronomy, by 
 the camera in the handling of a skilled and enthusiastic 
 photographic genius ? 
 
 And here the reader will not merely excuse bat thank 
 me for introducing the following admirable extract from 
 an unpublished lecture of Professor John S. Hart, on 
 " The Progress of the Age" : — 
 
 " What would an ancient Greek have thought to see a 
 puny mortal, more daring than Prometheus, making even 
 the thunderbolts of Jupiter his toy? And what would 
 even Franklin have thought to see the subtlest, fleetest, 
 and most powerful of nature's agents, not only stripped 
 of its terrors, but made the submissive thrall, the obedient 
 slave of man ; doing his behests, running his errands, 
 now gilding a child's toy, and now carrying a message 
 to Congress, and exhausting in its flight even the lan- 
 guage of metaphor, ' as swift as lightning,' it being no 
 longer a comparison, now that lightning itself has 
 
422 THE CAMEEA AND THE PENCIL. 
 
 become the agent of communication. But if Jupiter 
 would liave been astonished at the wonders of the tele- 
 graph, what would the sun-god have said to the not 
 inferior wonders of the heliographic art ? Apollo, indeed, 
 knew himself of old to be the patron of painting ; but 
 did he ever dream that he would himself become the 
 limner of half the human race ? That those imponder- 
 able rays of his should, at man's pleasure, be gathered 
 into a brush of light, of inimitable truth and delicacy, 
 wherewith to trace, with microscopic exactness, the linea- 
 ments of the human face?" 
 
 They who have glanced even cursorily over this 
 volume, — which, by the by, was commenced and carried 
 a considerable way onward ten years ago, — may perhaps 
 remember that, from the very outset to the close, we 
 have advocated and in all modes striven to establish the 
 claim of photography to a rank among the so-named 
 Fine Arts. For a long time we stood on this ground 
 alone, or nearly so. 
 
 By slow degrees, however, the heliographic and some 
 other journals, on both sides the water, began to exhibit 
 evidence that this opinion was gaining currency, till at 
 present it would seem to be, substantially, the prevailing 
 faith. For men, holding the most eminent positions in 
 science and literature, have, in publications of the highest 
 repute, expressed this view in the strongest and most 
 unqualified phraseology they could command. 
 
 Thus, in the North British Eeview, of February, 1862, 
 Sir David Brewster, the scientific luminary of Scotland, 
 has a long essa}'" on the heliographic art, wherein, among 
 other kindred passages, may be seen the following : — 
 
 " Nearly fifteen years have elapsed since we directed 
 the attention of our readers to the new art of photogra- 
 phy, its brief history, wondrous progress, &c. Since that 
 
niSTORY OF THE HELIOGRAFHIC ART. 423 
 
 time, its advance has been rapid beyond the most san- 
 guine anticipations of its patrons. New materials and 
 processes, and numberless applications to almost every 
 department of knowledge have illustrated its history, and 
 raised it (perhaps before its time) to the high position of one 
 of the Fine Arts. One step only is required to achieve 
 so lofty a place. The sun-painter has yet to arrest the 
 colors of nature and fix them upon his tablet ; nor have 
 we any doubt, that photography with color is a possible 
 result of scientific research. 
 
 "Among the numerous applications of photography, 
 its application to the arts of design has been so successful, 
 that it has been regarded by its most ardent cultivators 
 as one of the Fine Arts. 
 
 " That it is entirely a mechanical art [though it is such 
 with many of its practitioners), we cannot admit. That it 
 is entitled to precisely the same rank as painting and 
 sculpture, we will not maintain ; but we think it will be 
 fully entitled to rank ahove engraving, when its processes 
 have become more sensitive, and its instruments and 
 methods of working more perfect. 
 
 "The want of absolute truth manifest in the finest 
 portraits, is thought to be compensated by an ideal 
 beauty, which, if not perpetuating the sitter's happiest 
 expression, at least suppresses the main defects in his 
 features. Youth is given to age; to the pallid cheek 
 color ; brightness to the ordinary eye ; and new and 
 fashionable drapery to complete the picture. 
 
 "The heliographer has none of these advantages in 
 his favor. His work may, and often does disfigure, but 
 it nevev flatters the human countenance. If, however, an 
 instantaneous process is employed, and a minute portrait 
 is taken with a small lens, or with a large one at a remote 
 distance, and is subsequently enlarged to life-size, we 
 
424 THE CAMERA AXD THE PENCIL. 
 
 shall have absolute truth in the portrait. And who would 
 not prefer an absolutely true portrait of Demosthenes or 
 Cicero, of Paul or Luther, of Milton or of Newton, to 
 the finest representations of them which time may have 
 spared?" 
 
 Thus far the Scottish savant. The reader will per- 
 ceive, that he goes nearly the whole length of corrobora- 
 ting our views of the rank of heliography. And there 
 can be little doubt that, when so short a distance remains 
 between the goal and his present position, he will not 
 long delay in traversing that distance. 
 
 I will now introduce a few paragraphs, of kindred 
 purport, from Claudet, a distinguished practical heliogra- 
 pher, of London. 
 
 " Should photography fail of progressing beyond its 
 present stage, it is even now a most valuable auxiliary 
 to the artist as an agent, in whose hands its application 
 requires discrimination and taste. 
 
 "Photography is an art in which only genius and 
 talent can attain a high position. There is neither pleasure 
 nor merit in doing what costs neither trouble nor talent. 
 In the immense number of photographs exhibited during 
 the five last years, how very few were there of really fine 
 pictures I 
 
 " Photography would increase the taste for art-produc- 
 tions, and reciprocally art-productions would increase a 
 taste for photography. 
 
 " Photography is the imitator of nature, — the drawing 
 is perfect and the perspective correct. Photography is 
 to the fine arts what logarithms are to mathematics ; by 
 it work is more easily and rapidly accomplished. To 
 the artist it is a vocabulary, which guides him, as the 
 hand-book of nature. 
 
 "Why has photography been invented? Simply for 
 
HISTORY OF THE HELIO GRAPHIC ART. 425 
 
 this. Scientific men long since tried to learn the action of 
 light on certain chemical agents, merely as a philosophic 
 inquiry. Such inquiries, however, proving that light 
 caused changes in such substances, a desire was awakened 
 in artists, that the images of nature represented in the 
 camera obscura should be fixed. 
 
 " Wedgwood was one of the earliest to enter this field, 
 but, though he obtained photographic pictures, he could 
 not so fix them as to protect them against the further 
 action of light. Hence, they had to be kept in the dark, 
 and could be viewed only by a feeble light. 
 
 "M. Niepce having learned that certain bituminous 
 substances were rendered insoluble by light, based on 
 this discovery a process then well known, though too 
 slow to admit of its general application. At this stage, 
 Daguerre and Talbot brought forward their experiments, 
 without concert or a knowledge of each other, or of their 
 common experiments. Both had found substances sensi- 
 tive to light, but not sufficiently so to bring out a picture 
 by ordinary exposure to its action." 
 
 They argued thus: — "If the light of the camera has 
 not been intense enough to produce an intense impression, 
 the sensitive surface must yet have received a light, 
 capable of being completed by other chemical re-agents. 
 Both ultimately succeeded in developing a latent picture ; ^ 
 one by the fumes of mercury, and the other by a gallic 
 acid solution. 
 
 " As photography has been invented, because needed 
 by the fine arts, was it not absurd to suppose these arts 
 could be injured by it? A photographer of taste, judg- 
 ment, and feeling, though not a painter, might yet be 
 competent to yose a model, so as to give the greatest 
 grace to a picture, — while a painter could not fail to find 
 among the productions of such many excellent models 
 
426 THE CAMERA. AND THE PENCIL. 
 
 for study, as photograpliers daily pose numerous subjects, 
 while the painter arranges only what he can paint." So 
 writes Claudet. 
 
 And herQ we must express our wonder, that one so 
 acute as Claudet, after going so far, did not advance one 
 step further, and suggest what we have long believed 
 would occur in the not distant future : i. e. a union of the 
 pencil and the camera in the production of portraits. 
 The one only point, wherein the sun-painting falls below 
 (or is liable to fall below) the pencil-painting is, that he 
 who operates with the camera, being restricted to a 
 single sitting, of a few seconds' duration, may fail to 
 catch, in those seconds, the sitter's best and most indivi- 
 dualizing expression ; while the wielder of the pencil, 
 who may have sittings ad libitum, may behold his subject 
 in all various moods, and among these may detect and 
 transfer to his canvas the very expression desired. 
 
 Now it is by lights and shadows added to colors, that 
 expression is represented; and frequently a few minutes 
 onlv are required for the painter to put into the picture 
 this absolute essential to a veritable portrait. The most 
 protracted and laborious portion of his task, is what 
 precedes even the attempt to secure the expression ; i. e. 
 the taking of the contoiir and ensemble of the head, the 
 face, the form, the drapery, &c. And yet by no genius 
 nor skill can be produced with the pencil, so exact a 
 transcript of the original in these particulars, as can the 
 artist-genius with the camera. 
 
 Why, then, should not the painter be also a practical 
 photographer, and with the camera perform in a few 
 seconds all this preliminary work, which, with the 
 pencil, would cost him days, and must, after all, be 
 inferior to the work produced by the sunbeam ? And 
 these preparative operations being executed, and this in 
 
HISTORY OF THE HELIOGBAPHIC ART. 427 
 
 a manner absolutely perfect, let him tlien, witli the pencil 
 dipped in colors, perform what remains towards com- 
 pleting the representation of the expression, which he 
 has awaited the proper moment to discern and to catch ? 
 Or why at least should not the painter and photographer 
 work together — one with the camera and the other with 
 the pencil ; both possessing kindred artistic genius? 
 
 So obvious geems to us all this, that we cannot account 
 for the neglect to adopt, long since, the method here pro- 
 posed. Possibly one reason may be, the obstinate and 
 absurd prejudice prevailing against heliography, as (in 
 vulgar parlance) a mere mechanical process, coupled also 
 with the flocking into the profession of numbers totally 
 unlit for its requirements both in organization and 
 education. 
 
 But such a prejudice cannot much longer exist, while 
 so many of the leading scientific men of the day are 
 boldly and emphatically vindicating for sun-painting a 
 rank among the Fine Arts. And we believe, and long 
 have believed, that the time is not far off, when the union 
 of the camera with the pencil will be formally consum- 
 mated to the exaltation of both, alike in fact and in 
 general repute. 
 
 How near Sir David Brewster came towards suggesting 
 this very movement, will appear from a paragraph, 
 which we take from the essay of his before quoted, and 
 which is as follows : — 
 
 "Is it not possible to make the absolute truth in photo- 
 graphic portraiture, when attained, as ijleasing also as we 
 could desire ? 
 
 "When Chantrey, in conversation with Sir Walter 
 Scott, saw and transferred to his marble that happy 
 expression, which characterizes the baronet's bust, might 
 
428 THE CAMERA AND THE PENCIL. 
 
 not the same expression have been still more accurately 
 taken by a camera concealed behind the sculptor ? 
 
 " Why, then, should not the painter's studio be so 
 constructed, that the portrait of a lady or gentleman may 
 be taken, unknown to them, by the camera, while they, 
 in conversation with the artist, or with their friends, 
 have unconsciously assumed their best posture and hap- 
 piest expression ?" 
 
