THE
CAMERA AND THE PENCIL;
OR THE
HELIOGRAPHIC ART,
ITS THEORY AND PRACTICE IN ALL ITS VARIOUS BRANCHES;
e. g.-DAGUERREOTYPY, PHOTOGRAPHY, &c.;
TOGETHER WITH ITS
HISTORY IN THE UNITED STATES AND IN EUROPE;
BEING AT ONCE A
THEORETICAL AND A PRACTICAL TR EATISE,
AND DESIGNED ALIKE, AS A
TEXT-BOOK XN]) A HANT)-BOOK.
O1i STFFL A,[D) ON; WOOD.
BY M-. A. ROOT,
PROFESSIONAL HELIOGRAPHIC ARTIST -RECIPIENT OF EIGHTEEN FIRST PRIZES
AWARDED BY INSTITUTIONS IN PHILADELPHIA, NEW YORK, BOSTON,
WASHINGTON, HARRISBURG, ETC., FOR SUPERIOR
ARTISTIC PRODUCTIONS IN THE ART.
M. A. ROOT, 808 CHESTNUT ST.
J. B. LIPPINCOTT' & CO., 715 & 717 MARKET ST.
D. APPLETON  & CO., 443 & 445 BROADWAY, N.Y.
1864.




Eutx'ed, according to Act of Congress, in the year 1864, by
MA3 R CUS A. IROCT,
in the Clerk's Office of the District Court of the United States, in and for the Eastern
District of Pennsylvania.
MEARS & DUSENBE..1, STT:REOTIPEFS,                            C. A. ALVORD, PRINTER,
PHILADFLPHIt.                                           NEW YORK.












CONTENTS.
CHAPTER I.
THE FINE ARTS-HELIOGRAPHY, ETC.
Our countryH- High,,natericllfq-Inferior, acristicaoly-Causes of this-Arts,
the development of innate tendencies-Amusement a necessity-Art supplies
it-Elevates, also, morally and spiritually-Refines intellectually and socially-Art among Greeks and Romans-Ainerica 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 conditionsAugments greatly their knowledge and happiness-A substitute for travelCultivates 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 HELIOGRAPHER.
Ileliographers, mechanical or artistic-Former lack power of giving explress;o01 to portrait-Latter possess it-Genius, this power-Gift of nature, not
fruit of education or effort —Camera requires not less genius than pencil —
Heliographer, like painter, must arouse in sitter his best mood —HowChemistry, natural philosophy, &c., essential to heliographer —Heliography
in comparative disrepute-Reasons thereof-Motives, that should inspire
heliographer..................   32-42




iV                             CONTENTS.
CHAPTER IV.
SUGGESTIONS AS TO THE FITTING UP OF HELIOGRAPHIC
ROIOMS.
Expression essential to portrait-Infants and children physiognomists-Average and intensified expression of face-Proper aims of artist —Difficulties
of heliographer and painter as to getting expression-Both must act on
sitter-How —Heliographer, in part, by fitting up of rooms-Enumeration
of itens in fitting up-All influenced by surroundings....    43-48
CHAPTER 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, actinismLight a compound of seven colors, according to Newton-Of three colors,
according to Brewster, &c.-Effect of light on health, development, &c.Heat and its incidents, e. g.: absorption by atmosphere, influence on climate, latency, &c.-Actinism  the chemical and heliographic elementProximate cause of vegetive germnination —Decomposes and alters arrangement of material atoms-Electricity  in Sunbeam-Sunbeam  weighedResult......... 49-66
CHAPTER VI.
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 harmony, 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, &c., of same-Also time, place, occasion,
&c..-Best portraits, what? —Those, which, retaining lilceness, conceal defects
and blemishes, and enhance charms and beauties-Exposition of effects of
various colors on appearance-Ilarmony of analogy, and harmony of contrast in colors, what?-Primary and secondary, or complemental colors,
what?-Colors emblematic of dispositions and character-Illustrations front
poets........................ 67-S3




CONTENTS.                                V
CHAPTER VII.
THE HUMAN FACE — IRROR 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, HIaller, Browne, and SoutheyLanguage of face universal and changeless-Forehead, nose, and chin indicative of or0iginal character; eyes and mouth of clsamgeable character-Eye
extraordinarily expressive —Why?-Lips very expressive-Varieties of same
-HuI-uan faces most interesting of sights-Applications of term  face to
things inanimate-National types of face and head, e. g.: Greek and Italian
features marking certain races-Examples of fact-Qualities expressed by
various colors, &c., 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 HELIOGRAPHIC ARTIST AND HIS SITTERS.
The operant must strive to please all-Selfish and impatient must be conciliated-Proper management of their case, what?-Heliographic sittings
should be brief-Difficulties specified-Anecdote of Reynolds.. 90-95
CHAPTER IX.
SITTING ROOM-SK.Y-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-Miscellaneous directions........... 96 —104
CHAPTER X.
HINTS UPON SITTING —EASE AND GRACE IN A PORTRAIT.
Attitude of sitter should be chosen by the operant, what?-MIanagement of
lights and shadows-Legs of gentlemen, how placed —Hands of ladies, how
placed-Iow to take certain faces-Directions about colors-Useless accessories to be avoided-Mode of ameliorating blemishes, what?-Groups,
&c.................   105-1 1.




VI                           CONTENTS.
CHAPTER XI.
THE EYES-THEIR 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
CHAPTER XII.
SUGGESTIONS AS TO DEALING WITH DEFECTS AND BLEMISHES IN  SITTER'S FACE.
How to manage with personal defects, e. g: cross-eyes, irregularities of feature,
loss of teeth, &c.-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 nature 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 XIV.
COSTUME IN PORTRAITURE-HOW DISPOSED.
Costume of great importance in portrait-Directions for its arrangementDisposition 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, A&c.-" Small things,"
of great import-Stories told by pictures, how? —Examples.. 127-131
CHAPTER XV.
THE ATMOSPHERE-WEATHER-LIGHT FLEECY CLOUDS.
Effect of changes of weather on chemical coatings-Various exemplificationsof this fact-Perplexity of a certain noted artist-Friendly hints as to the
dealing of operants with their critics and advisers..... 132-135




CONTENTS.                             vii
CHAPTER XVI.
PERSONAL CONSIDERATIONS.
Account of the author's early training-His pursuits for some of his mature
years-The preparation thus made for his after success in heliographyImportance of drawing and sketching to all artists and to persons of all
pursuits —Measures, which must soon be adopted, to secure custom in sunpainting....                                                136-138
CHAPTER XVII.
HELIOGRAPHY AN IMPROVER OF ARTS AND ARTISTS.
Predictions, that heliography would ruin business of other pictorial artistsProved false by events-All art-genius more encouraged now, than ever
before-IHeliography 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.
EXPRESSION-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 inany 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, &c,  143-152
CHAPTER XIX.
EXPRESSION-THROUGH THE FACE AND FIGURE.
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 expression-Anecdote of Clay, and the taking of his daguerreotype in 1848-Poor
portraits of Clay, Webster, &c., especially of last-Sydney Smith's remark —




Viii                         CONTENTS.
Webster's speeches on Boston Common and Bunker Hill —Lafayette —
Surviving veterans of Bunker Hill battle-Sir C. Bell on anatomy of expression-Sonnet by R. T. Conrad-Various methods of rousing expression-An
actor-A lady, as nun-Anecdote of Washington, while sitting to StuartInteresting 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, Longfellow, Dickens-Costume and accessories —Theory of " spheres" by Swedenborg-Effect of presence of various classes of persons on others-Remarks
of a venerable artist................  53-168
CHAPTER 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 circumstances-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 conditions 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
CHAPTER XXI.
-EXPRESSION —THROUGH ABNORMAL MOODS OF BODY AND
MIND.
Disease, like health, subject to laws-Various expressions from various maladies-Sundry examples-Instances of expression of abnormal passionsWisdom of this ordination-The actor should study these-Important for all
to  do  this...............  177.179
CHAPTER 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-Illustrations among ancients and moderns-Heraldry and its emblems from same
origin.....................  180-184




CONTENTS.                              ix
CHAPTER XXIII.
OPINIONS OF ARTISTS AND ART-CRITICS UPON BEAUTY.
Their views of beauty, 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, Ruskin, Jeffrey, Alison, Burke, Michelet, and numbers beside, among the
moderns-Original comments on the same.                        185-206
CHAPTER XXIV.
ART, WITH ITS INCIDENTS AND BELONGINGS.
Opinions of ancient and modern writers on the same-For art-purposes, sublimity and beauty both comprised by the latter term-Examples: Grace
Darling, Florence Nightingale, Leonidas, &c.-Remarks of Ruskin, Cousin,
Symonds-Observations respecting genius-Reynolds, Fuseli, I-IaydonImagination, invention, passion, taste-Ruskin, Burke-Drawing or design,
Fuseli, Barry - Grace, Allston-Repose, Ruskin, Michelet- Composition,
Ruskin, Haydon-Color, Opie, Fuseli-Symmetry, Synionds-Light and
shadow, Quintilian, Reynolds, &c.-Expression, Reynolds, Du Piles, Lawrence, Curran, Stuart, Trumbull, Inman, Bell, Aristides, Timanthes, Stothard, &c.-Portrait, Howard, Northcote, &c.-Sculpture, Agesander, Haydon, Allston, &c....                                      207-252
CHAPTER XXV.
MISCELLANEOUS REMARKS FROM VARIOUS AUTHORS.
Sexes, how distinguished-Apelles, Barry, Opic, Fuseli-Analysis of Lionardi
Da Vinci's "Last Supper"-Howard, Ruskin, Lawrence, Burke, Cuvier,
Dryden, Reynolds, Mrs. Siddons.......    253-263
CHAPTER XXVI.
ON COLORING PHOTOGRAPHS.
Most approved styles of doing this-Principles of harmonious coloringPainting and music compared —Light, source of color-Primaries, secondaries or complementals, tertiaries, &c., what?-Illustrative engravingsWater colors enumerated and described-Photograph prepared-Mounting
for coloring-Method of coloring-Hatching and stippling-Painting headDraperies-Backgrounds-Vignettes-Gelatinizing positives-MezzotintsPowder-Varnish-Enlargement-Coloring in crayons-Coloring in pastels
-Coloring in oil-Portraiture-Concluding remarks.             264-302




X                           CONTENTS.
CHAPTER XXVII.
PORTRAITS-SEVERAL VARIOUS MODES OF PRODUCING OR
FINISHING PERMANENT SOLAR IMPRESSIONS.
The Ivorytype, a picture printed through a negative on artificial ivory, introduced 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 1855.
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 oili 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 peculiarities 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 paperweight, or other oval surface, and cased with a convex glass over the impression.
The Hillotype.-Having learned, that both others and myself were misled in
regard to these pictures, I thought the public were entitled to the explanation given on page 316 of this chapter.
The Ectograph, thus named from the mode of its finishing; patented by William Campbell, of Jersey City, N. J.
The Porcelain Picture, made on a kind of porcelain glass, manuflictured
expressly for this object. Invented by J. Wallace Black, of Boston, Mass.
304-319
CHAPTER XXVIII.
THE CAMERA AND THE MICROSCOPE-OR MICRO-PHOTOGRAPHY.
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 diatomacea —Divine ends
subserved by infusoria-Calcareous earth eaten in South America, Guinea,
Finland, China, &c., composed of organic remains-Islands formed by anippalcules-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, &c.-Connection of microscope with
heliography.......  320-336
CHAPTER 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 discoveries 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 talbotypo and stereoscope to United StatesVan Loan, Anthony, Edwards, N. G. Burgess, Charles Williamson, Fizeau,
Cady, Gurney, Brady, Quail, Haas, and Lawrence, in New York City-Southworth & 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., Philadolphia, 1846 —Beckers-Faris, in Cincinnati, OhioHesler, in Illinois-Fitzgibbons, in Missouri-Crystal Palace, New York City
-Shives-Howard-Sun-painters in United States-Decline of daguerreotype-McClees & Germon, crystallotype-Collodion process, 1852-Drs.
Charles Cresson and G. Langdell-Cutting-I. Rehn's Photolithography,
&C.                  c.......................    373-392
CHAPTER XXX.
HISTORY OF THE HELIOGRAPHIC ART IN EUROPE.
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-Hyposulphite soda discovered by Herschel, Sir J., 1819-Niepee, Daguerre, and
Talbot first fixed images in Europe-Daguerre's wife and Dr. DumasVariations of the talbotype (calotype) by various persons-Waxed-paper
process-Glass plates for pictures suggested by Herschel-Albumen, gelatine,
&c., used for coating such-Collodion now preferred to all other coatingsVariations and improvements by practical photographers and amateurs
39:3-411




X11                         CONTENTS.
CHAPTER XXXI.
THE HELIOGRAPHIC ART-ITS PRESENT STATE AND APPLIANCES, AND ITS FUTURE POSSIBILITIES.
The three great modern discoveries: 1st. Steam-2d. Magnetic Telegraph3d. Heliography —All tend to produce an improved human conditionHeliography, 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, &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.
HELIOGRAPHY —ITS ARTISTIC CHARACTER AND RELATIONS.
Wrong opinions of heliography almost universal-Now  changing for the
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




INTRODUCTION.
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 something 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 IIeliographers,
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 addressing 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 successive 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




INTRODUCTION.                       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, I 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 imbeciles 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) a low 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 multitudinous populations of the total globe, past and present, with the
monuments of beauty and grandeur, that immortalized their earthexistence? 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 Heliographic 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 foundations so august.
It will also be noted, that I have spoken in considerable detail (Chapter 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 appliances 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 particulars, 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, appurtenances, &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 atnmosphere,
&c.; Chapter 16. Personal considerations; Chapter 17. Heliography
an improver of the arts and sciences; Chapters 18, 19, 20, 21. Expression, 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 and 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 gentlemen 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 distinguished 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 Fihe Arts,
2




xviii                  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 essential to excellence therein. In this work, these subjects are often and
earnestly pressed on the attention,-and, in simplest justice to myself, 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 successive 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 IIeliographic 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, heliographer, 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 substituted 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'Photography,' which signifies'taking pictures by light,' is in reality inaccurate."
Delamotte, in the introduction to his manual, remarks as follows:
" As light is not the agent, through which the effects are produced,
the word hIeliography,'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 interested in the art, several of whom are named in the introduction to
Volume II., I have been graciously assisted, in the way of information, as well as by all other means in their power, for which I would
here express my sincerest acknowledgments.




HELIOGRAPHY
AND
OTHER FINE ARTS.
CHAPTER I.
THE FINE ARTS-HELIOGRAPHY, ETC.
Our country-High nzaterially-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 probable originator of
new type of art-Heliography-How distinguished from other arts.
HOLDING, as I do, that Heliography is entitled to
rank with the so-named Fine Arts, some remarks upon
these arts, as a class, their basis in nature, and their
various uses, may properly constitute the opening chapter of this volume.
That in material prosperity and mechanical utilities
our country stands high, very high, in the scale of nations, 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 implanted 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 themselves 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 manifestation 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 pleasurable 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 accompaniment. And even where excess is avoided, sensual indulgence, 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. Not that in point of
fact all artists and amateurs reproduce, in their sentiments and life, the harmony and beauty of art. But this
is mot 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 veritable 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 seenm,
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, essential Beauty and Wisdom, Life and Love!
We plead, then, for the cultivation of art, both as a




THE FINE ARTS-HELIOGRAPHY, ETC.          23
means of recreation and refreshment to a toiling race,
and not less for its genial and elevating influence on the
character.
It is universally admitted, that the fine arts communicate 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. Thenceforward 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 prescribed by those laws; that, still further, we fashion,
according to this standard, our domestic and public structures with their furniture and equipments; our implements 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         TiHE CAMERA 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 conceptions 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 Romans. 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 servile propensity to imitation, implanted in us by our constant 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 American has too generally been-can never equal his model,
since he works not with the freshness and surging enthusiasm 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 the particular subject of this Treatise is Heliography, 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-painting is not (as but too commonly supposed) a mere mechanical 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 useful 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 multiplied; 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 sumptuous of palaces, they will be in future among the most
frequent spectacles.
As the next chapter will be devoted to an enumeration 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 attention.




CHAPTER II.
USES OF THE HELIOGRAPHIC ART.
Cherishes domestic and social sentiments-Inspires to virtuous and noble
deeds-Education largely the work of circumstances and conditions of men
-Augments greatly men's knowledge and happiness-A substitute for travel-Cultivates artistic taste and love of beauty-Tends to improve other
fine arts and their professors-Exemplifications of this.
THOUGH heliography 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 conserved 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, substantially, of all.
In this competitious and selfish world of ours, whatever 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 HELIOGRAPHIC ART.        27
cold to their originals, than we should be in their corporeal 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 original once
enshrined in that majestic face and figure?  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 dispositions 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 happiness of the masses.  What, heretofore, the traveller
alone could witness (and travelling was out of the reach
of ninety-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 celebrated 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 Antarctic 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 exciting, 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
sun, 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 entertainment, they are, at the same time, receiving no small
measure of artistic training. Of course, in the multitudes




USES OF THE HELIOGRAPHIC 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 "Good 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 subject's type of mind and character, and thus settling the
fittest mode of expressing the same in the countenance,
will fully suffice,-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 the painter more of both for producing the
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
their originals.
But especially is heliography, with the late discovered
devices for instantaneous taking, 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 stormlashed 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 exactitude 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 useful the art, with its




USES OF THE HELIOGRAPHIC ART.            31
present facilities, must be for illustrating books, periodicals, &c.,-supplying them  with reliable sketches of
machinery, 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 mathematical 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  REQUISITE TO A FIRST-CLASS HELIOGRAPHER.
Heliographers mechanical or artistic-Former lack power of giving expression
to portrait-Latter have it-Genius this power-Gift of nature, not fruit of
effort-Camera requires not less genius than pencil-Heliographer, like
painter, must rouse in sitter his best mood —How-Chemistry, natural philosophy, &c., essential to heliographers-Heliography in disrepute-Reasons
-Motives which should inspire heliographer.
IN the heliographic, as in other 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 preparing of the impressible surfaces, and other processes
chemical or manual, the dexterous-handed mechanic may
transcend the artist.  But when we come to the exp2ression-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
Jecided as between a living man and the wooden image
of a man. As the mechanic can but put together dead
materials, his work must 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 REQUISITE.            33
ful picture, but it required Lawrence to put the soul in
the eyes!" A complete verification of what is said
above.
Whether the pencil or the camera be employed, this
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 heliography 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 Raffaelle, a
Titian, a Rubens, a Rembrandt, and a Stuart might find
amplest scope for their powers.
But what are the special qualifications which go ti
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. however, 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-expression, so neither can represent it. We repeat, then, that
3




34          THE CAMERA AND THE PENCIL.
the first-class heliographer must possess the same artgenius, 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 and 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. But 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




QUALIFICATIONS REQUISITE.            35
And then the 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 heliographic 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, therefore, 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 may 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 CAMERA AND THE PENCIL.
Be it noted, moreover, that heliography is based upon
chemistry and natural philosophy; and the heliographer
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 se/;
and then to represent that self by such a delicate management of a single implement, as shall cast peculiarlytempered 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, careful study, observation, and experiment? For a firstclass 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 thinking and emotional elements of his being are in proximate accordance or equilibrium. To work with the
head without the heart were itself ominous for his success; 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.




QUALIFICATIONS REQUISITE.          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 corresponding to, if not perfectly matching, their intellectual. Michael Angelo and Raffaelle,  Correggio and
Leonardo da Vinci, may be named as examples among
the moderns across the water; while Washington Allston, Gilbert Stuart, Rembrandt 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 creature detect in his subject the expression of goodnessnot 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 possess 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 goodness 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'ceuvre 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.
Ist. Amenity, cordiality, grace, and ease of mannersin 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
touch-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."  WVhat
stronger incentive than this for sterling worth to put on
a seemly garb!
2d. Genial, habitual good-nature, so-named, is another 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 neutralize 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 especially 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 ofience, 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 REQUISITE.            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 concern 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?
Amono 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 insinuations 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.




40          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 semihostile 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, heretofore, the majority of heliographers have adopted this
vocation from  motives purely 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 concerned? 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 numbers, 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 mercenary impulses above named.




QUALIFICATIONS REQUISITE.            41
Now, be it how it may with other vocations, mechanical, 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. Without 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, acknowledges 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 excellence 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 drawing pecuniary advantage from  art may be, not a hindrance, but rather a help.
Young speaks expressively of the love of fame in the
following lines:



I1.,2       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 modest shun it, but to make it sure."
On the joint authority, then, of years and of much and
varied experience, I would advise every one who is not
conscious of an intense and sustained love of heliography, 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 together, 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
heliography 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-Associations which have long subsisted, and with such excellent
effects; and 2d, Heliographic Journals, ably conducted
and liberally patronized. The nature and possible advantages 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 elements exist and act, all else desirable will follow in
course.




CHAPTER IV.
SOME SUGGESTIONS AS TO THE FITTING UP OF HELIOGRAHIC ROOMS.
Expression essential to picture-Infants and children physiognomists-Average and intensified expression of face-Proper aims of artist-Difficulties
of heliographer and painter as to getting expression-Both must act on sitter-How-Heliographer by fitting up of rooms-Enumeration of particulars in fitting up-All influenced by surroundings.
No artist needs be told that expression constitutes the
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 Joursnal) 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 he
had been her father.
(43)




44          THE CAMERA AND THE PENCIL.
insuring, as it does, that men shall ultimately 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 insufficient, 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 difficulties 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 inanimate; 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 samd
facilities for getting the desired expression as the paintel,
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 transfer 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?
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
successful 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.
Ist. I would supply the waiting-room with books sufficiently various to interest the 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 historic 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 rectangular, formal apartments seem the very reverse of fitted to
inspire either artist or sitter. The curve is recognised
as the authentic "line 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. I will merely give
it as my opinion that the highest artistic taste demands
some one of these as the shaping principle of the construction.
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 equipment 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 mediseval cathedrals owed so much of
their impressiveness. I would also drape them with




FITTING UP HELIOGRAPHIC ROOMS.          47
ample and splendid curtains, taking special heed, however, that a pure artistic taste be not sacrificed to mere
richness.
The garnishing of the walls, either with paper-hangings or paint, furnishes scope for a diversity of tastes,
either or any of which may be artistically beautiful. On
these walls I would suspend finely-executed and appropriate 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 correspond 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 characters.
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 affix
the name to each, as this would enhance the interest.
It were well, too, to have a considerable number of heliographs made in the establishment here suspended-taking care that they were of the very finest execution and
finish. So far as possible, let all the heliographs exhibited 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 plumage, and their graceful movements and pretty ways are
to nearly all persons exceedingly agreeable; and, diverting the mind from a consciousness of self, they tend to
awaken emotions and call up recollections and associa



48          THE CAMERA AND THE PENCIL.
tions which impart to the face an amiable, genial ex
pression.
Finally, in selecting the (technically named) furniture
of the 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 embellishments, 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 interests 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.




