---------------------------------------- -------------------------------- ,transcriber's ,note3 ,minor errors1 attributable to the printer1 have been corrected4 ,please see the transcriber's note at the end of this text for details regarding the handling of any textual issues encountered during its preparation4 ,there are a few apothecary symbols employed which may not display properly in your reader1 depending upon local character sets4 ,this version of the text cannot represent certain typographical effects4 ,italics are delimited with the #8' character as italic4 ,bold characters are delimited with '' and underlined characters with ''4 ,a carat 77 is used to denote a superscripted character4 ,footnotes have been moved to follow the paragraphs in which they are referenced4 ,sidenotes appear either before the paragraph which they annotate1 or inline delimited as ,sidenote3 4444 ---------------------------------------- -------------------------------- ,,fry',s ,,argentic ,,bromide ,,enlargements 8,,are ,,like ,,fine ,,engravings40--,british ,journal of ,photography4 8,,artistic ,,in ,,the ,,highest ,,degree40--,court ,circular4 ---------------------------------------- -------------------------------- ,enlarging and ,finishing upon ,,paper4 ---------------------------------------- -------------------------------- ,dimensions ,cut ,finishing of ,paper ,enlargement ,mounts ,finishing in ,mono- in in inches4 ,enlargement mounted extra chrome4 ,beyond water-colours only4 on ,card4 any ,enlargement and in shape ,charge4 oils4 opening4 #crd4 #bnd4 #ast4 s4 d4 s4 d4 s4 d4 s4 d4 s4 d4 s4 d4 #hf1 #abg #b #f #c #j #j #i #e #j #aj #j #ae #j #ajh1 #abaj #aeab #c #j #c #i #a #j #f #j #ab #j #ah #j #ahae #c #f #d #f #a #c #g #j #ad #j #ba #j second-class #bjaf #d #j #e #j #a #c #h #j #af #j #bd #j ,monochrome #bcag #e #j #f #j #a #c #aj #j #bj #j #cj #j to double #bdah #g #f #i #j #b #j #aj #j #bj #j #cj #j first-class #bdbj ditto #cjbb #aj #j #aa #f #b #f #ab #f #be #j #cg #f #cjbe #ab #f #ae #j #c #j #ae #j #cj #j #de #j ---------------------------------------- -------------------------------- ,enlarging and ,finishing on ,,opal4 ---------------------------------------- -------------------------------- ,dimensions ,finishing in ,mono- ,finishing in ,,enlargements of ,opal ,enlargement chrome4 ,beyond ,water ,colours ,,on ,,canvas4 in inches4 only4 ,enlargement and in ,oils4 ,charge4 #crd4 #bnd4 #ast4 s4 d4 s4 d4 s4 d4 s4 d4 s4 d4 s4 d4 #h #f1 #d #j #e #j #aj #j #ae #j #aj #j to #cj #j #aj #h #d #f #f #j #ab #j #bd #j #ab #j 0 #cf #j #ab #g #e #j #g #f #ae #j #cj #j #ae #j 0 #de #j #ab #aj #ae #ab #g #f #aj #j #bj #j #ce #j #ag #j 0 #de #j ,,prices ,,on #ag #aj #ah #ae #ae #j #ad #j #be #c #g #j #bj #j 0 #ej #j ,,application #bj #af #bj #j #af #j #bg #c #h #j #bb #j 0 #gj #j #bd #ah #be #j #bj #j #bj #j #aj #j #be #j 0 #gj #j ,,full ,,price ,,lists ,,of ,,dry ,,plates1 ,,bromide ,,papers1 ,,enlargements1 ,,chemicals1 ,,card ,,mounts1 c41 c41 ,,free ,,on ,,application ,,to ,,samuel ,,fry ,,co41 ,,limited1 #e1 ,chandos ,st41 ,charing ,cross1 ,,london1 ,w4,c4 ,works3 ,,kingston-,,on-,,thames4 ,telegraphic ,address3 8,,enlargements1 ,,london40 ,,the ,,autotype ,,company1 ,,london4 ------------------------------------ ,,for ,,the ,,artistic ,,decoration ,,of ,,the ,,home1 ,,visit ,,the ,,autotype ,,fine ,,art ,,gallery1 #gd1 ,,new ,,oxford ,,street 7#bj doors west of ,mudie's ,library74 ------------------------------------ ,,splendid ,,copies ,,of ,,the ,,old ,,masters1 from the most celebrated ,galleries of ,europe4 ,,reproductions ,,of ,,modern ,,paintings1 from the ,luxembourg1 8,the ,salon10 ,royal ,academy1 c4 ,,delightful ,,little ,,pictures1 elegantly framed1 after ,,bartolozzi1 ,,sir ,,joshua ,,reynolds1 ,,romney1 and the ,great ,english ,portraitists4 ,,turner',s 8,,liber ,,studiorum10 with ,notes by ,,stopford ,,brooke1 ,m4,b4 ,a ,pamphlet1 8,,autotype3 ,a ,decorative and ,educational ,art40 ,four ,illustrations--,description of ,autotype--,suggestions for ,pictures and ,framing1 c4 ,free by ,post4 ,,autotype ,,book ,,illustrations4 ,the ,,autotype ,,company offer their services to ,,authors and ,,publishers to produce by the ,autotype ,process1 ,book ,illustrations of the highest excellence of any subjects capable of being photographed4 ,among the ,,work ,,recently ,,done may be cited ,wyon's 8,great ,seals of ,england20 ,dr4 ,crookshank's 8,micro-,photographs of ,bacteria20 8,famous ,monuments of ,central ,india10 for ,sir ,lepel ,griffin1 ,k4,c4,s4,i42 8,facsimiles of ,early ,italian ,engravings10 for the ,trustees of the ,british ,museum2 8,the ,palographical ,society's ,fasciculus for #ahhh20 8,illustrations for the ,journal of the ,hellenic ,society10 ,lindt's 8,new ,guinea10 c41 c4 ------------------------------------ ,,recently ,,published4 ,idylls of the ,norfolk ,broads4 ,by ,p4 ,h4 ,,emerson1 ,b4,a41 ,m4,b4 ,twelve ,plates by ,auto-,gravure1 in handsome ,portfolio1 with ,descriptive ,letterpress4 ,proofs on ,india ,paper 7limited to #aej7 #a #aas4 #f;d4 ,prints on ,plate ,paper #a #as4 #j;d4 ,prospectus on application4 ---------------------------------------- ---------- ,old ,paris4 ,ten ,etchings by ,c4 ,m,,ryon4 ,reproduced on ,copper by the ,auto-,gravure ,process1 and accompanied with ,preface and ,illustrative ,notes by ,,stopford ,a4 ,,brooke1 ,m4,a4 ,the ,plates are attached1 by the upper edge1 to ,whatman ,paper cut-out ,mounts1 and enclosed in an elegant ,portfolio4 ,price ,three ,guineas4 ---------------------------------------- ----------------- ,,the ,,autotype ,,company1 #gd1 ,,new ,,oxford ,,street1 ,,london1 ,w4,c4 ---------------------------------------- -------------------------------- ,,morgan ,,kidd1 ,,inventors ,,of ,,the ,,argentic-,,gelatino-,,bromide ,,process ,the ,standard ,method of ,producing ,permanent ,enlargements and ,contact ,prints4 ---------------------------- ,,price ,,list ,,of ,,the ,,argentic-,,gelatino-,,bromide ,,papers4 ,,positive ,,paper4--,for ,enlarging and ,printing direct from the ,negative4 ,size4 #a-;doz4 ,size4 #a-;doz4-doz4 ,size4#a-;doz4-doz4 #d #c 7#b-;dz47 #aj #h #c_/- -- #bcag #ab_/f #f_/i #a_/c #f #d #a_/c #abaj #d_/f #c_/- #beba #ah_/f #aj_/- #h #e #a_/i #aeab #g_/- #d_/- #cjx#bc #bd_/f #ab_/f #h #f #b_/c #ah #ae #i_/f #e_/c #cjbe #bf_/f #ad_/- ,in ,rolls of #bj ft41 #ag in4 wide1 #abs42 #be in4 wide1 #ags4 #f;d42 and #cj in4 wide1 #bas4 ,the ,positive ,paper can also be had with a rough surface1 same price2 but in all cases1 unless rough is specially ordered1 smooth is sent4 ,,note4--,the ,argentic-,gelatino-,bromide ,papers are sent post free4 ,,sample ,,sheet1 #bc #ag1 #as4 #f;d4 ------------------------------------ ,,enlargements1 ,by ,,morgan ,,kidd1 ,from good small ,negatives1 are full of ,delicacy and ,vigour1 ,,and ,,equal ,,to ,a ,,fine ,,engraving4 ,,artistic1 ,,permanent ,,inexpensive4 ,an ,enlargement from a good ,negative is ,a ,,picture ,,and ,a ,,work ,,of ,,art1 and is far better than a mere ,photo-scrap4 ,send for full ,price ,list post free on application4 ---------------------------- ,,morgan ,,kidd1 ,argentic,gelatino,bromide ,works1 ,,kew ,,foot ,,rd41 ,,richmond1 ,,london1 ,s4,w4 ,,paris--#bi1 ,boulevard des ,italiens4 ,telegrams3 8,argentic1 ,richmond1 ,surrey10 ---------------------------------------- -------------------------------- ,,platinotype4 ------------------------------------ ,,the ,,cold ,,bath ,,process4 ------------------------------------ ,the attention of ,photographers is called to this beautiful process1 now fully introduced4 ,some of the advantages are here enumerated3-- #ast4--,high artistic rendering both of high lights and shadows4 #bnd4--,prints either vigorous or soft1 either cold or warm in colour1 well in command of operator4 #crd4--,prints dry up with less loss of effect than in any other process4 #dth4--,short exposure required1 being less than in the ,hot ,bath ,process4 #eth4--,economy1 especially to large users4 ---------------------------------------- ---------- ,,no ,,license required by users of the ,patented ,papers manufactured by the ,company4 ---------------------------- ,the ,sensitized ,papers are now obtainable from ,agents in the principal towns4 ---------------------------------------- ---------- ,,for ,,prospectus ,,apply ,,to ,,the ,,platinotype ,,co41 #bi1 ,,southampton ,,row1 ,,holborn4 ---------------------------------------- -------------------------------- ,council ,medal and ,highest ,award1 ,great ,exhibition1 ,london1 #ahea1--;,gold ,medal1 ,paris ,exposition1 #ahfg4--,medal and ,highest ,award1 ,exhibition1 ,london1 #ahfb4--,medal and ,diploma1 ,centennial ,exhibition1 ,philadelphia1 #ahgf4--,medal and ,diploma1 ,antwerp1 #ahgh4--;,gold ,medal and ,diploma1 ,paris ,exposition1 #ahgh4--;,gold ,medal1 ,inventions ,exhibition1 #ahhe4 ------------------------------------ ,,ross' ,,portrait ,,and ,,view ,,lenses1 ,unsurpassed for ,brilliancy of ,definition1 ,flatness of ,field1 and ,depth of ,focus4 ,used by the leading ,photographers throughout the ,world4 ,,portrait ,,lenses4 ,,improved4 ,no4 #c for ,portraits #fd #ag #aj #j 0 #c;,a 0 #hf #bf #ae #j 0 #d 0 #ajh #ch #j #j 0 #e 0 #ahaf #db #aj #j 0 #f 0 #bbah #ed #j #j ------- ,,rapid 8,,cabinet40 ,no4 #a for ,cabinets1 #ad ft4 distance #ac #j #j 0 #b 0 #ah 0 0 #ag #aj #j 0 #c 0 #bj 0 0 #ai #aj #j ------- ,,quick-,,acting ,c4,d4,v4 ,no4 #a for ,cards1 #ad ft4 distance #e #ae #j 0 #b 0 #af 0 0 #f #aj #j 0 #c 0 #ai 0 0 #aa #aj #j ------- ,,universal4 ,for ,portraits1 ,groups1 c4 ,view ,group ,back ,no4 ,size4 ,size4 ,focus4 ,price4 #a #hf #gd #h in4 #g #aj #j #b #ajh #hf #aj 0 #i #j #j #c #abaj #ajh #ac 0 #ab #aj #j #d #aeab #abaj #af 0 #af #aj #j #e #ahaf #aeab #bj 0 #be #j #j #f #bbah #ahaf #bd 0 #de #j #j #g #beba #bbah #cj 0 #ee #j #j ,,view ,,lenses4 ,,symmetrical4,a ,for ,landscapes and ,architecture4 ,no4 #a #cc #dc #ed #c in4 #c 0 #b #dc #ed #gd #d 0 #c #e 0 #c #ed #gd #he #e 0 #c #aj 0 #d #gd #he #hf #f 0 #d #j 0 #e #he #hf #ig #g 0 #e #j 0 #f #hf #ix#g #ajh #h 0 #f #j 0 #g #ig #ajh #abaj #i 0 #g #j 0 #h #ajh #abaj #acaa #aj 0 #h #j 0 #i #abaj #acaa #aeab #ab 0 #i #j 0 #aj #acaa #aeab #ahaf #ae 0 #aj #j 0 #aa #aeab #ahaf #bbah #ah 0 #ab #j 0 #ab #ahaf #bbbj #beba #ba 0 #ae #j ,,rapid ,,symmetricals4,a ,for ,groups1 ,views1 ,interiors1 and ,copying4 ,the most useful ,lens for all ,out-door ,photography4 ,size of ,size of ,equivalent ,view4 ,group4 ,focus4 ,price4 #dc ,stereo4 #d in4 #d #j #j #ed #dc #f 0 #d #e #j #fe #ed #g 0 #e #e #j #he #gd #i 0 #e #ae #j #hf #he #aj 0 #f #aj #j #ig #hf #ab 0 #g #aj #j #ajh #hf #ad 0 #h #aj #j #abaj #ajh #af 0 #aj #aj #j #acaa #aai #ah 0 #aa #aj #j #aeab #acaa #bj 0 #ad #aj #j #ahaf #aeab #bd 0 #ah #aj #j #bbah #ahaf #cj 0 #be #j #j #bebb #bbah #cd 0 #cj #j #j ,ten per cent4 ,discount for ,cash with ,order4 ,,further ,,particulars ,,catalogues1 with ,estimates1 on application4 ------------------ ,,ross ,,co41 #aab1 ,new ,bond ,street1 ,,london1 ,w4 ,steam ,works--,brook ,street4 ,,john ,j4 ,,griffin ,,sons1 ,,manufacturers ,,of ,chemical and ,philosophical ,apparatus4 ---------------------------------------- --- ,,pure ,,chemicals4 ---------------------------------------- --- ,,makers ,,of ,,apparatus ,,to ,,the ,,admiralty1 ,,war ,,department1 ,,indian ,,and ,,colonial ,,governments4 ,illustration ---------------------------------------- --- ,,gas ,,furnaces ,,for ,,melting ,,and ,,enamelling4 ---------------------------------------- --- ,balances and ,weights1 ,stills1 ,argentometers1 ,graduated ,measures1 ,mortars and ,pestles1 ,porcelain and ,glass ,basins1 ,dishes1 ,finest ,bohemian ,glass ,beakers1 ,flasks1 ,funnels1 ,test ,tubes1 ,spirit ,lamps1 c4 ---------------------------- ,,illustrated ,,price ,,list1 ,,post ,,free1 #f;d4 ---------------------------- ,,brin',s ,,compressed ,,oxygen ,,in ,,steel ,,cylinders4 ---------------------------- ,,john ,j4 ,,griffin ,,sons1 #bb1 ,,garrick ,,street1 ,,london1 ,w4,c4 ,j4 ,h4 ,,dallmeyer1 ,optician1 #be1 ,,newman ,,st41 ,,oxford ,,st41 ,w4 7,removed from #ai1 ,bloomsbury ,street74 ,illustration ,,dallmeyer',s ,,photographic ,,lenses ,are used by all the leading ,photographic ,artists throughout the world1 and have obtained the ,highest ,awards wherever exhibited4 ---------------------------------------- --- ,,dallmeyer 8,on the ,choice and ,use of ,photographic ,lenses40 ,,eighth ,,thousand4 #as4 ,this ,pamphlet contains concise information for ,selecting ,lenses for any particular purposes1 whether in ,portraiture1 ,landscape1 or ,architectural subjects1 c41 the proper use of ,diaphragms1 ,tables of ,comparative ,exposures1 the use of the ,swing ,back to the ,camera1 a simple ,explanation of the law of ,conjugate ,foci1 and ,tables for ,reduction and ,enlargement4 ---------------------------------------- --- ,,dallmeyer',s ,new ,descriptive ,catalogue 7,post free on application7 ,contains full particulars of all ,lenses and the purposes for which they are designed2 also of the latest ,inventions in ,photographic ,lenses1 viz41 ,,dallmeyer',s ,,rapid ,,long ,,focus ,,landscape ,,lens1 ,,and ,,dallmeyer',s ,,new ,,rectilinear ,,landscape ,,lens4 -------------- ,for ,,abridged ,,catalogue see ,,inside ,,of ,,back ,,cover4 ,,naturalistic ,,photography4 ,,london ,,printed ,,by ,,gilbert ,,and ,,rivington1 ,,limited1 ,,st4 ,,john',s ,,house1 ,,clerkenwell ,,road4 ,,naturalistic ,,photography ,,for ,,students ,,of ,,the ,,art ,,by ,p4 ,h4 ,,emerson1 ,b4,a41 ,m4,b4 7,,cantab47 ,,author ,,of 8,,pictures ,,of ,,east ,,anglian ,,life10 8,,pictures ,,from ,,life ,,in ,,field ,,and ,,fen10 8,,idyls ,,of ,,the ,,norfolk ,,broads10 ,,and ,,joint ,,author ,,of 8,,life ,,and ,,landscape ,,on ,,the ,,norfolk ,,broads40 8,beauty is truth1 truth beauty1--that is all ,ye know on earth1 and all ye need to know40 ,,keats1 8,ode on a ,grecian ,urn40 ,,second ,,edition1 ,,revised ,,new ,,york ,e4 ,f4 ,,spon #ab1 ,,cortlandt ,,street #ahij ,copyright1 #ahhi4 ,p4 ,h4 ,,emerson4 ,,to ,,the ,,memory ,,of ,,adam ,,salomon ,,sculptor ,,and ,,photographer1 ,chevalier de l'ordre de la lgion d'honneur1 ,this work is ,dedicated ,,by ,,the ,,author ,,as ,a ,,tribute ,,of ,,admiration ,,and ,,respect ,,for ,,the ,,first ,,artist ,,of ,,acknowledged ,,ability ,,who ,,was ,,original ,,enough ,,to ,,practise ,,photography ,,for ,,its ,,own ,,sake1 ,,and ,,who ,,was ,,brave ,,enough ,,to ,,appear ,,before ,a ,,prejudiced ,,art ,,world ,,as ,a ,,photographer ,,as ,,well ,,as ,a ,,sculptor4 ,bonne renomme vaut mieux que ceinture dore4 ,,preface ,,to ,,second ,,edition4 ------- ,my first and pleasantest duty is to offer my heartiest thanks to the numerous correspondents who have honoured me with sympathetic letters of approval and with valuable criticisms4 ,judging from these kind letters1 which have poured upon me in grateful showers1 my book has filled a want in art literature4 ,these letters1 coming as they do from artists of all kinds1 art-masters and photographers1 many of whom are perfect strangers to me1 have supplied me with suggestions and criticisms which ,i shall make use of in a later edition1 if the public so will that there be one1 and some of my correspondents ,i shall take the liberty of publicly thanking4 ,the call for this second edition has come so soon that ,i have only had time to correct a few superficial errors1 and as but few reviews have as yet reached me1 ,i cannot answer any criticisms upon my work4 ,so far there is nothing to answer4 ,i can only repeat that the student will do well to make artists his final court of appeal1 and he must then act as he thinks fit4 ,i have no burning desire to make converts1 my sole object has been to tell the student what ,i could--if he wished to know it4 ,as to my views1 ,i am perfectly willing that no one shall accept them1 and am content to let posterity judge between me and my adverse critics4 ,in deference to the opinion of a highly valued friend--a well-known artist--,i have included in this edition 7as an ,appendix7 my paper on 8,science and ,art0 read at the ,camera ,club ,conference on ,march #bfth1 #ahhi4 ,p4 ,h4 ,e4 ,,chiswick1 ,march1 #ahhi4 ,,contents4 ,,page ,,preface vii ,,table ,,of ,,contents ix ,,introduction4 ,daguerre at a sance of the ,french ,academy1 ,aug41 #ahci #a ,retrospect of work done by ,photography since #ahci #b ,influence of ,photography on the ,glyptic and ,pictorial ,arts1 #e and vice vers ,aim of this book #h ,the ,naturalistic ,school of ,photography #h ,a word to artists #i ,the three branches of ,photography--,artistic1 ,scientific1 and ,industrial3-- ,a4 ,art ,division #aj ,b4 ,science ,division #aa ,c4 ,industrial ,division #aa 8,professional and ,amateur0 photographers #ab ,a ,college of ,photography #ac ,the ,future of ,photography #ac ,,book ,i4 ,,terminology ,,and ,,argument4 ,,chapter ,i4 ,,terminology4 ,preamble #ag ,analysis #ag ,art #ag 8,art-,science0 #ah ,artistic #ah ,breadth #ah ,colour #ah ,creative ,artist #ai ,fine ,art #ai ,high ,art #bj ,ideal #bj ,imaginative #bb ,impressionism #bb ,interpreting ,nature #bb ,local ,colour #bb ,low ,art #bb ,naturalism #bb ,original ,work #bd ,photographic #bd ,quality #bd ,realism #bd ,relative ,tone or ,value #be ,sentiment #be ,sentimentality #be ,soul #be ,technique #bf ,tone #bf ,transcript of ,nature #bf ,,chapter ,,ii4 ,,naturalism ,,in ,,pictorial ,,and ,,glyptic ,,art4 ,an inquiry into the influence of the study of ,nature on ,art #bh ,egyptian ,art #cj ,monarchies of ,western ,asia #cb ,ancient ,greek and ,italian ,art #cc ,early ,christian ,art #dd ,medival ,art #dg ,eastern ,art--,mohammedan #eb ,chinese and ,japanese ,art #ed ,the ,renascence #ei ,from the ,renascence to ,modern ,times #fg ,a4 ,spanish ,art #fg ,b4 ,german ,art #fh ,c4 ,flemish ,art #fi ,d4 ,english ,art #fi ,e4 ,american ,art #gh ,f4 ,dutch ,art #hj ,g4 ,french ,art #hd ,h4 ,sculpture #ib ,retrospect #id ,,chapter ,,iii4 ,,phenomena ,,of ,,sight1 ,,and ,,art ,,principles ,,deduced ,,therefrom4 ,introduction and ,argument #ig ,optic ,nerves #ig ,le ,conte's ,classification of the subject #ih ,physical characters of the eye as an optical instrument #ih ,direction of ,light #ajb ,intensity of ,light #ajc ,colour #ajh ,psychological data1 and binocular vision #aaa ,perspective1 depth1 size1 and solidity #aab ,art principles deduced from the above data #aad ,,book ,,ii4 ,,technique ,,and ,,practice4 ,,chapter ,i4 ,,the ,,camera ,,and ,,tripod4 ,the ,camera #abe ,choice of a camera2 tripod and bags #abe ,manipulating the ,camera #abi ,pin-hole ,photography #aca ,accidents to the ,camera #acb ,hand ,cameras #acb ,,chapter ,,ii4 ,,lenses4 ,optics #acd ,dallmeyer's long-focus rectilinear landscape lens #ace ,false drawing of photographic lenses #acf ,hints on the correct use of the lens #acf ,lenses for special purposes #acg ,diaphragms or 8stops0 #ach ,physical qualities of ,lenses #ach ,hints on lenses #adj ,,chapter ,,iii4 ,,dark ,,room ,,and ,,apparatus4 ,dark ,room #ada ,a developing rule #ada ,ventilation of dark room #ada ,apparatus #ada ,,chapter ,,iv4 ,,studio ,,and ,,furniture4 ,studio #add ,studio ,furniture #ade ,studio effects4 ,a rule for studio lighting #adg ,,chapter ,v4 ,,focussing4 ,how to focalize #adh ,the ground-glass picture #adi ,examples and ,illustration in point #aej ,,chapter ,,vi4 ,,exposure4 ,ways of ,exposing #aed ,rule for ,exposing #aed ,classification of ,exposures #aed ,a4 ,quick ,exposures #aee ,b4 ,time ,exposures #aee ,exposure ,shutters #aef ,variation of exposure1 and conditions causing them #aeg ,on ,exposure ,tables #afj ,,chapter ,,vii4 ,,development ,,and ,,negative ,,finishing4 ,study of ,chemistry #afb ,on ,plate making #afc ,wet-plate process #afc ,tonality and development #aff ,on developing #agj ,on developers #aga ,local development #aga ,on the study of tone #agc ,accidents and faults1 and their remedies #agd ,varnishing the negative #agi ,roller slides and paper negatives #ahj ,orthochromatic photography #aha ,,chapter ,,viii4 ,,retouching4 ,definition of retouching #ahd ,on working up photographs #ahd ,on retouching #ahf ,adam ,salomon and ,rejlander on retouching #ahg ,,chapter ,,ix4 ,,printing4 ,various printing processes #aia ,the ,platinotype process #aie ,vignetting #aif ,combination printing #aig ,on cloud negatives and printing in of clouds #aih ,,chapter ,x4 ,,enlargements4 ,on enlarging #bjj ,,chapter ,,xi4 ,,transparencies1 ,,lantern ,,and ,,stereoscopic ,,slides4 ,transparencies #bjb ,lantern ,slides #bjb ,stereoscopic ,slides #bjb ,,chapter ,,xii4 ,,photo-,,mechanical ,,processes4 ,photo-mechanical processes #bjd ,a4 ,for diagrams and topographical work #bjd ,b4 ,for pictures #bjd ,photo-etching #bjg ,the ,typographic ,etching ,co4 #bjh ,hints for those having plates reproduced by photo-etching #baj ,w4 ,l4 ,colls on 8,methods of reproducing negatives from #bab ,nature for the copper-plate press0 ,,chapter ,,xiii4 ,,mounting ,,and ,,framing4 ,mountants #bah ,mounts #bai ,frames #bai ,albums #bbj ,,chapter ,,xiv4 ,,copyrighting4 ,on copyrighting #bba ,method of copyright #bba ,law of copyright #bbb ,,chapter ,,xv4 ,,exhibiting ,,and ,,exhibition4 ,exhibitions #bbe ,medals #bbf ,judges #bbg ,,chapter ,,xvi4 ,,conclusion4 ,conclusion #bbi ,,book ,,iii4 ,,pictorial ,,art4 ,,chapter ,i4 ,,educated ,,sight4 ,men born blind #bcc ,education of ,sight #bcd ,,chapter ,,ii4 ,,composition4 ,on ,composition #bcg ,burnet's 8,treatise on ,painting0 #bch ,,chapter ,,iii4 ,,out-,,door ,,and ,,in-,,door ,,work4 ,out-door portraiture #bdc ,landscape #bde ,on picture-making #bej ,figure and ,landscape #bea ,studio-portraiture #beb ,,chapter ,,iv4 ,,hints ,,on ,,art4 ,practical hints #bed ,,chapter ,v4 ,,decorative ,,art4 ,decorative art #bfj ,naturalism in decorative art #bfj ,photography as applied to decorative art #bfa ,principles of decorative art #bfa ,practice of decorative art #bfa ,l',,envoi4 ,,photography--,a ,,pictorial ,,art4 ,on different art methods of expression #bfi ,answers to criticism on 8,photography a pictorial ,art0 #bgh ,artists on ,photography #bgi ,some masters of the minor arts #bhi ,,appendix ,i4 ,,on ,,photographic ,,libraries4 ,art books #bic ,art-teaching #bic ,books recommended #bic ,photographic ,libraries #bid ,,appendix ,,ii4 8,science and ,art10 a paper read at the ,camera ,club #bie ,conference1 held in the rooms of the ,society of ,arts in ,london on ,march #bfth1 #ahhi ,,index #cjc ,,naturalistic ,,photography4 ------- ,,introduction4 ,sidenote3 ,daguerre and the ,french ,academy4 ,at a meeting of the ,french ,academy of ,sciences1 held in ,paris on the #aith day of ,august1 #ahci1 ,louis ,jacques ,mand ,daguerre1 in the presence of the flower of ,parisian art1 literature and science1 gave a demonstration of his new discovery--the ,daguerreotype4 ,the success of the sance was complete1 and the gathering of illustrious men was intoxicated with enthusiasm in favour of the ,daguerreotype4 ,it is1 then1 almost fifty years ago that the result of the work of the father of photography1 ,joseph ,nicphore de ,niepce1 who had died six years previously1 and of the partner of his latter days--,daguerre--was given to the ,french public1 for though ,arago declared that 8,france had adopted the discovery and was proud to hand it as a present to the whole world10 ,daguerre1 sharp business man that he was1 took out a patent for his process in ,england on the #aeth of ,july1 #ahci4 ,it may be said1 then1 that for fifty years the influence of photography has been working amongst the people for better for worse2 but a short half-century has photography had to develop1 and we naturally feel a little curious to know what it has been doing all that time4 ,has the art been lying idle and stagnating1 or has it been developing and extending its roots into all the industrial1 scientific and artistic fields of enterprise8 ,let us see what this cool young goddess1 born of art and science1 who generally comes to stay and finally to oust the old goddesses from their temples1 has been doing these fifty years4 ,sidenote3 ,retrospect of progress of photography in astronomy4 ,in the fields of science she has been most busy4 ,she has been giving us photographs of the moon1 the stars1 and even of the nebul4 ,she has recorded eclipses and a transit of ,venus for us4 ,she has drawn too the ,sun's corona1 and registered those great volcanic explosions which playfully take place there periodically4 ,she has shown us that there are stars which no telescope can find1 and she has in another form registered for us the composition of the sun and of many of the stars2 and now she is busy mapping out the heavens4 ,like an all-powerful goddess1 she plays with the planets and records on our plates1 with delicate taps1 the stars4 ,she runs through the vast space of the kosmos doing our biddings with a precision and delicacy never equalled--in short she is fast becoming the right hand of the astronomer4 ,sidenote3 ,microscopy4 ,not content with her vast triumphs in space over the infinitely great1 she dives down to the infinitely small1 and stores up for us portraits of the disease-bearing generation of ,schizomycetes1 the stiff-necked bacteria1 and the wriggling vibrio1 the rolling microccus1 and the fungoid actinomycosis--with deadly tresses2 these she pictures for us1 so that we may either keep them on small plates1 or else she throws them on large screens so that we are enabled to study their structure4 ,on these screens too we can gaze on the structure of the ,proteus-like white blood corpuscle1 and we are able to study the very cells of our tongues1 our eyes1 our bones1 our teeth1 our hairs1 and to keep drawings of them such as man never had before4 ,so the kindly bright goddess stints us in nothing1 for wherever the microscope leads there will she be found at our bidding4 ,with the greatness of an all-seeing mind1 it matters not to her whether she draws the protococcus or the blood-cells of an elephant1 whether she depicts the eroding cancer cell or the golden scale on the butterfly's wing--anything that we ask of her she does2 if we will but be patient4 ,sidenote3 ,chemistry4 ,but the little goddess1 the light-bearer1 is not content with these sciences but she must needs go and woo chemistry and register the belted zones of the spectrum and tell us the mysterious secrets of the composition of matter4 ,sidenote3 ,meteorology4 ,meteorology1 too1 has claimed her1 and she draws for the meteorologist the frowning nimbus and the bright rolling cumulus4 ,she scratches quickly on his plate the lightning's flash1 and even measures the risings and fallings of the mercuries in his long glass barometers and thin-stemmed thermometers1 so that the meteorologist can go and rest in the sun2 and good-naturedly1 too1 she hints to him that his registerings are but fumblings after her precise and delicate work4 ,sidenote3 ,surveying4 ,this versatile little goddess1 too1 is playing with and hinting to the surveyors how she will not be coy if they will but woo her1 for1 says she1 8have ,i not already shown you how to measure the altitude of mountains1 and how to project maps by my aid80 ,sidenote3 ,geography4 ,the geographer1 too1 is another lover well favoured by the dainty goddess1 he always takes her on his travels now-a-days1 and brings us back her inimitable drawings of skulls1 savages1 weapons1 waterfalls1 geological strata1 fossils1 animals1 birds1 trees1 landscapes1 and men1 and we believe him when we know the light-bearer was with him1 and soon in all his geographies1 in all his botanies1 in all his zoologies1 in all his geologies1 his entomologies1 and all the rest of his valuable 8ologies10 we shall find the crisp and inimitable drawings of his dainty companion4 ,sidenote3 ,engineering4 ,the horny-handed engineer1 too1 is wooing her2 he makes love to her away down in dark caissons half-buried in river beds2 whilst above-ground she scatters his plans far and wide4 ,he uses her to show how his works are growing beneath the strong arms of his horny-handed gangs1 and he even uses her to determine the temperature of the depths of the sea1 and the direction of oceanic currents2 yes1 she does the work for him and he loves her4 ,sidenote3 ,medicine and ,biology4 ,the earnest doctor and the curious biologist are amongst her lowers1 and the dainty one does not disdain their work1 for she knows it to be good2 for though she is fickle1 she is kind at heart4 ,for them she goes into the mysterious globe of the eye2 down into the hollow larynx2 and into the internal ear2 and drags forth drawings4 ,the tumour-deformed leg1 the tossing epileptic1 the deformed leprous body1 the ulcerous scalp1 the unsightly skin disease1 the dead brain1 the delicate dissection1 the galloping horse1 the flying gull1 and erring man does she with quick and dainty strokes draw and give her lovers the physician and biologist4 ,sidenote3 ,military and naval services4 ,then like the ,valkyria she too delights in dire war4 ,for her heroes she writes so finely that her letters are carried in a quill beneath a pigeon's wing into and out of beleaguered cities4 ,she draws hasty notes of the country for the leaders of an invading army2 she preserves a record of the killed and she gives truthful drawings of the fields of battle and of the poor torn and jaded men after a battle2 whilst in times of peace she draws for the officer the effects of the explosion of a shell1 the path of a bullet through the air1 or the water thrown on high1 like a geyser1 by a hidden torpedo4 ,sidenote3 ,forensic medicine4 ,she is the warder's friend too1 for she draws the skulking thief1 the greedy forger1 and the cruel murderer2 she draws1 too1 the knife that stabbed in the dark1 and the dress all blood-besmirched2 she detects the forged bank note1 and draws without quibble the position of the overturned and splintered railway car2 and she shows the scorched and gutted ruins of the burnt house for the insurance agent4 ,sidenote3 ,libraries4 ,she has her fun1 too1 for she twits the librarians with the ever increasing deluge of books1 and hints laughingly they must one day come to her1 for she will show them how to keep a library in a tea-caddy4 ,sidenote3 ,industrial arts4 ,the haggling tradesman she does not disdain1 she will draw portraits of his fabrics to be circulated all over the world1 she will copy the bad paintings and drawings done for him as advertisements by the pariahs of art4 ,she reproduces trade-marks and signatures1 and oh1 naughty goddess6 she even1 on the sly1 copies on old yellow paper old etchings and engravings so that the connoisseur does not know the new from the old4 ,she helps in all kinds of advertising1 reproducing the scenery by railways for the railway companies1 sketching topographically for tourists1 drawing mothers and fathers and children for the world1 so that the loved ones can go across the seas and leave themselves behind in form and feature4 ,and so that the dead may not be forgotten she soothes the living with their dear faces done in her pretty way4 ,nay1 she even goes so far as to allow her works to be burnt on porcelain and sold in brooches1 on plates and other ware4 ,sidenote3 ,art4 ,nor do the children love you in vain1 pretty goddess1 for you give them magic-lanterns1 and invisible pictures of yourself2 to be made visible by a little secret you tell them4 ,you give them magic cigar-holders and stereoscopes1 all this out of your bountiful lap do you scatter2 but1 pretty dainty light-bearer1 have you no love dearer to you than all these1 is there none amongst your wooers that you prefer8 ,yes1 blush not1 oh1 dainty one1 it is the artist who sees in you a subtler1 finer aid than his sorry hand1 so monkey-like in its fumblings4 ,to him you give your delicate drawings on zinc to illustrate his books1 or on copper to fill his portfolios1 to him you give poems of the winds whispering amongst the reed-beds1 of the waves roaring in the grey gloaming1 of the laughing1 bright-eyed mortal sisters of yours4 ,to him1 your favoured one1 your chief love1 you give the subtlety of drawing of the wind-shorn