 It will here be seen, that Sir David accepts the sub- 
 stance of our suggestion, while, in form, he so far differs 
 from us in dividing the work between tivo persons, while 
 we would unite its two portions in a single operant* 
 Time alone, we think, and not a long time either, will 
 be required to bring him on to the same platform we at 
 present occupy. 
 
 It will not be irrelevant to the general strain of this 
 chapter, if, in closing, I cite a few passages from some 
 of our most eminent modern writers, as having both an 
 intrinsic and an illustrative value. 
 
 It is remarked by Opie, the painter, that " the progress 
 of the arts and sciences is the exact criterion of cultivation 
 among nations ;" and Sir Joshua Eeynolds says, " That 
 a relish for the excellencies of refined art, is attained 
 only by cultivation of taste, or improvement of mind, or 
 whatever relates to it." 
 
 The following paragraphs are from an excellent Eng- 
 lish writer : — 
 
 "Art affects national prosperity, intellectual culture, 
 and material and social happiness ; art show« us man, as 
 he can by no other means be made known ; gives us 
 nobler loves and nobler cares, and furaishes objects by 
 the contemplation of which we are taught and exalted — 
 and every department of art, whether practised by the 
 painter or sculptor, the engraver, architect, and engineer 
 
HISTORY OF THE HELIOGRAPHIC ART. 429 
 
 must, from its association with photography, gain rather 
 than lose. 
 
 " The first useful application of painting was, probably, 
 as an intelligent mode of conveying information. Indeed 
 in Ancient Egypt the same hieroglyphic, and in Ancient 
 Greece the same word, signified writing and painting. 
 
 " Keligion gave birth to the arts. It was to ornament 
 temples and sacred precincts, that sculpture and painting 
 were first introduced ; and in the most ancient monu- 
 ments of India and Egypt, as in those of the Middle 
 Ages, architecture, sculpture, and painting are the mate- 
 rial expressions of religious thoughts. 
 
 "Among all nations of remotest antiquity colors had 
 the same significance. This conformity indicates a com- 
 mon origin, which extends to the earliest state of human- 
 ity, and develops its highest energies in the religion of 
 Persia, in which the dualism of light and darkness, 
 personified in Ormuzd and Ahriman, presents, in effect, 
 the two types of colors, which become symbolic of the 
 two principles of benevolence and malevolence, as recog- 
 nised under every form of religion. 
 
 "The symbolic language of colors, intimately con- 
 nected with religion, passed into India, China, Egypt, 
 Eome, and Grreece, and reappeared in the Middle Ages. 
 These indications of color have an important significance 
 in the Scriptures ; in mythology, heraldry, architecture, 
 &c., explaining much of the origin and analogy of lan- 
 guages and customs. They tend to elucidate the apparent 
 obscurity of the Sabean or Mithriac worship {%. e. the 
 adoration of the heavenly bodies) ; of Egyptian and 
 Chinese hieroglyphics; of the Orphic and Eleusinian 
 mysteries ; and of ancient and modern art ; symbols 
 reaching down even to our own days, and connecting 
 (like the color of the North American Indians) the past 
 
430^ THE CAMERA AND THE PENCIL. 
 
 d,nd the present, t"he old world and the new, and the 
 Indian with the progenitor of mankind, Adam signifying, 
 literally, 'Eed Earth,' or the Eed Man. 
 
 "The covenant between God and man recorded in 
 Genesis, — the visible token, that God, all-merciful, had 
 accepted Noah's offering, was ratified by colors ; and the 
 rainbow, the symbol of safety for all aftertimes from a 
 second general deluge, and typified in mythology by 
 Iris, the messenger of the gods and of good tidings, has 
 become symbolic of regeneration, which is the covenant 
 of God with man. 
 
 "The name ' Shem,' (which signifies 'splendor,') was 
 given to the progenitor of the Asiatic or Eed Eaces, 
 every one of which (according to Euskin) possesses, by 
 simple instinct, a supremacy over color, which no race 
 beside has even approached, and possesses it despite the 
 overthrow of their dominion, the extinction of their 
 virtue, and the defilement of their religion, — while to 
 Japhet (a name denoting ' extension') were assigned the 
 treasures of the sullen rock, and stubborn ore, and 
 gnarled forest, whereby they were to achieve their destiny, 
 as they spread, to a greater or less extent, over the vast 
 lands and still vaster waters which together constitute 
 our globe. Meanwhile Nature matured, in the sand, the 
 brilliant gem, and, in the shell, the precious pearl, which 
 were the heritage of him, whose name was ' splendor.' " 
 
 Euskin, the most eminent, perhaps, of contemporary 
 art-critics, remarks: "No law within my knowledge, is 
 more severely without exception, than this of the con- 
 nection of pure color with profound and noble thought. 
 The fact is, that of all God's gifts to the sight of man, 
 color is the holiest, the most divine, the most solemn." 
 
 To such as may have looked carefully over the fore- 
 going citations and comments, I would put this question : 
 
HISTORY OF THE HELIOGRAPHIC ART. 431 
 
 " Can it be, that an art, which by the most cursory 
 examination is shown to have an infinity of uses, many 
 among them of the highest and noblest quality and of 
 inestimable moment, which renders to most, if not all of 
 the sciences addressing the eye, as also to multitudes of 
 the practical arts, both the useful and the ornamental, 
 such efiicient aids as raise them to a height otherwise 
 wholly unattainable, — can such an art be a baldly me- 
 chanical one, capable of being rightly applied by one 
 devoid alike of genius and education; an art, which 
 must be shut out from the pale of the fine arts, although 
 furnishing to each of those arts appliances and means, 
 that promise to make of them pursuits more elevated and 
 ofier more various utility, than hitherto they have even 
 begun to be ?" 
 
 To subserve all the ends we have specified, — ends, of 
 which numbers have already been accomplished by many 
 both of professionists and of amateurs, — it must be in the 
 hands of genius, and of none beside. With us it is an 
 axiom, that an art, which requires genius, and cannot 
 otherwise fulfil its proper ends, must needs be ranked 
 among the Fine Arts. In that rank, therefore, we 
 place heliography. 
 
CHAPTER XXXII. 
 
 HELIOGRAPHY — ITS ARTISTIC CHARACTER AND RELATIONS. 
 
 Wrong opinions of heliography almost universal — Now changing for the 
 better — Heliographer must study as largely as the painter — Artistic studies 
 needed by him — Bodies, how existing in nature ? — -Elements of a picture, 
 what ? — Photography and painting, in what alike ? — Former derives nothing 
 from color; latter very much — Differences between the two, what ? — Expres- 
 sion constitutes the portrait — Examples of same — Dress, its influence — Color 
 and position important — Size of portrait, how determined ? — Descriptive and 
 historic sketches — Difficulty of getting best expression — Distribution of light 
 important — Great difficulties in getting photographic groups — Conditions 
 requisite. 
 
 As we have repeatedly hinted before, the public at 
 large, and the professors of the fine arts, and (what is 
 still stranger and more to be regretted) the scientific 
 amateurs of heliography, have habitually looked upon 
 this art, rather as a mere chemical and mechanical 
 process, than as belonging to the category of painting 
 and sculpture, governed by the same laws as these, and 
 capable of producing kindred effects. 
 
 But, everywhere in this volume, the reader will find 
 very different views advanced. Again and again have 
 we claimed for sun -painting the character and title of a 
 fine art, and this claim we have advocated with our 
 utmost ability. And we have done so, not alone on these 
 pages, but in many successive contributions to our pho- 
 tographic journals for the last seven or eight years, 
 during which this work has been in hand. 
 
 As the months and years have rolled on, we have been 
 
 (432) 
 
HELIOGRAPHY — ITS ARTISTIC RELATIONS. 433 
 
 gladdened to find, now in some scientific or artistic pub- 
 lication, and now in some address to a photographic 
 society, an occasional paragraph, wherein the capabilities 
 of our art were measurably recognised, and its artistic 
 quality and claims in some degree conceded. 
 
 Not indeed that full justice was awarded to it, or its 
 true character and possibilities were even proximately 
 comprehended. Nor, in any heliographic hand-book, or 
 treatise for the general information, have we met with, 
 more than some brief and inadequate allusion to this 
 point, with the single exception (quite recent in its date) 
 of a text-book, comprised in one hundred pages, by 
 M. Disderi, an eminent French photographer. Here we 
 find a far higher rank assigned to photography, than we 
 have seen accorded to it otherwhere. 
 
 We are, however, by no means satisfied even with Ms 
 views of our art. In our opinion he underprizes its 
 possible reaches of performance, and places it much below 
 its merits. Still he presents many valuable hints, which, 
 as indicating considerable progress in the true direction, 
 seem to us worthy of examination. As confirming, 
 moreover, by his high authority, many of the views 
 advanced in this work, in the maintenance of which, at 
 its commencement, we stood almost if not entirely alone 
 we have found an additional reason for introducing here 
 some extracts from his treatise. Our limits, however, 
 will restrict us to what follows, in which I have often 
 adopted the thoughts, rather than the words of the 
 writer, and which is accompanied with criticisms and 
 comments of my own. 
 
 At first view, the photographic reproduction of nature 
 
 would seem to require nothing more than a knowledge 
 
 of certain chemical materials and optical instruments, 
 
 and of one simple method of applying the same. But 
 
 28 
 
434 THE CAMERA AND THE PENCIL, 
 
 experience teaches that this knowledge, how complete 
 soever, will not of itself insure a perfect transcript of the 
 reality ; since we find it necessary to vary our mode of 
 operating, according to the nature and surroundings of 
 the object to be represented. 
 
 Thus, one way of proceeding will probably produce 
 vigorous effects ; another is requisite when " softness" 
 is desired, or when the objects are uniformly and pro- 
 perly illumined; and it is always essential to combine 
 the distances according to the power of the instrument, 
 so as to secure in the image the same proportions that 
 exist in the model. 
 
 Thus, to appreciate the effects of the light and distance, 
 and all the circumstances modifying the scene, requires 
 a knowledge quite other than that of the appropriate 
 chemicals. It demands of the operant to note carefully 
 the effect produced, and to study the causes producing 
 it ; e, g. the distribution of the lights and shades ; the 
 relative intensity of the different colored masses ; the 
 perspective of the flat surfaces ; and lastly, the propor- 
 tions of the various objects. 
 
 Therefore, for the simple reproduction of nature, taken 
 at ha^iard and without choice of particulars, the photo- 
 grapher should possess, besides an acquaintance with the 
 laboratory, a very different order of knowledge ; and he 
 is constrained to a course of study very like that required 
 by the artist, as a basis for his art. 
 
 The aim of photography, however, is not merely to 
 reproduce nature taken at hazard. These operations 
 should be guided by a choice, determined by the ideas or 
 temperament of the individual. It is on this account, 
 that the productions of different operants are marked by 
 peculiarities, which reveal the author's personality. In 
 fact, each individual selects his subject according to his 
 
HELIOGKAPHY — ITS ARTISTIC RELATIONS. 435 
 
 special idea of the beautiful ; in tlie scene to be repre- 
 sentedj lie arranges the parts, and combines the chiar? 
 oscuro according to his taste ; and even in the execution 
 he finds multitudinous combinations for the general 
 aspect of his work. 
 