CHAPTER V.
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 compound of seven colors, according to Newton-According to Brewster, &c.,
three-Effect of light on health, development, &c.-Heat and its incidents,
e.g. absorption by the atmosphere, latency, influence on climate-Franklin's experiment-Actinism the heliographic element-This aproximate cause
of germination-Decomposes and alters the arrangement of bodies-Electricity in sunbeam-Sunbeam weighed.
As the sunbeam is the chief instrumentality 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 especially called to this subject now, froni 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 CAMERA AND THE PENCIL.
the Creator alone, it is none the less true, that in the
solar orb we behold one of the most expressive 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 luminous 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 in
our atmosphere, or in planetary space. This oxygen
darted from the solar orb, impinges against and combines
with the aerial hydrogen; thus producing combustion
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 him as
oxydes of hydrogen. He holds, moreover, that magnetism, 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 commingled, till recently, a swarm of fables which progressive science has exploded. It is now demonstrated,
that in the sunbeam, in its primary state, are combined
and equably interdiffused light, heat, and a third principle, to which has been given the name of "actinism."
This name comes from  the Greek word, Axres —"Sunbeam,"-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 discovered by the artificial prism, though nature's own
prism, the rainbow, had, for thousands of years foregone,




52          THE CAMERA AND THE PENCIL.
intimated the same knowledge. A beam of white light,
that is, of light coming utnmodfied 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-the red
appearing at the one extremity of the spectrum, as least
refrangible, and the violet at the other, as most refrangible. By certain delicate experimentations, Sir John
THerschell discovered two colors additional to the original
seven; one beyond the violet, named by him, " lavender;"
the second beyond the red, and named by him " crimson;"
o.r "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 reducible to three, 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 portion of the solar beam, affects no less its two other components, heat and actinism. At the red extremity of the
spectrum it concentrates the main body of the calorific
rays, while it gathers the actinic rays at the blue extreme. Thus the bulb of a delicately sensitive thermometer, 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 790 F.- making 23~ differ



THE SUNBEAM.                   53
ence between the temperature of the blue and the red.
It is, moreover, ascertained that the heat-rays are intensest of all outside of the red ray, and that the actinic
rays act most powerfully beyond the blue ray.
These three constituents of the solar beam have each
its own special office in carrying forward the innumerable 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 colorist, 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 pencillings 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 white 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




54:         THE CAMERA AND THE PENCIL.
vegetable world, light works out another result on which
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
by the action of light. This substance has been denominated chlorophyll. That light, and neither of the two
other constituents of the sunbeam, produces this substance, 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, occasionally obscured wholly by clouds, while its calorific
and actinic forces are in free, energetic operation. During such intervals, a forest has been known to germinate
and put forth its leaves to nigh their full compass, notwithstanding 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, bluishwhite tinge. A single day, however, of unobstructed sunlight has been known to elaborate this coloring chlorophyll so rapidly that, ere its close, the foliage has put
on its customary depth of green. This may sound improbable, but it is avouched by the most reliable authorities.
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
eftbcted 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 atmospheric air. On this fact is based a.beautiful and mar.




THE SUNBEAM.                  55
vellous arrangement, whereby the animal and the vegetable worlds are interlinked and made vitally dependent,
the one on the other. 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 supplies 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 countless varieties of animal existence, as well as in other
modes, would, but for some replenishingarrangement, in
no long time exhaust the atmosphere of this vital element. 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 animal 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. Labillardibre discovered that light is necessary to
the development of pores in plants; while Michellotti of




56              THE CAMERA 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 impenetrable hardness of the lignum vitae, are a product
of the noiseless agency of light; that soft, delicate substance (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 exquisitely sensitive of organs, the eye, without causing any
other sensations,.vthan 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 mentioned, it will grow  up soft and  brittle, and will never
elaborate its proper woody fibre.. Says a modern writer: "Not only does light fly from the sun with a velocity a million and a half times greater than that of a cannon-ball, but it darts
from every reflecting surface with like velocity, and reaches the tender structure 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 uipon it a beam of light-the lever of the balance being
so delicately hung that the fluttering of a fly would have disturbed it. Everything 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.                  5 7
Again, it has been ascertained, that with 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 suffering from violent irritation of the lungs and throat, commence coughing at sunset, and perforce continue this




58          THE CAMERA AND THE PENCIL.
tormenting process without 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 magistrates, finding that the majority of those born there were
somehow deformed or diseased, passed an edict compelling 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 sunlight, 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.                   5!
in their passage from the sun to the earth, enter tho
atmosphere enveloping the latter, they are so muci
affected by this aerial fluid, that one-third of them becomes absorbed and two-thirds only reach the surface of
our globe. It would seem, then, that one office 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 quantity 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 solidzfied 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
2120 F. For this singular property of caloric we discover 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, therefore, 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, penetrating 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 progressively 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 reserving it until the various exigencies of the animal and
vegetable kingdoms require its disengagement.
While, then, in these and kindred ways living creatures 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 constitute 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 semilatent 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 substance 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 CAMERA AND THE PENCIL.
ment to man's abode. First, imbibing-the solar heat, and
thus 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 fragrant 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 investigation. 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 experiments, 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 twentyfour 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 commencement 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 vegetable 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 offices 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- suffice to perfect the plant, but -that all must




634         THE CAMERA 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 decomposition 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, however, 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 darkness. But, on their exposure to sunshine, an immediate
combination is produced by actinic influence.
So, again, peroxalate of iron in solution remains unchanged in a dark place. But, brought into sunshine in
a glass vessel, it commences a vehement fermentation,
which terminates by precipitating small crystals of protoxalate 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 hydrogen 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-seeming 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 production of pictures with days of brightest sunshine; and
that the prodigal radiance of tropic climes is less propitious 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 electricity made a fourth constituent of the solar ray. But the
recent experiments of the German Baron Reichenbach
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 CAMERA 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 production of heliographs, I naturally must touch again on the
subject of the present chapter.




CHAPTER VI.
HARMONY OF COLORS.
The love of ornament innate and universal-Constituents of visual beauty,
form and color-Harmony of colors-Its meaning-Knowledge of this practically useful, e. g. in dress, embellishment, &c.-Oar guides in using colors
for costume, e.g. climate, size, form, complexion, &c., of person; also, age,
social position, &c.; 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 quotations 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
eves 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 mathematical principles of its own, which determine the quantity 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 than 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 understood 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 disguised and redeemed by extraordinary beauty of coloring, 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 myself expect, that full justice will be done, in this chapter,
to the subject of color. All I hope is, that some suggestions may be offered, which may prove valuable to such
as may have occasion to employ colors either for professional or personal uses.
Inthis, as in all other cases, nature is our great object
of study; our main source of information; our paramount and infallible guide wheresoever and so far as we
can apprehend her directions. The Deity is the great
proto-artist, the one perfect harmonist of colors, and the
material creation is the measureless sphere of His workings. 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 that beautify the green depths of the
sea; the myriad-hued flowers that decorate spring, summer, 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 departing 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 philosophy of the thing; that is, the order in which these colors
are arranged, the proportion each bears in the combinat-ion, 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 CAMERA 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 corresponding 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 our 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 coloring 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




HARMONY OF COLORS.                71
predominant color of a lady's dress, as well as the subordinate colors employed as ornament, strict regard
should be had to her size, her configuration, and especially 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 look as well as nature aided by 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 exposed during corporeal development, &c. In consequence 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 justhfy nature.
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 material of which the spiritual body 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 fieckle 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 pencil of an artist-genius, that " it is an excellent likeness,




72           THE CAMERA AND THE PENCIL.
but much handsomer than the original." Acting according to the same law, by cultivation, grafting, &c., we
elevate the puny, 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. Contrariwise, 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 ruddiness.  In choosing a bonnet, she should, if possible.




HARMONY OF COLORS.                73
adopt a tint which will mitigate this excess. A headdress of a deeper red than her complexion will, by comparison, produce this effect, while one of pink or any
still lighter red will exaggerate the original ruddiness.
On the same principle, a sallow complexion should
eschew a light-blue bonnet, which aggravates its defect,
and adopt one of transparent white, which conceals it.
A pale complexion is improved, by a pale-green headdress 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-yellow 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 principal 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. Complete 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 in




74          TEHE CAMERA AND THE  PENCIL.
general variety is given to this spectacle by the occasional introduction of the 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.
FIGURE 1.
Orange.
Red. /     \ Yellow.
Violet or purple.    e         / green,
Blue.
There are several points here requiring notice. In
figure 1st, it will be observed that the primary color,
blue, occupies full double the space in the spectrum of
the other two primaries, red and yellow. Thus representing 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 particular primary is formed by combining the two other
primaries. Thus green, standing over against red, is a
compound of blue and yellow; orange, opposed to blue,
of red and yellow; and violet, opposite yellow, of blue
and red. These secondaries are commonly called the
complements of the opposing primaries, because, being a
composite of two primaries, they constitute, when added