and leaf-bare oak1 the spirit of the wild colts on the flowery marsh1 the ripple of the river and the glancing flight of the sea-fowl4 ,together you and he spend days and nights1 mid the streams and the woods1 culling the silvery flowers of nature4 ,oh6 bright generous little goddess1 who has stolen the light from the sun for mortals1 and brought it to them not in a narthex reed as did ,prometheus bring his living spark1 but in silvery drops to be moulded to your lover's wish1 be he star-gazer1 light-breaker1 wonder-seeker1 sea-fighter or land-fighter1 earth-roamer1 seller-of-goods1 judger-of-crimes1 lover-of-toys1 builder-of-bridges1 curer-of-ills1 or lover of the woods and streams4 ,the influence of photography on the sister arts of sculpture1 painting1 engraving1 etching and wood-cutting during these fifty years has been tremendous1 as have they influenced in turn photography4 ,sculpture has been1 perhaps1 least influenced1 although without photography thousands of posthumous statues which now grace the streets and the squares of the world could not have been modelled at all1 or could only have been very conventionally and unsatisfactorily modelled4 ,as it is1 they are often excellent portraits4 ,the effect of sculpture on photography has been to induce experimentalists to attempt a production of models in clay by means of an instrument called a pantograph4 ,it is reported that these methods succeeded1 but we never saw any of the productions and have little faith in the methods4 ,the influence of photography on painting1 on the other hand1 has been nothing short of marvellous1 as can be seen in the great general improvement in the drawing of movement4 ,it is a common practice for painters to take photographs of their models and throw enlargements of these on to a screen when the outlines are boldly sketched in4 ,again1 it is a practice for painters to study the delicate tonality of photography1 which is of course quite legitimate4 ,another influence of photography on painting is that the painter often tries to emulate the detail of the photograph4 ,but this was more noticeable in the early days of photography1 and it had a bad effect on painting1 for the painter did not know enough of photography to know that what he was striving to imitate was due to an ignorant use of the art4 ,he thought1 as many people think now-a-days1 that there is an absolute and unvarying quality in all photographs4 ,the effect on miniature painting was disastrous2 it has been all but killed by photography1 and we think rightly4 ,and it must be remembered that photography killed it notwithstanding the fact that many of the best miniature painters adopted the new art as soon as they could4 ,newton was a photographer4 ,photography also killed the itinerant portrait painter who used to stump the country and paint hideous portraits for a few shillings1 or a night's lodging4 ,photography too1 has1 unfortunately1 been the cause of a vast production of weak and feeble water-colours1 oil-paintings and etchings4 ,second and third rate practitioners of these arts have simply copied photographs and supplied the colouring from their imagination1 and thousands of feeble productions has been the result2 this is a dishonest use of photography1 but one by no means uncommon4 ,we often have food for reflection on the gullibility of man1 when we see poor paintings and etchings exhibited at 8one man0 exhibitions and elsewhere1 which are nothing but ruined photographs2 the very drawing shows that1 and the time in which such a collection of paintings is painted also hints at the method4 ,all the drawing has been done by the photographic lens1 and transferred to the panel or canvas4 ,these are the very men who decry photography4 ,such work is only admissible if confessed1 but of course such people as this keep their method quite secret4 ,the etchings done in this way are simply impudent4 ,the influence of painting on photography has been great and good as a factor in the cultivation of the sthetic faculty1 but its conventionality has often been harmful4 ,as we have said1 by the aid of photography feeble painters and etchers are able to produce fairly passable work1 where otherwise their work would have been disgraceful4 ,wood-cutters and line engravers too gain much help from us1 but they find photography a rival that will surely kill them both4 ,we have gone into this vexed question in detail in the body of this work4 ,one of the best and most noted wood engravers since ,bewick's time has given it as his opinion that there is no need for wood engraving now that the 8processes0 can so truly reproduce pictures1 for1 as he says1 no great original genius in wood-cutting will ever be kept back by 8process work10 and it is a good thing that all others should be killed4 ,the chief thing which at present oppresses photography is 8the trade40 ,print sellers have accumulated stocks of engravings and etchings and as they may not come down in price1 they therefore give photogravures and photographs the cold shoulder4 ,a print seller who would confine himself to the sale and publication of photo-etchings and photographs is sorely needed4 ,such1 briefly1 are the effects of photography on her sister arts and of them on her4 ,incredible indeed seems the all-pervading power of this light-bearing goddess4 ,next to printing1 photography is the greatest weapon given to mankind for his intellectual advancement4 ,the mind is lost in wonderment at the gigantic strides made by this art in its first fifty years of development1 and we feel sure if any one will take the trouble to inquire briefly what photography has done and is doing in every department of life he will be astonished by the results of his inquiries4 ,sidenote3 ,branches of photography4 ,from what has been said it is very evident that the practice of photography must be very different in the different branches of human knowledge to which it is applied4 ,sidenote3 ,aim of ,naturalistic photography4 ,the application of its practice and principles has been most ably treated in some of these branches1 especially the scientific branches1 but hitherto there has been no book which gives only just sufficient science for art-students and at the same time treats of the art side4 ,we propose in this book to treat photography from the artistic standpoint4 ,we shall give enough science to lead to a comprehension of the principles which we adduce for our arguments for naturalistic photography1 and we shall give such little instruction in art as is possible by written matter1 for art we hold is to be learned by practice alone4 ,that1 then1 is our aim1 and no one knows better than ourselves how far short of our ideal we have fallen1 but we trust the task as attempted may do a little good and lead some earnest wandering workers into the right path4 ,we know that we have not accomplished our task without errors1 all we plead is that we have endeavoured to reduce the number to a minimum1 and where we have failed we trust those who detect our failures will kindly1 not carpingly1 communicate them to us1 so that if we ever reach a second edition we may therein be regenerated4 ,sidenote3 ,contents of book4 ,the photographic student1 whose aim is to make pictures1 will find in this book all directions1 such as the choosing of apparatus1 the science which must be learned1 the pictures and sculpture which must be studied1 the art canons which are to be avoided1 the technique to be learned1 including all manipulations2 the fundamental principles of art1 and a critical rsum of conventional art canons1 including much other advice4 ,in addition to this the book is an argument for the ,naturalistic school of photography1 of which we preached the first gospel in an address delivered before the members of the ,camera ,club in ,london in ,march1 #ahhf4a ----- ,footnote #a3 ,vide ,photographic ,news for ,march #ai1 #ahhf4 ----- ,the necessity of this book may not be patent to artists who do not know the photographic world1 but if they will consider for a moment the present position of a student of photography1 whose aim is to produce artistic work1 they will see the necessity for some such work4 ,the position of the photographic world at present is this3 nearly all the text-books teach how to cultivate the scientific side of photography1 and they are so diffuse that we find photo-micrography1 spectrum analysis and art all mixed up together4 ,and when we assure the artistic reader that the few books and articles published with a view to teaching art1 contain rsums of ,burnet's teachings1 as set forth in his well-known 8,treatise on ,painting20 that the widest read of these books lays down laws for the sizes of pictures as advocated by that 8eminent painter ,norman ,macbeth20 cautions the student not to take pictures on grey days2 and contains various other erroneous ideas2 we say when artists know this1 and in addition that there is no book in which 8tone0 is properly defined1 they will perhaps understand the necessity for some such book as this one4 ,lastly1 the artist must remember that photographers are very loath to listen to any one but photographers on any subject connected with their art4 ,to give the student a clear insight into the first principles of art is of course1 as we have said1 the chief aim of the book1 but besides that it is an attempt to start a departure from the scientific side of photography4 ,this departure must be made1 and the time is now ripe4 ,it should be clearly and definitely understood1 that although a preliminary scientific education is necessary for all photographers1 after that preliminary education the paths and aims of the scientist1 industrial photographer and artist1 lie widely apart4 ,this matter should be kept constantly in view1 and specialists in one branch should not meddle with other branches4 ,the art has so extended its fields for work that there is scope1 even in a sub-branch of the scientific division to occupy the full energies and attention of the most able men4 ,at exhibitions1 too1 the three great divisions into which photography falls should be kept rigidly separated4 ,the writer sees in all these branches equal good and equal use1 but he sees also the necessity of keeping their aims and methods separate4 ,that this differentiation is now possible and necessary is1 from the evolutionary standpoint1 the greatest sign of development4 ,the author feels convinced that if any student is going to succeed in any one branch he must not scatter his energies1 but devote himself with singlemindedness to that particular branch4 ,directly the aims and methods of the separate branches of the art are fully recognized there will no longer be ignorance and misunderstandings of first principles4 ,we shall not hear a first-rate lantern slide described as artistic1 because it is untouched1 and we shall not hear of a 8high-art0 photographer criticizing photo-micrographs of bacteria1 matters that none but a medical microscopist can criticize4 ,and above all1 we shall not have the hack-writer talking of our 8art-science40 ,we have drawn up a rough table of classification to illustrate our meaning1 but of course it must be remembered that this division is arbitrary1 but it would1 we think1 be a good working classification4 ,,the ,,art ,,of ,,photography4 ,a4--,art ,division4 ,sidenote3 ,art division4 ,in this division the aim of the work is to give sthetic pleasure alone1 and the artist's only wish is to produce works of art4 ,such work can be judged only by trained artists1 and the aims and scope of such work can be fully appreciated only by trained artists4 ,photographers who qualify themselves by an art training1 and their works alone1 belong to this class4 ,they alone are artists4 ,included in this class would be original artists1 first-rate photo-etchers1 and typo-blockmakers1 whose aim is to reproduce in facsimile all the artistic quality of original works of art4 ,such photographers should have an artistic training without fail1 as all the best have had4 ,b4--,science ,division4 ,sidenote3 ,science ,division4 ,in this division the aim of the work is to investigate the phenomena of nature1 and by experiment to make new discoveries1 and corroborate or falsify old experiments4 ,the workers in this great and valuable department of photography may be divided into-- a4 ,scientific experimentalists in all branches of science4 b4 ,chemists and spectrum-analysts4 c4 ,astronomers4 d4 ,microscopists4 e4 ,engineers4 f4 ,military and naval photographers4 g4 ,meteorologists4 h4 ,biologists4 i4 ,geographers4 j4 ,geologists4 k4 ,medical men4 l4 ,physicists4 m4 ,anthropologists4 ,these sub-divisions include all that vast host of trained scientific men who are photographers in connection with their work4 ,their aim is the advancement of science4 ,c4--,industrial ,division4 ,sidenote3 ,industrial ,division4 ,this class includes that great majority of the photographic world--the craftsmen4 ,these men have learned the methods of their craft1 and go on from day to day meeting the industrial requirements of the age1 producing good useful work1 and often filling their pockets at the same time4 ,their aim is utilitarian1 but in some branches they may at the same time aim to give an sthetic pleasure by their productions1 but this is always subordinated to the utility of the work4 ,when they aim at giving this sthetic pleasure as well1 they become art-craftsmen4 ,amongst these craftsmen are included photographers who will take any one or anything if paid to do so1 such forming what is known as 8professional photographers40 ,all reproducers of pictures1 patterns1 c41 by photo-mechanical processes1 in which the aim is not solely sthetic pleasure1 as in reproducing topographic views4 ,all plate makers4 ,transparency1 opal1 lantern-slide1 and stereoscopic slide makers4 ,all facsimile photographers2 photographers of pictures1 statuary1 c4 ,all makers of invisible photographs1 magic cigar photographs4 ,all operators who work under the guidance of artists or scientists for pay1 they not having artistic and scientific training themselves1 as in the preparation of lantern slides for a biologist4 ,all enlargers1 operators1 spotters1 printers1 retouchers1 mounters1 c4 ,producers of porcelain pictures4 ,producers of facsimile type blocks and copper plates1 with no artistic aim1 et id genus omne4 ,all photographs produced for amusement by the untrained in art or science4 ,all photographers who produce pattern photographs1 8bits0 of scenery1 and animals for draughtsmen to work from4 ,it will thus be clear to the student that all these photographers serve useful purposes and each is invaluable in his way1 but we repeat the aim of the three groups of photographers is very different and quite distinct1 as distinct as in draughtmanship are the etchings of ,rembrandt1 the scientific drawings of ,huxley1 and the pattern plates of a store catalogue4 ,all are useful in their place1 and who shall dare to say which is more useful than the other2 but all are distinct1 and can in no way be compared with one another or classed together any more than can the poems of ,mr4 ,swinburne1 the text of ,professor ,tyndall's 8,light10 and the ,blue-books4 ,all can be good in their way1 but the aims and methods of the one must not be confounded with the aims and methods of the other1 and we fear that such is the case in the photographic world at present4 ,sidenote3 8,amateur0 and 8professional0 photographers4 ,there is one obstacle which we must clear from the student's path in this introduction1 and that is the confusion of the terms 8professional0 and 8amateur10 as used in the photographic world2 for in this world it must be understood that these terms are used as in no other world4 ,briefly1 photographers mean by 8professional0 one who gains his living by photography1 and an 8amateur0 means one who does not practise photography for his living4 ,the folly of this is obvious1 for by this definition the greatest ,english scientific