 THE ARTISTIC STUDIES REQUIRED BY THE PHOTOGRAPHER. 
 
 These are nearly as vast as those of the painter him- 
 self. Like him, the photographer should study the laws 
 of beauty, of producing it by composition ; the forms, the 
 disposition of the parts, the chiar' oscuro, and the execu- 
 tion. To feel that a thing is beautiful, does not suffice 
 to constitute an artist. The individual must know why 
 it is so, and whether this beauty may be expressed by 
 the art he studies ; and he must know the key to all the 
 combinations of means, whereby the ideas and sentiments 
 are to be expressed. The photographer can no better 
 dispense with such knowledge than the painter. It must 
 not, however, be forgotten, that photography and paint- 
 ing are two different arts, notwithstanding these striking 
 analogies between their objects and the means of attain- 
 ing them. We will attempt to present a few points of 
 the distinction between the two. 
 
 First, then, photography, unlike painting, derives no aid 
 from color. To painting color is a powerful resource ; 
 completely modifying the combinations that preserve its 
 other parts. To render a parallel between the two arts 
 possible, and make the comparison clear and distinct, 
 photography must be compared with cameo-painting or 
 drawing. The analogy would then be perfect, so far as 
 the visible aspect resulting from the material employed 
 is concerned ; since photographic drawing may be ob- 
 tained in all shades and on many various substances, 
 
436 THE CAMEEA AND THE PENCIL. 
 
 always producing the same asjDect. This consideration 
 is important from the fact that the general color perva- 
 ding the whole, being appropriate, must increase the 
 harmony, the beauty, and the significance of the subject. 
 
 Let us endeavor to distinguish, in their "ensemble,'''' the 
 fundamental causes determining the character and im- 
 port of the natural spectacle, which is the common basis 
 of both arts. 
 
 Bodies exist in geometrical forms, and are located in 
 different parts of the space that expands before our sight ; 
 the light illuminates them by distributing its rays over 
 their surfaces, thereby not only rendering their forms 
 perceptible, but also revealing two properties belonging 
 to the essence of the bodies, and completing the total of 
 the elements constituting the natural spectacle, viz., color 
 and tone. 
 
 It may be remarked that different bodies present not 
 only different colors, but also different degrees of bril- 
 liancy, under the same light and in the sam^e place — they 
 are more or less light or dark ; they have a light which 
 belongs to them naturally, and shows itself independently 
 of all coloring. This distinction between the natural 
 color of bodies and what may be termed the chiar' 
 oscuro or tone, is of considerable moment with respect 
 to photography, as it serves to fix, with much exactness, 
 the limits to be observed in representing nature. 
 
 The elements of a picture are the form of objects, their 
 color, and their natural tone, revealed by the light 
 shining upon them. The positions of the forms among 
 themselves; the objects with respect to the light, and 
 with respect to us, produce infinitely varied effects, by 
 creating numberless relations between the various ele- 
 ments of the visible spectacle. From all these combina- 
 tions will result a general effect, which will be the 
 
HELIOGKAPHY — ITS ARTISTIC RELATIONS. 437 
 
 character or significance of the picture. It is therefore, 
 important that the artist should know to what extent 
 each of the elements, first enumerated, conduces to the 
 final result ; and, especially, must he unite in his imita- 
 tion the elements which, by their relations, constitute the 
 meaning of the natural spectacle. 
 
 If the painter or the photographer is struck by the 
 beauty of an object, he should endeavor to detect the 
 cause, or the origin of his impressions. This may be the 
 arrangement of colors, or perhaps some felicitous con- 
 trast. This eloquence of color may be so potent as to 
 dominate all the rest ; so that, were we to withdraw from 
 the picture all the expression it receives from its colors, 
 all that remains would produce but an indifferent expres- 
 sion, and, very possibly, one devoid of beauty. On this 
 account it is, that many of the photographic proofs, taken 
 of scenes, a^^jareniiZ^/ very effective, are in reality so often 
 dull and destitute of the character which had arrested 
 our attention and determined our choice. 
 
 Let us now introduce into the comparison between 
 photography and painting a subject, that derives more 
 of its essential significance from color. 
 
 In regard to exact imitation of nature, the two arts are 
 strikingly similar. The photographer indeed can express 
 the natural spectacle, with its forms, its perspectives, its 
 lights and shades, &c., quite as well as the painter, if not 
 better. 
 
 But, as already remarked, imitation without choice is 
 not the sole aim of photography, and here the difference 
 between the two arts becomes very marked. For, while 
 the painter, by a sort of natural impulse, chooses natural 
 objects of the most opposite character, and groups them 
 together, modifying them in position or detail, the pho- 
 tographer cannot dispense with the presence of the objects 
 
438 THE CAMEEA AND THE PENCIL. 
 
 he would reproduce. Let us try to illustrate by exam- 
 ples. 
 
 Thus, if a painter wished to express the sentiment of 
 calm and tranquillity, produced by an early morning 
 excursion into the country, with the varied scenes spread 
 out before his eyes, he may recall many variations of the 
 landscape, which had previously struck him; e. g. the 
 curious forms of certain trees, the peculiar eifect of a 
 piece of water, &c. He assembles these scattered frag- 
 ments in a single composition, and if some apparently 
 essential part be wanting, he seeks, in the boundless 
 field of nature, some suitable object to supply the defi- 
 ciency. Imagination, memory, and present vision, all 
 unite in furnishing the materials of the composition, and 
 these materials, each and all, he modifies to suit his pur- 
 pose. 
 
 The photographer cannot thus proceed. He must 
 seek the scattered elements which have originated the 
 idea he would express, not by help of imagination, but 
 as assembled in reality . He thus composes his picture by 
 a series of systematic calculations. To sum up : — The 
 painter, in addition to the reality, which may be present, 
 may employ the boundless resources of imagination. 
 Contrariwise, the photographer, in his composition, is 
 bound to the reality ; while, in the execution, he is limited 
 to exact imitation. 
 
 Whatever be the species of picture which the photo- 
 grapher aims to produce, he must follow the great law 
 of unity; i. e. the composition should have but one 
 decided point of interest; and the forms, attitudes, 
 shades, &c., should unite for the expression of this. 
 
 For instance, in a portrait, the individual represented 
 should constitute the feature of interest ; the accessories, 
 
HELIOGRAPHY — ITS ARTISTIC RELATIONS. 439 
 
 sucli as draperies, background, &c., should all be mere 
 subordinate details. 
 
 In a composition representing inanimate nature ; e. g. 
 a group of deer — by introducing hunters, horses, &c., you 
 destroy the unity of interest and infringe a law of art. 
 
 OF THE PORTRAIT. 
 
 At first sight, it seems suf&cient, in order to produce 
 a good portrait, that the model should remain still, and 
 the operant employ the shortest possible method. How 
 is it, then, that so many portraits are not at all good 
 likenesses; and that the friends of the model are so 
 rarely satisfied with the result of a sitting? How is it, 
 that the different representations of the same person are 
 so various, that they sometimes express dissimilar, and 
 sometimes even opposite characters ? The reason for all 
 this is, that the same person is susceptible of an infinite 
 diversity of moods, and may, therefore, present infinitely 
 diverse aspects. Few of these represent the true and 
 dominant character of the model. It is the expression 
 of this dominant character that constitutes the portrait, 
 and not a mathematically exact reproduction of the features 
 and for in. As the first step towards obtaining a good 
 portrait, the photographer should penetrate, by whatever 
 means at his command, the fleshly mask, which envelopes 
 the spiritual part of his model, and ascertain his real 
 type and character. The second step is, by animating 
 conversation, and all other appliances, to call into the 
 face the exjjression of such character. Thus much being 
 done, the solar pencil will perform the rest. To avoid 
 repetition, we would refer the reader to the four chapters 
 on expression, especially the first two, — Vol. First, pages 
 2-i6-7. He will there fiod the subject of portraiture 
 
440 THE CAMERA AND THE PENCIL. 
 
 discussed in full. I would also recommend his consult- 
 ing, for the same purpose, the series of chapters in Part 
 First, commencing with the seventh and extending to 
 the sixteenth. It is only by first ascertaining the proper 
 expression, that the artist is enabled to select the atti- 
 tude, the distance, the lights and shadows, and various 
 accessories of the picture ; and knowing these, he seeks 
 to obtain the optical combinations required for express- 
 ing the result of his observations ; i. e. he composes the 
 portrait. 
 
 The class of impressions made upon an intelligent 
 beholder, by observing the portrait of an individual, will 
 go far towards proving its general truthfulness or falsity. 
 Thus the representation of a true philosopher, who has 
 passed his life in close study and diligent research, 
 should awaken, even independently of resemblance and 
 similar considerations, calm, and serious ideas; it should 
 possess simple attitudes ; an interior light distributed in 
 tranquil masses, with half-shades, deep background, and 
 VQTj sober accessories. The head, as the seat of thought, 
 should present a brilliant and luminous aspect. 
 
 On the other hand, the portrait of a soldier, who, 
 though young, has achieved the right to command, and 
 has distinguished himself by unusual daring, should 
 create quite other impressions. The life, passion, and 
 energy which are its fitting expression, would properly 
 accord with an open-air treatment ; plenty of light, with- 
 out mysterious half-tones ; the body firmly poised ; the 
 gestures frank, decided, and vigorous ; — such should be 
 the representation in question. 
 
 Of course, these general styles of presentment might 
 be modified by the artist to correspond to peculiarities 
 in the originals. In order, moreover, to make the por- 
 trait beautiful, as well as truthful, so far as may be, he 
 
HELTOGRAPHY — ITS ARTISTIC RELATION'S. 441 
 
 should SO use liis appliances, as to cast blemishes and 
 defects of the model into shade, and to bring out good 
 points into prominence. (See chapters above referred to 
 in Part First.) 
 
 To get the desired proportions of the figure requires 
 no slight acquaintance with optical efi'ects. Thus, the 
 figure will appear much larger, if the head is placed 
 near the top of the frame, leaving plenty of free space at 
 each side. It will be increased or diminished in size, as 
 it is brought towards the right or left edge, with much 
 space above it. 
 
 Dress, too, greatly influences the proportions, — close- 
 fitting, light cloth garments enlarging the head, hands, 
 and extremities ; while an ample flowing dress diminishes 
 the same. 
 
 Again, he may increase the size of a head, that appears 
 too small, by throwing the light on the face ; and lessen 
 it, by using a tint that would throw half the face into 
 the shade. Backgrounds produce the same effects, accord- 
 ing as they are light or dark. 
 
 The proper size to be adopted for a photographic 
 portrait should be determined by the importance of the 
 subject, and especially by the mode of treatment and the 
 disposition of the scene. The place to which it is 
 destined should also be considered — an open position 
 requiring much larger dimensions than a boudoir, or 
 ordinary apartment. 
 
 So the portrait may represent the individual in full 
 length, in half length, or in merely the bust. The first 
 gives best the complete likeness, but involves many and 
 great difficulties. 
 
 The head should never be represented, unaccompanied 
 by the bust at the least. 
 