HARMONY 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.     7           Y     Yellow.
Purple-red. A  4     /        \Green-yellow.
Red-purple. t
) Yellow-green.
~~~~Green.~            Purple.
Blue-Purple.                     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 middleaged 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 incongruity, 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 susceptibilities of the judicious and refined by appearing in that




HARMONY OF COLORS.                77
rainbow-tinted garb, which would be appropriate enough
to the messenger of Olympus,*. or one holding a similar
office.
But there are yet other qualifying circumstances to be
kept in view, such as time, place, occasion, and the like.
No sane person, for example, would dress for attending
ea funeral, as for attending a theatre or ball; or for supervising her domestic affairs, as for receiving morning or
afternoon calls. An instinctive feeling prevails well nigh
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
with 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 interesting 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 pronounced 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 description for which this color would be appropriate.
Moreover, orange, which is deemed the warmest of
- Iris.




;78        THE CAMERA AND THE PENCIL.
colors, as combining red and yellow, being the complemental 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, land
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 proportions 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 service-dress while attending
to household concerns, or while walking abroad or journeying, 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.              79
The light hair which commonly accompanies the
blonde complexion, is also a subdued orange, and takes
different names according as one or another color predominates 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 costume, I have, perhaps, done all that should be expected
in a chapter which aims rather to state and illustrate
principles than to furnish practical formulas. Before
closing, however, I will offer 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 complemental 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
those faintly colored, because, having red for its complemental, 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.
Violet or purple in direct contiguity with blonde complexions 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 persons 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 appearance.
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 lus8ty red,




HARMONY OF COLORS.                            81
Than that mixed in her cheek;'twas just the difference
Betwixt the constant red and 1ingled damask."
SHAKSPEARE.
"A pudency so rosy, that I thought her
As chaste as unlsunned snow."
SHAKSPEARE.
CONTRAST.
"My bloody hand will rather
The multitudinous seas incarnadine,
Making their greenness red."
SHAKSPEARE.
"My mistaking eyes,
That have been so bedazzled with the sun,
That everything I look on seemeth green."
SHAKSPEARE.
ANALOGY.
" Beauty's ensign yet
Is crimson in thy lips and in thy cheeks,
And Death's paleyjag is not advancbd there."
SHAKSPEARE.
"White and azure laced
With blue of Heaven's own tinct."
SHAKSPEARE,
" Through whose white skin
With damask eyes the ruby blood doth peep."
MARLOWE.
CONTRAST.
"Here Love his golden shafts employs; here lights
His constant lamp, and waves his purple wings."
MILTON.
"Aurora now, in radiant purple drest,
Shone from the portals of the golden east."
TAsso.
I subjoin from the poets, a few examples of the use of
colors in symbolizing sentiments, passions, and affecbions:




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."
SHAKSPEARE.
"And thus the native hue of resolution
Is sickiied o'er with the pale cast of thought."
SHAKSPEARE.
"Go, prick thy face, and over-red thy fear,
Thou lily-livered boy; those linen cheeks
Are counsellors to fear."
SHAKSPEARE.
"'Tis not alone my inky cloak, good mother,
Nor customary suit of solemn black,
That can denote me truly."
SHAKSPEARE.
"Glittering in golden coats, like images,
And gorgeous as the sun at midsummer."
SHAKSPEARE.
"Long, pity, let the nations viow
Thy sky-worn robes of tenderest blue;
And eyes of dewy light."
COLLINS.
" The blushes of the opening rose
Thy tender modesty disclose;
The snow-white lilies of the vale
Diffusing fragrance to the gale,
Careless, and sweet, and mild, we see
In them a lovely type of thee."
RUSSIAN ANECDOTES.
"0 welcome pure-eyed Faith, white-handed Hope,
Thou hovering angel girt with golden wings,
And thou, unblemished form of Chastity."
MILTON.
"Celestial, rosy-red, Love's proper hue."
MILTON.
"O'erlaid with black, staid Wisdom's hue."
MILTON.
"Hence, loathed Melancholy,
Of Cerberus and blackest midnight born."
MILTON.




HARMONY OF COLORS.                83
"Rosy-fingered Aurora."
HOrMER.
"Blooming youth and gay delight
Sit on thy rosy cheeks confest."
PnIon.
There are numerous other points of interest pertaining to our subject, which would amply repay discussion; 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 recommend the examination of the following works, constituting my principal helps in the preparation of this article,
viz.: Field's Chromatics and Chromatography; the London Art Journal from its commencement; Lectures on
Painting by Sir Joshua Reynolds; 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 MIRROR OF THE SOUL AND THE
CHIEF SUBJECT OF ART.
The face the most perfect medium of expression-" Mosaics," by SaundersThe face an index of the soul-Views of Lavater, Bacon, Haller, Browne,
and Southey-Language of the face changeless and universal-The forehead, 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 —Iuman faces the most interesting
of sights-Applications of the term face to inanimate things-National
types of face and head, e. g. Greek and ItaliaD features marking certain
races-Examples-The eyes, what qualities expressed by various colors,
&o., of-Noses-What is indicated by different forms-Anecdote of Napoleon-Cerebrum and cerebellum-Mental properties intimated by different
shapes of these.
I HAVE taken the ground in this treatise that expression 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 sig'nificance 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 affection 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 acknowledgment 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 physiognomies 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 countenances of others. What oratory can be more vital
with meaning than the telegraphic glances Qf 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 CAMERA AND THE PENCIL.
cate sensibility to the lowest brutality. The most flexible of the features, they change oftener and to a greater
degree than any other, and thus mark the nicest shades
of character and even of passing emotion.
-How plainly, in the close-shut month, with its encircling 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 disposition!
In unusually thin lips we discern sharpness and asceticism 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; affirming
that no one can be utterly stupid who has much commerce with human faces. In confirmation of his doctrine 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 innocent, 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 prolonged addiction to a special pursuit, or class of pursuits,
will produce a distinctive cast of physiognomy and conformation 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 creations, have the most ideal faces and heads in the world,
even in these distant days. In fact, the keen-eyed physiognomist may find in every nation a cast of countenance peculiar to itself; and, still further, may discover
in particular districts and eveni 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 Roman emperors, the same bull neck and
broad hind-head, which are so plainly visible in the performers 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 Rome'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, experience 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 CAMERA AND THE PENCIL.
eyes are nearly identical in their significances with the
light-blue. Hazel eyes usually intimate a vigorous, profound, masculine mind. Shakspeare's eyes were hazel;
Swift's blue; Milton's, Scott's, and Byron's gray, which
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 patience,-Roman, courage, energy, mfagnanimity,-Cat
or Tiger, cunning, vindictiveness, obstinacy, selfishness,-Pug, imbecility and indecision. You find the
Grecian among scientific, literary, artistic men, —the
Roman among active, efficient men and warriors, —the
Pug among the flippant, contemptuous, and sneering.
These four classes are distributed into numerous varieties, e. g., aquiline, snub, thin, flat, &c.,-each and all
indicating characteristics more or less decided and distinctive. Napoleon says he selected for performing any
important head-work long-nosed men, if properly educated,-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 portion 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 protuberances 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 physiognomists 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 perception of physiognomic expression is, I suppose, unanimously 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 VIII.
THE HELIOGRAPHIC ARTIST AND HIS SITTERS.
The operant must try to please all-The selfish and impatient must be conciliated-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, please all who seek our services. Nor let
us lose sight or recollection of the myriad difficulties
which must needs be encountered and completely mastered, 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 numbers, 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 constitutionally selfish, and not overstocked with either patience
or politeness. The last-named are very apt to demand
(90)




THE HELIOGRAPHIC ARTIST AND HIS SITTERS.   91
being waited upon at once, and to threaten going otherwhere 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 conversation, either with his sitter or with some other person or
persons present in order to summon, if possible, a genuinely 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 effort,
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, including 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 process! And yet, at this precise moment there are imperatively required that affable, gracious, prompt, social quality,-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 compose 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 impatient expectants, handling all the numerous parts of
the delicate process with the utmost practicable expedition.
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 which 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 goodtempered, 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 faultfinding.
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 different 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 themselves, exclaim, with both hands uplifted, " 0 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 daguerreotype or photograph he can get taken,-merely, as he




94          THE CAMERA AND THE PENCIL.
will say, 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 goodhumoredly and philosophically.
If the artist has shrewdness and tact, he will be careful to exhibit a new portrait of one who may be disposed
to fault-finding first 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. R. Haydon, the great English historic painter,
remarks that "Amiability, courtesy, and tact were prominent traits in the character of Sir Joshua Reynolds,"a statement illustrated by the following incident:"My portrait is not at all like, 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-herportrait-like 1" "Not 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 mnake 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 unprofessional 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 HELIOGRAPHIC 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 knowvs his
own place and keeps it, such familiarity will breed not
eontempt, 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 characteristic of man, and are bestowed upon him to express 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, however, 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 announce 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, illumined and beautified by sweet thoughts."




CIHAPTER IX.
SITTING-ROOM —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 conditions —Heliographers should study the best paintings, &c.-ExamplesMiscellaneous directions.
As our pictures are produced by means of the sunbeam, the sitting-room should be so constructed as to
furnish a diffused light, 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 450,
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 communicating 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-ROOM, SKY-LIGHT, ETC.         97
Its easier accessibility, too, makes it preferable to a fourth
or fifth story room.
SIDE-LIGHT AN) 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 within 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 skylight, 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 in 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 exclusively.
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 preferable; especially when heliographic negatives are to be
produced, which require stronger light and more protracted 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 concentrated 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 landscape, or street-scene for the stereoscope, or some kindred
purpose, we should be careful to select the most appropriate 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 lifelike 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 maps 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.        99
These, of course, are made by dull ignoramuses, by
mere mechanism, and sold by thousands to the unenlightened 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 effects 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 engraving of Da Vinci'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 distance.
If 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 advantageously used in taking single portraits, or groups of two
or three.
If the whole light must 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 morning, 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 darkcinnamon, or brown is more suitable, as these colors
absorb, instead of reflecting, the light.
Finally, special care should be taken that the sittingroom be appropriately and neatly fitted up, and supplied
with every convenience for the business, as well as comfort 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 calculated 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 annoying visitors to the apartments.
PORTRAITS OF CHILDREN.
In cloudy weather, or while taking children, both top.
shades may be pushed up to the front, while the sidelight 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 sacrifice, through the necessity of broad light, as well as of
seizing the impression almost instantly.
Such pictures, though not very creditable to the heliographer, regarded solely as specimens of art, are, nevertheless, 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. Nor 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.
Bult 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 ereditable picture.
It may not be irrelevant to this topic to recite an incident 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
V 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 practical 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 perfect in expression, she must decline accepting it. Acting
under these instructions, I was, of course, unusually
anxious to succeed; for, over and above pecuniary considerations, my repute as an artist was at stake.
Repeated 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 possible, 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.




CHAPTER X.
HINTS UPON SITTING-EASE AND GRACE IN A PORTRAIT.
The attitude should be chosen by the operant-What it should be-Management of lights and shadows-Legs of gentlemen and hands of ladies, how
placed-How to take certain faces-Directions about colors-Useless accessories 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, posture, arrangement, &c.; and, if so, to inform
them what artistic experience has shown to be intrinsically best, subjoining the reasons why.
The sitter's position should be unconstrained and perfectly 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 example, 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.
the right or the left,-not too high or too low, but so as
to express intellect or meaning in lieu of constraint.
Especially should be avoided that appearance of a spasmodic 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-seemingd 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 show the thumb in the foreground, with the fingers bent a little inward; while a
long hand had best exhibit its back.  A handsomely




HINTS UPON SITTING.              107
shaped hand, neither too long nor too short, should display full two-thirds of itself, with the fingers hanging
easily and gracefully down.
A slight 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 halfprofile, 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 eyes and mouth, should be taken in threefourths 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 judgment of the intelligent. and skilful artist.  Care, how



108         THE CAMERA AND THE PENCIL.
ever, should always be taken to station the several persons 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 project 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 flattening 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.
Hiands, 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




e             M!, it








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 surmounts 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 Reynolds, Lawrence, 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 bulk 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 CAMERA AND THE PENCIL.
have at least as broad a margin before the face, as
behind the head, 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 practicable, 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 Rembrandt's
or Van 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 "pictures 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 thifs means, with a clear, distinct shadow on the side
of the nose and face, and a soft, mellow light along the




HINTS UPON SITTING.              111
cheek, a picture is obtained upon a flat surface which,
wondrously " relieved" from its background, exhibits all
the roundness and solidity of nature. Provided, however,
that the material and color of the background be favorable, 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 expiration 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 background. 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 establishment must rest on the artistic merits of his productions, so every successive picture is a proof, patent to all
capable judges, either for or against his pretension to the
title of artist.




CHAPTER XI.
THE EYES —THEIR LANGUAGE, AND HOW TO DEAL WITH
THEM.
The eyes specially important in a portrait-How to direct and depict themSame determined by color and surroundings-Catch-lights, what, and for
what purpose.
THE eyes, which are most emphatically the index of
the face, require of the artist the most scrupulous attention. 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 languages; they need no encyclopedia to aid in the interpretation 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 hospitality, if there is no holiday in the eye. How  many
inclinations are avowed by the eye, though the lips dissemble! As soon as men are off their centres, the eyes
show it."
In order that they may wear the most favorable expression in a picture, the proper direction should be
8                                       (113)




114         THE CAMERA AND THE PENCIL.
given to them. What such direction is to be, must
depend on their size, form, color, &c.
Thus, if they are blue, or light, or weak, they 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, roared, 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 lifelike, 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 beautiful, 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 thumbscrew, 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 has 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 suggested this idea so vividly, as to be absolutely ludicrous,-e. g., pictures having the body turned one way
and the face another, while the eyes were pointed backwards 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 intermediate 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 Greek 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 eve 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 CAMERA AND THE PENCIL.
himself, as being that 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 resemble 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 involuntarily thrown into that position by the spontaneous
action of the muscles,-thus presenting to the brain two
different fields of vision, which, by producing indistinctness, leave the mind free to its own conceptions or meditations.
If the subject has light, flaxen hair, and a fair complexion, 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.




CHAPTER 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, &c.-Few faces of perfect model.
CROSS-EYED persons may be much "flattered," and their
defects greatly meliorated by directing the eye which
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 expressions, 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 symmetrical, are devoid of any mar/ked mental character.  A
silly, meaningless smile is one in which both corners of
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118         THE CAMERA AND THE PENCIL.
the mouth 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 disguise 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 magnified, and thus improved in appearance, without injury to
the likeness. Whereas by the opposite course the defect
will be exaggerated.  [See enyravings.]
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 neutralized 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 intelligent view should be gotten which is compatible with
securing the truthfulness of each feature.
Half-length figures, with one or both of the hands displayed, are appropriate for gentlemen sometimes, and for




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DEFECTS AND BLEMISHES IN SITTER'S FACE.    119
ladies almost always. And, for a large-sized lady, a
three-fourths or full 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 some 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 shortnecked, dumpy one, as a little taller; and the aged, careworn, 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 CAMERA AND THE PENCIL.
with short shadows, will be likelier than any other to
prove acceptable. [See plate.]
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 foreshortening 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 sitter's cravat, by giving to his head. the most unconstrained
position possible, &c.
If the subject has a long or a Roman 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 SITTER'S FACE.    121
If the subject's head is broad, high, and intellectual,
while the lower part of the face is thin, the camera may
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 elevated, 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 immediately 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 employing 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 consideration 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 forward to a period when the likeness, now partial, shall be
perfect.  "0, 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-seeing 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.




CHAPTER XIII.
LIGHTS AND SHADOWS IN A PICTURE-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-Remarks of Sir Charles Bell.
ALTHOUGH persons ignorant of artistic effect may find
fault with 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 profession. 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 effect, 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 castso'as to secure an aspect of appropriateness and beauty;
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124        THE CAMERA AND THE PENCIL.
and that without such care all labors else are comparatively 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, Cambridge, 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 experienced and genuine artists.
If, then, light and shadow be essential to the artistic
excellence of a building, how much more so to the perfect image of the human face and figure!
Wherever there is bright light, shadows are of extraordinary 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 land
by reflected lights. Their broad, equable spaces, therefore, strongly impress the eye; especially as their outlines 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 affirms 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 invariably 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
he can make his one simple instrument execute a work




126        THE CAMERA AND THE PENCIL.
so complex and delicate.  But if he have the 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 contrasting 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 insensibly 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 PORTRAITURE —HIOW DISPOSED.
The costume in a portrait of great importance-Directions about its arrangement-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, &c."Small things" of great moment-Stories may be told by pictures-How,
and examples given.
As the attractiveness of a picture depends very much
upon the artistic disposition of its drapery, whether 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 elegantly 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 prevalence.
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 mneanging of such interference, and ask permission 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
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128         THE CAMERA AND THE PENCIL.
the aspect of the face by counteracting or subduing the
beautiful middle tints thereon, and by partially destroying 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 falling 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 an 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 insane, 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 PORTRAITURE.            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 WValker), 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 enumerated, the heliographer should be perfectly familiar,
since they contribute greatly towards producing a fine
picture; nor can he obtain the most life-like, artistic,
9




130        THE CAMERA AND THE PENCIL.
agreeable portrait possible, without giving heed to each
and all of them.
ILLUSTRATIONS BY HELIOGRAPHY.
Heliography, in its several branches, 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, with clearness and force, the subject of
a whole paragraph,-with such clearness and force indeed,
that the picture shall all but speak the thoughts of the
author and the artist.
Let me mention a few simple examples.
ist. 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. HIis " 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 PORTRAITURE.            131
with 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, seeing,-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.




CHAPTER XV.
THE ATMOSPHERE, -THE WEATHER,-LIGHT, FLEECY
CLOUDS, ETC.
Effect of changes of weather upon chemical coatings-Various exemplifications of this-Perplexity of a noted artist-Suggestions of how the operant
should deal with his critics and advisers.
CHANGES of weather affect the action of the sunbeam
upon the chemical coating which receives the impression,
and accelerate or retard the development of such impression.
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 heliographer'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 cause assigned for the effect produced in operating, or for the
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THE ATMOSPHERE, THE WEATHER, ETC.        133
peculiar action of the sunbeam  on the chemically prepared 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 baffled in his
endeavors to produce well-developed, bright, and richtoned 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." IHe 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 CAMERA 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 FRIENDLY HINTS TO THE ARTIST.
A few suggestions to my professional brethren respecting 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 customers, 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 a 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 standing,-move heedfully, as well as quickly, in the performance of your duties, while exerting your utmost dexterity
in handling the implements of your art; —speak to each
but briefly, and then exclusively to the purpose, —and
manifest to all, as they successively take their places
before the camera, your solicitude to give them the utmost possible satisfaction.




THE ATMOSPHERE, THE WEATHER, ETC.    135
If you will thus act, my own experience makes me
quite confident that nineteen out of twenty of your sitters 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 intelligent 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 improvement, and very unwisely "stands in his own light."




CHAPTER XVI.
PERSONAL 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 lifeMeasures which must soon be adopted to secure patronage in the sun-painting profession.
As my name has, for several years, been somewhat
conspicuously associated with the art of which I am
treating, I hope the reader may not think me presumptuously 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 Alleghenies in 1832, nearly thirty years ago, to seek the
instructions of Sully of Philadelphia, or of some eminent New York artist, as preparatory to a visit to Italy.
Circumstances preventing the execution of this purpose, 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,
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PERSONAL CONSIDERATIONS.           137
moved to take with the view of gratifying, so far I
might, my 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 rme, 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 possibilities,-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 superintendent 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 multiplied from each negative, and by help of the colorists
can furnish likenesses more truthful in drawing and lifelike 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 heliography, 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 understand 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 architect and to the artist of whatever kind. To the heliographer, 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 sittingroom; to place the subject in the best position; to determine 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.




CHAPTER XVII.
HELIOGRAPHY AN IMPROVER OF ARTS AND ARTISTS.
Predictions that heliography would ruin the business of other pictorial artistsProved false by event-All art-genius more encouraged now than ever before-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 heliographic art hac  no sooner reached such 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 vocation would be ruined, and universal art be degraded by
its fatal instrumentality.
That the reverse has been the event, is now generally 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 pictures, 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 CAMERA 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 presenit not merely the exact lineaments, facial and figural, of their subjects, but also what
is vastly more important, that expression 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 heliographic 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 remarks, with the hope that they may amend or improve
upon them, wherever there is need of the one, or room
for the other.




HELIOGRAPHY AN 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
frorn 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 expression, &c. All this, together with the taking, the developing, 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 heliography.
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 perfectly 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 occasion. I doubt not that others, inspired with a passion




142         THE CAMERA AND THE PENCIL.
for art in general, and enthusiastic for their special vocation, 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 statement 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 XVIII.
EXPRESSION-THROUGH THE FACE.
Expression essential in a portrait-The artist an imitator of the Creative
Power-Genius alone can detect and depict expression-Simon MagusGenius improved, not acquired, by study-The painter has the advantage of
the heliographer in detecting expression, from having many sittings-Lawrence, 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 different vocations-Phaeton and his fate, what it may symbolizeHistoric and ideal portraits-Their nature and modes of proceeding-Ideal
representations of Christ, the Virgin Mother —Of Washington, Napoleon, &c.
IN the course 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, however 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 powei
never repeats itself; but in every successive performance
presents somewhat varying from all existences that hav(
been or are.
Now the true artist, of whatever class, is substantially
an imitator of the Supreme Proto-Artist. His leadink
aim is to reproduce, as exactly as possible, the creation
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144        THE CAMERA AND THE PENCIL.
of the Divine Original. Therefore he must detect and
"fix" the expression marking the personality of his subject, 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 education, labor, money, or even prayers.
Simon, the Magian, offered a large sum for the purchase of the "Holy Ghost," on beholding the far greater
than magic wonders wrought thereby.  "Thy money
perish with thee," replied Peter,-adding that this marvel-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 implanted. 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 begin to fulfil




EXPRESSION-THROUGH THE FACE.           145
the requisites of a true heliographic portrait, if it exhibits
not that shadow of the soul which genius intuitively discerns, summons forth, and "fixes."
But how can the heliographer detect and call up this
expression within the brief period of his process? Unquestionably 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 thelt.
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 process, 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 circumambient 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 Cwest, it may "discourse 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 embroiled 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 freezing 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 logically 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 anteroom 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,
sufficiently 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 fiashingly 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, Pha6ton,




148        THE CAMERA AND THE PENCIL.
to take the "ribbons" of the solar chariot for a twentyfour hours' drive round our globe. The youth got so
bewildered that he could 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 Raffaelle, 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.
Here, of course, they could not copy the seen workmanship 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 portraiture 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 portraiture? 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 impression made upon the intelligence and feeling of accomplished 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 CAMERA AND THE PENCIL.