photographer1 ,captain ,abney1 is an 8amateur0 and the sands photographer at ,margate is a 8professional40 ,this anomalous definition of the two classes has led journalists into strange errors and mistakes4 ,we remember one journal1 which prides itself upon its accuracy1 breaking into satirical writing because the judges at a certain photographic exhibition were to be 8amateurs40 ,of course the journalist who wrote that article used 8amateur0 in the ordinary ,english sense1 and hence his amusement2 but1 as we have shown1 he made a great error in fact4 ,in reality professional photographers are those who have studied one branch of photography thoroughly1 and are masters of all its resources1 and no others4 ,it is no question of s4 d41 this 8professional0 and 8amateur0 question1 but a question of knowledge and capacity4 ,an amateur is a dabbler without aim1 without thorough knowledge1 and often without capacity1 no matter how many of his productions he may sell4 ,we think1 then1 the words 8professional0 and 8amateur0 should be abolished from the photographic world1 until that day shall arise when there is a central training and examining body1 that shall have the power of making real professional photographers1 when all possessing a diploma would be professionals and all others amateurs4 ,sidenote3 ,a college of photography and diplomas4 ,we fondly hope that a college of photography may one day be instituted1 where a good art and science training may be obtained1 where regular classes will be held by professors and regular terms kept1 and where some sort of distinguishing diploma as ,member of the ,royal ,photographic ,college will be given to all who pass certain examinations4 ,the ,m4,r4,p4,c4 would then have a status1 and the profession which would then exist--but only exists as a trade now--would be able to draw up salutary laws for the government and good behaviour of its members1 and the status of photography would be everywhere raised4 ,the diploma of ,f4,r4,p4,c4 7,fellow of the ,royal ,photographic ,college7 could be given to distinguish photographers at home and abroad as an honorary title4 ,but if such an institution is to have weight it must procure a charter4 ,money must be obtained to give honorariums to the lecturers1 and the lectureships must be held by the best men4 ,to begin with1 all photographers in practice could be admitted upon passing a very simple examination in the subjects of elementary education and photography4 ,if ever such a thing is brought about--and we trust it may be--we should find many gentlemen of education would join the ranks1 as indeed they are doing now2 and with the taste and education they brought to the work1 we should see them working quietly in studios like painters1 and the 8show-case0 and the vulgar mounts with medals and other decorations1 and the 8shop-window10 and the 8shop-feeling0 would all disappear4 ,we need not despair if we will all do what is in us to kill 8vulgarity10 for painters were not so well off as most photographers are now but a very few decades ago4 ,what gives us hope for these golden days is the fact that we number in our ranks in some branch or the other probably more intellectual men than any other calling4 ,we have an emperor1 and quite a profusion of royal-blooded wights and aristocrats1 whilst every learned profession gives us of its best4 ,law1 medicine1 art1 science1 all contribute largely important members to swell our ranks4 ,here1 then1 we must end our introductory remarks1 and we wish the student who comes to the study of photography with capacity and earnestness all success4 ,p4 ,h4 ,e4 ,,chiswick1 ,july1 #ahhh4 ,,book ,i4 ,,terminology ,,and ,,argument4 8,the dignity of the snow-capped mountain is lost in distinctness1 but the joy of the tourist is to recognize the traveller on the top4 ,the desire to see1 for the sake of seeing1 is1 with the mass1 alone the one to be grasped1 hence the delight in detail40 ,j4 ,m4 ,,whistler4 ,,chapter ,i4 ,,terminology4 ,sidenote3 ,terminology4 ,it were better at the outset to define our terms1 for nothing leads more certainly to confusion in studying a subject than a hazy conception of the meanings of words and expressions4 ,perhaps in no branch of writing have words so many meanings as in writings on ,art1 where every expositor seems intent upon having his own word or expression4 ,for this reason we wish clearly to define the words and art expressions in use in this book4 ,not1 be it understood1 that we claim in any way for any definitions that they are the rigid and final definitions of the expressions used1 but we define what we mean by certain words and terms so that the reader may understand clearly the text in which such words occur1 our aim being to be clear and to avoid all empty phraseology4 ,sidenote3 ,analysis4 ,seizing the impression of natural objects1 and rendering this impression in its essentials has been called analyzing nature2 and the impression so rendered is an analysis4 ,sidenote3 ,art4 ,art is the application of knowledge for certain ends4 ,but art is raised to ,fine ,art when man so applies this knowledge that he affects the emotions through the senses1 and so produces sthetic pleasure in us2 and the man so raising an art into a fine art is an artist4 ,therefore the real test as to whether the result of any method of expression is a fine art or not1 depends upon how much of the intellectual element is required in its production4 ,thus ,photography may be1 and is1 in the hands of an artist1 a method of expression producing works of fine art1 because no such works can be produced in photography by a man who is not an artist2 whereas organ-grinding is a mode of expressing music1 but the result is not a fine art1 because no intellect1 and therefore no artist1 is required to produce the expression2 a monkey might produce as good music on a hand-organ as could a ,beethoven4 ,sidenote3 ,art-science4 ,a compound term applied by some writers to photography1 and by others to all crafts founded upon science4 ,it is an absurd term1 and its use should be strongly discouraged4 ,it is to be found in no good dictionary4 ,it is an unmeaning expression1 because photography is an art founded upon science1 just as is etching1 and to call photography an 8art-science0 is to show imperfect knowledge of the ,english language1 and especially of the meaning of the two words of which the compound is formed--art and science4 ,sidenote3 ,artistic4 ,a word greatly misused by photographers4 ,when applied to a person1 it means one trained in art1 and when applied to a work1 it means leaving the impression of an artist's handiwork2 and this photographers should not forget1 neither should they forget that an artist has been trained in art4 ,this should especially be borne in mind by those who dub themselves 8artist-photographers10 whatever they may mean by that compound4 ,photographers should wait for other people to call them artists1 and when artists call a photographer a brother artist1 he will probably deserve the title1 and not before4 ,in the same way they should refrain from calling things artistic or inartistic1 for it must be remembered that to use these words aright implies that the speaker possesses a knowledge of art4 ,sidenote3 ,breadth4 ,is a term used to describe simple arrangements of light and shade of colour1 which produce a sense of the largeness and space of nature4 ,all great work has breadth1 all petty work is devoid of it2 for petty minds cannot see the breadth in nature1 so they are naturally unable to get it into their work4 ,sidenote3 ,colour4 8,this theory of what constitutes fine colour is one of the peculiar traits of the old-time painters1 and of the landscape critic who studies nature in the ,national ,gallery4 ,if one may judge by their remarks or by the examples they worship1 a painting to be fine in colour must first of all be brown1 or at least yellow2 the shadows must all be hot and transparent2 lakes and crimsons must be used freely1 while a certain amount of very deep blue should be introduced somewhere1 that the rest of the picture may appear the warmer by the contrast4 ,above all things it must not be natural1 or it ceases to be fine and sinks to the level of the commonplace4 ,in fact1 these colourists appear to admire a picture from just the same point of view they would an ,indian carpet1 a ,persian rug1 old tapestry1 or any other conventional design1 and seem to judge of it by similar standards2 if one suggests that it has no resemblance to what it claims to represent1 they reply1 #8,ah1 but it is a glorious frame1 full of colour6' ,but colour in painting can only be really fine so far as it is true to nature4 ,a grey picture may be just as fine in colour as the most gorgeous4 ,beauty in colour1 as in form1 depends on its fitness and truth40--,t4 ,f4 ,goodall4 ,the vulgar view of fine colour is easily explained on evolutionary grounds1 it is but a harking back to the instincts of the frugivorous apes--our ancestors4 ,sidenote3 ,creative artist4 ,there is much misconception as to the use of the word 8creator0 in the arts4 ,some think only those gentlemen who paint mythological pictures1 or story-telling pictures1 are creators4 ,of course such distinction is absurd2 any artist is a creator when he produces a picture or writes a poem2 he creates the picture or speech by which he appeals to others4 ,he is the author1 creator1 or whatever you like to call him1 he is responsible for its existence4 ,sidenote3 ,fine art4 ,versifying1 ,prose-writing1 ,music1 ,sculpture1 ,painting1 ,photography1 ,etching1 ,engraving1 and ,acting1 are all arts1 but none is in itself a fine art1 yet each and all can be raised to the dignity of a fine art when an artist by any of these methods of expression so raises his art by his intellect to be a fine art4 ,for this reason every one who writes verse and prose1 who sculpts1 paints1 photographs1 etches1 engraves1 is not necessarily an artist at all1 for he does not necessarily have the intellect1 or use it in practising his art4 ,it has long been customary to call all painters and sculptors artists1 as it has long been customary in ,edinburgh to call all medical students doctors4 ,but in both cases the terms are equally loosely applied4 ,our definition1 then1 of an artist is a person who whether by verse1 prose1 sculpture1 painting1 photography1 etching1 engraving1 or music1 raises his art to a fine art by his work1 and the works of such artist alone are works of art4 ,sidenote3 ,high art4 ,in a word1 high and low art are absurd terms1 no art is high or low4 ,art is either good or bad art1 not high or low1 except when skied or floored at exhibitions4 8,high art0 and 8higher artistic sense0 we shall not use because they are meaningless terms1 for if they are not meaningless then every picture falls under one or other category1 high or low2 if so let some one classify all pictures into these two divisions and he will find himself famous--as the laughing-stock of the world4 ,sidenote3 ,ideal4 ,a volume might be written on this word1 but it would be a volume of words with little meaning4 ,as applied to art1 the meaning of 8ideal0 has generally been that of something existing in fancy or in imagination1 something visionary1 an imaginary type of perfection4 ,g4 ,h4 ,lewes says1 8,nothing exists but what is perceived20 we would say1 nothing exists for us but what is perceived1 and this we would make a first principle of all art4 ,a work of pictorial art is no abstract thing1 but a physical fact1 and must be judged by physical laws4 ,if a man draws a monster which does not exist1 what is it8 ,it is but a modified form of some existing thing or combination of things1 and is after all not half so terrible as many realities4 ,what is more terrible than some of the snakes than the octopus1 than the green slimy crabs of our own waters8 ,certainly none of the dragons and monsters drawn from the imagination is half so horrible4 ,did the great ,greek artist1 schylus1 describe a dragon as gnawing at the liver of ,prometheus8 ,no1 he simply drew the picture of a vulture as being sufficiently emblematic4 ,but let us assume1 for the sake of argument1 that the dragon is more dreadful than any reality1 even then the pictorial and glyptic artist cannot use it1 for as he has no model to work from1 the technique will necessarily be bad1 there will be no subtleties of tone1 of colour1 of drawing1 all which make nature so wonderful and beautiful4 ,the dragon will be a pure caricature1 that is all4 ,again1 some people consider it wonderful that a painter takes a myth and renders it on canvas1 and he is called 8learned0 and 8scholarly0 for this work4 ,but what does he do8 ,let us say he wishes to paint the ,judgment of ,paris4 ,he1 if he is a good painter1 will paint the background from physical matter1 shaped as nearly like the ,greek as possible1 and he will paint the ,paris and the ladies from living models4 ,the work may be perfect technically1 but where is the ,greek part of it2 what1 then1 does the painter rely upon8 ,why1 the ,greek story1 for if not why does he not call it by a modern name8 ,but no1 he relies upon the well-known story--the ,judgment of ,paris--in fact he is taking the greater part of the merit that belongs to another man4 ,the story of the ,judgment of ,paris is not his1 yet it is that which draws the public2 and these men are called original1 and clever1 and learned4 ,jean ,franois ,millet1 in one of his scenes of ,peasant ,life1 has more originality than all of these others put together4 ,many people1 not conversant with the methods of art1 think artists draw and paint and sculpt things 8out of their heads40 ,well1 some do1 but no good artist ever did4 ,we have in our possession a beautiful low relief in marble1 done from a well-known ,italian model in ,london4 ,the work is as good as any work the ,greeks did1 the type is most admirable1 and it was done by one of the sternest naturalistic sculptors of to-day4 ,a highly educated friend1 an old ,oxford man1 called on us not long ago1 and was greatly taken with the head2 after looking at it a long while1 he turned to us and said1 8,an ideal head1 of course60 ,so it is the cant of 8idealism0 runs through the world4 ,but we have heard some of the most original and naturalistic artists use the word 8ideal10 and on pressing them1 they admitted it was misleading to others for them to use the word2 but they meant by it simply intellectual1 that is1 the work of art had been done with intelligence and knowledge1 but every suggestion had been taken from nature4 ,the word ideal1 to our mind1 is so apt to mislead that we shall not use it4 ,sidenote3 ,imaginative work4 ,ideal work 7q4v474 ,sidenote3 ,impressionism4 ,to us ,impressionism means the same thing as naturalism1 but since the word allows so much latitude to the artist1 even to the verging on absurdity1 we prefer the term ,naturalism1 because in the latter the work can always be referred to a standard--,nature4 ,whereas if impressionism is used1 the painter can always claim that he sees so much1 and only so much1 of ,nature2 and each individual painter thus becomes a standard for himself and others1 and there is no natural standard for all4 ,a genius like ,manet tried to work out new ways of looking at nature1 and that was legitimate1 but when weak followers took up his 8manner0 and had not his genius1 the result was eccentricity4 ,for these reasons1 therefore1 we prefer and have used the term 8naturalism0 throughout this work4 ,but1 as we have said1 we regard the terms 8impressionism0 and 8naturalism0 as fundamentally synonymous1 although we think the work of many of the so-called modern 8impressionists0 but a passing craze4 ,sidenote3 ,interpreting4 ,the method of rendering a picture as it appears to the eye has been called interpreting nature4 ,perhaps interpreting is as good an expression as any1 for the artist in his language 7for art is only a language7 interprets or explains his view of nature by his