 The group-portrait is often very much abused, and has 
 
442 THE CAMEEA. AND THE PENCIL. 
 
 sTiown the^ worst results of any kinds of portraits. If it 
 be so difl&cult to produce a good likeness of one person, 
 liow much more to represent many, and these of different 
 ages, sexes, and characters ! 
 
 The position of the model is important ; and in this 
 especially the artist should clearly understand the char- 
 acter of the person he would represent. The first con- 
 dition of a good attitude is, that it should be in accord- 
 ance with the age, stature, habits, and manners of the 
 individual^ and secondly, that it should express the 
 greatest beauty of which the model is susceptible. 
 
 The pose should, moreover, express unity of aspect and 
 be optically correct. A dominant movement, therefore, 
 must be found, which harmonizes with all the other 
 particulars. 
 
 The great difl&culty in regard to the physiognomy, is 
 to distinguish from the multitude of different expressions 
 presented by the model, the one which is most char- 
 acteristic, or best represents his individuality, or most 
 accords with the sentiment intended to be exhibited by 
 the "ensemble'''' of the portrait, and which is, at the same 
 time, most favorable to a good resemblance. The expres- 
 sion giving the person's true character is (as we have 
 said scores of times) an absolute essential. 
 
 Among other expedients to be employed, the artist 
 should place himself in the moral state he desires to 
 create in the person to be represented, and thus take on 
 himself the expression he would give to him. Uncon- 
 scious imitation on the part of the model may help the 
 artist in his task. 
 
 To obtain a good result, the artist should especially be 
 exempt from interruption, and Disderi thinks he should 
 be ahne with his model. In the case of children he 
 
HELTOGRAPHY — ITS ARTISTIC RELATIOXS. 443 
 
 deems this condition essential, as they should be photo 
 graphed ivithout being conscious of it. 
 
 That Disderi is a first-class authority is undeniable ; 
 and that he is right, as regards interruption, we are not 
 disposed to deny. But with his idea of the artist being 
 alone with his model, we cannot agree. For the presence 
 and varied conversation of congenial friends, at a seance, 
 may be an incalculable help to the artist, in producing 
 in the sitter^s mind, the mood desired — that mood, which 
 shining out upon the face, and thence transferred to the 
 plate, shall stamp thereon an image which leaves nothing 
 to be wished for. No artist exists who is so flexible and 
 electrically swift in his mental activities, as to adapt 
 himself to scores of successive sitters per day, to each 
 of whom but a few minutes can be granted, — so adapt 
 himself, as to produce in each the state required. Our 
 opinion, therefore, is that the company of friends of the 
 right kind, is one of the greatest of benefits instead of 
 the worst of hindrances. 
 
 A skilful choice and distribution of light are important 
 to a portrait. The general efiect of the lights and 
 shadows should be appropriate to the character. Thus, 
 if the portrait be that of a child, the scene should be 
 conceived in a clear and smiling light, free from deep 
 an.d heavy shadows. Whereas, if the portrait be that 
 of a man of firm character, sombre and ample masses 
 should be alternated with luminous ones ; the shadows 
 should be powerful and the lights large and frank. 
 
 It should by no means be overlooked, that all the 
 combinations above enumerated, as requisite conditions 
 for obtaining a good portrait, may be absolutely nullified 
 by a false selection of color in the dress of a model. 
 The colors most luminous to the eye, do not always 
 produce the most energetic effects ; e. g. red, orange, and 
 
444 THE CAMERA AND THE PENCIL, 
 
 yellow, are almost without action ; green acts but feebly ; 
 blue and violet are reproduced very quickly. Thus a 
 person of very fair complexion must avoid dressing 
 either in green, or orange, or red, as the lights would be 
 too prominent, and the whole portrait would lack energy 
 and detail. The artist, therefore, should be very careful 
 in choosing his model's dress. (See page 67, Harmony, 
 
 &G.) 
 
 Portrait-coloring should be confined only to artists of 
 uncommon ability and skill. For it is not only necessary 
 to avoid losing the likeness, but the colors must not be so 
 opaque, as to cover and make invisible the shades pro- 
 duced by the light. 
 
 From the foregoing remarks it is evident, that the 
 production of a good portrait, combining resemblance 
 with beauty, is a difficult achievement ; and that the 
 photographic art can be acquired only by patient study 
 and a long and constant observation of nature. 
 
 ANIMATED SCENES — DESCRIPTIVE AND HISTORICAL SUB- 
 JECTS. 
 
 It is most especially in the treatment of scenes where- 
 in the personages are supposed to be in action, that 
 the photographer must possess the clearest possible idea 
 of the particular language and multiform resources of his 
 art. In the impression produced by animated nature, 
 color often makes a considerable item. Many photo- 
 graphers, in their quest of interesting subjects, have been 
 attracted by those Southern lands which have inspired 
 so many painters ; but the specimens they have brought 
 back have often failed of giving a clear or pleasing idea 
 of the regions they wished to represent. The reason of 
 'vhich' is, that they have been carried away by those 
 
HELIOGRAPHY — ITS ARTISTIC RELATIONS. 445 
 
 brilliancies of color and costume, which are not within 
 the scope of their art, to the neglect of scenes which 
 photography might have pictured. While observing 
 nature, the photographer must often ask himself, if the 
 scene he admires would retain the same expression, if 
 devoid of color ? 
 
 Although strictly obliged to imitate reality, the pho- 
 tographer may, nevertheless, sometimes unite the elements 
 of the scene he would represent. He may, in fact, 
 compose the scene he wishes to reproduce, by choosing 
 the personages ; giving them costumes appropriate to the 
 parts he would have them take, and combining the 
 diff'ei'ent effects of light and distance. 
 
 In a vast atelier (sitting-room) properly organized and 
 fitted up with backgrounds, reflectors, and all requisite 
 accessories, the intelligent and skilled photographer, 
 aided by capable models, may therefore essay the most 
 complicated and difficult pictures, provided the subjects 
 do not necessitate attitudes which depict and illustrate 
 the passions, as, for instance, in the episodes of battles 
 by Salvator Rosa. Might he not represent interiors like 
 Van Ostade, Pierre de Hooge, Chardin, Granet, &c.? 
 Might he not attempt to exhibit the sentiment of Schaeffer, 
 and the style of Watteau ; or the meritorious compositions 
 executed in the manner of Ducq, Terburg, Teniers, &c.? 
 Why should he not treat historic subjects like Paul 
 Delaroche, in his picture of the death of Henri Due de 
 Guise ? And, by constructing an atelier sufficiently 
 spacious, and securing a sufficient number of the most 
 highly accomplished models, why might he not attempt 
 those vast compositions for which Veronese was dis- 
 tinguished ? 
 
 Certainly the photographer might atterajot these and 
 kindred compositions ; but whether such attempts would 
 
446 THE CAMERA AND THE PENCIL. 
 
 issue in triumphs or defeats, is a question which it were 
 impossible to answer decisively, and not easy to answer 
 at all. 
 
 The remarks already presented concerning the por- 
 trait, show how difficult it is to produce a single figure, 
 marked by that expression which alone constitutes it a 
 portrait, truthfully representing the original. How 
 would it be possible to apply the many nice expedients 
 required for begetting that expression in one, to numbers 
 small or great, — numbers who must, at one and the same 
 instant, exhibit, in face, form, position, &c., each the 
 character he is intended to embodj^ and manifest ? 
 
 It is evident that, by no unaided endeavors of his own, 
 can he prepare the group for the moment of taking by 
 the camera. If prepared at all, the models must almost 
 wholly 23'f'epare themselves. By a sort of self-magnetization, 
 they must place themselves in the several positions of 
 the persons they mean to represent, and identify them- 
 selves completely with such persons. The enormous 
 difficulties attending the achievement of such results, are 
 obvious at a glance ; and Disderi seems to reckon them 
 so many and great, as to imply an absolute impossibility. 
 
 We admit fully the difficulties of the case, but we can- 
 not recognise its impossihility. A Grarrick, a Kemble, a 
 Kean, a Mrs. Siddons, a Mrs. Jordan, a Fanny Kemble, 
 a Forrest and a Booth, a Murdoch, a Davenport, and a 
 Charlotte Cushman, have once lived, and before the eyes 
 of multitudinous beholders, have been able to reproduce, 
 to the minutest particular, the various characters they 
 assumed to represent. Has the advance of our race 
 ceased ? Has its utmost goal been reached ? Does the 
 future enfold in its teeming bosom, no duplicate fac- 
 similes of the Kemble, the Siddons, and their compeers 
 of the days foregone? Fac-similes? Why not even 
 
HELIOGEAPHY — ITS ARTISTIC RELATIONS. 447 
 
 superiors to those sons and daughters of fame, — those 
 worthy wearers of the civic crown ? 
 
 Why, then, may not the time, how far distant soever, 
 actually become the time instant, wherein shall live mul- 
 titudes, capable of executing tasks immeasurably harder 
 than the one in question ? For ourselves, we look 
 forward to the era wherein the sun-painting art, improved 
 beyond our present conceptions, shall depict groups, 
 comprising multitudes, who, each unaided, shall represent 
 to the most vivid life, the most brilliant characters, 
 encompassed by the sublimest or loveliest scenes, and 
 engaged in actions which thrill and exalt the spectators 
 to a mimic heaven on earth ! Who shall say that repre- 
 sentations like these may not be among the most potent 
 of earthly influences, for civilizing, refining, and eleva- 
 ting our kind ? 
 
 Disderi admits that, even now, some inanimate scenes 
 and some human groups may be regarded and treated as 
 proper subjects for the camera. For example, the culture 
 of the fields ; the different trades ; military and every-day 
 life, all furnish the photographer with subjects, which 
 periodically appear under nearly the same conditions. 
 In regard to these the operant should proceed in the 
 same manner as with the portrait. He should first 
 endeavor to ascertain its true character and significance, 
 and then cast about for the means of reproducing it to 
 the best advantage. 
 
 On the whole, however, he speaks discouragingly of 
 the capability of photography for representing descriptive 
 or historical subjects, or indeed groups of any class, 
 whether animate or inanimate. As we have already 
 stated, however, in the many causes which, in his view, 
 render such representation impracticable, we behold only 
 difficulties, which time and persistent systematic endeavor 
 
448 THE CAMEEA AISTD THE PEXCIL. 
 
 may eventually overcome. For the stage men and women 
 are carefully edacated and disciplined. For the equita- 
 tion and the ground and lofty tumbling of the circus ; 
 for the exhibitions of the tight and slack rope ; for jug- 
 glery ; for singing and dancing, and a multitude of kin- 
 dred displays, individuals are prepared by a lengthened 
 and rigorous course of training, and, as the result of 
 such training, they are enabled to execute feats, which, 
 to the uninitiated, seem more like miracle than prosaic 
 every-day actualities. 
 
 Why, then, may not education and discipline, if suffi- 
 ciently thorough and protracted, fit men and women for 
 models to represent such scenes and living groups as the 
 photographer may wish to transfer to plate or paper, be 
 they as complicated and beset with difficulties as they 
 may? No limit can be set to the possible development 
 and progress whether of art or artists, and of the appli- 
 ances required by them, whether inanimate or human ; 
 and what may, perhaps, be impracticable to-day, may 
 cease to be so a generation or a century hence. 
 