sented. Raffaelle and Albert Durer, both men of eminent
genius, were yet of different mental conformation. Hence,
Durer's representations of Christ realize, perhaps, more
truly than Raffaelle's, or those of any other painter on
record, the'Man of Sorrows,' while Raffaelle, with not
less truth and genius, has rather delighted to picture him
as'fairer than the sons of men, the chief among ten thousand, the One altogether lovely.'"
If we are malcontent with even the noblest existing
representations of the Divine Nazarene, 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 could 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-THROUGIH THE FACE.          I51
Henry addressing the 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 Caesar, &c.-supposing no reliable portraits of them
to have come down to us —the historic becomes, of necessity, the purely ideal painter; since, in striving to represent the faces and forms of his subjects, he is, and must
be, guided solely by his conception of their attributes.
\Ahere, 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 representing 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, yellowskinned youngster, who, occasionally walking, for most
of the time bestrode a little donkey instead of a genuine
Bucephalus!
Nevertheless that picture makes perceptible an essential, 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 of his country
and of mankind; a triumphant warrior, unshaken in confidence 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 unostentatiously 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 progress 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 belongings.
X Long after penning the above sentences, I met with the following remarks
of Quatremere de Quincy, which strikingly confirm the doctrine there advanced.
"Though Alexander is described by his historians as of a diminutive height,
the kind 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-THROUGHI THE FACE AND FIGURE.
Not the face only, but the whole body, its attitudes, movements, &c., are
vehicles of expression-M. Angelo, Rafflelle, Ilogarth, Lawrence, and Gilbert 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 1848 —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 Conrad-Modes of rousing expression in sitters-An actor-A lady as nunAnecdote 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, Bryant, Longfellow, Dickens-Cos.
tume and accessories-Swedenborg's theory of "spheres"-Effect of the
presence of various classes of persons on others-Remarks of a venerable
artist.
IN the preceding chapter, I spoke exclusively of the
face as a vehicle of expression. The face, however, is
but one among several mediums whereby the soul manifests 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  Raffaelle,  Hogarth  and  Lawrence,-to  whom   we may justly  add  our own  Gilbert.
(I  53)




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 veritable 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. Undeniably 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 the 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 effctedf 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 the plates to the image; as I wished to catch
the intellectual, lively look natural to him under such
conditions.
The mayor, turning to Mr. Clay, said, " Mr. Root
desires us to continue talking, as he wishes to daguerreotype 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 wlhile conversing pleasantly with his friends, all else
was prepared, and then his likeness again was daguerreotyped 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. Root, 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. Rice & Hart, successors to J. B. Longacre, Esq.
To recur, for a moment, to the subject I was considering 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 the 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 represent Webster, Clay, Jackson, Taylor, Everett, &c. Represent! 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 WVebster -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 statesman?-he  who, on seeing Webster in England, ex



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EXPRESSION-THROUGH THE FACE AND FIGURE. 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 patriotic career of Henry Clay, with the many important services 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 appealing, 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 circumstances, 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 veritable Webster, "' one and indivisible." No words of mine




158,        TEIi CAMERA 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 individual limb and muscle, were intensely alive with expression. The spectacle verified Shakspeare's: saying about
the Grecian coquette,
"Herfoot 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, otherwhere. 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. 1594
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 infancy."
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 performance and endurance which glorify our common nature!
Let the: reader imagine, as well as he may, what the
cifect 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 forward: 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 -faithful representation, of its prete.nded




160        THE CAMERA 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 corresponding 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 wherefore 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 faculties to accompany them closely, 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 OF 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 C AMERA AN'i) THE PENCIL.
moment of portrayal. There are other 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. Having 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 expression 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, Gilbert 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 the crossing of the Delaware, to
Valley Forge, &c., &c. It was all in vain. Washington'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, too, 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 Washington 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 Rembrandt 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 opposite 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. R.,
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 certainanonymous 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 WTashington'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 venerable Rembrandt 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 picture 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 pictures.
Larger sizes, in which a faithful likeness is the principal desideratum, may be taken, while standing, nearly as
low as the knees; or even below, if necessary to represent 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 hand's in all standing figures.




EXPRESSION-THROUGH THE FACE AND FIGURE. 165
These instances suggest the propriety of representing
statesmen, lawyers, clergymen, and public speakers generally, 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 body
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 historian or a poet, a romancer or an editor; in short, any
person whose chief excitations of intellect are experienced, and his favorite labors performed, while wielding 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 embarrassed and awkward than inspired with enthusiasm,
in consequence of the novelty and strangeness of his
attitude.
Contrariwise, you should place your subject in conditions which may remind him strongly of the locality,
with its accompaniments, whence thoughts have emanated, 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 multitudes.
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 Amsterdam;" the marvellous tale of Rip Van Winkle; the




166        THE CAMERA AND THE PENCIL.
unmatched adventures of Ichabod Crane; the chivalrous
"Tales of the Alhambra;" and the countless other creations, merry or pathetic, which have unsealed the fountains 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 childangel, "Little Nell," in her weary earth-wanderings toward 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 person annihilating some envious, impudent assailant.
Such, assuredly, are the mental states which you would
fain produce in the individuals named, for the sufficient
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 poweroof acting potently on
other minds, not exclusively by thought and word, but




EXPRESSION-TI-ROUGH 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,-the
Christian Pythagoras,-every human is encompassed by
a so-named "sphere;" a somewhat corresponding to the
fragrant effluence surrounding the rose-bush, the cinnamon 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."  " Sympathy between different persons results from a similitude
between their spheres, and antipathy 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 repressive, depressive, and even stupefying to those in their
company.
Of others the same simple presence is enlivening, animating, 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 CAMERk 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 re-marks in various- portions of this volume thus
o6rroborated 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; the tiger, do.
do.; the fox, bull-dog, snake, do. do.;-The inanimate world has expression-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 perturbations, on the eating of the fatal apple-Mountains expressive-Three
different 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 vegetable, 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
(/ gn\.




170        THE CAMERA AND THE PENCIL.
meaning be expressed, so must it be through the kingdoms beneath him.
Thus, has the lion's face no expression?  What was
the epithet, "lion-hearted," attached to the first English
Richard, meant to express?
Probably this, "-tremendous physical force; a disposition which, from 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 unresistant. 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 Samson, the heroes of rough, violent times; themselveshardly less rough and violent, than the foes they triumphantly encounter; but, unlike these, possessing a grandeur 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 JEsop'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 away from whoever
fronts him boldly, but creeping back to effect his destructive 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; luckless in many ways, and especially in this, that the sonamed "great" everywhere make a favorite amusement
of hunting poor "Puss" to death,' with the accompaniments 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 animal 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 correspondences 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 hospitality, treason, and midnight murder?
On a "blasted heath," but partially visible by the few
shimmering stars of a clouded sky!  A rough, bleak
region, with dank mosses and noisome weeds, and
sombre-hued, 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 consumption 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 process of perpetration.
Milton has attributed similar perturbations to earth at
the eating of the "fatal apple" by Eve.
"Earth felt the wound, and Nature from her seat.
Sighing through al1 her works, gave signs of woe%
That all was los~t."




EXPRESSION-ANIMAL AND INANIMATE WORLDS. 173
And when Adam followed her 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
Original."
We may, however, find the same principle illustrated
by 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 in
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 strikingly 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.
blemishes, of fertilities and barrennesses,-a sun marked
with many a spot, yet still a sun.
But yonder looms up a third mountain. Differing
greatly from the two former, it appears, on a superficial
glance, little other than a huge mound of rough, verdureless 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 continue to do, till its existence becomes absorbed by the
all-central ocean. Still further-Within the bosom of
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 prodigal 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 particulars 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




EXPRESSION 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 Sahara, and what see you and hear you there?  The formidable 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 serpents, 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 presented 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 numerous 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.
which, 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 iEtnas and Vesuviuses, 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 reptileswarming, desert-flaming, and frost-bound, the intelligent observer may see reflected, or expressed, the multiform 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 characteristic 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?




CHAPTER XXI.
EXPRESSION OF ABNORMAL MOODS OF BODY AND MIND.
Disease, like health, subject to laws-Various diseases exhibit various expressions-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 the 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 indications, as suggesting in what direction to look for such.
Thus he remarks that in a disease of the brain or nervous system, the forehead, brows, and eyes give the explanation of the ailment.
Morbid conditions of the chest write their signatures
on the middle of the face,-especially the nose.
19 IQ(177)




178         THE CAMERA AND THE PENCIL.
The mouth and the lips, by their change from the customary aspect, show the presence of abdominal affections.
In acute disease of the. head, the eyes are fixed and
staring, oi 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 insensitive to light, while the patient is motionless or unconscious.
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 countenance is pale or sunken.
And doubtless a sufficient 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 MIND.    179
supremely beautiful, a shadow that produces on the
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.




CHAPTER XXII.
MISCELLANEOUS FACTS.
Peculiarities in the eyes of various individuals; e.g. 1st. Incapacity of distinguishing 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 namesVarious examples among savage tribes-Origin and use of names of whatever kind-Illustrations among both ancients and moderns, e. g. Cicero,
Caesar, Scipio, 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 distinguishing 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.
(180)




MISCELLANEOUS FACTS.            181
2. Size, proportion, and relation are principles which,
in some eyes, would seem to be all ajar.
Thus, the apparent 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 knowledge possessed by him has entered his mind, tells me,
gravely, that the sun's disc looks to him as large as a coachwheel! 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 variance 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
EXPRESSION 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 TIlE PENCIL.
to the customs of savage tribes in the assumption of
names or designative titles. Alike from the animate and
the inanimate worlds they borrow such appellatives as
are fancied by 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 Rain comes"
" Wakawn," "the Snake"-" Chittee Toholo," "the Snake
that makes a Noise"-" Monkaushka," "the Trembling
Earth"-" Tooan Tuh," "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 convenience, 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 abundance from the records of antiquity. I will alude merely
to the titles, Cicero, Caesar, and Scipio. Thus, the immortal orator, Marcus Tullius, is said to have received




MISCELLANEOUS FACT'S.           183
the cognomen, Cicero, from "cicer," " a bean"-he having been marked on the face with a bean-shaped wart.
So, Caius Julius derived the cognomen "Ca3sar," from
"casus," "cut"-in consequence of his having been
taken from the womb of his deceased mother by a surgical operation.
Finally, the cognomen "Scipio," subjoined to the
family name of an illustrious Roman 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 Rob Roy we have, in the hero's title, Robert the Red, —Roy signifying red,-an allusion to the
color of his hair.
So, in Highland Annals, you find " the Black Comyn,"
"the Red 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 CAMERA AND THE PENCIL.
the appellatives having been borrowed from some property 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 assuming it, or signalized by it.
How wide-reaching and profound, then, is this 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.




CHAPTER 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, &c., among the ancients; and M.
Angelo, Raffaelle, Reynolds, Barry, Opie, Lawrence, Haydon, Cousin, Ruskin, Jeffrey, Alison, Burke, Michelet, &c., among the moderns-Sundry
original comments on the same.
IN the course of the present volume, it has fallen into
the logical sequence of my 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 distinguished 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 accumulated 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         TI/E C'ALMERA AND 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, separated from their great religious thrones only by less fulness 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.




OPINIONS UPON BEAUTY.            187
"The most lovely objects in nature are only partially
transparent. The utmost possible sense of beauty is conveyed 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 proportion 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 receivere:  reflection of the mind under whose
shadow they have- p:ssed, and are modified or colored
by its image.
"Any material object which can give us pleasure in
the simple contemplation of its outward qualities, without anlly 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. R. 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 AND 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 theoryexcite the emotion of beauty in his spectators. Sometimes the form and face, which contain virtue, are ugly,
like those of Socrates; and sometimes, however detestable 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 association 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 expression; and that association is subsequent to the first impression on the brain, and not prior to it; or co-instantaneous 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 emotions 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,




OPINIONS UPON BEA.TUTY.           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 perfect, 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 possessing 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 distinguished for mutual beauty of face and figure,
and for instant infatuation.
"Jeffrey denies any organization of brain for the impressions 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 Reynolds, 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 expressions they convey.
"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 beautiful, are not permanently so. Domestic harassings destroy
them."
"Never" (replies iaydon)-" a face constructively
beautiful in form no expression can destroy. Malignity,
revenge, anger, hypocrisy, anxiety may vary its expressions, 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. Siddons'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 variations 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 Venus, 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
Baechus,-not on:the Juno or the Minerva, but the
Venus,-because the manly form is never termed beautiful, 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 approaches 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 construction 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 deficiency. 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 THIE PENCIL.
have had of the emotion of beauty from form?  None
And yet such an impression was made by this creature
so 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 association 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 association.
"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



OPINIONS 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 intellectually, 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 sublimity are based on the attributes and associations of God.
"A great part of the beauty of the celebrated description 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 loveliness. But a painter, when representing Eve on canvas,
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 adorable? 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 con venient 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:       fiHE CAMERA AND THE PENCIL.
and 4th, to associated emotions.  Conclude with 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 complex applications.  By the transitions of language it
often expresses that of which visual pleasure is no component, or a very small one. An infant's delight in a
brilliant object, or some vivid color, illustrates the simnplest 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
beautiful 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 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, results
from  the action of the muscles in the play of the
features.
"The importance of the human figure, as a type ofbeauty, has in all times been recognised. Vitruvius
says,' No building can possess the attributes of composition, 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 cE.aracteristic of the typical female form being pure
and simple beauty, while that of the typical male form




OPINIONS UPON BEAUTY.             195
is beauty modified by massive strength, the basis on
which each of the figures is constructed, might be presumed 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 ecase ought
to develope the same aesthetic laws, though in different
modes. Such are the properties of fitness which characterize 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 beautiful, that the more
_pleasing face, we imply that we prefer the beauty of emotion, 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) beautiful 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 CAMERA AND THE PENCIL.
beautiful.  This affirmation is not always explicit.
Sometimes it manifests itself only by a cry of admiration; sometimes it silently rises in the 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, movements, are capable of producing the idea and the sentiment 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 surpasses the other two,-to wit, moral beauty.
"Physical beauty, however, is the sign of an internal
beauty, which is spiritual and moral beauty;-and thiE




OPINIONS UPON BEAUTY.             197
is the foundation, the principle, the unity of the beautiful.
"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 diplomacy 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,-sometimes 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 TIHE PENCIL.
slightest 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 beauty.  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 beautiful 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 different 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 participate, 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 necessary 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 beautiful 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.  O, 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?"
To this passage from Plato's "Banquet" I subjoin the
following from his Timoeus:




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 subject, 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 beautiful, 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 difficult 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 perfectly beautiful?
"When Zeuxis drew his famous picture of Helen, he
modelled his portrait from the separate charms of five
-different virgins.
" The process, which Raphael says he pursued in painting his Galatea was this, —'I am destitute of beautiful
mnodels,- 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 perfection;. for the works of nature are full of dissonances
and disproportion, and fall very short of the true standard 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 different 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 objects, 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. Equally 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 enjoying these two species of the beautiful implies somewhat
of cultivation and mental development; and the unavoidable 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
Still more determinately is the capability to perceive
and delight in ideal beauty the fruit of high culture,a culture, too, which has produced, to a more than average 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 descending 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 diffidence, try the
experiment.
What, then, is the ultimate source of beauty?  Undeniably 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 accomplishment of the fittest ends,-with the benevolence, goodness, or love that has devised such multitudinous provisions 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 purposes to exhibit to
ourselves, in such modes and degrees as our finite, imperfect natures can comprehend,-the character and will




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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 modifications 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 delightful impression which we call beauty,-what do we behold 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 specific 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 comprehensible 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 persons 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 substantially 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 associated 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 representations 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 primary elements, 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.




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To sum up, with somewhat of reiteration.  The total
universe, with its infinitely diverse existences, is, of
necessity, an aggregation of methods and means, whereby
the character and will of the Creator are expressed to us.
Beauty is the name we have agreed to affix to one 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 contestants, 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 manifestation.
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 investigation and reiterated experiment can alone solve the
problem.
But the question here considered is wholly as to the
origin and quality of beauty; 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 suffices.




CHAPTER XXIV.
ART, WITH ITS INCIDENTS AND BELONGINGS.
Opinions of ancient and modern writers on the same —Sublimity and 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, BurkeDrawing or Design: Fuseli, Barry-Grace: Allston-Repose: Ruskin,
Michelet-Composition: Ruskin, Haydon-Color: Opie, Fuseli-Symmetry:
Symonds-Light and Shadow: Quintilian, Reynolds, &c., Ovid-Expression: Reynolds, Du Piles, Lawrence, Curran, Stuart, Trumbull, Inman,
Bell, Aristides, Timanthes, Stothard, &c.-Portrait: Howard, Northcote,
&c.-Sculpture: Agesander, Barry, Haydon, Allston, &c.
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)




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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.  But 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
beauty" of a thunder-storm or a tempest-vexed ocean,two scenes familiarly cited as examples of the sublime.
Again,
"And if the fresheening 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 Ruskin, 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 contemplation of greatness of any kind; but chiefly, of course, by
the greatness of the noblest things. Sublimity is, therefore, only another word for the effect of greatness upon




ART, WITH ITS INCIDENTS AND BELONGINGS.  209
the feelings.  Greatness of matter, space, power, virtue,
or beauty, are thus all sublimne; and there is, perhaps,
no desirable quality of a work of art, which, in its perfection, 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 Thermopylse, 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 3000 years, inspires a pleasure
glistening through tears, that, instead of enervating,
kindles an emulative desire to follow, under such conditions 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-i. 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         TIlE CAMERA AND THE PENCIL.
words, so arranged, that they excite in the 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 existing 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 manifests 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 different 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 supposed 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 tc
this day.
"When, however, it is found that most men may b(
taught to do this, it should be remembered that it is th(
man of genius only who excels in invention, expression




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dignity, and grace,-in short, those qualities or excellencies, the power of producing which cannot be taught
by any promulgated or known rules.
"What is now entitled genius begins not where 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 predecessors, 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 lightning, he puts his rough sketch on paper or canvas. By
consequence his work has the air of genius stamped upon
it; while the contrary method of proceeding will inevitably 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 Reynolds, "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 envious, 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 Angelo, Raffaelle, Titian, Correggio. We find
Michael Angelo more sublime, but we sympathize more
with Raffaelle. When Reynolds said that M. Angelo
had more imagination, and Raffaelle more fancy, he
meant to say that the one had more sublimity, more elementary 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 Raffaelle."
Says Henry Howard, "The principles of the fine arts
exist originally in the deep recesses of our nature, waiting for genius to discover and apply them."
Haydon remarks, "The theory of Reynolds was that
Of the Johnsonian period, though Burke was a living
thunderbolt of refutation. Johnson said,'Genius 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 ordinary 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. Genius
is essentially the power of doing, of inventing, of
creating."
Says Fuseli,'By genius I mean that power, which
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 mysterious 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.
Ruskin 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 discoverable 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




ART, 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 depended on a painful but untaught study of nature. He
had much feeling for abstract beauty of f)rm, though
none for harmony of expression.
"Gaspar Poussin had the same want of imagination,
disguised by more masculine qualities of mind and
grander reachings 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 possessed 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 adventurous 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 solitude,' 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 Ruskin, "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 citations, and these contain little more than definitions of
the term. Our space will allow no more.
Fuseli says, "To invent is to find; to find something
presupposes its existence somewhere, implicitly or explicitly, scattered or in a mass.
"The element and realm of invention are form, in its
widest meaning,-the visible universe enveloping our
senses, —and the invisible one that agitates our minds
with visions begotten by fancy on sense."
Ruskin says, "One characteristic of great art is, that
it must- be inventive,-that is, produced by the imagination. It must not only present grounds for noble emotion, but furnish these grounds by imaginative power."
Reynolds 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 Ilaydon, "If an expression must be sedn 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
communicated 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 her 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.
Ruskin 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 violent grief, there may be something of sublime."
5. TASTE.
Ruskin 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.




ART, WITH ITS- INCIDENTS AND BELONGINGS.  219
sources wants taste; he who receives pleasure from any
other sources has false or bad taste."
-Barry remarks, "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 distinguish 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
ini nature, poetry, painting, or music, the taste which
relishes a mathematical demonstration is not the faculty
of selecting the beautiful from the ugly, but the true from
the false,-a very different power producing a very different emotion, and referable at once to an organization
of the brain altogether different."
Cousin remarks, "Three faculties enter into that complex faculty called taste, —imagination, sentiment, reason.




220         THE CAMERA. AND THE PENCIL.
Taste feels, judges, discusses, analyzes, but does notinvent. 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 greatness chiefly depend.  Color represents nothing, and
lights and shadows have no meaning till they are circumscribed 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 sensethe. drawing of. the figures and component parts of the
subject. The arts of design have been so named from
their nearly exclusive power of representingform."
Barry says, "Titian's style of drawing is not remarkable 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
Raffaelle 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 Fighting Gladiator, 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 rriddle, 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
their 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?  Drawing? What the third? Drawing? They tell you, indeed,
to acquire coloring, chiaroscuro, composition, &c.; but'they insist on your becoming draughtsmen.' Both RafIaelle 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: Raffaelle 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, "Rembrandt 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-thee homeliest -and meanest, that the best




222         THE CAMERA AND THE PENCIL.
cultivated eye, the purest sensibility, and the most
refined taste dwell upon them equally enthralled. Shakspeare 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.",
HIoward says, "Beauty, character, grace and grandeur.
expression, motion and energy, the noblest and most
intellectual qualities of the art, all depend on drawing;
which deserves, therefore, to be the determined aim of
the student's systematic and persevering application.
He must strenuously labor to render his eye mathematically 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 legitimate; 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 Vitruvius, 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 versification 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 understanding, without confusion, distraction, or pain."
Beechey says, "The basis of all superior art is ability
in drawing the human figure, -in other words, the knowledge 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. Reynolds 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 that dexterous power which hides the means by
which it was attained, the difficulties it has conquered."
Washington Allston remarks, "It is needless to say
how I was affected by Raffaelle, 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 impairing 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 continuance of this a grace of form which by no discipline
may be taught or attained."
8. REPOSE.
Ruskin 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 characteristic of the eternal mind and power; it is the'I am' of