picture4 ,sidenote3 ,local ,colour4 8,the local or proper colour of an object 7,krper-farbe7 is that which it shows in common white light1 while the illumination colour 7,licht-farbe7 is that which is produced by coloured light4 ,thus the red of some sandstone rocks1 seen by common white light1 is their proper local colour1 that of a snow mountain in the rays of the setting sun is an illumination colour40--,e4 ,atkinson1 ,ph4,d41 ,f4,r4,s4 ,sidenote3 ,low art4 ,see high art4 ,sidenote3 ,naturalism4 ,by this term we mean the true and natural expression of an impression of nature by an art4 ,now it will immediately be said that all men see nature differently4 ,granted4 ,but the artist sees deeper1 penetrates more into the beauty and mystery of nature than the commonplace man4 ,the beauty is there in nature4 ,it has been thus from the beginning1 so the artist's work is no idealizing of nature2 but through quicker sympathies and training the good artist sees the deeper and more fundamental beauties1 and he seizes upon them1 8tears them out10 as ,durer says1 and renders them on his ,sidenote3 ,durer4 canvas1 or on his photographic plate1 or on his written page4 ,and therefore the work is the test of the man--for by the work we see whether the man's mind is commonplace or not4 ,it is for this reason1 therefore1 that artists are the best judges of pictures1 and even a trained second-rate painter will recognize a good picture far quicker than a layman1 though he may not be able to produce such a one himself4 ,of course ,naturalism premisses that all the suggestions for the work are taken from and studied from nature4 ,the subject in nature must be the thing which strikes the man and moves him to render it1 not the plate he has to fill4 ,directly he begins thinking how he can fill a certain canvas or plate1 he is no longer naturalistic1 he may even then show he is a good draughtsman or a good colourist1 but he will not show that he is naturalistic4 ,naturalistic painters know well enough that very often painting in a tree or some other subject might improve the picture in the eyes of many1 but they will not put it in because they have not the tree before them to study from4 ,again1 it has been said that arranging a foreground and then painting it might improve the picture1 but the naturalistic painter says no1 by so doing 8all the little subtleties are lost1 which give quality to the picture60 ,nature1 is so full of surprises that1 all things considered1 she is best painted as she is4 ,sidenote3 ,aristotle4 ,aristotle of old called poetry 8an imitative art10 and we do not think any one has ever given a better definition of poetry1 though the word 8imitative0 must not in our present state of knowledge be used rigidly4 ,the poetry is all in nature1 all pathos and tragedy is in nature1 and only wants finding and tearing forth4 ,but there's the rub1 the best work looks so easy to do when it is done4 ,sidenote3 ,burns4 ,does not ,burns' poem 8,to a mouse0 look easy to write8 ,this1 then1 is what we understand by naturalism1 that all suggestions should come from nature1 and all techniques should be employed to give as true an impression of nature as possible4 ,sidenote3 ,original4 ,this is a mightily misused word4 ,only those artists can be called original who have something new to say1 no matter by what methods they say it4 ,a photograph may be far more original than a painting4 ,sidenote3 ,photographic4 ,some of the best writers and journalists of the day have adopted the use of the word 8photographic10 as applying to written descriptions of scenes which are absolutely correct in detail and bald fact1 though they are lacking in sentiment and poetry4 ,what a trap these writers have fallen into will be seen in this work1 for what they think so true is often utterly false4 ,and1 on the other hand1 photography is capable of producing pictures full of sentiment and poetry4 ,the word 8photographic0 should not be applied to anything except photography4 ,no written descriptions can be 8photographic40 ,the use of the word1 when applied to writing1 leads to a confusion of different phenomena1 and therefore to deceptive inferences4 ,this cannot be too strongly insisted upon1 as some cultured writers have been guilty of the wrong use of the word 8photographic10 and therefore of writing bad ,english4 ,sidenote3 ,quality4 ,quality is used when speaking of a picture or work which has in it artistic properties of a special character1 in a word1 artistic properties which are distinctive and characteristic of the fineness and subtlety of nature4 ,sidenote3 ,realism4 ,by ,naturalism it will be seen that we mean a very different thing from ,realism4 ,the realist makes no analysis1 he is satisfied with the motes and leaves out the sunbeam4 ,he will1 in so far as he is able1 paint all the veins of the leaves as they really are1 and not as they look as a whole4 ,for example1 the realist1 if painting a tree a hundred yards off1 would not strive to render the tree as it appears to him from where he is sitting1 but he would probably gather leaves of the tree and place them before him1 and paint them as they looked within twelve inches of his eyes1 and as the modern ,pre-,raphaelites did1 he might even imitate the local colour of things themselves4 ,sidenote3 ,pre-,raphaelites4 ,whereas the naturalistic painter would care for none of these things1 he would endeavour to render the impression of the tree as it appeared to him when standing a hundred yards off1 the tree taken as a whole1 and as it looked1 modified as it would be by various phenomena and accidental circumstances4 ,the naturalist's work we should call true to nature4 ,the realist's false to nature4 ,the work of the realist would do well for a botany but not for a picture1 there is no scope for fine art in realism1 realism belongs to the province of science4 ,this we shall still further illustrate in the following pages4 ,sidenote3 ,relative tone and value4 ,relative tone or value is the difference in the amount of light received on the different planes of objects when compared with one another4 ,sidenote3 ,sentiment4 ,artists speak of the 8sentiment of nature0 as a highly desirable quality in a picture4 ,this means that naturalism should have been the leading idea which has governed the general conception and execution of the work4 ,thus the sentiment of nature is a healthful and highly desirable quality in a picture4 ,thus 8true in sentiment0 is a term of high praise4 8,sentiment0 is really normal sympathetic 8feeling40 ,sidenote3 ,sentimentality4 ,as opposed to sentiment1 is a highly undesirable quality1 and a quality to be seen in all bad work4 ,it is an affectation of sentiment1 and relies by artificiality and mawkishness upon appealing to the morbid and uncultured4 ,it is the bane of ,english art4 ,the one is normal1 the other morbid4 ,sidenote3 ,soul4 ,soul ,vis medicatrix ,plastic force ,vital force ,vital principle ,o4 ,the word is1 however1 used by some of the most advanced thinkers in art1 and when asked to explain it they say they mean by it 8the fundamental40 ,from what we can gather1 the word 8soul0 is the formula by which they express the sum total of qualities which make up the life of the individual4 ,thus a man when he has got the 8soul0 into a statue1 has not only rendered the organic structure of the model1 but also all the model's subtleties of harmony1 of movement and expression1 and thought1 which are due to the physical fact of his being a living organism4 ,this 8life0 is of course the fundamental thing1 and first thing to obtain in any work of art4 ,in this way1 then1 we can understand the use of the word 8soul0 as synonymous with the 8life0 of the model4 ,the 8soul0 or life is always found in nature1 in the model1 and the artist seizes upon it first1 and subdues all things to it4 8,soul10 then1 to us is a term for the expression of the epitome of the characteristics of a living thing4 ,the ,egyptians expressed the 8soul0 or life of a lion1 ,landseer did not4 ,sidenote3 ,technique4 ,by technique is meant1 in photography1 a knowledge of optics and chemistry1 and of the preparation and employment of the photographic materials by the means of which pictures are secured4 ,it does in no way refer to the manner of using these materials1 that is the 8practice40 ,sidenote3 ,tone4 ,to begin with1 as this book is for photographers1 we must tell them they invariably use the word tone in a wrong sense4 ,what photographers call 8tone0 should properly be colour or tint1 thus3 a brown tint1 a purple tint1 or colour4 ,the correct meaning of tone is the amount of light received upon the different planes of an object4 ,sidenote3 ,transcript of nature4 8#8,a mere transcript of nature' is one of the stock phrases of the art critic1 and of many artists of a certain school4 ,the precise meaning attached to it puzzles us2 were it not always used as a term of reproach1 we should believe it the highest praise that could be bestowed upon a picture4 ,what adds to our perplexity is that the phrase is generally applied by the critic to work which has nothing in common with nature about it3 and is used by artists who themselves have never in their lives painted a picture with the simplest values correct1 as though transcribing nature to canvas were a stage in the painter's development through which they had passed1 and which was now beneath them4 ,the critic must have but a very superficial acquaintance with nature who applies this term1 as is frequently done1 to work in which all the subtleties of nature are wanting4 ,we have heard of pictures in which no two tones have been in right relation to one another1 in which noisy detail has been mistaken for finish1 and the mingling of decision and indecision in fine opposition--the mysterious lost and found1 the chief charm of nature--has been utterly unfelt1 described as #8transcripts of nature4' ,those artists who use the phrase1 adopt it as a convenient barricade behind which they may defend their own incompetence40--,t4 ,f4 ,goodall4 ,sidenote3 ,da ,vinci4 ,all photographers would do well to lay these remarks to heart4 ,instead of it being an easy thing to paint 8a mere transcript of nature10 we shall show it to be utterly impossible4 ,no man can do this either by painting or photography1 he can only give a translation1 or impression1 as ,leonardo da ,vinci said long ago2 but he can give this impression truly or falsely4 ,,chapter ,,ii4 ,,naturalism ,,in ,,pictorial ,,and ,,glyptic ,,art4 ,sidenote3 ,an inquiry into the influence of the study of nature on art4 ,in this chapter we shall endeavour to trace the influence of the study of nature on all the best art up to the present day4 ,sidenote3 ,woltmann and ,woermann4 ,in order to do this it will be necessary to follow in chronological order the development of art1 and we propose taking as our guide in this matter ,messrs4 ,woltmann and ,woermann1 who seem the most trustworthy and are the most recent of art historians4 ,we feel1 however1 that we must state our attitude towards them as historians of art4 ,for the main historical facts1 we willingly accept as authorities these writers1 since they have studied the matter1 but when these historians try to trace the causes and effects of different phases of art on contemporary life then we entirely part company from them1 for there are so many wheels within wheels in this complex comedy of life that we cannot with patience listen to searchers of manuscripts and students of autographs1 who trace the fall of an empire to an oil painting1 or the decadence of painting to the cheapness of wheat3 such dreams may still serve1 as they have always served1 as a peg whereon to hang rhetorical rhapsodies1 but they can have no attraction for rational minds4 ,what we propose1 then1 is briefly to compile a short outline1 consisting of the salient facts in the history of art1 in so far as they bear on our subject1 that is1 how far the best artists have been naturalistic1 and how true in impression their interpretation of nature4 ,when we agree with any of the critical remarks of these gentlemen1 we shall quote them in full1 acknowledging them in the usual way1 but we reserve to ourselves the right to differ entirely from them on artistic points4 ,we ourselves feel much diffidence in advancing any critical remarks of our own upon these arts1 for we are convinced1 after a long and practical study of the subject1 that no one can criticize any branch of art and the criticism be authoritative1 unless he be a practical master artist in the branch of art which he is criticizing2 but as our opinions have been put to the touchstone of some first-rate practical artists in other branches than our own1 we offer them1 standing always ready to be corrected by any good practical artist on any point4 ,as to who are good artists is again another wide question4 ,certainly their name is not legion4 ,sidenote3 ,criticism4 ,our object in traversing all this ground1 then1 is one of inquiry1 to really see how far 8naturalism0 is the only wear for all good art1 and we have done it in an impartial spirit1 arriving at the conclusion that in all the glyptic and pictorial arts the touchstone answers4 ,how far this is the case with the arts of ,fiction1 ,poetry1 c41 is a more complex matter1 and one we cannot now deal with1 but we feel that in the literary arts the matter is very different1 for in these arts we are not confined1 as we are in the pictorial and glyptic arts1 to physical facts and their representation2 for there is no such thing as abstract beauty of form or colour4 ,art has served as a peg on which to hang all sorts of fads--fine writing1 very admirable in its place--morality1 not to be despised--classical knowledge and literature generally1 both of the highest sthetic value1 but in no way connected with the glyptic and pictorial arts4 ,naturalistic art has been found and lost1 and lost and found time after time1 and it is because the ,dutch1 ,french1 ,english and ,american artists of to-day are finding it again that we feel hopeful for the art of the future4 ,sidenote3 ,our aim4 ,our object is1 by these notes1 to lead our readers to the works of art themselves1 hoping that by this means they will1 to some extent1 educate themselves and finally form independent judgments on art matters4 ,much of the lamentable ignorance existing on these subjects is due to the acceptance of the dicta of writers on pictures1 without the readers seeing the pictures themselves4 ,we earnestly beg1 therefore1 of any one who may be sufficiently interested in the subject as to read this book1 that he will go and see the original pictures and sculptures cited2 all of which are within easy reach4 ,it was our original intention to introduce photographic reproductions of the best pieces of sculpture1 and the best pictures into this work1 but we have decided against so doing1 fearing that the reader might be tempted to look at the reproductions and neglect the originals1 and a translation1 however good it may be1 is but a small part of the truth4 ,in thus expressing our conclusions on naturalism in art1 we do not set up as the preacher of any new gospel4 ,such opinions as ours are as old as the art of ancient ,greece1 nay older1 for from the early days of ,egypt downwards these ideas have been held1 we shall find1 by great artists in all ages4 ,it is only in the application of these ideas to photography1 and in attempting to reduce them to scientific first principles that we presume to claim any originality4 ,,egyptian ,,art4 ,sidenote3 ,egyptian art4 ,on examining specimens of ,egyptian art1 whether it be their paintings1 architecture1 sculpture or book illustrations 7the papyri71 one is struck by the wonderful simplicity1 decision and force with which they expressed themselves4 ,the history of ,egypt has been so little studied1 save by students of history1 and the old popular stories concerning the nations of the past are so inaccurate and misleading1 that one is