 And the models required by the photographer for these 
 large and complex representations, may serve besides to 
 entertain and instruct the public, by composing and ex- 
 hibiting "tableaux vivants." In these spectacles maybe 
 presented the sublimest and loveliest scenery of all lands, 
 and the grandest and most beautiful monuments of 
 human genius, skill, and labor, in both the ancient and 
 the modern worlds, together with man himself, of every 
 nation, tribe, and aspect on earth, and engaged in every 
 various occupation pertaining to earthly existence. By 
 the same flexible appliances, the most thrilling and 
 critical scenes and actions, which are commemorated in 
 history or imagined in romance, together with the heroes 
 or geniuses, the sages or saints or martyrs, who have 
 
HISTOEY OF THE HELIOGRAPHIC ART. 449 
 
 borne a part therein, may be reproduced before the 
 contemplation of tlie present generation with the vivid- 
 ness of living reality. What incalculable means and 
 materials of instruction, of refinement, and of elevation, 
 not less than of recreation and amusement, are here pre- 
 sented ! And, after serving this primary and most 
 important end, they may serve the photographer in 
 producing pictures of whatever is most interesting and 
 instructive, either in the vast and multiform world of 
 reality, or the still vaster and more various world of 
 imagination and inventive genius. 
 
 From these slight suggestions we leave the reader to 
 form his own conclusions, as to the importance and 
 dignity of our art, and the magnificent purposes it is 
 capable of subserving. 
 
 29 
 
INDEX. 
 
 Actinism, 51, 62. 
 
 Address to ocean, 208. 
 
 Adulterations of commodities, 335. 
 
 ^sop, 170. 
 
 ^tna, 176. 
 
 Agesander, 251. 
 
 Alabastrine process, 306-8. 
 
 Albert Durer, 150. 
 
 Alexander, 152, 261. 
 
 Alison, writer on taste, 190. 
 
 AUston, Washington, 242, 252, 224. 
 
 Alps, 5S, 161. 
 
 Ambition, true, 41. 
 
 Ambrotype, 373, 404. 
 
 American art, 24. 
 
 American Journal of Photography, 389. 
 
 Amphitj'pe, 402. 
 
 Amplitude, in costume, 128. 
 
 Anatomists, of nature, 416. 
 
 Anatomy of expression, 160. 
 
 Ancients, understood beauty, 187-8. 
 
 Andrea del Sarto, 252. 
 
 Andrew, St. 256. 
 
 Angelo, Michael, 33, 113, 153. 
 
 Animal kingdom, 169. 
 
 Animate, object, 60. 
 
 Animated scenes, 444-9. 
 
 Annibale Caracci, 221. 
 
 Anthony, Edwards & Co., 361. 
 
 Anthony, N. Y., 359. 
 
 Anthotype, 402. 
 
 Antipathy, nature of, 167. 
 
 Apelles. ancient painter, 202, 247, 254. 
 
 Apollo, 147. 
 
 Apiillodorus, 247. 
 
 .^.piiaratus, 65. 
 
 Appletons. booksellers, N.Y., 382. 
 
 Arago, 340-5. 
 
 Archer, Frederick Scott, 406. 
 
 Ariost, the poet, 197. 
 
 Aristides, "the just," 196. 
 
 Aristides, painter, 245. 
 
 Aroostook, 361. 
 
 Art. definition of, 210. 
 
 Artist, a creator, 22, 32. 
 
 Artist-genius, 71. 
 
 Artistic, studies of photographer, 435-9. 
 
 Art-Journal, 80. 
 
 Arts, the fine, 19, 25. 
 
 Art, with its incidents and belongings, 207, 
 
 252. 
 Arsenal, U. S., 351. 
 Ashburton, I/Ord, 361. 
 Aspect, of face, 128. 
 .Atmosphere, weather, Ac, 132-.5. 
 -Atomic, arangenient, 64. 
 Atrephograph, 377. 
 Attic as sitting-room, 97. 
 Attitude, in sculpture, 115. 
 Auspicious seasons, 147. 
 Background, 292. 
 Bacon, Lord, 85. 
 Barry, James, painter, S3, 219. 
 Bartolomeo, della forta. 26 <, 
 Bathurst, Lord, 223. 
 Bauer. M., 357. 
 Beauty, 21, 22. 
 
 Beauty, artists' opinion of^ 185, 206. 
 Beckers, Alexander, 369. 
 Beechey 223. 
 
 Bell, Sir Charles, 123, 160, 168, 242-4. 
 Belridere, torso, 221. 
 Berlin, Prussia, 300. 
 Biliu, Bohemia, 322. 
 Bird, Dr. Robert M., author, 350. 
 Bishop White, 162. 
 Black, 72-8. 
 
 Black, Boston, heliographer, 369. 
 Blasted heath, 172. 
 Blemish, 114. 
 Blind, in one eye, 118. 
 Blonde, 78. 
 Blushing, 82. 
 Boccaccio, 87. 
 Bologna, 232. 
 Bonaparte, face of, 87. 
 Bond, Dr., Cambidge Observatory, 364. 
 Boneless heap, 156. 
 Borgia Cjesar, by Titian, 247. 
 Boston Common, 157. 
 Bourbon, face of, 87. 
 Bowcn'S history, Indians, 182. 
 Bowman, Col. 419. 
 Boy-fi-iend of Washington, 159 
 
 (450) 
 
INDEX. 
 
 451 
 
 Bradv, N. Y., lieliographer, 363. 
 
 Brewster, Sir D, 52, 312, 422, 427. 
 
 Brooks, Dr. S. S. 177. 
 
 Brougham, Lord, 152, 395. 
 
 Browne, Sir Thomas, 85. 
 
 Brunette, 78. 
 
 Bryant, William C, 166. 
 
 Buff, for polishing, 133. 
 
 Bull dog, representative, 171. 
 
 Bunker Hill Monument, 158. 
 
 Burgess, N. G., N.Y., 390. 
 
 Burke, Edmund, 219, 259. 
 
 Burnet, 228, 232, 201. 
 
 Byron, 88, face of, 240. 
 
 Caesar Borgia, 247. 
 
 Cassar, Julius, 183 
 
 Calhoun, John 0., 160. 
 
 California, steamer for, 134. 
 
 Caloric, 59, 61. 
 
 Calotype, 401. 
 
 Cambridge University, England, 124. 
 
 Camera, 115, 147. 
 
 Camera obscura, 393. 
 
 Canova, sculptor, 241. 
 
 Caracalla, 87. 
 
 Carbon, 55. 
 
 Carbonic acid, 55, 62. 
 
 Cartilage, nas.al, 120. 
 
 Case & Getchell, Boston, 379. 
 
 Catalissotype. 402. 
 
 Catch-lights, 114. 
 
 Caucasian race, 78. 
 
 Celebrities, painting of, 145. 
 
 Cerberus, myth of, 82. 
 
 Cerebrum, 89. 
 
 Cerebellum, 89. 
 
 Changes of weather, 132. 
 
 Chantrey, sculptor, 427. 
 
 Chaptal, author, 394. 
 
 Charles II., 88. 
 
 Charles V., 263. 
 
 Charleston, S. C, 242, 420. 
 
 Chastity, Milton, 82. 
 
 Cheek, light upon, 121. 
 
 Chemistry, 36. 
 
 Chest, acutely diseased, 178. 
 
 Chestnut color, 79. 
 
 Chevreuil, 402. 
 
 Chevreul, author, 273. 
 
 Chilton, Dr, N.Y., 366. 
 
 Chiar' oscuro, 221. 
 
 Chingachgook, significance of, 182. 
 
 Chin, level with, 120. 
 
 Chlorine, 64. 
 
 Christ, 149, 150. 
 
 Christian Pythagoras, 167. 
 
 Christendom, 411. 
 
 Chromatics, 83. 
 
 Chromatography, 79. 
 
 Chromotype, 402. 
 
 Chysotype, 402. 
 
 Cicero, Marcus Tullius, 183. 
 
 Cite of Paris, 175. 
 
 Clarendon, Lord, 150. 
 
 Claude, painter, 215. 
 
 Claudet, heliographer, 349, 426. 
 
 Clay, Henry, 120, 154. 
 
 Clergyman, lady of, 76. 
 
 Coincidence, 149. 
 
 Colhns's ode, &c., 130. 
 
 Collodion process, 404. 
 
 Color, 50, 67, 229, 232. 
 
 Colored snow, 328. 
 
 Coloring in crayons, 295. 
 
 Coloring in oils, 297. 
 
 Coloring in pastels, 297. 
 
 Colors for hair, 299. 
 
 Combustion, 55. 
 
 Complemental colors, 74. 
 
 Complexion, certain colors for, 78. 
 
 Composition, 145, "225-9. 
 
 Compromising, professional repute, 119, 145. 
 
 Concentrated thought, 116. 
 
 Constituents of beauty, 67. 
 
 Copartnei's, with the sun, 148. 
 
 Copying of engravings, 315. 
 
 Corpulent subject, 119. 
 
 Costume in jjortraiture, &c., 127, 131. 
 
 Cochineal, an insect, 331. 
 
 Cornelius, Robert, heliographer, 354. 
 
 Competition, sharp, 367. 
 
 Correggio, 37, 14.8, 220. 
 
 Corresponding secretary, 388. 
 
 Costume, appropriate, 76. 
 
 Courtois, heliographer (discovered iodine 
 
 1811), 398. 
 Cousin, 186, 195, 200, 211, 219, 246. 
 Crayon daguerreotype, 317. 
 Creator, 149. 
 
 Cresson, Dr. Charles M., Phila., 372. 
 Crimson, 52. 
 Critic, 149. 
 
 Cromwell, Protector, 261. 
 Cross-eyed, 117. 
 Cross-legged, 106. 
 Cross-lights, 114. 
 Crystal Palace, 369. 
 Crystal Palace, London, 376. 
 Cunningham, Allan, 240. 
 Curran, 34, 240. 
 
 Curtis, Dr. Josiah, discovered coUodion, 404. 
 Customers, &c., 134. 
 Cutting, Boston, .372. 
 Cyanotvpe, 402. 
 Cyllanus, Centaur, 236. 
 Dabbs, George, 378. 
 Daguerre, 62, 398. 
 Daguerre, proceedings of (in regard to siTii- 
 
 painting in 1824, 1826. 1839), 397. 
 Daguerreotypist, 133. 
 Damask, a color, 61, 81. 
 Dandyism, Lawrence, 227. 
 Dante, 87. 
 Dark slate, 101. 
 Dark cinnamon, 101. 
 David, king, 166. 
 Davy, Sir H., 61,396. 
 Dealing with defects, &c., 117, 122. 
 Debility, 59. 
 Decomposition, 57. 
 Demetrius, painter, 201. 
 Demosthenes, 424. 
 
 Descriptive and historical subjects, 444-9. 
 Development, corporeal, 71. 
 Diagram of colors, 74. 
 Diaphanotype, 309, 312, 376. 
 Diaphanous, 86. 
 Dickens, how to depict, 166. 
 Dieze, author, 394. 
 Diffused light, 96. 
 Dionysius, painter, 201. 
 Diotomaceae, 324, 327. 
 