the Creator opposed to the'I become' of all creatures;
it is the sign alike of the supreme knowledge which is
incapable of surprise, the supreme power which is inca



ART, 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 must 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."
Ruskin. 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 instance,
" 1st. The circle, or the ellipsis, as in Ananias.
"2d. The pyramid with two wings, as in Elymas.
",3d. The large group with one figure, as in Christ.
"4th. The three distant groups, as in the'Beautiful
Gate:'
15




226        THE CAMERA AND THE PENCIL.
"5th. The serpentine line, like that of Rubens, 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 expression, 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 quantities 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 rendered 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 Raffaelle'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 our 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 BELONGINGS.  227
-especially in an art, the object of which is to instruct
by beauty.
"Another cunning and touching secret of Raffaelle's
anud Correggio's power over us was, that, in every face
of a beautiful woman painted by them, they gave a
teider air of sympathy and love; so that, in most of
their women, if you clear away all the figures, but 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 composition; 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, Sebastion 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 perspective, 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;
-hat 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 increase 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 enlightened, they were referred to books, not pictures, for improvement.
"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 is all regularity; what shows like negligence is really the result of the most masterly contrivance. Ostade's pictures call this passage to my mind, so




ART, WITH ITS INCIDENTS AND BELONGINGS. 229
accurately does it describe the principles on which 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
dye 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 sombreness of his tints- its characteristic color- and shade of




230         THE CAMERA AND THE PENCIL.
difference, both 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 hardness 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 affection 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 sadness, 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 discovered 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."
Reynolds says, "The striking brilliancy of Rubens's
colors, and their lively opposition to each other; the
flowing freedom of his outline; and the animated pencil,




ART, WITH ITS INCIDENTS ANI) BELONGINGS.  231
with which every object is touched, all contribute to
keep alive the attention of the spectator. Rubens 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 powerful 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: unveil 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 CAMERA. AND THE PENCIL.
authoritative, violent, brutal, vigorous, helpless, delicate,-and various as the tints of the passions that
sway them, appear,-elevated, warmed, inflamed, depressed, appalled, aghast,-they are all united by the
general tone that diffuses itself from the interior repose
of the sanctuary, smoothens the whirlwind, that fluctuates on the foreground, and gives an air of temperance
to the whole."
Reynolds says, "Coloring is true when it is naturally
adapted to the eye from brightness, from softness, from
resemblance, because they agree with their great prototype, nature, and therefore are true,-as true as mathematical 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 pleasing 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, Rembrandt, 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 Rome and Florence;
but still the presiding principle of both these manners
is simplicity




ART, WITH ITS INCIDENTS AND BELONGINGS.  233
11. SYMMETRY.
Ruskin says, "Symmetry is the opposition of equal
quantities to each other; while proportion is the connection 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 distasteful 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, results 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, Venetian,
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 THE PENCIL.
shadow. Here the lights are the effect of real lights,
and the shadows of real shadows, produced by the direction 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."
Reynolds says, "Raphael 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 gratification."
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, WITH ITS INCIDENTS AND BELONGINGS.  235
ciple, chiaroscuro, 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 contributes 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 Allegri, 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.:te 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, the fairest of the Centaurs, 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 splendor 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 Vinci; 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 Bartolomneo della Porta.
"The Roman school, like an oriental sun, rose not
announced by dawn, and setting, left no twilight.  Raffaelle 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 mark's




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 element 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, attitudes, 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
inward 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 Reynolds'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 (expression) 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 which 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 Reynolds thought
very little, and used to say that he could instruct any boy
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 pictures we draw. In this he is undoubtedly right. Persons 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 intelligent state of mind.
By Raffaelle's happy correspondence between the
expression of the countenance and the disposition of the.
parts, his figures appear to think 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 Raffaelle 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 peculiar 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 composed, and exhausted nature in the choice of his subjects
to display it. Ewvery. effect of mind on- matter; every:




ART, WITH ITS INCIDE.NTS AND BELONGINGS.  239'
affection of the soul as exhibited in the countenance,
from the gentlest emotion to the utmost fury and whirlwind of contending passions; from the demoniac frenzy
of the possessed boy in the Transfiguration to the melting rapture of the Virgin Mother contemplating her
Divine offspring; may be found so faithfully and energetically represented on his canvas that we not only see
but feel, and are, by irresistible sympathy, made participants 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 interesting 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 encouraging 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 mysteries, 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, necessary, 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 impalpable."




240        THE CAMERA AND THE PENCIL.
Haydon remarks, "Lawrence once took a portrait of,
Curran, whose features were mean and harsh. In thefirst sittings, he saw so little of the true man that he
almost laid down his palette in despair of making anything more than a common or vulgar work. But Curran, 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 expression 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 Rome says, "It may be cited, as the most
poetical, enthusiastic delineation of acute genius, without




ART, WITH ITS INCIDENTS AND BELONGINGS.  241
flattery, that has ever been executed. Its animation is
beyond all praise. I heard Canova cry out when it was
mentioned."'Lawrence" (says Hiaydon) " has been called the second
Reynolds,-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, whoseforte 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 cheesemaking, &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!"




242         THE CAMERA AND THE PENCIL.
Washington Allston says, "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
that 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 surface."
" Henry 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 commissioned 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 my object; he entered warmly'
into it; and as the work advanced, we talked of the:
scene, its dangers, its almost desperation. He looked the
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 evanescent, 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 examples, 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 expressive; 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 peculiarly human chiefly affeict the angle of the mouth and
the inner extremity of the eyebrow; and to these points
we must principally attend in all our observations concerning the expression of passion. They are the most
movable parts of the face; in them the muscles concentre; 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 Raffaelle. 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 imagination and eye, no instruction on earth can give you.
"In the expression of dignity in portrait no heads
exceed Reynolds'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 extraordinary that he wrote as he did.
"There were never two men so totally opposite in art
as Reynolds 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 discernment 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




2~46      TTHE CAMERA AND THE PENCIL.
the air of rank without being dandies,-Lawrence's were
all dandies without being men of rank.
"Such were the gentleness, the sweetness, the chastity, the beauty, and bewitching modesty of Reynolds'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 touching 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 everything 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. PORTRAIT.
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 personal affections and ties will always bid defiance to any
rivalry from art; but works of fiction do not pretend to




ART, WITIt ITS INCIDENTS AND BELONGINGS.  247
vie with realities; their aim is to give an agreeable
stimulus to our imaginations or affections by reproducing
to our notice whatever is permanently grand, beautifutl,
emphatic, or expressive in our observations and conceptions of nature wherever found."
Haydon says, "Do you suppose I undervalue portrait,-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
Reynolds'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 portrait by which Silanion, in the face of Apollodorus, personified habitual indignation,-Apelles, in Alexander,
superhuman ambition,-Raffaelle, in Julius II., pontifical
fierceness,-Titian, in Paul III., testy age with priestly
subtlety,-and in Camsar Borgia and Machiavelli, the wily
features of conspiracy and treason. Not that portrait
by which Rubens contrasted the physiognomy of philosophic 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, substantiated humor in Sterne, comedy in Garrick, and mental
and corporeal strife (to use his own words) in Sarnuel
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 resemblance. 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 have more levelled
social ranks, and more equally diffused opulence, private
importance has increased, and family connections and
attachments have been more numerously forced. Hence
portrait-painting, which formerly was the exclusive property of princes, or a tribute to beauty, prowess, genius,
talent, and distinguished character, is now becopne 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 thoroughbred, regularly drilled portrait-painter, which no imaginative 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 portraitpainter selects the best off 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 likeness.
"Though Fuseli had more of imagination and conception than Reynolds; though West put things together
quicker than either; though Flaxman 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 INCIDENTS AND BELONGINGS.  249
Velasquez. It is impossible for any one to look at a
portrait by him, without instruction, benefit, and delight."
Says Northcote, "It is in painting, as in life, —what is
greatest is not always best. I should grieve to see Reynolds transfer to heroes and goddesses, to empty splendor
and airy fiction, that art which is now employed in diffusing friendship, in renewing tenderness, in quickening
the affections of the absent, and continuing the presence
of the dead.
"As every man is always present to himself, he has,
therefore, little need of his own resemblance; nor can
he desire it but for the sake of those he loves, and by
whom he hopes to be remembered. This use of the art
is a natural and reasonable consequence of affection;
and though, like other human actions, it is often complicated with pride, yet even such pride is more laudable
than that by which palaces are covered with pictures
which, 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 representation of an individual, nor completely ideal, every circumstance ought to acorrespond to this mixture. Small
excellencies should be viewed, not studied,-they ought
to be viewed, because nothing should escape a painter's
observation."
iaydon 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, the profoundest anatomists are not wiser than we
are.
" The interesting muscles of the face and head are the
hidden causes of the expression of the passions by
feature."




250         THE CAMERA AND THE PENCIL.
15. SCULPTURE.
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 nmeans, 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 grace, character, and
expression, though words of different import, and so
understood, when applied to paintings, are used indiscriminately, when we speak of sculpture.  These qualities 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
by the writhing and contortions of the body, than by the,
features."
Barry says, "Socrates was himself a sculptor by education. A Mercury and a draped marble group of the
Graces by him are noticed by Pausanias, as standing in
the Propylhea, leading to the Acropolis at Athens."
Agesander, the sculptor, says, "The figure of Laoco6n
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 finding. 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 Valerius
Maximus, Plutarch and Martial.
I:  f such were my convictions on seeing this dilapidated 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 insulted, 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 Sistine 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 Raffaelle 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 messengers from the other world, with the destiny of man in
their breath,-even in repose terrible!"
Vasari 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 Vinci,
Pietro Perugino, Raffaelle, Bartolomeo, Andrea del
Sarto, Il Rosso, and Pierino del Vaga.
Ruskin 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."




254         THE CAMERA AND THE PENCIL.
This was Lionardo's glory. His genius gave the deathblow 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 Correggio, and electrify us in the mysterious
visions of Rembrandt."
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, possessed by him, form precision; precision, proportion;
proportion, beauty; that is, the little more or less, imperceptible 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
baffled 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




CHAPTER XXV.
MISCELLANEOUS REMARKS FROM VARIOUS AUTHORS.
Sexes, how distinguished: Barry, Opie, Fuseli, Apelles-Analysis of Da Vinci's Last Supper: Howard, Ruskin, Lawrence, Burke, Cuvier, Dryden, Mrs.
Siddons, Reynolds.
BARRY says, " There is a general character distinguishable 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 laborious utility, as for the exercise of all the softer, milder
qualities."
Opie remarks, "Lionardo da Vinci 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)




REMARKS FRO.M VARIOUS AUTHIORS.       255
companion, in which he 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 increase his facility in drawing, and gradually supply him
with stores of incomparable value. This was the habit
of Da Vinci 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 many 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.
Raffae]le was distinguished for expression and grace;
but had neither the greatness of style of his rival, nor
the sweetness and unction of Correggio; while 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;




256         THE CAMERA AND THE PENCIL.
every figure presents a different quantity; and the principal line being horizontal, the forms above it are contrived 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 himself, 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 profound 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 Rossi.
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.




REMARKS FROM VARIOUS AUTHORS.          257
5. James the 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 forefinger 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




258         THE CAMERA AND THE PENCIL.
which presses inwardly on his absorbed eye; while every
face and every limb around him, roused by his mysterious 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 Redeemer,
which I will not say equalled, but even approached 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 character, 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, meanwhile, assumes a look of intrepidity; but, though he
counterfeits innocence, he leaves no doubt of his being
the traitor.
"Da Vinci said, he wandered about for a year, perplexed 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 alterations 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 consideration."
He greatly admired Reynolds, and, amid all the wonders 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 Negro, 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, Raffaelle,
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, Vandyke, and even Titian and Rubens fail.  Reynolds,




REMARKS FROM VARIOUS AUTHORS.         261
especially, could elevate what he saw, if he 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
coining, 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.
BBurnet says, "Alexander would never sit for his portrait 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 head




262        THE CAMERA, AND THE PENCIL.
of Mrs. Siddons there were parts and forms which did not
appear to belong to Mrs. Siddons, and should, therefore,
be omitted in her portrait. To every head where character 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



RE-MARnKS 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 V., that on its being
placed on the terrace, in the sun, the passers-by took off
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 accomplished 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 be
any such thing, must be that use of the arts whichhas the effect of elevating
and refining the morals. Thus, in painting, while the delineation of the subject, 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 justifiable, under any circumstances, because there are many pictures that would
suggest various ideas to different 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."




CHAPTER XXVI.
ON COLORING PHOTOGRAPHS.
Introduction-Necessity for color to an artistic photograph-Influence of white
and black on colors-Blonde and brunette complexions-Water colorsColoring 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 likeness and a work of art,-the truth of which principles is confirmed by the opinions of the ablest and most
eminent artists of former times;-so I here introduce a
ohapter upon finishing and coloring the Photograph in
several of the most approved styles in vogue. These
styles, if carried skilfully into effect, 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 production, in the arrangement of position, and the distribution 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,
(264)




PRINCIPLES OF HARMONIOUS COLORING.    265
be absolutely essential to anything like a faithful reproduction 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 exhaustless 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 arrangement 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 to 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 principles 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 represented, still in the selection of colors for draperies, backgrounds, &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 comment 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 produces harmony.
Any two primary colors mingled in certain proportions, 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 tHARMONIOUS COLORING.    267
1       \3
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 I 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 green by the combination of
blue and yellow, and is opposite to its compl mental, red,
the remaining primary.
The space 5 is colored orange, by the commixture of
yellow and red, and is opposite to red, its complementary.
These combinations may be carried, with like results,
to an extent virtually unlimited. For example, the combination 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 of 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 relations exist, as a physical necessity of our organs of
sight, as may be demonstrated by a few simple experiments.
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 purple 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 towards yellow, and become a yellowish green.
These combinations may be multiplied by gradations,
so minute and delicate, that to enumerate them is impossible.
The quality of their relations, however, may be illustrated by the appended diagram, wherein the complemental of each color will be noted in the space directly
opposite to it; each pair exhibiting a harmonic balance
of the three primary colors.




PRINCIPLES OF HARMONIOUS COLORING.    269
Green Blue.            Violet Blue.
Blue Green.  (               Blue Purple.
Greeks                   Pur purple.
Yellow Green.                      Red Purple.
Green Yellow.                      Purple Red.
Yellow.                   ed.
Orange Yellow.              ed Orange.
Yellow Orange.'  Orange Red.
Each pair of colors, comprising a pri
Each pair of colors, comprising a primary with its
complemental secondary, exhibit also, sundry special contrasts 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 most advancing. Every combination 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, and is most nearly
allied to light; while purple, its complemental, is the
darkest of colors.
We may here state that white and black, 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
black, 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 characteristics of the primaries, to which they are most closely
allied.
Complemental colors in juxtaposition, mutually contribute to enrich each other, and produce what is entitled
the harmony of contrasts. For instance, purple and yellow,
of like purity and intenseness, become each the brighter
frome 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 blue growing greenish from the yellow
rays emitted by the purple taking a russet tinge from the
orange rays reflected from the blue.
From this fact, it appears that neutral tints put in contact 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 appearing 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 appearing 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 contrasts, 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, moreover, 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 unvaried mingling of yellow gorse and purple heather.
In applying these principles to the coloring of protraits, 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 harmony 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 familiar with the.aubject, may be recommended M. Chevreul's work, on "The Simultaneous
Contrasts of Colors;" as also Mr. Redgrave's excellent little " Manual of Color."
We may, further, refer him to our chapter entitled, "The Harmony of
Colors, pp. 67-83."




PRINCIPLES OF HIARMONIOUS COLORING.    273
By this we are to understand merely that orange is
the full 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 yellow or brown tint predominates.
HIe 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 fair 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 portions of the skin nearest to the hair, the eyebrows, and
the eyelashes, present a harmony of' analogy, either of
scale or of h?.e."
In the fair 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, a-re actually redder, or less rosy, than in the
blonde type. Nor should 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 indi18




274             THE CAMERA AND THE PENCIL.
cated,  will enable  the  colorist  to  secure  fidelity  to
nature, in the particulars absolutely inherent in his
mnodel, 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 qualification, 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 HARMONIES OF COLOR."
Blue-Yellow-Red-pure simple colors all,
(By mixture not obtained) we primacries 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 by the lo.w, named above,




PRINCIPLES OF HARMONIOUS COLORING.    275
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,
While 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 pure; 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 pure, 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 orange, 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 CAMERA 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 photograph 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 Carmine, Gallstone, Burnt Sienna, Gamboge, Burnt Umber,
Green Bice, Cadmium Yellow, Green Oxide of Chromium, Carmine, Chalons Brown, Hooker's Green, 1, 2,
Chinese Vermilion, Indian Lake, Indian Red, 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, TerraVerte, Olive Green, Ultramarine, Orange Ochre, Ultramarine Ashes, (Olive Vermilion, 2), Vandyke Brown,
Venetian Red, Payne's Gray (for Scarlet), Verditer, Permanent Crimson, Vermilion, 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 Miadder.-A most valuable color for flesh,-its
pale washes being delicate, clear, transparent, and very
permanent.
Pink Madder.-Similar to the last named, but somewhat deeper in tint.
ICrimson 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.
Indian 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 suitable for flesh tints, as it is heavy and does not work well.
With a little lake, it is useful for the lower lips of children.
Orange Vermilion, No. 2.-Works more favorably than
the last preceding, and, as suggested by its name, it inclines somewhat to yellow. (This color, which is one of
Newman's, is the nearest approach to a pure scarlet, that
is permanent.)
Roman Ochre.-Useful for dark flesh, as also for dra




278        THE CAMERA 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 Yellow.-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 photographs, however, it is too intense.
Cadmnium 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 permanent 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
carefully protected from this.
Raw Sienna.-A brownish yellow, which is permanent, 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 Umber.-A good brown, useful for hair, draperies, 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.
Vandyke 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 "work up," when a large
amount of it is employed.
Neutral Tint.-A valuable gray, which may be modified for almost any shadow, by the addition of othertints.
Purple Madder.-A deep warm purple, of great richness 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.
Tndigo.-A good dark blue, useful in combination for
producing a variety of greens for backgrounds.




280        THE CAMERA AND THE PENCIL.
Ivory Blaclc. —A rich 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 ha tching, a sable, of which the point
has been worn off, will serve sufficiently well.
Small pencils should be discarded, as tending to produce a feeble, wiry effect, which is extremely undesirable.
Good pencils are essential, alike to comfort in operating, 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 sidelight. 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 turning 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 shadows 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 useless objects, should be devoted to a few simple items,




282         THE CAMERA AND THE PENCIL.
that neither agitate the feelings nor draw off the attention, which ought to be fixed upon the principal figure
or object.
For water colors, the tone of the picture is of considerable 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 gelatine, 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 somewhat 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 suc



PRINCIPLES OF HARMONIOUS COLORING.    283
cess, not less than comfort, in working, we would urgently 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 resembling 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 requisite for immediate use; since, when the color mixed




284         THE CAMERA AND THE PENCIL.
therewith has once dried cn the palette, it is unfit for
subsequent use. The palette and pencils should, moreover, be washed before the color hardens, or its removal
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 sufficiently adhere.
METHOD OF COLORING.
Though the coloring of photographs differs, in some
items, essentially from that of miniature paintings, yet,
as both the management 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 unacquainted with these, will be
surprised to learn that, by mixing his colors to the tint
desired, and then simply washing them on to his impression, he will obtain but a meagre and unsatisfactory
result. There is scarce any part of a human face so flat,
as to be'correctly represented by a simple wash. It is
so full of inequalities, that the gradations of light and
shade are, virtually, numberless; and these gradations
between the high lights anid 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 requisite 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.
Stippl'ing is a process somewhat similar, save that fine
dots, with the point of the brush, are employed in place
of lines.
The effect, in either case, is to impart depth and transparency, 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, whereof 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.
IV.-As light is color, every gradation to shadow is a
gradation from color, and, therefore, the color in shadows
should never be too bright.
V.-Local colors are found neither in lights nor shadows.
VI.-Warm colors (or those approaching to orange)
advance; while cold colors (or those approximating to
blue) retire.
VII.-Contrasts yield brilliancy of effect, yet they
should never be violent or inharmonious.
VIII.-Colors should be laid on with the least possible 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 outlines, 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.
XI.-Let reflected lights be kept warm, unless the
object they are projected from be visible, then they partake 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.
XV.-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 corner. 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 defined, 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
eftect in softening the harshness of the shadows, too common in many photographs.




288        THE CAMERA AND THE PENCIL.
Commence by giving the retiring shadows of the forehead, eyes, and mouth, a wash of gray, composed of
Naples yellow and cobalt, the green or blue tint predominating, 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. Finally, 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 vermilion 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 background, and commence the draperies by giving them the
general wash; next heighten the color of the cheek with
vermilion and pink madder.
Hatch 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 effect 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 stippling 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 arabic, 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 transparency, if required, and the picture is completed. But
avoid using gum-water too freely, especially in the draperies.
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 neutral, 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 Brown Hair.-Lights, purple; local color, sepia;
shadows, warm.
Raven Black Hfair. —Lights, neutral; local color, indigo, 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




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 something 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.
Red.-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 yellow, 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 concluding 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 colored. A right method of coloring is the main consideration.
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 prepared, 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.
VARNISH.
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 Newman, 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,
~and 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 generally, fleshes, reds, greens, and yellows, may be advantageously 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, which 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 process," 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 siunilar 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 inherent and incidental, require, more than any other photographs, some aid from the artist's touch.
The nearer the picture approaches the life-size, the




296         THE CAMERA 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,
perhaps, is more suitable, than the employment of colored crayons, or black and white chalk. We shall,
therefore, give a few suggestions as to the mode of using
these.
PREPARATION OF THE PHOTOGRAPH.
Enlarged portraits, by the solar camera, are commonly, in this country, produced by the process of development-printing, and therefore are on plain paper, without
an albumen 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" sufficiently, 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 applying to the paper a warm solution of isinglass, and
then dusting, through a sieve, pumice or cuttle fish powder, 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 white; the
last to be sparingly used in putting 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 photographs.
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 CAMERA 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 by some hot presser.
The operant will require nut oil and poppy oil, varnishes, brushes, palette, rest stick and palette knife, together 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
stagtes 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 vandyke brown and a little lake and bitumen.
All draperies may be treated as recommended in the
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 painting 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 picture with transparent touches and markings, to strength



300         THE CAMERA 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 wellthinned with inegilp, 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 photographic coloring.
PORTRAITURE.
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 knowledge 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 pleasing 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 portraiture, 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 effect.
The figure should rarely, if ever, be in the middle of a
picture, or equidistant from each side; nothing is more
destructive of pictorial effect, than such a position.
Generally, more space should be in front of the figure




PRINCIPLES OF HARMONIOUS COLORING.    301
than behind. If the figure be placed equidistant from