at first surprised to find such power in the works of those whom we were taught1 not so long ago1 to look upon as ,philistines2 so that we might gaze on the ,pyramids of ,gizeh1 the statues of ,rameses1 and the granite lions1 with the wonderment of incomprehension4 ,but now1 of course1 every one knows that the ,egyptians were masters in certain directions1 where we are but in our infancy4 ,even in their cavi relievi and wall paintings1 though these latter are but tinted outlines1 they are not the outlines of childish draughtsmen1 weak and unmeaning1 but they show the force of a powerful skill that in one bold outline can give all the essentials of a man1 bird or beast1 so that the picture looks living and doing4 ,all through their work there is a bigness of conception1 a solid grip of nature which makes their work surpass many of the elaborately finished and richly detailed pictures of our modern art galleries4 ,sidenote3 ,works to be studied4 ,let us call the reader's attention to such examples as are easily to be seen1 namely1 ,sidenote3 ,the lions4the granite lions1 the cavi relievi and the papyri in the ,british ,museum4 ,the lions1 which are remarkable for strength of character and truthfulness of impression1 may be taken as representative of the greatest period of ,egyptian art1 a period which ended about the time of ,rameses ,,ii42 for after that time the artist began to neglect the study of nature1 and gradual decadence set in4 ,sidenote3 ,landseer's lions4 ,we strongly advise all our readers to go to the ,british ,museum and look well at these lions4 ,they are hewn from granite1 or porphyry1 the hardest of stones1 they have conventional moustaches1 and are lying in conventional positions1 yet withal1 there is a wonderful expression of life and reserved strength about them which makes you respect them1 stone though they be2 and they convey to you1 as you look on their long lithe flanks so broadly and simply treated1 the truthful impression of strong and merciless animals4 ,your thoughts involuntarily turn from them to ,landseer's bronze lions guarding ,trafalgar ,square4 ,in them you remember all the tufts of hair correctly rendered1 even to the wool in the ears1 the mane1 the moustaches4 ,even the claws are there1 and yet you feel instinctively you would rather meet those#b tame cats of ,trafalgar ,square1 with all their claws1 than the ,egyptian lions in the ,british ,museum4 ,the reason of this is that the ,egyptians knew how to epitomize1 so as to express the fundamental characteristics of the lion1 they cared not to say how many hairs went to make up the tufted tail1 nor yet how many claws each paw should have1 but what they tried to do1 and succeeded in doing1 was to convey a sense of his power and animalism1 or to convey1 in short1 an impression of his nature4 ----- ,footnote #b3 ,since this was written ,mr4 ,frith has published that ,landseer modelled these lions from a tame cat4 ----- ,these lions were the outcome of the best period of ,egyptian sculpture4 ,the ,egyptian artists who carved those lions had been striving to interpret ,nature1 and hence their great success2 but as soon as their successors began to neglect nature1 and took to drawing up rules1 they went wrong1 and produced caricatures4 ,sidenote3 ,rameses ,,ii4 and decadence4 ,we read that after the time of ,rameses ,,ii4 8every figure is now mathematically designed according to a prescribed canon of numerical proportions between the parts40 ,sidenote3 ,wilkinson's 8,ancient ,egyptians40 ,all this we can trace for ourselves in the plates supplied with ,wilkinson's learned work1 entitled1 8,the ,ancient ,egyptians40 ,we see in those plates that something has happened to the people and objects represented1 something that makes them no longer tell their own story1 they no longer look alive1 but are meaningless2 the reason of this falling off was that the artist no longer used his eyes to any purpose1 but did what was then supposed to be the right thing to do1 namely1 followed the laws laid down by some men of narrow intellect--laws called as now the 8canons of art40 ,the very life of the ,egyptian artists of that period was against good work1 for they were incorporated into guilds1 and the laws of caste worked as harmfully as they now do in the ,orient4 ,sidenote3 ,artists' status4 ,there is1 then1 distinct evidence that on the one hand the ,egyptian artists of the best period1 when untrammelled by conventionality1 created works which1 though lacking the innumerable qualities of later ,greek art1 yet possessed1 so far as they went1 the first essential of all art--truth of impression4 ,again1 on the other hand1 directly anything like 8rules of art0 appeared1 and the study of nature was neglected1 their art degenerated into meaningless conventionality1 and as this conventionality and neglect of nature were never cast aside1 the art of ,egypt never developed beyond the work done by the artists who carved the stone lions4 ,,monarchies ,,of ,,western ,,asia4 ,sidenote3 ,assyrian art4 ,assyrian art differed from that of ,egypt in that the outline of the figures was much stronger1 and that they painted their bas-reliefs2 but the 8imitation of nature was the watchword0 in ,assyria1 as it was in ,babylon4 ,sidenote3 ,assyrian bas-reliefs4 ,in studying the ,assyrian bas-reliefs1 those interested in the subject should go to the ,assyrian rooms in the basement of the ,british ,museum1 and look at the reliefs of ,bani-,pal--the famous lion-hunting scenes4 ,sidenote3 ,the lion-hunt4 ,there is1 of course1 much conventionality in the work1 as there was in that of the ,egyptians2 but no observer can fail to detect that the ,assyrians were naturalistic to a degree that strikes us as marvellous when we consider the subjects they were treating4 ,note the lioness1 wounded in the spine1 dragging her hindquarters painfully along4 ,does this not give a powerful impression of the wounded animal8 and does it not occur to you how wonderful was the power of the man who in so little expressed and conveys to you so much4 ,consider when those ,assyrian sculptors lived4 ,look1 too1 at the bas-reliefs numbered #dg and #di2 and in #ej note the marvellous truthfulness of impression of the horseman1 who is riding at a gallop4 ,there is life and movement in the work1 though there is much scope for improvement in the truth of the movements4 ,look1 too1 at the laden mules in bas-reliefs numbers #gj and #gb4 ,such works as these were done by great men in art1 and though crudeness of methods prevented them from rivalling some of the later work1 their work is at least honest1 and1 as far as it goes1 naturalistic4 ,the work does not say all that there is to say about the subject2 but it does say much of what is most essential1 and by doing that is artistically greater than work done by scores of modern men4 ,sidenote3 ,historical value of the bas-reliefs4,in addition to their artistic value1 how interesting are these works as records of history4 ,indisputable1 as written history can never be1 they are to us a valuable record of the life and times4 ,they constitute historical art in its only good sense4 ,,ancient ,,greek ,,and ,,italian ,,art4 ,sidenote3 ,ancient ,greek and ,italian art4 ,in discussing ,greek painting we shall rely entirely upon the erudite historical work of ,messrs4 ,woltmann and ,woermann1 giving a short rsum of their remarks on the subject4 ,sidenote3 ,no ,greek paintings extant4 ,this is absolutely necessary1 as not one specimen of ,greek painting has come down to us4#c ,but on the other1 hand1 in dealing with ,greek and ,grco-,roman sculpture we shall base our remarks on the ,greek and ,grco-,roman sculpture in the ,british ,museum4 ----- ,footnote #c3 ,some paintings quite recently discovered in ,egypt are apparently the work of ,greek artists1 and tend to confirm this written testimony4 ----- ,sidenote3 ,history of ,greek painting4 ,beginning then with ,greek painting1 let us see what the historians tell us4 ,they begin by saying1 in painting 8the ,greeks effected nothing short of a revolution 444 by right of which they deserve the glory of having first made painting a truthful mirror of realities40 ,this fact1 that their pictorial art reached such perfection1 is not generally known1 for the reason that the assertion rests on written testimony1--but it is reliable testimony4 ,the historians 8insist on the fact that no single work of any one of the famous painters recognized in the history of ,greek art has survived to our time40 ,let us then briefly trace the rise of ,greek painting till it culminated in ,apelles4 ,sidenote3 ,polygnotos4 ,polygnotos 7,b4,c4 #dge-ee7 is the first name we hear of1 and of his works we are told1 8they were just as far from being really complete pictorial representations as the wall-pictures of the ,assyrians and ,egyptians themselves10 although in some particulars there must have been a distinct advancement on the work of the orientals4 ,for example1 we are told ,polygnotos painted the 8fishes of ,acheron shadowy grey1 and the pebbles of the river-bed so that they could be seen through the water40 ,polygnotos fell1 however1 into a pitfall which has entrapped many painters since1 he painted imaginative pictures4 ,we are told he 8was a painter of heroes10 some of his school attempted portraiture1 8but painting though in this age was still a mere system of tinted outline design40 ,sidenote3 ,agatharchos4 ,then followed ,agatharchos1 8the leader of a real revolution1 a revolution by which art was enabled to achieve great and decisive progress towards a system of representation corresponding with the laws of optics and the full truth of nature40 ,agatharchos was a scene-painter1 and was no doubt led by striving for naturalism in his scenery to study naturalism in painting generally4 ,sidenote3 ,scene-painting4 ,as the historians remark1 8,in scene-painting as thus practised1 we find the origins not only of all representations of determinate backgrounds1 but also1 and more especially1 of landscape painting4 ,it is impossible to over-estimate the importance of the invention of scene-painting as the most decisive turning-point in the entire history of the art1 and ,agatharchos is named as the master who1 at the inspiration of schylus1 first devoted himself to practising the invention40 ,sidenote3 ,perspective4 ,this painter1 it is said1 also paid great attention to perspective1 and left a treatise which was afterwards used in drawing up the laws of perspective4 ,it is said his manner of treatment was 8comparatively broad and picturesque40 ,sidenote3 ,apollodoros4 ,next came ,apollodoros1 a figure-painter1 who also combined landscape and figure subjects1 and of whom ,pliny says 8that he was the first to give the appearance of reality to his pictures1 the first to bring the brush into just repute1 ,sidenote3 ,easel-pictures4 and even that before him no easel-picture 7tabula7 had existed by any master fit to charm the eye of the spectator40 ,sidenote3 ,chiaro-oscuro4 ,apollodoros was the first to give his pictures a natural and definite background in true perspective2 he was the first1 it is emphatically stated1 8who rightly managed chiaro-oscuro and the fusion of colours4444 ,he will have also been the first to soften off the outlines of his figures4444 ,sidenote3 ,brunn4 ,for this reason we may1 with ,brunn1 in a certain sense call ,apollodoros 8the first true painter40 ,we are told1 however1 that his 8painting was1 in comparison with his successors1 hard and imperfect10 and that the innovations made by him in the relation of foreground and background cannot be compared to the improvements effected by the brothers ,van ,eyck in modern times4 ,sidenote3 ,zeuxis1 ,parrhasios1 and ,timanthes4 ,we now read of ,zeuxis1 ,parrhasios1 and ,timanthes1 who1 we are told1 8perfected a system of pictorial representation1 adequately rendering on the flat surface the relief and variety of nature1 in other particulars if not in colour40 ,the endeavour of ,zeuxis was 8by the brilliant use of the brush to rival nature herself10 and from anecdotes related of him and of ,parrhasios1 we gather that they 8laid the greatest stress on carrying out to the point of actual illusion the deceptive likeness to nature40 ,many of ,zeuxis' subjects were taken from everyday life--another step in the right direction4 ,sidenote3 ,eupompos4 ,we now come to the ,dorian school1 with ,eupompos as its founder2 and here we find a determination to study painting scientifically1 and to conscientiously observe nature1 for we are told ,eupompos expressed the opinion 8that the artist who wished to succeed must go first of all to nature as his teacher40 ,sidenote3 ,pamphilos4 ,pamphilos1 a pupil of ,eupompos1 brought this school to maturity1 and insisted on the 8necessity of scientific study for the painter40 ,sidenote3 ,melanthios4 ,he was followed by ,melanthios1 who pursued the same lines of scientific investigation2 and was in his turn succeeded by ,pausias1 of whom we hear1 ,sidenote3 ,pausias4 8,it is quoted as a novel and striking effect1 that in one of his pictures the face of ,meth 7or personified ,intoxication7 was visible through the transparent substance of the glass out of which she drank40 ,his work was considered to have great technical excellence1 his subjects were taken from everyday life1 and his pictures were all on a small scale4 ,pliny says 8his favourite themes were #8boys1' that is1 no doubt1 scenes of child-life4444 ,he developed1 it seems1 a more natural method of representing the modelling of objects by the gradations of a single colour40 ,we read1 too1 that his paintings drawn fresh from life 8were much appreciated by the ,romans40 ,such is the case with all good naturalistic works1 they always interest posterity1 whereas the so-called imaginative works only interest the age for which they are painted4 ,we should to-day prefer and treasure as beyond price one of ,pausias' studies of familiar ,greek life1 whereas the heroes of ,polygnotos would lack interest for us1 and excite but little enthusiasm4 ,sidenote3 ,the ,theban-,attic school4 ,there was a third school of ,greek painting1 that called the ,theban-,attic1 and of this we read that there was 8a great ease and versatility1 and an invention more intent upon the expression of human emotion10 but no painter of this school made any very great advance4 ,sidenote3 ,apelles4 ,at length we come to ,apelles1 the most famous of all ,greek painters4 ,he1 although already well known and highly thought of1 went to the ,sikyonian school1 to study under ,pamphilos1 and we afterwards hear of him as court painter to ,alexander the ,great4 ,we are told that at court his 8mission was to celebrate the person and the deeds of the king1 as well as those of his captains and chief men40 ,this was at any rate legitimate historical painting4 ,woltmann and ,woermann say1 8,in faithful imitation of nature he was second to none2 he was first of all in refinement of light and shade1 and consequent fulness of relief and completeness of modelling40 ,and again we read1 8,astonishing technical perfection in the illusory imitation of nature0 distinguished ,apelles4 ,thus we see that the great aim of the greatest of ,greek painters was to paint nature exactly as she is1 or as glib critics would say1 to paint 8mere transcripts of nature40 ,sidenote3 ,protogenes4 ,contemporary with ,apelles was ,protogenes1 whose aim was to reach the 8highest degree of illusion in detail40 ,the cycle of development seemed now to have reached its highest point1 and as the naturalistic teachings fell into the hands of inferior men1 they were abused1 and ,woltmann and ,woermann tell us the imitative principle was not kept subservient to artistic ends1 and in the hands of ,theon of ,samos the principle of illusion became an end in itself1 and art degenerated into legerdemain4 ,this same tendency is now showing its hydra head1 and in ,london1 ,brussels1 and other places are to be seen inferior works hidden in dark