452 
 
 INDEX. 
 
 Discobolus, statue, 250. 
 
 Discovery of sun-painting, 62. 
 
 Disderi, French artist, first-class authority, 
 
 442-3. 
 Disderi, Paris, 379, 433, 442. 
 Disease, 59. 
 Divine exemplar, 146. 
 Divine original, 144. 
 Dominant movement, 443. 
 Drab color, 78. 
 Draper, Dr. Henry, 343. 
 Draper, Prof. J. W., 339, 343. 
 Draperies, 290, 292. 
 Drapery, 80, 127. 
 Dress, remarks on, 116. 
 Drawing and sketching, 136. 
 Drawing from nature, 136. 
 Drawing or design, 220-3. 
 Dry process (collodion), 406. 
 Dumas, chemist, 398. 
 Du Piles, author, 238. 
 Dutch school, 230. 
 Editor, representation of, 165. 
 Education, by circumstances, 27. 
 Egypt, pyramids, &c., 418. 
 Elirenberg, microscopist, 321, 323. 
 Electricity, 133, 162 
 Elgin JIarbles, 191, 261. 
 Embellishment, natui-al love of, 20. 
 Embryon, vegetable, 63. 
 Energiatype, Hubert Hunt, 402. 
 England, colleges, 124. 
 English school of painting, 233. 
 Ensign, beauty's 81. 
 Epic, Milton's, 41. 
 
 Establishment, heliographic, 137, 138. 
 Etlian Allen, representative of, 174. 
 Europe, steamer for, 134. 
 Eve, "fatal apple, 172. 
 Everett, Edward, 166. 
 Expression, 141, 23T, 246. 
 Eyes, direction of, 106 . 
 Eyes, language of, &c., 113-16. 
 Executive skill, 126. 
 Experience, writer's, 135. 
 Expression by names, 181. 
 Expression of abnormal moods, 177-9. 
 Expression through face, 143, 162. 
 Expression through face and figure, 163, 168. 
 Expression, through animal world, Ac, 169, 
 
 176. 
 Extremes, 116. 
 Paris, Thomas, S60. 
 Fashion, 76. 
 Faultless beauty, 71. 
 February, severest ■weather, 60. 
 Fermentation, 64. 
 Ferrotype, 376. 
 Fervors, summer, 62. 
 Festive, 77. 
 
 Field, (Jeorge, light, 50. 
 Finden, artist, 99. 
 Fine arts, 19, 25. 
 
 First portrait from life, N. Y., 341. 
 Fitzgibbons, 370. 
 Fitz, Henrj', optician, 350. 
 Flattered, the cross-eyed, 117 
 Flaxen hair, 116. 
 Flaxman, sculptor, 248, 255. 
 Florence Nightingale, 209. 
 Florence Bchool, 232. 
 
 Folds, costume, 128. 
 
 Fontayne, Charles, 385. 
 
 Form, constituent of beauty, 67. 
 
 Fourier, Charles, 412. 
 
 Fox, representative of, 170. 
 
 Franldin, Dr., 61, 161, 421. 
 
 Frazer, Prof. J. F., 367. 
 
 Freckled, 121. 
 
 Fredericks & Co., 381. 
 
 Frenel, light, 50. 
 
 Friendly hints, 134-5. 
 
 Frigid zone, 174. 
 
 Frogs, tadpoles, 58. 
 
 Front light, 97. 
 
 Front view, 115. 
 
 Frowns, Mr. Clay, 155. 
 
 Frozen sea, 175. 
 
 Fruit, apple, 72. 
 
 Fuseli, artist, 83, 198, 212. 
 
 Galatea, of Kaffaelle, 201. 
 
 Galleries, first-class, 115. 
 
 Gaspar Poussin, unimaginative, 215. 
 
 Gastric juice, 64. 
 
 Gaudinotype, 402. 
 
 Gelatinizing positives, 292. 
 
 Gem, harmony of colors, 68. 
 
 Genial moods in sitters, 154. 
 
 Genius, creative, not imitative, 213. 
 
 Genius, nature of, 36, 144, 146, 211, 214. 
 
 Geno.a, 87. 
 
 Geologic inquiry, 416. 
 
 Geometrical principles, 223. 
 
 Germination, how caused, 63. 
 
 Ghastliness in complexion, 73. 
 
 Gilmore, General, 420. 
 
 Gladiator, composition in action, 228. 
 
 God, gift of, 144. 
 
 Goddard, Dr. Paul Beck, 362. 
 
 Goitre, among Alps, &c., 58. 
 
 Good nature, Important, 38. 
 
 Goodness of God, 62. 
 
 Gonsalvi, of Lawrence, 223. 
 
 Gouverneur Morris, with Stuart, 164. 
 
 Grace Darling, 209. 
 
 Grace, definition of, 223-4. 
 
 Grace in woman, 186. 
 
 Gradations in color, 230. 
 
 Grant, Prof., calcium light, 353. 
 
 Grand Trunk Railway, 419. 
 
 Gray, intermediate of black and white, 78. 
 
 Great Britain, 419. 
 
 Greek Fire, 420. 
 
 Greek myth, Prometheus, 145 ; Phaeton, 148 
 
 Greeks, ancient, 24, 87. 
 
 Griswold, V. M., 376. 
 
 Grotius, picture by Rubens, 247. 
 
 Group of sitters, 100. 
 
 Gulliver's Travels, 72. 
 
 Gum, vegetive nutriment, 63. 
 
 Gurney, J., N. Y., 369. 
 
 Gutta percha, 406. 
 
 Haas, heliographer, N. Y., 363. 
 
 Hair, arrangement of, 129. 
 
 Half-length, 118. 
 
 Haller on face, 86. 
 
 Hallotype, 312-13, 376. 
 
 Hands, of lady in sitting, 106. 
 
 Hannibal, portrait of, 151. 
 
 Happiness of the masses, 28. 
 
 Hapsburgh face, 87. 
 
 Hare, Dr., chemical professor, 352. 
 
INDEX. 
 
 453 
 
 Harmony of colors, 67, 83. 
 
 Harmonist of colors, Deity, 68. 
 
 Harmonic coloring, 70, 2li5. 
 
 Harmony of analogy, what, 73, 271. 
 
 Harmony of contrast, 74. 
 
 Harris, light, 50. 
 
 Harrison, C. C., camera lenses, &c., 374. 
 
 Hart, Prof. John S., 421-2. 
 
 Harvey, on stars, 228. 
 
 Hatching, what, 284. 
 
 Haydon, B. R., 8.% 187, 216. 
 
 Head-rests, lor sitting, 191. 
 
 Hearing, cause of, 50. 
 
 Health, influenced by light, 57. 
 
 Heat from combustion, 50 ; nature of, 58. 
 
 Heath, artist, 99. 
 
 Helen, Grecian eye of, 88 ; beauty of, 197. 
 
 Heliographer and his sitters, 90-5. 
 
 Heliographic rooms, fitting up of, 43-8. 
 
 Holiography, its present and future, 411, 
 
 431, 412. 
 Heliography, artistic character of, 432, 448. 
 Heliography, uses of, 26, 31. 
 Hercules, type of man, 170, 195. 
 Heroes, representations of, 27. 
 Herschell, Sir J., lavender and crimson, 52. 
 Herschell, Sir J., hyposulphite soda, 396. 
 Herschell, Sir William, 395. 
 Ilesler, daguerreotype views, 370. 
 Hickory, compact, 56. 
 High art, what' 263. 
 Highlights, where placed, 101. 
 Hillotype, 316, .376. 
 Hindrances, to heliographer, 147. 
 Hindrance to growth, what, 63. 
 Hints, on sitting, Ac, 105, 112. 
 Historian, how to be represented, 165. 
 Historic, pictures, 227. 
 
 History of heliography in Europe, 393, 410. 
 Hogarth, expression, 153. 
 Hogarth, " line of beauty," 115. 
 Hogarth, style of painting, 248. 
 Holiday, in eye, 113. 
 Holmes, invention of, 386. 
 Holy Ghost, Simon Magus, 144. 
 Homer, " ox-eye," 88 ; as poet, 186, 197. 
 Honey-process, 405. 
 Horn-silver, 394. 
 Horizon, sun above, 57. 
 Hospitality, offers of, 115. 
 Howard, art-writer, 222, 254. 
 Huge mound, of mountain, typical, 174. 
 Human face, chief subject of art, 84-9. 
 Hume, historic characters, 150. 
 Humphrey's journal, 389. 
 Hunt, Robert, 401. 
 Husk of seed, 63. 
 Hyalotype, 371. 
 
 Hydrogen, " blackening power," 50. 
 Ice, hypothesis, 59. 
 Ichaboe, island, guano, 328. 
 Ideal beauty, 198. 
 Ideal, in portraiture, 149. 
 Illustration No. 7, 352. 
 Illustrations, by heliography, 130-1. 
 Image, heliographic, 45. 
 imagination, 214-17. 
 'mlac, philosopher, in Rasselas, 221. 
 Imperial photograph, 377. 
 Independence, 1776. 
 Indigo, refrangibility of, 52. 
 
 Individuality of man, 32, 44, 146, 149. 
 
 Infractors, of law, detected, &c., 421. 
 
 Inman, Henry, his address, &c., 242. 
 
 Intellectual beauty, 196. 
 
 Intermediate, position of head, 115. 
 
 Interpreter, of nature, 72. 
 
 Intractability of matter, 71. 
 
 Insipidity of habitual smile, 95. 
 
 Instrumentality of heliographer, 49. 
 
 Invention, in art, 217-18. 
 
 Iodine, saturated, &c., 133. 
 
 Irritation, by night, 57. 
 
 Isolation of heliographers, 40. 
 
 I talians, devoted to art, 87 ; masters, 149. 
 
 Ivorytype, 303, 406. 
 
 Ivorytype, American, 305-6. 
 
 .James, St., in the " Lord's Supper," 257. 
 
 January, its cold, 60. 
 
 Jay's treaty, 163. 
 
 Jeffrey, Lord, on beauty, 188-9. 
 
 Johnson, John, N. Y., 348, 349. 
 
 John, St., in the " Lord's Supper," 256. 
 
 Joinville, I'rince de, 360. 
 
 Jones, W. B., Boston, 371. 
 
 Journals, heliographic, 42. 
 
 Judas, in the " Lord's Supper," 256. 
 
 Julius Cassar, ideal, 161. 
 
 July, its heats, 59. 
 
 June 21st, N. limit of sun, 59. 
 
 Juno, of Homer, 88 ; in art, 191. 
 
 Jupiter, of I'hidias, 200. 
 
 Justice, George M., 351. 
 
 Juvenal, on Phidias, 251. 
 
 Kemble, John, his beauty, 244. 
 
 Kemble, Mrs. F., remark on Lawrence, 32. 
 
 Knowledge, of the masses, 28. 
 
 Labillardiere, on pores of plants, 55. 
 
 Laborde, professor of sciences, 368. 
 
 La Fayette, at Bunker Hill, 158. 
 
 Landscape photography. Col. N. Pike, 387. 
 
 Langdell, Dr. G., Phila., 372. 
 
 Langenheim, F., Phila., 355, 363. 
 
 Languid expression of eyes, 114. 
 