the top and bottom of the picture, it is still more destructive of pictorial effect and suggestive verity, than if equidistant 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 contrast 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 450; 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 composition.




302              THE CAMERA AND THE PENCIL.
CONCLUDING REMARKS.
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 ill this chapter.
PICTURE FRAMES.
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 off 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.
NOT. —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.




CHAPTER XXVII.
PORTRAITS-SEVERAL VARIOUS MODES OF PRODUCING OR
FINISHING PERMANENT SOLAR IMPRESSIONS.
The Ivorytype, a picture printed through a negative on artificial ivory, introduced 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 redeveloper. 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
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 peculiarities 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 paperweight, or other oval surface, and cased with a convex glass over the impression.
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 Regent Street, London. These pictures
are declared, by English writers on sun-painting, to combine 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 which 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, possessing all the excellencies of the real substance without
its defects. 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 Risler Heilman's
Photographic Depot, Paris, France.
The process of printing must be performed wholly by
tirming, 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 printing 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 heliography 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: "Photography," says an able writer, "has
never trod so closely on the footsteps of the painter's art, as in
the pictures on Mir.'Iayall's 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 AMERICAN IVORYTYPE.          305
THE AMERICAN IVORYTYPE.
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-painting, 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 paintedin 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 airbubbles 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 gumvarnishes.
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
between 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 11th or both
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.
By WHARTON SIMPSON,
Editor of the Photographic News.
Pictures, by this process, are taken upon a surface of




THE ALABASTRINE.               307
polished glass. The shadows are of purple velvet, put
behind the glass and showing through it. The lights are
produced by 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, however,
with colors applied to the front, as in other processes,
but to the back 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 consequence of these improvements, this process is pronounced, by not a few good judges, the best, for portraiture, 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 beautiful shadings in the high lights. These, apparently, are
injured by a too dense precipitate of calomel, which
makes the picture look flat in the lights, and, when
over-exposed, also fogged in the shadows.
To remedy these defects, the positive should be somewhat 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 process does not seem suitable for out-door views, or subjects
exhibiting strong contrasts of light and shade, or improperly 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 vermilion, 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 housepainters), 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.




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 E. C.
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 operant.




310        THE CAMERA AND THE PENCIL.
For large pictures, heavy plate-glass, of a quarter-inch
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 superfluous 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.             3I
The frame in the centre has
a pin A, on which it swings;
allowing you, while painting
the photograph, which is attached to the posterior surface,
to swing it round and examine
the front surface, and thus ascertain what is done, and what
remains to be done towards
completing the picture. B indicates 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, Roman
ochre,' scarlet lake, vermilion, Venetian and cobalt blue,
permanent blue, Prussian blue, burnt Roman 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 CAMERA 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 airbubbles between the paper and the glass. Each being
then dried, or nearly so, scrape all excrescences thoroughly 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 by other variations. These
pictures wear somewhat of the appearance of wax figures.
Mr. Hall's originality in this invention has been questioned-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 back 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 principle 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 takeon varnish.
3. Trace the outlines of the picture on a separate
paper, and apply the colors thereon. Then affix 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 duplicates, and thus change the 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 "hallotype" 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, makingS the




COPYING OF ENGRAVINGS THE HILLOTYPE.  315lines to match, and seal with gum arabic dissolved in
water, a little " ropy."
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 satisfactory 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 convenient 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 coating, 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 CAMERA 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 performed, 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 HILLOTYPE.
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 mentioned 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 trick, 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 SPHEREOTYPE..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 paperweight, 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 heliographic 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 ordinary 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.
Patented by WILLIAM CAMPBELL
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, but not dense, and wholly without 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 affect the resulting photograph. When
the sky cannot subserve this purpose, then any purely
white object, sufficiently 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 difference between their results. The positive must now-be
coated on the collodion side with a thin layer otf white
wax, and, being held to the light, must be colored either
with oil or water colors. If water 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, he 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 commence 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. For formula, see Volume 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.




CHAPTER XXVIII.
Microscope at first undervalued —Pope-Addison - Ehrenberg's discovery
thereby, 1839-lnfusoria at Berlin-Luneburg-Virginia, U. S.-Tripoli
powder, Infusoria-Microscopic vegetables abundant as animals-Ocean mud
and pond scum, organic life, viz., desmidioe and diatomacee —Divine'ends
subserved by infusoria-Calcareous earth eaten in South America-Guinea,
Finland, China., &c., composed of organic remains-Islands formed by animalcules-Ocean phosphorescence by same-Red Sea thus colored-Lewenhoeck-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, &c.-Life-saving
application of microscope in France, &c.-Connection of microscope with
heliography.
THE CAMERA AND THE MICROSCOPE-OR MICRO-PHOTOGRAPHY.
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 entomology 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-PHOTOGARPHY.               321
in the pursuits thus contemned. It isj certainly, 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 with wonders, than the universe disclosed 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 mzinutest 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 remarkable 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, constituting 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 percolates this infusorial rmass; 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 cubic
21




322         THE CAMERA AND THE PENCIL.
feet of this stratum swarm with a population, outnumbering, a billionfold, the human crowd above.
At about the 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 complete preservation, though the interior organism is comparatively gone, from (supposed) exposure to a high temperature.  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 diminished. How minute these creatures are, individually,
may perhaps be approximately conceived from the statement, that one cubic inch of this powder, weighing 220 grs.,
contains forty thousand millions of single organisms-! 
Minute, however, 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 Il 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 ascertained, 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 animalcula!
At Pillau, M. HIagen 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, contained 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 desmidoe, inhabiting flesh water
solely, and the diatomacete, salt water principally. Though
styled plants, however, they bear little or no simnilitude
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 organisms form deposits, which are to ultimate in islands and
continents.
But these Diatomacese also perform long journeys on
the wings of the wind. Darwin, having collected an
impalpable dust, which fell on the ship Beagle, when




MtR(;O-PHO''TOGRAPHY.            326
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
by fire, constitute. jointly with infusoria, portions of the
ashes and pumice vomited from the eruptive crater.
Besides supplying 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. Nor is there reason for doubting, that the
diatornacese, 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 minute are these shells and
corals individually. that one million of them are embraced
by a cubic 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 foraminifera 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 Magdalena, 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         THE CAMERA AND THE PENCIL.
The microscope has 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 conferve. 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 confervae.
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 animalcules 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, frequently 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.              327
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 completely 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 phosphorescent 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 diatomacese, 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 atmosphere 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:r. into the water, there to recommence their ordinary
ivital functions. Th3 yellow meteoric sand or mist, often




328        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 vegetables, 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 luxuriant 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 fungus 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 rnen.




MICRO-PHOTOGRAPHY.               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, calculates 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 animalculse 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 smallness, 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, circular, 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 very -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 exactness. The wandering or bunting 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, containing 200 links, with a hook at one end and a padlock




MICRO-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 lookingglass, 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 produce 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. Spiders are similarly supplied.
By microscopic examination, it has been discovered,
that spiders have four paps for spinning their threadseach 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 the microscope
is concerned alike in the discoveries and the manufactures alluded to above.
The question, for what end have the multitudinous
forms of animal and vegetable life first revealed to us by
the microscope, been 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 particles, 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, immediately 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 ascensive 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 bodyreceiving organized matter in its state of utmost attenuation, 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 known, are said to
swim by myriads in a drop of water. It has been com



MICRO-PHOTOGRAPHY.               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
a 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 inconsiderable 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 jurisprudence, 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 prescribed mode. Dry these strips and put them in a clean




334         THE CAMERA AND THE PENCIL.
glass tube, to the bottom of which the flame of a- spiritlamp is applied.. If arsenic be present, it soon crystallizes 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 be 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 perpetrated-the body was found, covered with blood. and the
murderer was entirely unknown. A certain person, however, being suspected, his domicil was searched, though
nothing suspicious was discovered, except a hatchet,
whereon were some stains and a few hairs.  On inspecting 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 investigation, 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 cerebral 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-PHOTOGRAPHY. 3-5
the 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 they are made of the material alleged.
The foregoing statements will suffice 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 incessantly 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 indispehsable. By a simple contrivance, the
minutest infusoria and vegetable monads can be photographed and enlarged to almost any extent, and the outlines of their beautiful and delicate germs perfectly




336         THE CAMERA AND THE PENCIL.
preserved. The minute spots and strise on the navicula;
the structure of many of the confervse; 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 description of the mode of making these pictures; and
if amateurs and professionists will but direct their attention to the study of the microscope, they will, in a short
time, be able to master this beautiful branch of photography.




CHAPTER 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 discoveries and performances-Dr. Bird-Joseph Saxton, first daguerreotype in
Philadelphia-Drs. Goddard and Parker-Professors J. Frazer and W. R.
Johnson-Messrs. Mason am  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 StatesVan Loan, Anthony, Edwards, N. G. Burgess, Charles Williamson, Fizeau,
Cady, Gurney, Brady, Quail, Haas, and Lawrence, of New 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, Noew York-ShivesHoward-Sun-painters in United States-Decline of daguerreotypeMcClees & 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 I
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.
lens, stamp on the retina at the bottom of the eye the
object, to which the pupil is directed. The soul, receiving 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 confessed, 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
Cgive them too much attention.
What would have been the ecstasies of his artistfriends 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
aainter to study assiduously and long even the unstable
Images projected by the instrument. Very likely such
Atudy may have helped the great masters in creating




HISTORY OF THE HELIOGRAPHIC ART.        339
their pictured irnmortalities. Very likely, too, the same
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 heliography 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 introduction of heliography into this country, as well as of its
subsequent progress therein, I addressed letters to Professors 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 following are extracts:
"Nearly ten years before any one in America had
turned attention to the subject, I had been occupied with
the chemical effects 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 published 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 (i. e. their destroying of each other's effect); investigated 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 difficulty 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 experiments; and had even tried, though unsuccessfully, the
use of hyposulphite of soda, having learned its properties in relation to the chloride of silver from Herschel's
experiments, but abandoned it because I found it removed 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 Report 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




HISTORY OF THE HELIOGRAPHIC ART.        341
remnember.the date, but it strikes me it was in September.
I at once bought 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 America, who had any practical skill in experiments with
light; but then I had had ten years' experience in such
matters. Those, who know the failures and disappointments, 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 before 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 impression. But, observing that the dark spots of the
dress impressed themselves, I perceived it was needless
to whiten the face, and found oil 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 countenance. 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
K This was the first portrait taken from life.




342        THE CAMERA AND THE PENCIL.
an achromatic 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 success in solving the problem of photographic portraiture;
and in the following September I published a detail of
the whole process. Meanwhile I had forwarded specimens to Europe. and had received letters of acknowledgment.
"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 knowledge of the correction for the chemical focus, and perhaps the use of bromine. All these things I knew before
Dacuerre 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 interesting letter is confirmed by the following extract from
an article, by Sir David Brewster, in the Edinburgh
Review for January 1843:"Dr. Draper," we believe "was the first who, under
the brilliant summer sun of New York, took daguerreotype portraits. This branch of photography seems not




HISTORY OF THE HELIOGRAPHIC ART.      343
to. have been regarded as a possible application of
Daguerre'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 portraits, and when we consider, that twenty or twenty-five
minutes were then deemed necessary to get a daguerreotype 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 spectral 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 negative 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 published in those countries. Many, too, may be found in
the Franklin Institute Journal from 1834 to 1839. Besides 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 Photographical 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 CAMERA AND TIHE PENCIL.
in the preparation of this work, which I take this occasion 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' ceuvre, 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 multitudinous performances.
I mentioned, that I wrote to Professor Morse, as-well
as to Professor Draper. My letter to the former contained the following queries, viz.:
Ist. 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 have 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




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HISTORY OF THE HELIOGRAPHIC ART.      345
1838-9. Early in the spring of 1839, I had the gratifi
cation of being invited by Daguerre to see his results in
private. He had not then shown them, except to the
Royal Family, to Arago, and to a few others. His
process was then secret, awaiting the action of the Government, respecting the pension to be granted him in
case he would publish his 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 immediately sent to this country, one of which I received the
latter part of August or September; and immediately I
had made for me the apparatus from the description in
the book. This, I find, answers questions first and third.
To question 2d, I reply, 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 accordance with thie directions in Daguerre's first book.




346        THE CAMERA AND THE PENCIL.
To question 4th, I answer, that there were several persons 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 —substitututing a metallic reflector for the lens. Previous, however, 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 practicability of taking portraits of living persons. I well remember 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 successful 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 new
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 daguerreotype alluded to.




HISTORY OF THE HELIOGRAPHIC ART.         347:
(Fig. 6.)::
As the eyes in the daguerreotype, from  which the
above engraving is copried, 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 taking portraits; though whether he or myself took
the first portrait, I cannot say. Soon after, we commenced together taking portraits; causing a glass building 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 considerable 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 bearing on some philosophical investigations, which he pursued with great ingenuity and success, I 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 daguerreotype portraiture, illustrated by the apparatus employed
in 1839, by specimens of pictures, and by original documents of that period. He was of the firm of Wolcott
(Alexander S.) & Johnson (John), who commenced working 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 with Rev. Richard Baird to
patent and work in that country an apparatus got up by
Mr. Wolcott. 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 Rev. 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, Rev. 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 numerous 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 intimates, that he and Wolcott were the first users of this
chemical in New York. Hie 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 seemina 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 prlogress, 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, every new phase assumed by
the art, he mastered each successive discovery and improvement 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 HELIOGRAPHIC ART.      351
Joseph Saxton, a cultured man of genius (who was not
present on the above occasion), had, on the day in question, carefully examined the same subject, and had concluded that Daguerre's announcement was literal truth.
He forthwith proceeded to experiment in the art, according to the following method.
He constructed a camera by fixing an ordinary sunglass 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 belonged. 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 official.
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 excitement among the curious in such matters; and from this
date many of our Philadelphia savans began cultivating
the art.




352         THE CAMERA AND THE PENCIL.
(Fig. 7.)
Among these were Robert Cornelius, Drs. Paul Beck
Goddard, Parker, Bird, and Kennedy, Professors John
Frazer, and Walter R. Johnson, William  G. 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 Pennsylvania 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 Philosophical Society for 1840.
In English heliographic works, John Goddard, a London 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 HELIOGRAPHIC ART.        353
(Fig. 8.)
3rr Fh0r
however, is slow-acting even for views; while for portraiture, its use, by itself solely, is impracticable.
In 1839, Professor Grant, of "Calcium Light" notoriety, 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
Robert 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         T1E.. CAMERA AND THE PENCIL.
and Br6adway, New York. These gentlemen were takillr,
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. Goddard, 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 Philadelphia, Dr. J. E. 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 silverplate manufacturer, effected numerous improvements in
the apparatus used. Their bromine-box, alike peculiar
and admirable in construction, was charged with pure bromine, and is yet in the Doctor's possession in good working 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 previously 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 cotton 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 gasburner, 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 artificial teeth. At that date, and without receiving any aid
or suggestions from the experiments of others, he produced 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 combined. These were succeeded by the achromatic objectglasses of Voigtlander & Sons, of Vienna, after Professor.
Petzval's calculation. The latter were introduced into
the United States by Langenheim, Voigtlander's brotherin 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 1850 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 Company 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 are drawing alike entertainment and instruction from this beautiful 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, improving, the while, its instruments and manipulative methods
until its practicability and utility were both demonstrated.
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 therein 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 professorship, and the specimen he then produced has unfortunately 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 sunlimnings, 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 subsequently 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 the locomotive-engine, the wagon, train, and
cortege, &c., exactly at the moment when the inauguration address was commenced. The time required for
taking the impression was seven minutes.
It was reported that the Russian 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-followed by Thompson, R-etzer, 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 Philadelphia, 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 col. blue linen collars, shirt-bosoms, &c., to




HISTORY OF THE. HELIOGRAPHIC ART.     359:
a pure natural white, was introduced into Philadelphia
by Samuel Van 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 marvellous; 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 producti.ons of the solar pencil.
Among the most prominent of those who earliest
entered this field, were the elder Van 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




360        THE CAMERA AND THE PENCIL.
make it a reputable vocation, by producing the finest
possible specimens in the 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 marriage 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,- who 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 establishments 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 Gallery, J. Gurney, Edward White, and M. B. Brady.
Messrs. Anthony Brothers (Edward and Henry T.),
originally civil engineers, were prompted, on the appearance of the new art, to make themselves practically
acquainted with it. E. Anthony accompanied to the
Aroostook territory in Maine, the commissioners appointed 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 governments, 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, th(
portrait of a laborer, standing on the sunny side of 
house at Tarrytown, with the lens of a telescope.




362        THE CAMERA AND THE PENCIL.
The firm of Anthony, Edwards & Clarke took daguerreotype 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 efforts made for its advancement. 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 specimens 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 ornamented, was awarded to J. Gurney; and the second,
two beautiful silver goblets, to Samuel Root. The competitors 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.      363
the first not only in the United States, but (so far as we
know) in the world.
The following paragraph is extracted from an exceedingly complimentary letter, written by Thomas Sutton, Esq., of England, 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 Wilson's best, which could be put in comparison 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 qualities 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. IHis micro-photographs are far superior to any we have seen made by others on either side
the Atlantic. Following him were Van 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. Root, and
returned to London, where he now has a flourishing
establishment, in- which all branches of sun-limning are
successfully practised.




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 Royal 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 hyposulphite 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 Observatory telescope, supervised by Dr. Bond,. daguerreotyped
a group of double stars; and 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 represent such object stereosdopically, Mr. Whipple took his
first view of the moon in February 5th, and the second in
April 6th. The moon having changed. her'position and
aspect during the interval, the two pictures, when properly 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 as 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 polishing plates, as "also in: other: branches'of his:. business,
thereby saving much time and labor. He still prosecutes
daguerreotypy, in connection.:with all. other branches of




HISTORY OF THE HELIOGRAPHIC ART.      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; every appliance is convenient, and of the
most approved construction. He employs nearly forty
persons, mostly females. His work, of all styles, stands
deservedly 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 Root & Miller, and another in Philadelphia,
under that of Root & 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 hundreds 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.
Faris, and my brother commenced practice in Dubuque,
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 i856 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



HISTORY 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 mnechanical success therein, being ignorant
alike of its theory and practice.
Of this large number of operants, we regret the necessity 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 very
considerable of first-class proficients, even in the chemical 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 photographs are not without some benefits to the community.
Their cheapness brings them within reach of all, however 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 fellowbeings. To borrow the language of a friend, who believes 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 community 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 HELIOGRAPHIC 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 Philadelphia, 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 perpendicular 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 principa.l 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 heretofore done, 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 evidence of a genius, of which the profession should be
proud. He did much to elevate his art both in excellence 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 processes, 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 professionists and amateurs.




HISTORY OF THE HELIOGRAPHIC ART.      371
Talbot's process (patented in 1840) was purchased by
William & F. Langenheim, 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 practised (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 Government.
In New York, several daguerreotypists in 1853 essayed 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        THE CAMERA AND THE PENCIL.
and transferred to boxwood blocks, ready for the engraver, an admirablefac simile of the Japan treaty, which
was faithfully cut upon wood, stereotyped or electrotyped, 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 Gray,
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, bromine, and sundry other substances, suggested by the late
John Price Wetherill, Esq.
In 1853, Dr. Giles Langdell, now of Philadelphia,
procured, while residing in Boston, a published account
of Archer's process, and, after several experiments, succeeded in making very good collodion portraits on paper.
My impression is, that he was the first to operate successfully with this process in the United States.
After considerable improvements, this process was first
introduced, in 1854, into various daguerrean establishments, in the Eastern and Western States, by Cutting &
Rehn. 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 ART.       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 introduced 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 office 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. R. as follows:- " 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 notzhing in Europe like them!" We congratulate our friend R. on calling forth a judgment so eulogistic from so capable a judge and art-critic.
This species of picture (the Ambrotype) had, at the
very outset, an extraordinary popularity, which, however, 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 negative 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 who, in 1849, had been for a
while in my employ, opened a photographic establishment 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 kepit pace with the improvements in
the art, always introdctcing these, as suggested by scientific amateurs at hoa,c and abroad, employing first-class
artists, and, for tvh mnost part, supplying his customers
with artistic and'satisfactory portraits. He employs, at
present, about pforty persons, and has one of the best
appointed, Most beautiful and popular establishments in
our country.
C. C. Harrison, so widely known as a manufacturer of
camera lenses and tubes, for heliographic use, was, in
1846, a daguerreotype manipulator. He prosecuted this




HISTORY OF THE HELIOGRAPHIC ART.       375
business for several years, making, thewhile, lenses both
for his own use and for sale. The value of his lenses
eventually became so extensively kn-wn, and the demand 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-photography, 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 exhibited, 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 Representatives, 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 story. 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.
Ist. The Hillotype is so styled from Rev. L. L. Hill,
of the interior of New York, who attempted thereby to
produce pictures, colored as in nature. As his endeavor 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 impressions, so as to constitute one picture. There are numerous 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. Hawkins, 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.




HISTORY OF THE HELIOGRAPHIC ART.      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 ineans,-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 CAMERA AND THE PENCIL.
artists, who had had much previous experience in coloring 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 instrument, 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 condensing lens are employed, in lieu of Woodward's reflector. 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 Reading, Pennsylvania. It is manufactured
and kept on sale by George 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 competent 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, that
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 introduced, 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 establishment 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 productions 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 produced 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 CAMERA AND THE PENCIL.
Mr. Miller, of Boston, an artistic heliographer, and
equally able and well skilled in all branches of the profession, 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 "lightsketching pencil," when wielded by artistic genius.
Mr. Miller also devised an admirable solar or enlarging 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 consequence of the incessant swaying, twisting, and rolling movements of the balloon, as well as its
rapid flight, the operations were extremely difficult.
The instrument used was an 8-4 Voigtlander lens
and camera, of open or full aperture, affixed to a side
of the balloon-basket. It had a stop, or a sliding pasteboard for excluding 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 instantaneously.
Some of the views are very fine, and the results of the




HISTORY OF THE HELIOGRAPHIC 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 profession.
The card picture has given a new impulse to the heliographic art.
The French were its inaugurators, and gave it the
name of Carte de Visite. Messrs. C. D. Fredericks & Co.,
Broadway, New York, with their characteristic enterprisel 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
commissions to visit Buckingham Palace, and take cardportraits 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 portraits 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 traffic, 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 $4000 per annum for rent alone,




HISTORY OF THE HELIOGRAPHIC ART.      383
for the single purpose of prosecuting our art, was Rufus
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, office, and reception room, and furnishing the establishment throughout
with appliances for carrying on all branches of the business to the best advantage. The spirited enterprise was
a rich pecuniary triumph.
In Philadelphia, O. HI. Willard, Rehn, Hum, Cooper,
Gutekunst, Hipple, 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 Root Gallery, 363 Broadway, and made his spacious and convenient rooms pleasantly attractive to his numerous visitants and friends.
Order the most complete is visible throughout. Mr.
Montgomery, his book-keeper, has devised and introduced 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




384         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 manufacturers 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.
R. A. Lewis, manufacturer of Lewis & Holt's celebrated 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 H1. H. Snelling, in May, 1849.
2. instantaneous Daguerreotypes,-first practically made
by HI. H. Snelling, in September, 1849, at which date he
invented an electric camera-box for that purpose.
3. COondensing: Mercury bath 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. Resinized Paper process,-discovered by H. H. Snel



HISTORY OF THE HELIOGRAPHIC ART.      385
ling in 1856, and first put in practice in December of
that year.
7. Printing in Colors by Carbon process,-first attempted
and executed by IT. H. Snelling, in July, 1858, one year
before any other attempt.
It may not be generally known, that Daguerre 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 R. Meade, of the firm
of Meade Brothers, in New York. Mr. Meade being in
France, in 1848, visited Daguerre's Chateau, atBrie-surMarne, 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 daguerreotypes 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 daguerreotype of Daguerre's Chateau at this time. In 1853,
his brother, H. N. Meade, took one of Daguerre's monument, in the cemetery of Brie, and worked in the laboratory 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 Cincinnati, 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 CAMERA 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. IHe 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 Government. This invention comprises both a mode of producing 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 stereoscopes, &c.
In August, 1862, he made improvement in backgrounds, with ornamental floor-ground combined in perspective 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 HELIOGRAPHIC ART.       387
type, and struggling manfully with the numerous: difficulties 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 popularity and lucrativeness which it at present holds. The
young 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 discloses.: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 Whitehurst, of Baltimore, Maryland; Page, of
Washington, D. C.; George S. Cooke, Charleston, South
Carolina; Porter, Cincinnati, Ohio; Webster & Brother,
Louisville, Kentucky; Long and Brown, St.:Louis,
Missouri; Samuel Fassett, Chicago, Illinois; S. Root,
Dubuque, Iowa; HI. S. Brown, Milwaukie, Wisconsin;
Douglas Hovey, Rochester; Arthur Cobden, Troy; Henry
Glosser, New York; D. C. Collins, New Haven, Conaecticut; and John Keenan and Reimer, Philadelphia.
This enumeration has been extended far enough for,he purposes of a mere historic record. A few facts and
momments will complete what we have to say here.
Landscape Photography, executed by artists possessing;he genius of a Cole, a -Durand, a Hart, a Church, a
Webber, a Sontag, a -Hamilton, or a Russell Smith, has
Litherto received but little: attention in the United: States.
3overnment, however, has ermployed some in various
>ublic works, while others, under private patronage or




388         THE CAMERA 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 accomplished art-amateurs have produced, and are still constantly 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 discoveries and improvements in this branch of photography; with scientific amateurs, editors of journals, authors,
&c., 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 successively 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 Photographical Society, he was by his position, as well as by his
rare photographic knowledge and skill, enabled to render
me (as he has actually dane) most valuable aid in collecting 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 acknowledgments for his kind services in my behalf.




HISTORY OF THE HELIOGRAPHIC ART.       389
PHOTQGRAPHIC 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 proprietors, 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-list
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 sunmpainting; and under these circurnstances, 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, Waldaick, 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 handbook, of much practical value to the student and the
amateur of the art.
Mr. N. G. 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 acquaintance 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.        391
discoyery 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 produce a great revolution 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 simple and easily portable apparatus, he can now furnish his
studio with fac-simile sketches of nature, landscapes,
buildings, groups of figures, &c., scenes selected in
accordance with his own peculiarities of taste; but not,
as heretofore, subjected to his imperfect, sketchy translations 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 collection with a superabundance of materials and not copies;they cannot be called copies of nature, but 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 Droportions and details




392         THE CAMERA AND THE PENCIL.
of ornament, executed in a space of time, and with an
exactness, which 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 every 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 occupied 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 perseverance 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 Galileo, 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 Painter."




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
Herschel, 1819-Niepce, Daguerre, and Talbot first fixed images in EuropeAnecdote of Daguerre's wife and Dr. Dumas-Variations of the calotype by
different operants-Waxed-paper process-Glass plates for pictures suggested
by Herschel-Albumen, gelatine, &c., 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 sunpainting 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 valuable 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 CAMERA AND THE PENCIL.
properties of light, which 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 knowledge now.
The alchymists of the middle ages, in their search for
the philosopher's stone and the elixir vitae, 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 they failed to get
gold, as they expected, from this substance, they merely
recorded the blackening, without investigating the phenomenon further. 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 published his investigations of this latter subject, while
Chaptal published his in 1788, and Dieze his in 1789.
Scheele studied closely the phenomenon of the blackening 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' exposure to the violet ray imparted to chloride of silver the




HIISTORY OF THE iHELIOGRAPHIC ART.      395
same blackness which it required twenty minutes' action
of the red ray to produce.
In 1801, Ritter 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 secretary 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, Berthollet, Wunsch, Sir William  Herschel, Sir Henry Englefield, Dr. Wollaston, Count Rumford, Morichini, Configliachi, 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 wellstopped glass decanter; then cutting out from a. paper
the letters you- would have appear, paste it on the




396         THE CAMERA AND THE PENCIL.
decanter, and lay the latter in the 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 mentioned 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 solution of nitrate of silver (instead of the chloride) was
selected as the impressible surface. They made numerous 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 Nic6phore 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 researches 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 "PhQto



398        THE CAMERA AND THE PENCIL.
graphy," or Light-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 distinguished 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 invention, which has since, by. common consent, borne his
name. In the following July, the Chamber of Deputies




HISTORY OF THE HELIOGRAPHIC ART.       399
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. Reversions 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 crucible. 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 temperature, 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 improvements have been made by using accelerating substances, 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 hereafter.
On January 31st, 1839, Henry Fox Talbot communicated 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 surface 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 solution 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 heliographic 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 independently, and without even being acquainted with the
Frenchman.
On March 14th, 1839, Sir John Herschel made a communication 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 " chemical 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. it  de used,' with good effect, the
hyposulphite 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 employed by Daguerre, Robert 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 Ryan, 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, xa.os, o'cs, " beautiful sketch." In this
country, however, I believe his pictures are oftenest entitled 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
ihat extent the calotype is now in vogue across the water,
26




402         THE CAMERA: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 Royal 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 announced to the British Association, in 1843, by Robert
HIunt.
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 production of Herschel, Chevreuil, and Robert Hunt. Its nature is defined by its etymology "flower sketch," the
jui'ces of various flowers, bruised and treated with small
portions of alcohol, being used for washing the paper, instead 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 Hunt,




HISTORY OF THE I.HELIO:GRAPHIC ART.    -403
and: made public through the Atheneum. I suppose it
was thus named from:the sensitiveness of its impressible
surface, and the consequent energy with which the sunbeam acts upon it.
9. Thermography means, etymologically, heat-sketching. 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 invention 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 thus 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 several 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 Niepee, the associate
of Daguerre, published, in 1848, a mode, devised by himself, for applying albumen to such plates. Blanquart
Everard followed; and albumen, gelatine, serum, and
other substances were successively recommended for application to glass. Albumen, however, employed according




404J       THE CAMERA 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 discovered by Schbnbein, 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 6i,2.a,, "to adhere"-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 Philadelphia, 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 Frederic Scott Archer, of England, is generally accredited as
having first used it successfully. He published his process 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 Ambrotos, immortal, imperishable.
2. A negative picture is impressed upon a: plate, and




HISTORY OF THE HELIOGRAPHIC ART.       405from 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 by 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 surfaces would obviously be a great convenience for travellers 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 property to collodion surfaces, several attempts have been
made to this end. Three of these, which have been successful, I will briefly mention here:
1st. Messrs. Spiller & 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 process.
3d. HI. Pollock's Glycerined Collodion process, wherein 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 exciting 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.
5thi Gutta Percha, as a sensitised:medium; as a substitute for glass, &c. It is not- settled whether the discovery of the heliographic capabilities of this substance
is due to Mr. Archer or Rev. J. B. Reade.
It is used in three ways:-lst. 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. 4th. 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 Regent
Street, London. These pictures are taken upon an artificial 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 Muller, Neville, Norris, Mayall, Powell, Col. Pike,
and many otiers, 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.
Muller varies the process of.the others, by first collodionizing  and  sensitising  the  plate, and  then  pouriug  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 heliographic 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 Robert Hunt,
and printed by that body in their Reports 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....        Ritter... 1801
-  (photographically employed)..   Wedgwood and Davy  1802
-    ith organic matter,.        J. F. Herschel.. 1839
-   with salts of. lead....   J. F. Herschel.'  1839
Chloride of.. C. Scheele..  1777
-   (photographically employed)          Wedgwood            1802
Talbot... 1839
-   darkened, and hydriodic salts        Fyfe, Lassaigne.   1839
Iodide of (photographically used).    Ryan:''   1840
Ryan          -.'.....1840
with ferrocyanate of potash.. Hunt... 1841
-' with' gallio acid (Calotype)..   Talbot...   1841
-  with protosulphate'of iron (Ferrotype)   Hunt    *.. 1844
- with iodide of iron (Catalysotype).   Woods..   1844
Bromide of...            Bayard... 1840
Fluoride of.C..  -          hanning.         1. 842
Fluorotype..'... Hunt... 1844
Oxide of. ~'. -.....   Davy.  -'           -1803




408             THE CAMERA AND THE PENCIL.
SILVER.
Oxide of with ammonia.                     Uncertain
Phosphate of..Fyfe                                     1839
Tartrate-Urate-Oxalate-Borate, &c.          Herschel.          1840
Benzoates of.                               Hunt                  1844
Formiates of...       Do.                   1844
Fulminates of.                               Do.... 1842
SILVER PLATE.
With vapor of iodine (Daguerreotype).. Daguerre... 1839
With vapor of bromine....    Goddard..    1840
With chlorine and iodine.... Claudet... 1840
With vapor of sulphur....    Niepce..    1820
With vapor of phosphorus.... Niepce... 1820
GOLD.
Rumford... 1798
Herschel..    1840
Ethereal solution of.                      Rumford.             1798
Ethereal solution of, with percyanide of potassium.                               Hunt                  1844
Ethereal solution of, with protocyanide of
potassium..                        Do...    1844
Chromate of...... Do.                       1844
Plate of gold and iodine vapor...    Goddard... 1842
PLATINUM.
Chloride of....                   Herschel.            1840
Chloride of, in ether..    Herschel                              1840
Chloride of, with lime.            Herschel..    1832'Iodide of...H..        Herschel..    1840
Bromide of..  Hunt.  1844
Percyanate of....  Do.                                        1844
MERCURY.
Protoxide of......                  Uncertain.
Peroxide of...    Guibourt.
Carbonate of.....                       Hunt                  1844
Chromate of...                       Do.                   1843
Deutiodide of                               Do..                 1843
Nitrate of.                                Herschel..    1840
Protonitrate of.Herschel... 1840
Chloride of...                    Boullay..    1803
Bichloride of...                       Vogel..    180~




HISTORY OF THE HELIOGRAPHIC ART.                          409
IRoN.
Protosulphate of.
Persulphate of.
Ammonio-citrate of.
Tartrate of.
Attention was first called to the very peculiar changes produced in the iron salts,
by.... Sir John Herschel. 1845
Cyanic compounds of (Prussian blue)
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
LEAD.
Oxide of (the puce-colored)..          Davy... 1.802
Red lead and cyanide of potassium.       Hunt...    1844
Acetate of lead.... Do..... 1844
NICKEL.
Nitrate of...
with ferroprussiates.                    Do.. 1844
Iodide of... 
TN.
Purple of cassius i....   Uncertain.
COBALT.                                         Hunt:.. 1844
Arsenic sulphuret of.                         Sage..               1803




410              THE CAMERA AND THE PENCIL.
Arsenical salts of.
ANTIMONY.. 
BIMUT.......    Hunt... 1844
CADMIUM 
RHODIUM...
CHROMIUM.
Bichromate of potash..                    Mungo Ponton.. 1838
-    with iodide of starch                 E. Becquerel.    1840
Metallic chromates (Chromatypo).           Hunt... 1843
CHLORINE AND HYDROGEN.                Gay-Lussac & Thenard 1809
Chlorine (tithonized)                      Draper..    1842
and ether......    Cahours... 1810
GLASS, manganese, reddened... Faraday... 1823
CYANOOF.N, solution of..    Pelouse andRichardson 1838
METHYLE.                                      Cahours..  1846
Petit.    1722
Crystallization of salts influenced by light.  Chaptal... 1788
Dize...    1789.Phos   Sculze... 1727
h  r  *.......'  Ritter...    1801
-   in nitrogen.....                   Beckman... 1800
Phosphorus and ammonia.        Vogel...         1806
Nitric acid decomposed by light             Scheele... 1786
Fat matter. Vogel...    1806
Development of pores in plants              Labillardiere.. 1801
Vitality of germs..  Michellotti..   1803
RESINOUS BODIES (Heliography)..          Niepce... 1814
Asphaltum..                     Niepce.. 1814
Resin of oil of lavender...               Niepee and Daguerre  1830
Guaiacum....                 Wollaston..    1803
Bitumen all decomposed.             Daguerre... 1839
All residua of essential oils..         Daguerre..    1839
Flowers, colors of, expressed, and spread upon
paper.                          Herschel... 1842
Yellow wax bleached.              Senebier..    1791
f Licetas... 1646
IKircher..    1646
Phosphorescent influences of solar rays. Canton... 17f8
I Biot...    1840
i E. Becquerel.. 1839
Vegetation in stagnant water.          Morren        1. 184-1
InfluenCe of lighton electrical phenomena    E. Becquerel  o. 1839




HISTORY OF THE HELIOGRAPHIC ART.                   411
CHAPTER XXXI.
THE HELIOGRAPHIC ART-ITS PRESENT STATE AND APPLIANCES, AND ITS FUTURE POSSIBILITIES.
The three great modern discoveries: 1st. Steam-2d. Magnetic Telegraph3d. 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-5-th. Is an-important help to the knowledge and
practice of chemistry, geology, medical and surgical science, architecture,
engineering, military operations, astronomy, &c.-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 centuries, 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 intelligence, 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 T rightly




412         THE CAMERA AND THE PENCIL.
remember) between the years 1850 and 1880; Fourier,
as a series of harmonic phalanxes covering the entire
globe, the process commencing at about the same date;
and Father Miller, under an aspect too absurd for any
but a disturbed brain to accredit.
But whether this tradition be groundless and worthless 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 history or even the traditions of the globe. These improvements are manifestly due to various scientific and practical 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.
A3d. 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 communion 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 individuals 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,




HISTORY 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, however, 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 civilized 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 destinies 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 mninutest 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 standing 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, bort




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 inevitably becomes impaired, and is frequently transformed
into comparative indifference, if not absolute coldness.
Htow 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 preservatives 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 according 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 conscience 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 communications 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 soundness 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 beautiful, 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 subserved by the photograph, a few of which I will now
briefly mention. The Rev. Mr. Statham, to whom I am
indebted for several facts in this chapter, remarks, that




416         TEE CAMERA AND THE PENCIL.
photography may, among other things, be called the
"handmaid of the sciences."  For example, it has
1st. Rendered 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 professionists 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, manipulative 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 photography 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 "testimony 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 supply. 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 original has scarce an:iota of advantage over the transcript.!
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 already 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 which 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 Greek- 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 contemplation of
the fine skefehes, recently brought by our art within the
universal inspection, has wrought the considerable improvement manifest in our contemporary architecturean improvement visible alike in our public and private
constructions.
One very important advantage conferred by the sunpicture, 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 commencement to completion, without the necessity of being at the
localities they occupy. This is effected simply by help




HISTORY OF THE HELIOGRAPHIC ART.        419
of skilfully executed sketches of them, in whole or in
Iart, 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 why and how, 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 in
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 CA3IERA AND THE PENCIL.
balloon a view of the enemy's forces, and of the mode in
which they are stationed, whereby their probable mov.ements can be conjectured.
It was recently stated, in a Richmond rebel journal, that
General Gilmore, the present commander-in-chief of the
United States troops before Charleston, experimented in
cannon-firing at a target for three years or more, photographing 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. Whether this account be true or false, I know not, as, according 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 fire, five 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 engineering, surveying, architecture, and all other applications of the sciences to the arts are studied?  For ourselves we have no doubt of this. Nor 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 photographic likenesses of all criminals sentenced, after trial,
to some term of incarceration. Such persons, on the expiration of their allotted periods, will find it not easy tG




HISTORY OF THE;HELIOGRAPHIC ART.       421
renew their criminal careers, while their faces and general
aspects are familiar to so many, especially, to the keensighted detective police. There would seem to be at
least a 2ossibility, 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 photographic 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 but 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 language of metaphor,'as swift as lightning,' it being no'longer a comrnparison, now that lightning itself has




422        THE CAMERA AND THE PENCIL.
become the agent of communication. But if Jupiter
would have been astonished at the wonders of the telegraph, 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
lirnner of half the human race?  That those imponderable 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 lineaments 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 Review, of February, 1862,
Sir David Brewster, the scientific luminary of Scotland,
has a long essay 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




HISTORY OF THE HELIOGRAPHIC 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 above 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 never 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 AXN\D 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 perceive,: that he goes nearly the whole length of corroborating 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 heliographer, 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 veryfew were there of reallyfine
pictures!
" Photography would increase the taste for art-productions, 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 HELIOGRAPHIC: ART.     426
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 tobe 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 sensitive 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, judgment, and feeling, though not a painter, might yet be
competent to pose 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 photographers daily pose numerous subjects,
while the painter arranges only what he can paint."  So
writes Claudet.
And here 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 individualizing 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
only 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 contour 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 HELIOGRAPHIC ART.     427
a manner absolutely perfect, let him then, with the pencil
dipped in colors, perform what remains towards completing 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 seems to us all this, that we cannot account
for the neglect to adopt, long since, the method here proposed. 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
unfit 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.
HIow 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 photographic portraiture, when attained, as pleasing 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 happiest expression?"
It will here be seen, that Sir David. accepts the substance of our suggestion, while, in form, he so far differs
from us in dividing the work between two 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 Reynolds 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 English writer::
"Art: affects national prosperity, intellectual culture,
and material and social happiness; art shows us man, as
he can by no other means be made known; gives us
nobler loves and nobler cares, and furnishes 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.
"Religion gave birth to the arts. It was to ornament
temples and sacred precincts, that sculpture and painting
were fiirst introduced; and in the most: ancient monuments of India and Egypt, as: in-those of the Middle
Ages, architecture, sculpture, and painting. are the material expressions of i-eligious' thoughts.
" Among all nations of remotest antiquity colors had
the same significance;. This:conformity indicates a common 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 an'd Ahriman,' presents, in effect,
the two types of colors, which become  symbolic of the
two principles of benevolence and malevolence, as recognised under every form of religion.
"The: symbolic language of colors, intimately connected with religion, passed into India, China, Egypt,
Rome, and Greece, 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: (i. 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.
and the present, the old world and the new, and the
Indian with the progenitor of mankind, Adam signifying,
literally,'Red Earth,' or the Red 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 Red Races,
every one of which (according to Ruskin) 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."'
Ruskin, the most eminent, perhaps, of contemporary
art-critics, remarks: "No law within my knowledge, is
more severely without exception, than this of the connection 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 foregoing 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 efficient aids as raise them to a height otherwise
wholly unattainable,-can such an art be a baldly mechanical 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
offer 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?-Expression 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 photographic 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 publication, 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 his
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 properly 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 proportions of the various objects.
Therefore, for the simple reproduction of nature, taken
at hazard and without choice of particulars, the photographer 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




HELIOGRAPHY-ITS ARTISTIC RELATIONS.   435
special idea of the beautiful; in the scene to be represented, he: 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 himself. 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 execution. 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 painting are two different arts, notwithstanding these striking
analogies between their objects and the means of attaining 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 obtained in all shades and on many various substances,




436         THE CAMERA AND THE PENCIL.
always producing the same aspect. This consideration
is important from the fact that the general color pervading 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 import 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 brilliancy, under the same light and in the same 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 elements of the visible spectacle. From all these combinations will result a general effect, which will be the




HELIOGRAPHY-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 imitation 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 contrast. 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 expression, and, very possibly, one devoid of beauty. On this
account it is, that many of the photographic proofs, taken
of scenes, apparently 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 photographer cannot dispense with the presence of the objects




438         THE CAMERA 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 effect of a
piece of water, &c. He assembles these scattered fragments 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 deficiency. 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 purpose.
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. IHe 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 photographer 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
such 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 sufficient, in order to produce
a good portrait, that the model should remain still, and
the operant employ the shortest possible method. Htow
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 form.  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 expression 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
246-7.  He will there find the subject of portraiture




440         THE CAMERA AND THE PENCIL.
discussed in full. I would also recommend his consulting, 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 attitude, the distance, the lights and shadows, and various
accessories of the picture; and knowing these, he seeks
to obtain the optical combinations required for expressing 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
very 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, without 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 portrait beautiful, as well as truthful, so far as may be, he




HELIOGRAPHY-ITS ARTISTIC RELATIONS.   441
should so use his 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 effects. 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,-closefitting, 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, according 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 di{fficulties.
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 CAMERA AND THE IPENCIL.
shown the worst results of any kinds of' portraits. If it.
be so difficult to produce a good.likeness of one person,
how 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 character of the person he would represent. The first condition of a good attitude is, that it should be in accordance 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 difficulty in regard to the physiognomy, is
to distinguish from the multitude of different expressions
presented by the model, the one which is most characteristic, 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 expression 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 lie desires to
create in the person to be represented, and thus take on
himself the expression he would give to him. Unconscious 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 alone with his model. In the case of children he




HELIOGRAPHY- ITS ARTISTIC RELATIONS.   443
deems this conditionr essential, as they should be photo
graphed without 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 effect 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
and 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




4.44       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,
&c.)
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 produced 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 SUBJECTS.
It is most especially in the treatment of scenes wherein 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 photographers, 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
which 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 photographer 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