 Laocoon, how classed, 221. 
 
 Last Supper, by Lionardo Da Vinci, 255-8. 
 
 Latent heat, 57 ; in ice, 59. 
 
 Laughing, muscles affected by, 117. 
 
 Lavater, faces, &c., 85. 
 
 Lavender, color, by Sir J. Herschell, 52. 
 
 Lawrence, Sir Thomas, 33, 34, 145, 163, 223. 
 
 Lectures on painting, 83. 
 
 Lemon yellow augments paleness, 73. 
 
 Leonidas, at Thermopylae,. 209. 
 
 Letts, .Tames S., atrephograph, 377. 
 
 Lewenhoeck, microscopist, 329. 
 
 Light, and shadow discovered by Zeuxis, 233. 
 
 Light, and shadow as used by various paint- 
 ers, 234-7. 
 
 Light, Newton's theory of, 50; effect of, 56. 
 
 Lights and shadows in picture, 123-6. 
 
 Lignum vit£e, 66. 
 
 Likeness, excellent, 71 ; likeness, partial, 122. 
 
 Lille, fortifications of, 58. 
 
 Lilliputian ladies, 72. 
 
 Limning, human face, 71. 
 
 Lionardo Da Vinei, 37, 99, 234, 255. 
 
 Lion-hearted, Richard, 170. 
 
 Lions, representing eyes, 113; face of, ex- 
 pressive, 170. 
 
 Lippi Fillippo, great master of light and 
 shade, 236. 
 
454 
 
 INDEX. 
 
 Lipa express character, 85. 
 
 Lipsius, in conversation-piece, 217. 
 
 Liquefaction of ice, Ac, 60. 
 
 Litcli & Whipple, Boston, 364. 
 
 Lombard school, head of, 235. 
 
 Louis XV., France, 87. 
 
 Louvre, expression of, 124. 
 
 Love, proper hue of, b2. 
 
 Lungs, Influence of light upon, 57. 
 
 Luther, true portrait of, 424. 
 
 Lysippus, ancient artist, 201. 
 
 Macbeth, on " blasted heath," 171-2. 
 
 Macaulay's pen and ink portraits, 150. 
 
 "Macedonia's Madman's" portrait, 151. 
 
 Machiavelli, face of, 247. 
 
 Madonna of Correggio, 220. 
 
 Magdalen of Correggio, 220. 
 
 Magnetic electro telegraph, 412. 
 
 Magnetism, according to George Field, 51 
 
 Magnetism, essential to life, 50. 
 
 Magnetism of genius, 50. 
 
 Malformation, from want of light, 58. 
 
 " Man of Sorrows," by Albert Durer, 150. 
 
 Masaccio, chiar' oscuro, 23(3. 
 
 Mason, William G., engraver, 352, 354. 
 
 Massachusetts, pilgrim-planted, 158. 
 
 Masses of light in nature, 125. 
 
 Matthew, St., in " Last Supper," 257. 
 
 Mauritius, in conversation-piece, 247. 
 
 Mayall, J. E., of Philadelphia and London, 
 363 ; ivorytype, his invention, 406. 
 
 McClees & Germon, crystallotype, 371. 
 
 Meade, Brothers, N. Y., 385. 
 
 Meade, Charles R., met Daguerre, 385. 
 
 Measury & Silsby, Boston, 379. 
 
 Mechanics, in art, 32. 
 
 Medical science aided by heliography, 417 
 
 Melainotype, by Prof. H. L. Smith, 376. 
 
 Melancholy, how born, 82. 
 
 Mercenary, impulses to art, 41. 
 
 Mercury, in red ray, 61. 
 
 Method of coloring, 284-7. 
 
 Mezzotint photographs, 293. 
 
 Michelet, remark on Titian, 193 ; on repose, 
 225. 
 
 Michellotti, on light, 55-6. 
 
 Micro-photography, 319-36. 
 
 Middle ages, colors in, 429. 
 
 Middle tints, 125, 128. 
 
 Millennium, tradition of, 411. 
 
 Miller, stereoscopes in crater, 380. 
 
 Milton, his epic, 41 ; Milton, The Fall, 172, 
 
 Minerva, her mantle blue, 77 ; Minerva, not 
 beautiful, 191. 
 
 Miniature heliographs, 137. 
 
 Mino da Fiesole, sculpture of, 252. 
 
 Minstrelsy, of birds, 70. 
 
 Mint, V. S., picture from window of, 351. 
 
 Miscellaneous remarks, 253-63. 
 
 Miscellaneous facts, 180-4. 
 
 Mithriac worship, Persia, 429. 
 
 Modus operandi In heliography, 126. 
 
 Mood, importance of, in sitting, 45. 
 
 Moral beauty, examples of, 196. 
 
 Morand, A., N. Y., early daguerreotypist, 360. 
 
 Morbid condtions, how expressed, 177. 
 
 Morris, Geo. P., " Woodman, spare," &c., 166. 
 
 Morse, Prof., 339, 344; his daughters' pic- 
 ture, 547 ; his speech, 390-3. 
 
 " Mosaics," by Sanders, 84. 
 
 Mother earth, the crucifixion, 172. 
 
 Mountains, expression of, 173. 
 
 Mount picture for coloring, 282-4. 
 
 Mouth, as affected by the smile, 118. 
 
 Mulgrave, anecdote of, 241. 
 
 MuUer, his collodion-process, 407. 
 
 Muses, robed in blue, 77. 
 
 Napoleon, upon noses, 88. 
 
 Natural philosophy, basis of heliography, 36. 
 
 Nature's method with light and shadow, 
 1-25. 
 
 Nazareth, Divine Man of, 27. 
 
 New continent, noblest blood of, 158. 
 
 Neptune, outmost planet, 68. 
 
 Neutral, or negative colors, what, 78. 
 
 New Jerusalem, of Swedenborg, 411. 
 
 Newton, his theory of light, 50. 
 
 New York Photographic Society, 3S8. 
 
 Nicolo Poussin, imaginative in landscape, 
 215. 
 
 Niepce, proceedings of, in relation to helio- 
 graphy an 1814, 1826, 1827, 1829}, .397. 
 
 Nitrogen, a component of air, 55. 
 
 Noah, covenant of God with, 430. 
 
 Nobility, the, as painted by Lawrence, 227. 
 
 Nose, affected by chest ailments, 177. 
 
 Northcote, upon Reynolds, 249. 
 
 Nubia, rock temples of, 418. 
 
 Oak, compact in grain, 56. 
 
 Obstructions to faultless beauty, 71. 
 
 Occasions, for blue color, 77. 
 
 Ocular anomalies, 180. 
 
 Oder, infusoria on banks of, 326. 
 
 Old arm chair illustrated, 131. 
 
 " Old Virginia," rural life of, &c., 163. 
 
 Olympus, messenger of, 77. 
 
 Operant, difficulties besetting, 90. 
 
 Opie, .John, 218, 220, 229, 238, 247. 
 
 Orange, one of the secondary colors, 52 
 
 Oratory, less potent than eye, 85. 
 
 Organism of flowers wondrous, 67. 
 
 Original, inferior to copy, 72. 
 
 Orinoco, banks of, S. A., 325. 
 
 Ornament, of female dress, colors, 71 ; taste 
 for ornament innate, 67. 
 
 Ostade, his pictures peculiar, 228. 
 
 Othello, actor in, 162. 
 
 Owen, Prof., his demonstration, 333. 
 Oxford Student," Ruskin, 83; buildings of, 
 124. 
 
 Oxide of hydrogen, each color in the sun- 
 beam, according to Field, 51. 
 
 Oxygen, a component of both air and water, 
 55. 
 
 Oxygen, "whitening power," according to 
 George Field, 50. 
 
 Paint the head, 287-90. 
 
 Painter, diflSculties of, 44 ; ability needed by, 
 
 la. 
 
 Pale complexion, how improved, 73. 
 
 Pamphilus, to his scholars, 222. 
 
 Pandemonian fires, 172. 
 
 Paradise Lost, Eve in, 193. 
 
 Parker, Dr. J. E., distinguished in out-door 
 
 views, 354. 
 Passion, use and value of, 218. 
 Patience, necessary to artistic eminence, 38. 
 Patrick Henry, historic portrait, 151. 
 Paul Veronese, sensitive to beauty of color 
 
 190. 
 Peale, Rembrandt, 27, 37, 163. 
 Peroxalate iron, peculiarity of, 64. 
 
INDEX. 
 
 455 
 
 Personality, expression of, 144. 
 
 Peter, St., to Simon Magus, 144; in "Last 
 Supper," 256. 
 
 Petit, effect of light in crystallization, 394. 
 
 Petra, rock-temples of, 418. 
 
 Petzval, Prof, his lenses, 355. 
 
 Phaeton, myth of, 1-17-8. 
 
 Phalanxes, of Fourier, 412. 
 
 Phenomena, of weather, 132. 
 
 Phidias, marked by spirituality, 186; com- 
 pared with M. Angelo, 252. 
 
 Philosophers, experiment by, 56. 
 
 Photographic and Fine Art Journal, 389. 
 
 Photograph, to choose and prepare, 280-2. 
 
 Photography, effects of, 413. 
 
 I'hrenologist, cerebrum, &c., 89. 
 
 Physical beauty, what signifying, 196. 
 
 Physiognomies, of animate and inanimate 
 worlds, 85. 
 
 Pictorial arts, high attributes for, 168. 
 
 Pictures, how to frame, 302. 
 
 Pike, Col. Nicolas, skilled amateur, ."88. 
 
 Pilgrims' landing, celebration of, 159. 
 
 Pioneers, of new world, 19. 
 
 Plato, on ideal beauty, 198-9. 
 
 Pliny, eulogist of Apelles, 254. 
 
 PlumlD, John, his many galleries, 361. 
 
 Plutarch, Elgin Marbles, 251. 
 
 Poet, how placed in portrait, 165. 
 
 Politeness, characteristic of great artists, 37. 
 
 Pope Paul, HI., by Titian, 247. 
 
 Porta, inventor of camera obscura, 393. 
 
 Portrait, 44, 71, 246, 252, 439, 247. 
 
 Portraits of children, 101-4; pleasing, 102. 
 
 Portraits of heroes, Ac, effect of, 414. 
 
 Portraiture, cartes de visite, 300-1. 
 
 Posture In sitting, 91; in general, 109. 
 
 Powder, for coloring positives, 293-4. 
 
 Premeditations, of artist, 145. 
 
 Priestly, Dr., discovery by, 55. 
 
 Primary colors, what, 52, 74. 
 
 Primordial decree, 147. 
 
 Prince Albert, portrait of, 381 . 
 
 Princeton battle, 242. 
 
 Principles of harmonious coloring, 264, 302. 
 
 Prismatic spectrum, order of colors in, 73. 
 
 Prism, natural, rainbow, 51 ; artificial glass, 
 52. 
 
 Pioclus, on ideal beauty, 201. 
 
 Profile, what margin, 109-10. 
 
 Prometheus, myth of, 145, 421. 
 
 Proportion, in nature's coloring, 69. 
 
 Prosperity, material of U.S., 19. 
 
 Proto-artist, God, 22, 68, 143, 148. 
 
 Public speakers, standing, 165. 
 
 Public taste, how affected by daguerreotype, 
 392. 
 
 Public order helped by photography, 420. 
 
 Pyrenees, maladies among, 58. 
 
 Python, shot by Apollo, 250. 
 
 Quail, John, heliographer, 360. 
 
 Qualifications of first-class heliographer, 32, 
 42. 
 
 Quatremere de Quincy, 152. 
 
 Quintilian, 233. 
 
 Radiance, of tropics, its effect on photogra- 
 phy, 65. 
 
 Raffaelle, his morale, 37 ; portraits of Mar 
 donna, 148 ; of the Saviour, 148. 
 
 Kainbow, example of harmony of analogy. 
 
 Red earth, Adam, 430. 
 Kedgrave, Manual of Color, 272. 
 Red, harmonic with festive scenes, 77. 
 Ked, one of the three primary colors, 52. 
 Red races, from Shem, 430. 
 Refractoriness of child sitting, 103. 
 Rehn, Isaac, photographer, o72-3. 
 Reichenbach, Baron, electricity in sun, 65. 
 Relief in pictures, what, 126. 
 Rembrandt, his magic pencil, 193 ; genius in 
 
 form, 221. 
 Repose in art, 224-5. 
 Rest, essential to vegetables, 65. 
 Rev. J. B. Reade, infusion of galls, 400. 
 Reynolds, Sir J., lectures, 83; wide margin 
 
 to pictures, 109. 
 Rice & Hart, portrait gallery, &c., 155. 
 Richard Coeur de Lion, 170. 
 Kip Van Winkle, 165. 
 Romancer, position in portrait, 165. 
 Romans, ancient, in artistic culture, 24. 
 Rosy, tint cast by light green on face, 79. 
 Rothermel, his " Patrick Henry," 150. 
 Rouge, plate-polishing substance, 133. 
 Rubens, sensitive to color, 190 ; remark upon, 
 
 by Howard, 222. 
 Ruddiness, of complexion, relation to dress, 
 
 72. 
 Ruffled, when the hair should be, 1 28. 
 Kumford, Count, discoveries, 395. 
 Ruskin, art-critic, 186, 214, 204, 218. 
 Sabean worship, 429. 
 Sahara, African, symbol of what, 175. 
 Salad for the Solitary, author of, 84. 
 Sallowness, in relation to dress, 73. 
 Salvator Rosa, vigorous imagination of, 215. 
 Sample of Americun heliography, 141. 
 Samson, how typified, 170. 
 Saunders's opinion of the face, 86. 
 Saviour, in Last Supper, 255, 257. 
 Saxton, his early daguerreotj'pe, 351. 
 Scheele, chloride silver, 394-5. 
 Scipio, significance of, 183. 
 Scott, eyes of, 88 ; characters by, 150 ; bust 
 
 of, 427. 
 Sculptors, great, great composers, 226. 
 Sculpture, nature of 250-2. 
 " Second Adam," manual labor, 148. 
 Second and third painting, 299. 
 Secondary colors, what, 74. 
 Second floor for other uses, 96. 
 Seebeck, discoveries by, 395. 
 Seed, germinated by actinism, 63. 
 Seely, Ghas. A., Journal of photography, 389, 
 Selfhood in expression, what, 143, 147. 
 Sennebier, violet ray, 394. 
 Serpentine, line in composition, 226. 
 Sexes, how distinguished, 253. 
 Shadbolt, honey-process, 405. 
 Shadow of soul, expression, 145. 
 Shakspeare, illustrations from, 72, 80, 158. 
 Sharon, rose of, Ac, 69. 
 Shem, descendants of, 430. 
 Shirene, oriental beauty, 88. 
 Shive, invention of, 378. 
 Short sessions, concerning, 133. 
 Short shadows for sitters, 108. 
 Shrewdness of the artist, 94. 
 Siddons, Mrs., fine face of, 191. 
 Side and sky-light combined, 97. 
 Silanion, portraitist, 247. 
 
456 
 
 INDEX. 
 
 Simon, the magian, 144. 
 
 Singing binls in reception room, 47. 
 
 Sistine chapel, groups in, 255. 
 
 Sitter's position, age, Ac, 105. 
 
 Sitting room, sky-light, Ac, 96, 104. 
 
 Sitting room at "top of building, 96. 
 
 Slender person, how to sit, 120. 
 
 " Small Cathedral," Webster, 157. 
 
 Smelling, cause of, 50. 
 
 Smile, peculiar to man, 95 ; Mr. Clay, 155 
 a spontaneous action of muscles, 161. 
 
 Smith, origin of name, 183. 
 
 Smith, Rev. Sydney, saying of, 157. 
 
 Snake, what type of, 171. 
 
 Snelling, FI. II., inventions of, 384-5 ; jour- 
 nal of, 389. 
 
 Snow, latent heat in, 60. 
 
 Social feelings promoted by heUographj', 27 
 
 Socrates, trained a sculptor, 251. 
 
 Soil, screen of seed from light, &c., 63. 
 
 Solar beam, not simple, 51. 
 
 Solar camera, 295. 
 
 Solarizing, how to avoid, 121, 127. 
 
 Solar spectrum. Sir J. Herschell, 400. 
 
 Sonnet of R. T. Conrad, 161. 
 
 Southey, on the face, 85. 
 
 Southworth, early daguerreotypist, 359. 
 
 Spanish school, in chiar' oscnro, 233. 
 
 Sphereotype, by Bisbee, 317, 377. 
 
 Spiller & Crookes, nitrate magnesia, 405. 
 
 Spiral, how produced, 115. 
 
 Stained glass in reception room, 46. 
 
 Starch, transmutation of, 63. 
 
 Statham, Rev. Mr., his remark, 415-16. 
 
 Steam, its influence on the world, 412. 
 
 Stereoscope, scene for, 98. 
 
 St. Giles, of London, how typified, 175. 
 
 Stippling, what, 285. 
 
 Stothard, traits of 248, 255. 
 
 Stoutness, in relation to dress, 72. 
 
 Stuart, Gilbert, 27, 33, 37, 163, 163. 
 
 St. Victor Niepce, albumen on glass, 403. 
 
 Sublimity, species of beauty, 207-8. 
 
 Subordinate color in dress, 71. 
 
 Sue, Eugene, reform-writer, 175. 
 
 Sully, instructions of, 136. 
 
 Sunbeam, 49, 66. 
 
 Supreme, Proto-Artist, 143. 
 
 Sutton, Thomas, photographic editor, 363. 
 
 Symbolical colors, SO. 
 
 Symmetry of form marred by bad color, 68 
 " qualities of, 233. 
 
 Symonds, on art, 210, 233. 
 
 Sympathy, similitude of spheres, 167. 
 
 Table of discoveries, 407-10. 
 
 Tadpoles, require light for full development, 
 58. 
 
 Talbot, H. P.. experiments (published 1839). 
 340, 400, 425. 
 
 Talent, required by heliography, 36. 
 
 Taste, for art promoted by heliography, 140. 
 
 Taste, nature and composition of, 218-20. 
 
 Taupenot, Dr., collodio-albumen, 405. 
 
 Taylor, President, bad portraits of, 156. 
 
 Teeth, loss of, how disguised, 118. 
 
 Temperate climes, vegetation, &c., in, 70. 
 
 Temper, irritable, bad effects of, 102; im- 
 portance of curbing, 134. 
 
 Tertiary colors, what, 75. 
 Thanatopsis" of Bryant, 166. 
 
 Thermography, by Prof. Moser, 403. 
 
 Thermometer, affected by different rays, 61. 
 
 Theseus, among Elgin Marbles, 251. 
 
 Thinness, how to depict, 119. 
 
 Thompson, heliographer in Paris, 360. 
 
 Tiger, symbol of what, 170. 
 
 " Timaeiis," of Plato, extract from, 199. 
 
 Timanthes, famed for expression, 245. 
 
 Tintoretto, famed colorist, 190. 
 
 Titian, his beauty of color, 190; father of 
 portrait, 262. 
 
 Toilet, &c., importance of color to, 69. 
 
 Tornado, generated by heat, 62. 
 
 Tragic Muse, Mrs. Siddons as, 261. 
 
 Transfiguration, of Raffaelle, 239. 
 
 Travel, virtually replaced by heliography, 28. 
 
 Travelling, self-culture by, 413. 
 
 Tropics, influence on human form, &c., 58. 
 
 Trumbull, Jno., portrait of Washington, 242. 
 
 Turuer, opinion of, by Lawrence, 259. 
 
 Two-thirds face, when best, 115, 119. 
 
 TJndulation-ether, 50. 
 
 Utility, mechanical, 19. 
 
 Valerius Maximus, on Elgin Marbles, 251. 
 
 Valley Forge, Washington, 163. 
 
 Van Dyck, 110, 193, 227, 246. 
 
 Van Loan, Sam'l, early daguerreotypist, 359. 
 
 Vapor, condensation of, into snow, 60. 
 
 Varnish for glass positives, 294. 
 
 Vasari, history of painting, 252. 
 
 Velasquez, eminent in portrait, 248-9. 
 
 Velvet, screen for eyes, 114. 
 
 Venetian school, chiar' oscuro, 233. 
 
 Venus, type of woman, 195 ; of female grace, 
 254; of beauty, 195. 
 
 Vesuvius, what symbolizing, 176. 
 
 Vignette style of portrait, 108 ; photographs, 
 292. 
 
 Violet, secondary color, 52 ; in dress, 80. 
 
 Virginia, House of Delegates, 151. 
 
 Virgin Mother, by Raffaelle, &c., 148. 
 
 Vision, how and by what caused, 50. 
 
 Visual beauty, constituents of, 67. 
 
 Vitality, its cause what, 49. 
 
 Vitruvius, on architecture, 194. 
 
 Vivacious temperament, dress for, 76. 
 
 Voigtlander & Sons, lenses, 355. 
 
 Warm colors, red and yellow, 70. 
 
 Washington, 27, 151, 152, 162, 163, 242. 
 
 Washington Irving, how to represent, 165. 
 
 Water colors, 276, 80. 
 
 Waterhouse, Dr., remarks on Stuart, 241. 
 
 Webster, remark about, 156. 
 
 Wedgwood, experiments by, 397. 
 
 West, his rapidity in work, 248. 
 
 West Point Military Academy, 419. 
 
 Wetherill, John P., suggestion by, 372. 
 
 Whipple, lunar photographv, 364. 
 
 White, H. II., verses of, 274-5. 
 
 Whiteness in dress impairs aspect, &c., 127. 
 
 Wildman, Dr. E., early daguerreotypist, 355. 
 
 Willis, N. P., how to depict, 166. 
 
 Wind and weather, effects of, on a sitter, 146. 
 
 Wisdom, Divine, seen in flowers, 62. 
 
 Wm. Smith, S. E. cor. Fifth & Chestnut, 163. 
 
 Wolcott, A. S., inventor of reflector, 346, 349. 
 
 Wollaston, Dr., researches, 395. 
 
 Woody tissues formed by light, 56. 
 
 Yellow, primary color, 52. 
 
 Young, light, 50. 
 
 Zeuxii, hFs modelling of Helen, 201 ; disco- 
 vered chiar' oscuro, 233. 
 
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