different 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 Duc 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 distinguished?
Certainly the photographer might attempt 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 portrait, 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 embody 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 prepare themselves. By a sort of self-magnetization,
they must place themselves in the several positions of
the persons they mean to represent, and identify themselves 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 cannot recognise its impossibility.  A Garrick, 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 facsimiles of the Kemble, the Siddons, and their compeers
of the days foregone?  Fac-similes?  Why not even




HELIOGRAPHY  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 multitudes, 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 i Who shall say that representations like these may not be among the most potent
of earthly influences, for civilizing, refining, and elevating 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 CAMERA AND THE PENCIL.
may eventually overcome. For the stage men and women
are carefully educated and disciplined. For the equitation and the ground and lofty tumbling of the circus;
for the exhibitions of the tight and slack rope; for jugglery; for singing and dancing, and a multitude of kindred 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 sufficiently 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 appliances 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 exhibiting "tableaux vivants." In these spectacles may be
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




HISTORY OF THE HELIOGRAPHIC ART.      449
borne a part therein, may be reproduced before the
contemplation of the present generation with the vividness of living reality. What incalculable means and
materials of instruction, of refinement, and of elevation,
not less than of recreation and amusement, are here presented!  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 aird 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.                         Art-Journal, 80.
Address to ocean, 208.                    Arts, the fine, 19, 25.
Adulterations of commodities, 335.        Art, with its incidents and belongings, 207,
~,sop, 170.                                 252.
Atna, 176.                               Arsenal, U. S., 351.
Agesander, 251.                           Ashburton, Lord, 361.
Alabastrine process, 306-8.               Aspect, of face, 128.
Albert Durer, 150.                        Atmosphere, weather, &c., 132-5.
Alexander, 152, 261.                      Atomic, arangement, 64.
Alison, writer on taste, 190.             Atrephograph, 377.
Allston, Washington, 242, 252, 224.       Attic as sitting-room, 97.
Alps, 58, 151.                            Attitude, in sculpture, 115.
Ambition, true, 41.                       Auspicious seasons, 147.
Ambrotype, 373, 404.                      Background, 292.
American art, 24.                         Bacon, Lord, 85.
American Journal of Photography, 389.'Barry, Janmes, painter, 83, 219.
Amphitype, 402.                           Bartolomeo, della Porta. 20l
Amplitude, in costume, 128.               Bathurst, Lord, 223.
Anatomists, of nature, 416.               Bauer, M., 357.
Anatomy of expression, 160.               Beauty, 21, 22.
Ancients, understood beauty, 187-8.       Beauty, artists' opinion of, 185, 206.
Andrea del'Sarto, 252.                    Beckers, Alexander, 369.
Andrew, St. 256.                          Beechey 223.
Angelo, Michael, 33, 113, 153.            Bell, Sir Charles, 123, 160, 168, 242-4.
Animal kingdom, 169.                      Belvidere, torso, 221.
Animate, object, 60.                      Berlin, Prussia, 300.
Animated scenes, 444-9.                   Bilin, Bohemia, 322.
Annibale Caracci, 221.                    Bird, Dr. Robert M., author, 350.
Anthony, Edwards & Co., 361.              Bishop White, 162.
Anthony, N.Y., 359.                       Black, 72-8.
Anthotype, 402.                           Black, Boston, heliographer, 369.
Antipathy, nature of, 167.                Blasted heath, 172.
Apelles, ancient painter, 202, 247, 254.  Blemish, 114.
Apollo, 147.                              Blind, in one eye, 118.
Apollodorus, 247.                         Blonde, 78.
Apparatus, 65.                            Blushing, 82.
Appletons, booksellers, N.Y., 382.        Boccaccio, 87.
Arago, 340-5.                             Bologna, 232.
Archer, Frederick Scott, 406.             Bonaparte, face of, 87.
Ariost, the poet, 197.                    Bond, Dr., Cambidge Observatory, 364.
Aristides, "the just," 196.               Boneless heap, 156.
Aristides, painter, 245.                  Borgia Csesar, by Titian, 247.
Aroostook, 361.                           Boston Common, 157.
Art, definition of, 210.                  Bourbon, face of, 87.
Artist, a creator, 22, 32.                Bowen's history, Indians, 182.
Artist-genius, 71.                        Bowman, Col. 419.
Artistic, studies of photographer, 435-9.    Boy-friend of Washington, 159,
(450)




INDEX.                                     451
Brady, N. Y., heliographer, 363.            Color, 50, 67, 229, 232.
Brewster, Sir D, 52, 342, 422, 427.         Colored snow, 328.
Brooks, Dr. S. S. 177.                      Coloring in crayons, 295.
Brougham, Lord, 152, 395.                   Coloring in oils, 297.
Browne, Sir Thomas, 85.                     Coloring in pastels, 297.
Brunette, 78.                               Colors for hair, 299.
Bryant, William C., 166.                    Combustion, 55.
Buff, for polishing, 133.                   Complemental colors, 74.
Bull dog, representative, 171.              Complexion, certain colors for, 78.
Bunker Hill Monument, 158.                  Composition, 145, 225-9.
Burgess, N. G., N. Y., 390.                 Compromising, professional repute, 119, 145.
Burke, Edmund, 219, 259.                    Concentrated thought, 116.
Burnet, 228, 232, 261.                      Constituents of beauty, 67.
Byron, 88, face of, 240.                    Copartners, with the sun, 148.
Csesar Borgia, 247.                         Copying of engravings, 315.
Caesar, Julius, 183                         Corpulent subject, 119.
Calhoun, John C., 160.                      Costume in portraiture, &c., 127, 131.
California, steamer for, 134.               Cochineal, an insect, 331.
Caloric, 59, 61.                            Cornelius, Robert, heliographer, 354.
Calotype, 401.                              Competition, sharp, 367.
Cambridge University, England, 124.         Correggio, 37, 148, 220.
Camera, 115, 147.                           Corresponding secretary, 388.
Camera obscura, 393.                        Costume, appropriate, 76.
Canova, sculptor, 241.                      Courtois, heliographer (discovered iodine
Caracalla, 87.                                1811), 398.
Carbon, 55.                                 Cousin, 186, 195, 200, 211, 219, 246.
Carbonic acid, 55, 62.                      Crayon daguerreotype, 317.
Cartilage, nasal, 120.                      Creator, 149.
Case & Getchell, Boston, 379.               Cresson, Dr. Charles M., Phila., 372.
Catalissotype. 402.                         Crimson, 52.
Catchllights, 114.                          Critic, 149.
Caucasian race, 78.                         Cromwell, Protector, 261.
Celebrities, painting of, 145.              Cross-eyed, 117.
Cerberus, myth of, 82.                      Cross-legged, 106.
Cerebrum, 89.                               Cross-lights, 114.
Cerebellum, 89.                             Crystal Palace, 369.
Changes of weather, 132.                    Crystal Palace, London, 376.
Chantrey, sculptor, 427.                    Cunningham, Allan, 240.
Chaptal, author, 394.                       Curran, 34, 240.
Charles II., 88.                            Curtis, Dr. Josiah, discovered collodion, 404.
Charles V., 263.                            Customers, &c., 134.
Charleston, S. C., 242, 420.                Cutting, Boston, 372.
Chastity, Milton, 82.                       Cyanotype, 402.
Cheek, light upon, 121.                     Cyllanus, Centaur, 236.
Chemistry, 36.                              Dabbs, George, 378.
Chest, acutely diseased, 178.               Daguerre, 62, 398.
Chestnut color, 79.                         Daguerre, proceedings of (in regard to sunChevreuil, 402.                               painting in 1824, 1826. 1839), 397.
Chevreul, author, 273.                      Daguerreotypist, 133.
Chilton, Dr., N. Y., 356.                   Damask, a color, 61, 81.
Chiar' oscuro, 221.                         Dandyism, Lawrence, 227.
Chingachgook, significance of, 182.         Dante, 87.
Chin, level with, 1-20.                     Dark slate, 101.
Chlorine, 64.                               Dark cinnamon, 101.
Christ, 149, 150.                           David, king, 166.
Christian Pythagoras, 167.                  Davy, Sir H., 61, 396.
Christendom, 411.                           Dealing with defects, &c., 117, 122.
Chromatics, 83.                             Debility, 59.
Chromatography, 79.                         Decomposition, 57.
Chromotype, 402.                            Demetrius, painter, 201.
Chysotype, 402.                             Demosthenes, 424.
Cicero, Marcus Tullius, 183.                Descriptive and historical subjects, 444-9.
Cite of Paris, 175.                         Development, corporeal, 71.
Clarendon, Lord, 150.                       Diagram of colors, 74.
Claude, painter, 215.                       Diaphanotype, 309, 312, 376.
Claudet, heliographer, 349, 426.            Diaphanous, 86.
Clay, IHenry, 120, 154.                     Dickens, how to depict, 166.
Clergyman, lady of, 76.                     Diez6, author, 394.
Coincidence, 149.                           Diffused light, 96.
Collins's ode, &c., 130.                    Dionysius, painter, 201.
Collodion process, 404.                     Diotomaceae, 324, 327.




452                                    INDEX.
Discobolus, statue, 250.                    Folds, costume, 128.
Discovery of sun-painting, 62,              Fontayne, Charles, 385.
Disderi, French artist, first-class authority,  Form, constituent of beauty, 67.
442-3.                                    Fourier, Charles, 412.
Disderi, Paris, 379, 433, 442.              Fox, representative of, 170.
Disease, 59.                                Franklin, Dr., 61, 151, 421.
Divine exemplar, 146.                       Frazer, Prof. J. F., 357.
Divine original, 144.                       Freckled, 121.
Dominant movement, 443.                     Fredericks & Co., 381.
Drab color, 78.                             Frenel, light, 50.
Draper, Dr. Henry, 343.                     Friendly hints, 134-5.
Draper, Prof. J. W., 339, 343.              Frigid zone, 174.
Draperies, 290, 292.                        Frogs, tadpoles, 58.
Drapery, 80, 127.                           Front light, 97.
Dress, remarks on, 116.                     Front view, 115.
Drawing and sketching, 136.                 Frowns, Mr. Clay, 155.
Drawing from nature, 136.                   Frozen sea, 175.
Drawing or design, 220-3.                   Fruit, apple, 72.
Dry process (collodion), 406.               Fuseli, artist, 83, 198, 212.
Dumas, chemist, 398.                        Galatea, of Raffaelle, 201.
Du Piles, author, 238.                      Galleries, first-class, 115.
Dutch school, 230.                          Gaspar Poussin, unimaginative, 215.
Editor, representation of, 165.             Gastric juice, 64.
Education, by circumstances, 27.            Gaudinotype, 402.
Egypt, pyramids, &c., 418.                  Gelatinizing positives, 292.
Ehrenberg, microscopist, 321, 323.          Gem, harmony of colors, 68.
Electricity, 133, 162.                      Genial moods in sitters, 154.
Elgin Marbles, 191, 251.                    Genius, creative, not imitative, 213.
Embellishment, natural love of, 20.         Genius, nature of, 36, 144, 146, 211, 214.
Embryon, vegetable, 63.                     Genoa, 87.
Energiatype, Robert Hunt, 402.              Geologic inquiry, 416.
England, colleges, 124.                     Geometrical principles, 223.
English school of painting, 233.            Germination, how caused, 63.
Ensigin, beauty's 81.                       Ghastliness in complexion, 73.
Epic, Milton's, 41.                         Gilmore, General, 420.
E]stablishment, heliographic, 137, 138.     Gladiator, composition in action, 228.
Ethfan Allen, representative of, 174.       God, gift of, 144.
Europe, steamer for, 134.                   Goddard, Dr. Paul Beck, 352.
Eve, "fatal apple, 172.                     Goitre, among Alps, &c., 58.
Everett, Edward, 156.                       Good nature, important, 38.
Expression, 141, 237, 246.                  Goodness of God, 62.
Eyes, direction of, 106.                    Gonsalvi, of Lawrence, 223.
Eyes, language of, &c., 113-16.             Gouverneur.Morris, with Stuart, 164.
Executive skill, 125.                       Grace Darling, 209.
Experience, writer's, 135.                  Grace, definition of, 223-4.
Expression by names, 181.                   Grace in woman, 186.
Expression of abnormal moods, 177-9.        Gradations in color, 230.
Expression through face, 143, 152.          Grant, Prof., calcium light, 353.
Expression through face and figure, 153,168. Grand Trunk Railway, 419.
Expression, through animal world, &c., 169, Gray, intermediate of black and white, 78.
176.                                      Great Britain, 419.
Extremes, 116.                              Greek Fire, 420.
Faris, Thomas, 860.                         Greek myth, Prometheus, 145; Phaeton, 148
Fashion, 76.                                Greeks, ancient, 24, 87.
Faultless beauty, 71.                       Griswold, V. M., 376.
February, severest weather, 60.             Grotius, picture by Rubens, 247.
Fermentation, 64.                           Group of sitters, 100.
Ferrotype, 376.                             Gulliver's Travels, 72.
Fervors, summer, 62.                        Gum, vegetive nutriment, 63.
Festive, 77.                                Gurney, J., N. Y., 359.
Field, George, light, 50.                   Gutta percha, 406.
Finden, artist, 99.                         Haas, heliographer, N.Y., 363.
Fine arts, 19, 25.                          Hair, arrangement of, 129.
First portrait from life, N.Y., 341.        Half-length, 118.
Fitzgibbons, 370.                           Haller on face, 85.
Fitz, Henry, optician, 350.                 Hallotype, 312-13, 376.
Flattered, the cross-eyed, 117              Hands, of lady in sitting, 106.
Flaxen hair, 116.                           Hannibal, portrait of, 151.
Flaxmnan, sculptor, 248, 255.               Happiness of the masses, 28.
Florence Nightingale, 209.                  1lapsburgh face, 87.
Florence school, 232.                       Hare, Dr., chemical professor, 352.




INDEX.                                      453
Harmony of colors, 67, 83.                  Individuality of man, 32, 44, 146, 149.
IIarmonist of colors, Deity, 68.            Infractors, of law, detected, &c., 421.
Harmonic coloring, 70, 265.                 Inman, Henry, his address, &c., 242.
Harmony of analogy, what, 73, 271.          Intellectual beauty, 196.
Harmony of contrast, 74.                    Intermediate, position of head, 115.
Harris, light, 50.                          Interpreter, of nature, 72.
Harrison, C. C., camera lenses, &c., 374.   Intractability of matter, 71.
Hart, Prof. John S., 421-2.                 Insipidity of habitual smile, 95.
Harvey, on stars, 228.                      Instrumentality of heliographer, 49.
Hatching, what, 284.                        Invention, in art, 217-18.
Haydon, B. R., 83, 187, 216.                Iodine, saturated, &c., 133.
HIead-rests, for sitting, 191.              Irritation, by night, 57.
Hearing, cause of, 50.                      Isolation of heliographers, 40.
IIealth, influenced by light, 57.           Italians, devoted to art, 87; masters, 149.
Heat from combustion, 50; nature of, 58.   Ivorytype, 303, 406.
Heath, artist, 99.                          Ivorytype, American, 305-6.
Helen, Grecian eye of, 88; beauty of, 197.   James, St., in the " Lord's Supper," 257.
Heliographer and his sitters, 90-5.         January, its cold, 60.
Heliographic rooms, fitting up of, 43-8.    Jay's treaty, 163.
Heliography, its present and future, 411, Jeffrey, Lord, on beauty, 188-9.
431, 412.                                 Johnson, John, N. Y., 348, 349.
Heliography, artistic character of, 432, 448. John, St., in the "Lord's Supper," 256.
Heliography, uses of, 26, 31.               Joinville, Prince de, 360.
Hercules, type of man, 170, 195.'     Jones, W. B., Boston, 371.
Heroes, representations of, 27.             Journals, heliographic, 42.
Herschell, Sir J., lavender and crimson, 52. Judas, in the " Lord's Supper," 256.
HIerschell, Sir J., hyposulphite soda, 396.   Julius Caesar, ideal, 151.
I-Ierschell, Sir William, 395.              July, its heats, 59.
Ilesler, daguerreotype views, 370.          June 21st, N. limit of sun, 59.
Ilickory, compact, 56.                      Juno, of Homer, 88; in art, 191.
High art, what' 263.                        Jupiter, of Phidias, 200.
high-lights, where. placed, 101.            Justice, George M., 351.
Hillotype, 316, 376.                        Juvenal, on Phidias, 251.
Hindrances, to heliographer, 147.           Kemble, John, his beauty, 244.
Hindrance to growth, what, 63.              Kemble, Mrs. F., remark on Lawrence, 32.
Hints, on sitting, &c., 105, 112.           Knowledge, of the masses, 28.
Historian, how to be represented, 165.      Labillardiere, on pores of plants, 55.
Historic, pictures, 227.                    Laborde, professor of sciences, 358.
History of heliography in Europe, 393, 410. La Fayette, at Bunker Hill, 158.
Hogarth, expression, 153.                   Landscape photography, Col. N. Pike, 387.
Hogarth, "line of beauty," 115.             Langdell, Dr. G., Phila., 372.
Hogarth, style of painting, 248.            Langenheim, F., Phila., 355, 363.
Holiday, in eye, 113.                       Languid expression of eyes, 114.
Holmes, invention of, 386.                  Laocoon, how classed, 221.
Holy Ghost, Simon Magus, 144.               Last Supper, by Lionardo Da Vinci, 255-8.
Homer, "ox-eye," 88; as poet, 186, 197.     Latent heat, 57; in ice, 59.
Honey-process, 405.                         Laughing, muscles affected by, 117.
Horn-silver, 394.                           Lavater, faces, &c., 85.
Horizon, sun above, 57.                     Lavender, color. by Sir J. HIerschell, 52.
Hospitality, offers of, 115.                Lawrence, Sir Thomas, 33, 34, 145, 153, 223.
Howard, art-writer, 222, 254.               Lectures on painting, 83.
Huge mound, of mountain, typical, 174.    Lemon yellow augments paleness, 73.
Humau face, chief subject of art, 84-9.     Leonidas, at Thermopylae, 209.
Hume, historic characters, 150.             Letts, James S., atrephograph, 377.
Humphrey's journal, 389.                    Lewenhoeck, microscopist, 329.
Hunt, Robert, 401.                          Light, and shadow discovered by Zeuxis, 233.
Husk of seed, 63.                           Light, and shadow as used by various paintHyalotype, 371.                               ers, 234-7.
Hydrogen, " blackening power," 50.          Light, Newton's theory of, 50; effect of, 56.
Ice, hypothesis, 59.                        Lights and shadows in picture, 123-6.
Ichaboe, island, guano, 328.                Lignum vitae, 56.
Ideal beauty, 198.                          Likeness, excellent, 71; likeness, partial, 122.
Ideal, in portraiture, 149.                 Lille, fortifications of, 58.
Illustration No. 7, 352.                    Lilliputian ladies, 72.
Illustrations, by heliography, 130-1.       Limning, human face, 71.
Image, heliographic, 45.                    Lionardo Da Vinei, 37, 99, 234, 255.
imagination, 214-17.                        Lion-hearted, Richard, 170.
rmlac, philosopher, in Rasselas, 221.       Lions, representing eyes, 113; face of, exImperial photograph, 377.                     pressive, 170.
Independence, 1776.                         Lippi Fillippo, great master of light and
Indigo, refrangibility of, 52.                shade, 236.




454                                   INDEX.
Lips express character, 85.                 Mountains, expression of, 173.
Lipsius, in conversation-piece, 247.        Mount picture for coloring, 282-4.
Liquefaction of ice, &c., 60.               Mouth, as affected by the smile, 118.
Litch & Whipple, Boston, 364.               Mulgrave, anecdote of, 241.
Lombard school, head of, 235.               Muller, his collodion-process, 407.
Louis XV., France, 87.                      Muses, robed in blue, 77.
Louvre, expression of, 124.                 Napoleon, upon noses, 88.
Love, proper hue of, 82.                    Natural philosophy, basis of heliography, 36.
Lungs, influence of light upon, 67.         Nature's method with light and shadow,
Luther, true portrait of, 424.                125.
Lysippus, ancient artist, 201.              Nazareth, Divine Man of, 27.
Macbeth, on " blasted heath," 171-2.        New continent, noblest blood of, 158.
Macaulay's pen and ink portraits, 150.      Neptune, outmost planet, 68.
"Macedonia's Madman's" portrait, 151.       Neutral, or negative colors, what, 78.
Machiavelli, face of, 247.                  New Jerusalem, of Swedenborg, 411.
Madonna of Correggio, 220.                  Newton, his theory of light, 50.
Magdalen of Correggio, 220.                 New York Photographic Society, 388.
Magnetic-electro telegraph, 412.            Nicolo Poussin, imaginative in landscape,
Magnetism, according to George Field, 51.    215.
Magnetism, essential to life, 50.           Niepce, proceedings of, in relation to helioMagnetism of genius, 50.                      graphy (in 1814, 1826, 1827, 1829),-397.
Malformation, from want of light, 58.       Nitrogen, a component of air, 55.
"Man of Sorrows," by Albert Durer, 150.   Noah, covenant of God with, 430.
Masaccio, chiar' oscuro, 236.               Nobility, the, as painted by Lawrence, 227.
Mason, William G., engraver, 352, 354.      Nose, affected by chest ailments, 177.
Massachusetts, pilgrim-planted,, 158.       Northcote, upon Reynolds, 249.
Masses of light in nature, 125.             Nubia, rock temples of, 418.
Matthew, St., in " Last Supper," 257.       Oak, compact in grain, 56.
Mauritius, in conversation-piece, 247.      Obstructions to faultless beauty, 71.
Mayall, J. E., of Philadelphia and London, Occasions, for blue color, 77.
363; ivorytype, his invention, 406.       Ocular anomalies, 180.
McClees & Germon, crystallotype, 371.       Oder, infusoria on banks of, 326.
Meade, Brothers, N. Y., 385.                Old arm chair illustrated, 131.
Meade, Charles R., met Daguerre, 385.       " Old Virginia," rural life of, &c., 163.
Measury & Silsby, lBoston, 379.             Olympus, messenger of, 77.
Mechanics, in art, 32.                      Operant, difficulties besetting, 90.
Medical science aided by heliography, 417.  Opie, John, 218, 220, 229, 238, 247.
Melainotype, by Prof. H. L. Smith, 376.     Orange, one of the secondary colors, 52
Melancholy, how born, 82.                   Oratory, less potent than eye, 85.
Mercenary, impulses to art, 41.             Organism of flowers wondrous, 67.
Mercury, in red ray, 61.                    Original, inferior to copy, 72.
Method of coloring, 284-7.                  Orinoco, banks of, S. A., 325.
Mezzotint photographs, 293.                 Ornament, of female dress, colors, 71; taste
Michelet, remark on Titian, 193; on repose,  for ornament innate, 67.
225.                                      Ostade, his pictures peculiar, 228.
Michellotti, on light, 55-6.                Othello, actor in, 162.
Micro-photography, 319-36.                  Owen, Prof., his demonstration, 333.
Middle ages, colors in, 429.                "Oxford Student," Ruskin, 83; buildings of,
Middle tints, 125, 128.                       124.
Millennium, tradition of, 411.              Oxide of hydrogen, each color in the sunMiller, stereoscopes in crater, 380.          beam, according to Field, 51.
Milton, his epic, 41; Milton, The Fall, 172.  Oxygen, a component of both air and water,
Minerva, her mantle blue, 77; Minerva, not   55.
beautiful, 191.                           Oxygen, "whitening power," according to
Miniature heliographs, 137.                   George Field, 50.
Mino da Fiesole, sculpture of, 252.         Paint the head, 287-90.
Minstrelsy, of birds, 70.                   Painter, difficulties of, 44; ability needed by,
Mint, U. S., picture from window of, 351.     144.
Miscellaneous remarks, 253-63.              Pale complexion, how improved, 73.
Miscellaneous facts, 180-4.                 Pamphilus, to his scholars, 222.
Mithriac worship, Persia, 429.              Pandemonian fires, 172.
Modus operandi in heliography, 126.         Paradise Lost, Eve in, 193.
Mood, importance of, in sitting, 45.        Parker, Dr. J. E., distinguished in out-door
Moral beauty, examples of, 196.               views, 354.
Morand, A., N. Y., early daguerreotypist, 360. Passion, use and value of, 218.
Morbid condtions, how expressed, 177.       Patience, necessary to artistic eminence, 38.
Morris, Geo. P., "Woodman, spare," &c., 166. Patrick Henry, historic portrait, 151.
Morse, Prof., 339, 344; his daughters' pie- Paul Veronese, sensitive to beauty of color'"TPh1,447; his speech, 390-3.                190.
"( Mosaics," by Sanders, 84.                Peale, Rembrandt, 27, 37, 163.
Mother earth, the crucifixion, 172.         Peroxalate iron, peculiarity of, 64.




INDEX.                                     455
Personality, expression of, 144.           lRed earth, Adam, 430.
Peter, St., to Simon Magus, 144; in "Last Redgrave, Manual of Color, 272.
Supper," 256.                             Red, harmonic with festive scenes, 77.
Petit, effect of light in crystallization, 394.  Red, one of the three primary colors, 52.
Petra, rock-temples of, 418.                Red races, from Shem, 430.
Petzval, Prof., his lenses, 355.            Refractoriness of child sitting, 103.
Phaeton, myth of, 147-8.                    Rehn, Isaac, photographer, 572-3.
Phalanxes, of Fourier, 412.                 Reichenbach, Baron, electricity in sun, 65.
Phenomena, of weather, 132.                 Relief in pictures, what, 126.
Phidias, marked by spirituality, 186; com- Rembrandt, his magic pencil, 193; genius in
pared with M. Angelo, 252.                  form, 221.
Philosophers, experiment by, 56.            Repose in art, 224-5.
Photographic and Fine Art Journal, 389.    Rest, essential to vegetables, 65.
Photograph, to choose and prepare, 280-2.  Rev. J. B. Reade, infusion of galls, 400.
Photography, effects of, 413.               Reynolds, Sir J., lectures, 83; wide margin
Phrenologist, cerebrum, &c., 89.              to pictures, 109.
Physical beauty, what signifying, 196.      Rice & IIart, portrait gallery, &c., 155.
Physiognomies, of animate and inanimate Richard Coeur de Lion, 170.
worlds, 85.                               Rip Van Winkle, 165.
Pictorial arts, high attributes for, 168.   Romancer, position in portrait, 165.
Pictures, how to frame, 302.                Romans, ancient, in artistic culture, 24.
Pike, Col. Nicolas, skilled amateur,.388.    Rosy, tint cast by light green on face, 79.
Pilgrims' landing, celebration of, 159.     Rothermel, his " Patrick Henry," 150.
Pioneers, of new world, 19.                 Rouge, plate-polishing substance, 133.
Plato, on ideal beauty, 198-9.              Rubens, sensitive to color, 190; remark upon,
Pliny, eulogist of Apelles, 254.              by Howard, 222.
Plumb, John, his many galleries, 361.       Ruddiness, of complexion, relation to dress,
Plutarch, Elgin Marbles, 251.                 72.
Poet, how placed in portrait, 165.          Ruffled, when the hair should be, 128.
Politeness, characteristic of great artists, 37. Rumford, Count, discoveries, 395.
Pope Paul, III., by Titian, 247.            Ruskin, art-critic, 186, 214, 204, 218.
Porta, inventor of camera obscura, 393.     Sabean worship, 429.
Portrait, 44, 71, 246, 252, 439, 247.       Sahara, African, symbol of what, 175.
Portraits of children, 101-4; pleasing, 102.  Salad for the Solitary, author of, 84.
Portraits of heroes, &c., effect of, 414.   Sallowness, in relation to dress, 73.
Portraiture, cartes de visite,!00-1.-  S.lvato. lcsa, v-igorous imagination of, 215.
Posture in sitting, 91; in geleral, 1.09.-_  m    mle. o   Ao   ericm.q heliography, 141.
Powder, for coloring positives,293-4, -     Sation, how -ypified, 17V9
Premeditations, of artist, 145.             Saunders's opinion of dhe face, 86.
Priestly, Dr., discovery by, 55.           | Saviour, in Last Supper, 255, 257.
Primary colors, what, 52, 7;.               -Saxtun-,:iis ee:ely~dgsrjeotse ype, 351.
Primordial decree, 147.     -               Skeel, hl~rjile, silver, 194 -5.
Prince Albert, portrait of, 31 1,''  SinDio,'sign uficonne   o., 183
Princeton battle, 242.                      Scott', eyes o%,-88; characters by, 150; bust
Principles of harmonious coloring, 264, 302.  of, 427.
Prismatic spectrum, order of colors in, 7-3.  SoLlptors, great, great composers, 226.
Prism, natural, rainbow, 51; artificil grlas S-u'lpturu, nature of 15C-2.
52.                                       ""Secon.4Adam.?' manaal labor, 148.
Pl oclus, on ideal beauty, 201.             Secondand andhid painting, 299.
Profile, what margin, 109-10.               Secondary colors, what, 74.
Prometheus, myth of, 145, 421.              Second floor for other uses, 96.
Proportion, in nature's coloring, 69.       Seebeck, discoveries by, 395.
Prosperity, material of U.S., 19.           Seed, germinated by actinism, 63.
Proto-artist, God, 22, 68, 143, 148.        Seely, Chas. A., Journal of photography, 389.
Publicispeakers, standing, 165.             Selfhood in expression, what, 143, 147.
Public taste, how affected by daguerreotype, Sennebier, violet ray, 394.
392.                                      Serpentine, line in composition, 226.
Public order helped by photography, 420.  Sexes, how distinguished, 253.
Pyrenees, maladies among, 58.               Shadbolt, honey-process, 405.
Python, shot by Apollo, 250.                Shadow of soul, expression, 145.
Quail, John, heliographer, 360.             Shakspeare, illustrations from, 72, 80, 158.
Qualifications of first-class heliographer, 32, Sharon, rose of, &c., 69.
42.                                       Shem, descendants of, 430.
Quatremere de Quincy, 152.                  Shirene, oriental beauty, 88.
Quintilian, 233.                            Shive, invention of, 378.
Radiance,-of tropics, its effect on photogra- Short sessions, concerning, 133.
phy, 65.                                  Short shadows for sitters, 108.
Raffaelle, his morale, 37; portraits of Ma- Shrewdness of the artist, 94.
donna, 148; of the Saviour, 148.          Siddons, Mrs., fine face of, 191.
Rainbow, example of harmony of analogy, Side and sky-light combined, 97.
75., Silanion, portraitist, 247.




456                                   INDEX.
Simon, the magian, 144.                     Thermometer, affected by different rays, 61.
Singing birds in reception room, 47.        Theseus, among Elgin Marbles, 251.
Sistine chapel, groups in, 255.             Thinness, how to depict, 119.
Sitter's position, age, &c., 105.           Thompson, heliographer in Paris, 360.
Sitting room, sky-light, &c., 96, 104.      Tiger, symbol of what, 170.
Sitting room at top of building, 96.        "Timaeus," of Plato, extract from, 199.
Slender person, how to sit, 120.            Timanthes, famed for expression, 245.
" Small Cathedral," Webster, 157.           Tintoretto, famed colorist, 190.
Smelling, cause of, 50.                     Titian, his beauty of color, 190; father of
Smile, peculiar to man, 95; Mr. Clay, 155;  portrait, 262.
a spontaneous action of muscles, 161.     Toilet, &c., importance of color to, 69.
Smith, origin of name, 183.                 Tornado, generated by heat, 62.
Smith, Rev. Sydney, saying of, 157.         Tragic Muse, Mrs. Siddons as, 261.
Snake, what type of, 171.                   Transfiguration, of Raffaelle, 239.
Snelling, H. 1I., inventions of, 384-5; jour- Travel, virtually replaced by heliography, 28.
nal of, 389.                              Travelling, self-culture by, 413.
Snow, latent heat in, 60.                   Tropics, influence on human form, &c., 58.
Social feelings promoted by heliography, 27. Trumbull, Jno., portrait of Washington, 242.
Socrates, trained a sculptor, 251.          Turner, opinion of, by Lawrence, 259.
Soil, screen of seed from light, &c., 63.   Two-thirds face, when best, 115, 119.
Solar beam, not simple, 51.                 Undulation-ether, 50.
Solar camera, 295.                          Utility, mechanical, 19.
Solarizing, how to avoid, 121, 127.         Valerius Maximus, on Elgin Marbles, 251.
Solar spectrum, Sir J. Herschell, 400.      Valley Forge, Washington, 163.
Sonnet of R. T. Conrad, 161.                Van Dyck, 110, 193, 227, 246.
Southey, on the face, 85.                   Van Loan, Sam'l, early daguerreotypist, 359.
Southworth, early daguerreotypist, 359.    Vapor, condensation of, into snow, 60.
Spanish school, in chiar' oscuro, 233.      Varnish for glass positives, 294.
Sphereotype, by Bisbee, 317, 377.           Vasari, history of painting, 252.
Spiller & Crookes, nitrate magnesia, 405.   Velasquez, eminent in portrait, 248-9.
Spiral, how produced, 115.                  Velvet, screen for eyes, 114.
Stained glass in reception room, 46.        Venetian school, chiar' oscuro, 233.
Starch, transmutation of, 63.               Venus, type of woman, 195; of female grace,
Statham, Rev. Mr., his remark, 415-16.        254; of beauty, 195.
Steam, its influence on the world, 412.     Vesuvius, what symbolizing, 176.
Stereoscope, scene for, 93.                 Vignette styie of portrait, 108; photographs,
St. Giles, of Londcn,;howv tyified,:175.     22.
Stippling, what, 235.. -.V o'et, secondary color, 52; in dress, 80.
Stothard, traits of 248, 255.               Virginia, House of Delegates, 151.
Stoutness, in relation to dress, 72.        Virgin Mother, by Raffaelle, &c., 148.
Stuart, Gilbert, 27, 33, 37, 153; 113. -    Visior, how and by what caused, 50.
St. Victor Niepce slburmen on glass, "03.k  - jsual beauty, constituents of, 67.
Sublimity, species of beautf,, 207-8.         i;tali+y; its cao:Je what, 49.
Subordinate color in dress, 71.             Vitruvius, on architecture, 194.
Sue, Eugene, reform-writer, 175.            Vivacious temperament, dress for, 76.
Sully, instructions of, 136.                Voigtlalder & Sons, lenses, 355.
Sunbeam, 49, 66.                            Wrrm colors, red and yellow, 70.
Supreme, Proto-Artist;, 143.                    n ~  ashirigton. 27, 151, 152, 162, 163, 242.
Sutton, Thomas, photographic editor, 363.  Washington Irving, how to represent, 165.
Symbolical colors, 80.                      Water colors, 276, 80.
Symmetry of form marred by bad color, 68; Waterhouse, Dr., remarks on Stuart, 241.
qualities of, 233.. Webster, remark about, 156.
Symonds, on art, 210, 233.                  Wedgwood, experiments by, 397.
Sympathy, similitude of spheres, 167.       West, his rapidity in work, 248.
Table of discoveries, 407-10.               West Point Military Academy, 419.
Tadpoles, require light for full development, Wetherill, John P., suggestion by, 372.
58.                                       Whipple, lunar photography, 364.
Talbot, II. F., experiments (published 1839), White, H. HI., verses of, 274-5.
340, 400, 425.                            Whiteness in dress impairs aspect, &c., 127.
Talent, required by heliography, 36.        Wildman, Dr. E., early daguerreotypist, 355.
Taste, for art promoted by heliography, 140. Willis, N. P., how to depict, 166.
Taste, nature and composition of, 218-20.   Wind and weather, effects of, on a sitter, 146.
Taupenot, Dr., collodio-albumen, 405.       Wisdom, Divine, seen in flowers, 62.
Taylor, President, bad portraits of, 156.   Wm. Smith, S. E. cor. Fifth & Chestnut, 163.
Teeth, loss of, how disguised, 118.         Wolcott, A. S., inventor of reflector, 346, 349.
Temperate climes, vegetation, &c., in, 70.   Wollaston, Dr., researches, 395.
Temper, irritable, bad effects of, 102; im- Woody tissues formed by light, 56.
portance of curbing, 134.                 Yellow, primary color,' 52.
Tertiary colors, what, 75.                  Young, light, 50.
Thanatopsis" of Bryant, 166.              Zeuxis, his modelling of Helen, 201; discoThermography, by Prof. Moser, 403.            vered chiar' oscuro, 233.