rooms1 or to be viewed through peep-holes4 ,sidenote3 ,theon4 ,we only want the trumpets of ,theon or the music of the opera bouffe to complete the degradation4,following ,theon1 and probably disgusted with his phantasies1 came painters of small subjects2,sidenote3 ,the rhyparographi4 the rhyparographi of ,pliny1 or the rag-and-tatter painters1 8who painted barbers' shops1 asses1 eatables1 and such-like40 8,we see1 therefore1 that about ,b4,c4 #cjj 444 ,greek painting had already extended its achievements to almost all conceivable themes1 with the single exception of landscape4 ,within the space of a hundred and fifty years the art had passed through every technical stage1 from the tinted profile system of ,polygnotos to the properly pictorial system of natural scenes1 enclosed in natural backgrounds1 and thence to the system of trick and artifice1 which aimed at the realism of actual illusion by means beyond the legitimate scope of art40 8,the creative power of ,greek painting was as good as exhausted by this series of efforts4 ,in the following centuries the art survived indeed as a pleasant after-growth1 in some of its old seats1 but few artists stand out with strong individuality from among their contemporaries4 ,only a master here and there makes a name for himself4 ,sidenote3 ,timomachos4 ,the one of these whom we have here especially to notice is ,timomachos1 of ,byzantium1 an exception of undeniable importance1 since even at this late period of ,greek culture he won for himself a world-wide celebrity40 ,decadence1 however1 had already set in1 and we find that ,timomachos neglected the study of familiar subjects1 and returned to the so-called imaginative style1 producing such works as 8,ajax and ,medea10 and 8,iphigenia in ,taurus40 ,sidenote3 ,greek landscape painting4 ,curiously enough1 it was during this period that the only branch of painting not yet tried by the ,greeks1 namely1 landscape painting1 was attempted4 ,woltmann and ,woermann suggest a reason for this new departure when they say1 8,we can gather with certainty from poetry and literature that it was in the age of the ,diadochi 7the kings who divided amongst them the kingdom of ,alexander7 that the innate ,greek instinct of anthropomorphism1 of personifying nature in human forms1 from a combination of causes was gradually modified in the direction of an appreciation of natural scenes for their own sake1 and as they really are40 ,landscape painting1 however1 did not reach any great perfection1 for we are told it 8scarcely got beyond the superficial character of decorative work40 ,sidenote3 ,decadence4 ,with this period ends the true history of ,greek painting1 though it still lingers on1 and becomes so far merged into that of ,roman art that between the two it is not possible to draw a line of distinction4 ,sidenote3 ,fabius and ,ludius4 ,roman art had a character of its own1 and even two painters1 whose names1 ,fabius and ,ludius1 and in the case of the latter whose works1 have been handed down to us2 but the works of ,ludius do not appear to have been more than decorative work4 ,sidenote3 ,vases1 mosaics1 c41 c4 ,besides the written testimony referred to1 the state of art can be gathered from the vases1 bronzes1 mosaics1 paintings on stone1 and mural decorations which have come down to us4 ,these were chiefly the work of ,greek journeymen1 and though there is much that is excellent in these productions1 their period of decadence very soon set in4 ,sidenote3 ,antiques for tourists4 ,it is a gauge of the art knowledge of to-day to watch the gullible ,english and ,americans purchasing third-rate copies of the works of ,greek journeymen house-decorators1 and taking them home and hoarding them as works of art1--works which were only valuable in their own time1 in connection with the life and architecture then existing1 but which at the present day are interesting merely from an historical point of view1 for no really artistic mind can possibly find satisfaction in such work for its own sake4 ,did these uncultured buyers but reflect and study for a while the natural beauties around them1 they would soon see the error of their ways4 ,in their conclusion on ,grco-,roman art ,woltmann and ,woermann say that they 8have no doubt that ,greek painting had at last fully acquired the power to produce adequate semblances of living fact and nature10 which could not be said of any painting up to that time4 ,here then we have traced a quick development of ,greek painting1 and an almost equally quick decline1 and all through we find the never-failing truth1--that so long as nature was the standard1 and all efforts were directed towards interpreting her faithfully1 so long did the national art grow and improve till it culminated in the statues of ,pheidias and the paintings of ,apelles2 but that directly nature was neglected1 as it was in the time of ,theon1 art degenerated1 till at last it fell1 as we shall see1 into the meaningless work of the early ,christian artists4 ,sidenote3 ,art criticism4,we find even thus early that the pedantic writer who knows nothing of practical art had begun to fill the world with his mysterious nonsense4 ,sidenote3 ,rhetoricians4 ,such were the rhetoricians of the empire who describe works 8purely anonymous1 indeed in many cases it is clear that the picture has been invented by the man of letters1 as a peg whereon to hang his eloquence40 ,it cannot be too often repeated that technical criticism is not authoritative unless made by masters of the several arts4 ,sidenote3 ,greek and ,grco-,roman sculpture4 ,let us now proceed to the ,british ,museum1 and look at the best specimens of ,greek and ,grco-,roman sculpture as exhibited there4 ,sidenote3 ,the ,british ,museum collection4 ,taking for examination the specimens nearest at hand2 we refer to those to be seen in the gallery leading out of the entrance-hall of the ,british ,museum4 ,sidenote3 ,nero's bust4 ,the busts which strike us most forcibly are those of ,nero1 ,trajan1 ,publius ,hevius ,pertinax1 ,cordianus ,africanus1 ,caracalla1 ,commodus1 and ,julius ,csar4 ,the bust of ,nero 7,no4 #aa7 strikes one by the simplicity and breadth of its treatment1 combined as these qualities are with the expression of great strength and energy4 ,the sculptor has evidently gone at his work with a thorough knowledge of the technique1 and hewn the statue straight from the marble1 a custom1 by the way1 followed by only one modern sculptor1 namely1 ,j4 ,havard ,thomas4 ,look at the broad treatment of the chin and neck of this bust of ,nero4 ,nowadays one rarely meets with even living awe-inspiring men1 but that marble carries with it such force1 that1 all cold and stony as it is1 it creates in you a feeling of respect and awe4 ,it should be studied from various distances and coigns of vantage1 and if well studied it can surely never be forgotten4 ,it gives the head of a domineering1 cruel1 sensual1 yet strong man4 ,sidenote3 ,trajan's bust4 ,in the bust of ,trajan 7,no4 #ae71 we have the same powerful technique employed this time in rendering the animal strength of a powerful man4 ,with his low forehead1 small head1 and splendid neck1 the embodiment of strength1 ,trajan looks down on us somewhat scornfully4 ,sidenote3 ,bust of ,publius ,pertinax4 ,then1 too1 ,no4 #ce1 the bust of ,publius ,hevius ,pertinax1 is no mask1 but a face with a brain behind it4 ,you feel this man might speak1 and if he did1 what he had to say would be worth listening to4 ,perhaps for grip of the impression of life this is the best of all these busts4 ,compare it with the mask 7it can be called nothing else7 on the shelf above it1 and you will see the difference4 ,sidenote3 ,busts of ,cordianus and ,caracalla4 ,the portrait busts of ,cordianus ,africanus 7,no4 #ci7 and ,caracalla are also marvellous for life-like expression4 ,look well at the cropped head and beard of ,cordianus from a little distance1 and see how true and life-like the impression is2 then go up close and see how the hair of the beard is rendered4 ,it is done by chipping out little wedges of the marble4 ,here is a very good example of the distinction between what is called realism and naturalism or impressionism1 for the two last we hold to be synonymous1 though for lucidity we have defined them differently4 ,if all the detail of that beard had been rendered1 every hair or curl correctly cut to represent a hair or curl1 and this is what the modern ,italian sculptor would have done1 we should have had realism and bad work4 ,this should be borne in mind in portrait photography1 that the essence1 the true impression1 is what is required2 the fundamental is all that counts2 the rest is small1 niggling1 contemptible4 ,sidenote3 ,bust of ,commodus4 ,let us turn to ,no4 #cc1--the sensual face of ,commodus1--he re-lives in the marble4 ,sidenote3 ,bust of ,homer4 ,another very notable bust is that of ,homer 7,no4 #aag71 in the corner of the gallery at right angles to that we are leaving4 ,look how truly the impression is rendered of the withered old literary man2 how the story of his long life is stamped on his face1 the unmistakable look of the studious1 contemplative man4 ,pass we now to the next gallery1 and stop at the wonderfully fine torso1 ,no4 #agb4 ,sidenote3 ,torso1 and boy and thorn4 ,look well at this beautiful work1 so feelingly1 sympathetically1 and simply treated by the sculptor4 ,you can almost see the light glance as the muscles glide beneath the skin4 ,this is a marvellous natural work1 as is also the boy pulling out a thorn from his foot4 ,sidenote3 ,young satyr4,the young satyr 7,no4 #ahd7 is also a wonderfully fine piece of sculpture1 and well worth close study4 ,the student will have ample opportunity for studying1 side by side1 in this gallery1 bad stone cutting and fine sculpture1 for many of the fine marbles have been barbarously restored4 ,as an example1 we cite the lifeless1 stony arms of ,no4 #ahh1 which compare with the rest of the figure1 look at the india-rubber finger of the right hand1 and you will understand what bad work is1 if you did not know it already4 ,sidenote3 ,apotheosis of ,homer4 ,before leaving this gallery let the reader look at ,no4 #aei1 the ,apotheosis of ,homer4 ,now1 as can be imagined1 this is the delight of the pedantic critic1 and more ignorant rhapsodies have been written on this work than perhaps on any other piece of sculpture4 ,of course1 as any candid and competent observer will see1 this is1 as a work of art1 very poor1 and hardly worth talking about1 except as a warning4 ,in passing into the gallery where are the remains of the ,parthenon frieze1 notice an archaic nude torso which stands on the left1 and see how the artist was feeling his way to nature4 ,sidenote3 ,parthenon frieze4 ,all portions of the ,parthenon frieze should be most carefully studied4 ,the animals in #fj and #fa are fairly true1 as in fact is the whole work4 ,sidenote3 ,muybridge and his cantering horse4 ,it was on seeing one of ,muybridge's photographs of a man cantering on a bare-backed horse1 that a sculptor remarked to us1 8,i wonder if the ,greeks knew of photography40 ,and yet critics and feeble artists call this work ideal1 and declare they discover imaginary groupings according to geometrical laws1 and heaven knows what2 all of which the best sculptors deny4 ,sidenote3 ,horse of ,selene4 ,the student must now look at the 8,horse of ,selene10 one of the most marvellous pieces of work ever done by man4 ,it was a long time before we could see the full beauty and truthfulness of impression of this great work1 and the reason was due to a simple physical fact4 ,we stood too near to it4 ,to see it well you should stand about twenty or thirty feet off1 and out of the grey background you will see the marble horse tossing its living head1 and you will be spell-bound4 ,having observed the truthfulness of impression1 go to it close up1 and note the wonderful truth with which the bony structure of the skull is suggested beneath the skin4 ,we can say no more than that it is a true impression taken direct from nature1 for in no other way could it have been obtained4 ,nothing ideal about it at all1 simply naturalism4 ,much nonsense has been written1 too1 about 8idealism0 in ,greek coins4 ,sidenote3 ,greek coins4 ,to us they seem simply impressions taken from busts or other works2 but to make assurance doubly sure1 we have taken the opinion of two of the very best modern sculptors1 who are1 we venture to prophesy1 going to show us as good work as any done by the ,greeks1 and in many ways even better work4#d ,well1 their opinion as to 8idealism0 in ,greek sculpture is emphatically that it existed not4 ,they say that the ,greeks were naturalistic1 the study of nature was the mainspring of their art1 and the truthful expression of the poetry of nature their sole end and aim4 ,that they attained this end in many ways we know1 and in certain ways they will never be surpassed1 but in other directions their work will one day appear childish4 ----- ,footnote #d3 ,all old work is to be surpassed1 and that in the fundamental matter of movement4 ,this advance is entirely due to ,photography4 ----- ,sidenote3 ,technical criticism4 ,we do not attempt to give a detailed technical criticism of sculpture as executed by the ,greeks1 for1 as we have said before1 none but a first-rate sculptor can do that2 and as there are not half a dozen such in ,england1 and as they have quite enough work to do at present1 we fear the public will have to wait some time for such criticism4 ,in the meantime those interested in the subject cannot do better than study the works mentioned1 and let them leave all others alone2 let them spend days in studying those pointed out1 and they will soon find themselves able to distinguish good work from bad4 ,sidenote3 ,gibson gallery4 ,then1 if they want a good shock1 let them walk into the ,gibson ,gallery at ,burlington ,house1 for there they will see nothing but bad work4 ,there is one point to be borne in mind when we look at the surpassing beauty of the ,greek statues1 and that is the natural beauty of the ,greek race1 and the number of excellent models the ,greek sculptors had before them to choose from4 ,sidenote3 ,taine4 ,taine1 in his charming but atechnical volume on 8,la ,philosophie de l'art ,grec10 goes as thoroughly into this question as a historian and philosopher can enter into the life of the past1 and into art questions1 which in our opinion is to a very limited extent4 ,nevertheless1 his book is full of suggestions1 and if our sculptors do not to-day equal in beauty the antiques1 the cause1 in our opinion1 lies in the lack of perfect models1 for the best technical work of to-day we think is superior to that of the ,greeks4 ,we have seen impressionistic renderings of nature by some modern sculptors which we think more natural in all points than anything of the kind to be found in ,greek sculpture4 ,sidenote3 ,modern ,french school4 ,like the ,greeks have the leading men of the modern ,french school adhered to nature1--a school in our mind more akin to the ,greek school at its best than any other1 and for the simple reason that it is more loyal to nature than any art has been since the time of ,apelles4 ,sidenote3 ,horizon-line4 ,as an example of the kinship between the two schools we quote ,woltmann and ,woermann1 who tell us the ,greeks 8placed their horizon abnormally high according to our ideas2 and distributed the various objects over an ample space in clear and equable light40 ,now modern painters have happily discarded all laws for the position of the horizon-line1 and common sense shows that the height of the horizon naturally depends on how much foreground is included in the picture4 ,the angle included by the eye vertically as well as horizontally varies with the distance of the object from us1 and the only law therefore is to include in the picture as much as is included by the eye2 and this of course varies with the position of the motif or chief point of interest4 ,sidenote3 ,millet4 ,millet has a good many high horizons1 and we feel they are normal not abnormal4 ,on this point therefore we think the ,greeks were very advanced4 ,,early ,,christian ,,art4 ,sidenote3 ,early ,christian art4 ,leaving ,greek art1 we now come to the art of the early ,christians4 ,woltmann and ,woermann tell us that 8,early ,christian art does not differ in its beginnings from the art of antiquity4444 ,the only perceptible differences are those differences of subject which betoken the fact that art has now to embody a changed order of religious ideas1 and even from this point of view the classical connection is but gradually1 and at first imperfectly1 severed4444 ,at the outset ,christianity1 as was inevitable from its ,jewish origin1 had no need for art4 ,in many quarters the aversion to works of material imagery 444--the antagonism to the idolatries of antiquity--remained long unabated4 ,yet when ,christianity1 far outstepping the narrow circle of ,judaism1 had been taken up by classically educated ,greeks and ,romans1 the prejudice against works of art could not continue to be general1 nor could ,christendom escape the craving for art which is common to civilized mankind4 ,the dislike of images used as objects of worship did not include mere chamber decorations1 and while independent sculpture found no footing in the ,christian world1 or at least was applied only to secular and not to religious uses1 painting1 on the other hand1 found encouragement for purely decorative purposes1 in the execution of which a characteristically ,christian element began to assert itself by degrees40 ,sidenote3 ,the catacombs4 ,the pure ,christian element began to assert itself silently in decorative work in the catacombs1 and 8these cemeteries are the only places in which we find remains of ,christian paintings of earlier date than the close of the fourth century40 ,these works1 however1 8constituted no more than a kind of picture writing10 as any one who has seen them can certify4 ,but this symbolism got very mixed with pagan stories1 and we get ,orpheus in a ,phrygian cap1 and ,hermes carrying a ram1 both representing the ,good ,shepherd4 ,at other times the artists seem to have set themselves to represent a ,christ constructed on their knowledge of the attributes ascribed to him1 and we get a beardless youth approaching 8closely to the kindred types of the classical gods and heroes40 8,mary appears as a ,roman matron1 generally praying with uplifted hands40 ,sidenote3 ,st4 ,peter's statue at ,rome4,peter and ,paul 8appear as ancient philosophers10 and the well-known bronze statue of ,st4 ,peter1 in the cathedral dedicated to him at ,rome1 is no less than a bon fide antique statue of a ,roman consul4 ,here we have the same neglect of nature1 and the bad work always to be expected from this neglect and from enslaved minds4 ,sidenote3 ,mosaics4 ,the mosaics of ,christian art were also handed down from classical antiquity4 ,though rarely found in the catacombs1 this art was being much used above ground for architectural decoration4 ,this art1 as ,woltmann and ,woermann rightly say1 was 8only a laborious industry1 which by fitting together minute coloured blocks produces a copy of a design1 which design the workers are bound by4 ,they may proceed mechanically1 but not so flimsily and carelessly as the decorative painters40 ,from about ,a4,d4 #dej we are told that church pictures become no longer only decorative1 but also instructive4 ,here then was a wrong use of pictorial art--it is not meant to be symbolic and allegorical1 or to teach1 but to interpret the poetry of nature4 ,a new conception of ,christ it seems now appeared in the mosaics1--a bearded type1--and this time we get the features of ,zeus represented4 ,sidenote3 ,the emperors' school4 ,by means of the mosaics a new impulse was given to art1 and in ,a4,d4 #cge a school was founded by the ,emperors ,valentinian1 ,valens1 and ,gratian1 of which we read1 8,the schools of art now once more encourage the observance of traditions2 strictness of discipline and academical training were the objects kept in view2 and the student was taught to work1 not independently by study from nature1 but according to the precedent of the best classical models40 ,sidenote3 ,byzantine art4 ,at this time art1 though lying under the influence of antique traditions1 held its own for a longer time in ,byzantium1 where the decorative style of the early ,christians lived on after the iconoclastic schism in the eighth century1 and where we read that this ornamental style began to be commonly employed4 ,sidenote3 ,justinian4,after the age of ,justinian 7which itself has left no creation of art at ,rome71 many poor and conventional works were executed at ,ravenna4 ,we read that for 8lack of inner life and significance1 amends are attempted to be made by material splendour1 brilliancy of costume1 and a gold groundwork1 which had now become the rule here as well as in ,byzantium40 ,thus we see the artists became completely lost in confusion since they had left nature1 and they knew not what to do1 but1 like many weak painters of the present day1 tried to make their work attractive by meretricious ornaments1 and true art there was none4 ,this is carried out to-day to its fullest development by many men of medium talent1 who make pictures in far countries1 or of popular resorts1 or religious subjects1 and strive to appeal1 and do appeal to an uneducated class1 through the subject of their work1 which in itself may be a work of the poorest description4 ,sidenote3 ,mosaics4 ,we read that in the year #fdj1 8the superficial and unequal character of mosaic workmanship increased quickly40 ,sidenote3 ,miniatures4 ,the miniatures of the early ,christians1 however1 we are told1 showed considerable power1 but the iconoclastic schism brought all this to an end4 ,sidenote3 ,mohammedans4 8,the gibes of the ,mohammedans0 were the cause of ,leo the ,third's edict against image worship in ,a4,d4 #gbf4 ,all the pictures in the ,east were destroyed by armed bands1 and the painters thrown into prison1 and so ended ,byzantine art4 ,this movement did not affect ,italian art4 ,,medi,,val ,,art4 ,sidenote3 ,medival4 ,we have followed ,messrs4 ,woltmann and ,woermann closely in their account of the decadence of art from the greatest days of ,greek sculpture and painting to the end of the ,christian period2 but as our object is avowedly only to deal with the best art--that which is good for all time--and to see how far that is naturalistic or otherwise1 we shall speak but briefly of 7the main points connected with7 medival art1 which has but little interest for us until we come to ,niccola ,pisano1 and ,giotto4 ,sidenote3 ,miniaturists4 ,during the early years of what are called the ,middle ,ages1 miniaturists were evolving monstrosities from their own inner consciousness1 but with ,charlemagne1 who said1 ,sidenote3 ,charlemagne4 8,we neither destroy pictures nor pray to them10 the standard adopted was again classical antiquity4 ,sidenote3 ,ivan the ,terrible4,so art continuously declined until it became a slave to the ,church1 and the worst phase of this slavery was to be seen in the ,east1 under ,ivan the ,terrible1 for we read that 8artists were under the strictest tutelage to the clergy1 who chose the subjects to be painted1 prescribed the manner of the treatment1 watched over the morality of the painters1 and had it in their power to give and refuse commissions4 ,bishops alone could promote a pupil to be a master1 and it was their duty to see that the work was done according to ancient models40 ,here was indeed a pretty state of things1 a painter to be watched by a priest2 to have his subjects selected for him6 ,one cannot imagine anything more certain to degrade art4 ,religion has ever been on the side of mental retrogression1 has ever been the first and most pertinacious foe to intellectual progress1 but perhaps to nothing has she been so harmful as to art1 unless it has been to science4 ,during the period of this slavery1 the ,church used art as a tool1 as a disseminator of her tenets1 as a means of imparting religious knowledge4 ,very clever of her1 but very disastrous for poor art4 ,sidenote3 ,glass paintings4 ,how conventional art was during the ,romanesque period can be seen in the glass paintings that decorate many of the old churches1 to admire which crowds go to ,italy and waste their short time in the unhealthy interiors of churches1 instead of spending it at ,sorrento or ,capri4 ,these go back to their own country1 oppressed with dim recollections of blue and red dresses1 crude green landscapes1 and with parrot-like talks of 8subdued lights10 8rich tones mellowed by time10 and such cant4 ,the ,romanesque style of architecture was superseded in the fourteenth century by the ,gothic4 ,sidenote3 ,gothic4 ,a transformation took place in art and ,france now took the lead4 ,the painters of this period emancipated themselves from the direction of the priesthood--a great step indeed4 ,sidenote3 ,the guilds4 ,the masters of this age were specialists2 the guilds now ruled supreme in art matters4 ,we read that 8now popular sentiment began to acknowledge that the artist's own mode of conceiving a subject had a certain claim1 side by side with tradition and sacerdotal prescription4444 ,they took their impressions direct from nature10 but their insight into nature was scanty4 ,as ,messrs4 ,woltmann and ,woermann very truly remark1 8,if for the purpose of depicting human beings1 either separately or in determined groups and scenes1 the artist wishes to develop a language for the expression of emotion1 there is only one means open to him--a closer grasp and observation of nature4 ,in the age which we are now approaching1 the painter's knowledge of nature remains but scanty4 ,he does not succeed in fathoming and mastering her aspects2 but his eyes are open to them so far as is demanded by the expressional phenomena which it is his great motive to represent2 since it is not yet for their own sakes1 but only for the sake of giving expression to a particular range of sentiments that he seeks to imitate the realities of the world40 ,there was a struggle at this period for the study of nature1 and the tyranny of the ,church was being thrown off2 there was then hope that art would at last advance1 and advance it did4 ,what was wanting was a deeper insight into nature1 for nature is not a book to be read at a glance1 she requires constant study1 and will not reveal all her beauties without much wooing4 ,sidenote3 ,thirteenth century sketch-book4 ,and though we read of a sketch-book of this time1 the thirteenth century1 in which appears a sketch of a lion1 which 8looks extremely heraldic10 and to which the artist has appended the remark1 8,n4,b4--,drawn from life10 this in no way surprises us1 for have we not been seriously told in this nineteenth century by the painters of catchy1 meretricious water-colours1 with reds1 blues and greens such as would delight a child1 that they had painted them from nature2 pictures in which no two tones were correct1 in which detail1 called by the ignorant1 finish1 had been painfully elaborated1 whilst the broad facts of nature had been ignored4 ,such work is generally painted from memory or photographs4 ,happily work of this kind will never live1 however much the gullible public may buy it4 ,next we read that 8the germs of realism already existing in art by degrees unfold themselves further1 and artists venture upon a closer grip of nature40 ,sidenote3 ,niccola ,pisano4 ,here1 then1 were the signs of coming success1 and the great effect of these gradual changes was first manifested in the work of ,niccola ,pisano1 who 8made a sudden and powerful return to the example of the antique40 ,all honour to this man1 who was an epoch-maker1 who based his conception 8upon a sudden and powerful return to the example of the antique1 of the ,roman relief40 ,his work is by no means naturalistic or perfect1 but it was enough for one man to do such a herculean task as to ignore his own times and rise superior to them4 ,sidenote3 ,cimabue4 ,painting1 however1 took no such quick turn1 but ,cimabue was the first of those who were to bring it into the right way4 ,the principal works ascribed to him1 however1 are not authenticated4 ,sidenote3 ,giotto4 ,another epoch-maker1 ,giotto1 now appears4 ,he seems to have been a remarkable man in himself1 which however hardly concerns us4 ,the historian of his works says1 8,the bodies still show a want of independent study of nature2 the proportions of the several members 7as we know by the handbook of ,cemieno hereafter to be mentioned7 were regulated by a fixed system of measurement20 again1 8,the drawing is still on the whole conventional1 and the modelling not carried far40 ,his trees and animals are like toys4 ,yet we read that 8their naturalism is the very point which the contemporaries of ,giotto extol in his creations10 but1 as ,woltmann and ,woermann say1 this must be accepted according to the notion entertained of what nature was1 and we are by this means able to see how crude the notions of nature can become in educated men when they neglect the study of it4 ,but from all this evidence we gather that ,giotto's intellect was great1 and that his strides towards the truthful suggesting of nature were enormous4 ,his attempts too at expression are wonderful for his age1 see his 8,presentations10 the figures are almost natural notwithstanding their crude drawing2 he got some of the charm and life of the children around him4 ,we read that in some of his pictures1 he took his models direct from nature1 as also did ,dante in his poetry1 but like ,dante he attempted at times the doctrinal in his pictures1 as in the 8,marriage of ,st4 ,francis and ,poverty10 he tried in fact what many moderns are still trying to do1 and daily fail to do1 namely1 to teach by means of their pictures--a fatal error4 ,doctrinal subjects are unsuitable for pictorial art1 and will never live4 ,who cares now for ,giotto's 8,marriage of ,st4 ,francis and ,poverty08 but who would not care for a landscape or figure subject taken by ,giotto from the life and landscape of his own times8--it would be priceless4 ,owing to circumstances1 we hear that he had to put 8much of his art at the service of the ,franciscans10 and though not a slave to them1 yet we read this disgusted him with the monkish temper4 ,in #accg ,giotto died1 but he had done much4 ,without ,kepler there might have been no ,newton1 so without ,giotto there might have been no ,velasquez4 ,sidenote3 ,the guilds4 ,artists at this time belonged to one of the seven higher of the twenty-one guilds into which ,florentine craftsmen were divided1 namely1 that of the surgeons and apothecaries 7medici and speziali74 ,here art and science were enrolled in the same guild1 and so were connected1 as they always will be1 for the study of nature is at the foundation of both1 the very first principle of both4 ,together they have been enslaved1 persecuted1 and their progress hampered2 together they have endured2 and now to-day together they stand out glorious in their achievements1 free to study1 free to do4 ,the one is lending a hand to the other1 and the other returns the help with graceful affection4 ,superstition1 priestcraft1 tyranny1 all their old persecutors are daily losing power1 and will finally perish1 as do all falsehoods4 ,sidenote3 ,summary4 ,we thus leave the art of the ,middle ,ages1 as we left the catacombs1 with a wish never to see any more of it4 ,one feels the deepest sympathy for great intellects like ,giotto1 and his greatest followers1 whose lots were cast in times of darkness1 and we cannot but respect such as struggled with this darkness1 and fought to gain the road to nature's fountains of truth and beauty4 ,but at the same time1 though we may in these pictures see a graceful pose here1 a good expression there1 or a beautiful and true bit of colour or quality elsewhere1 yet we cannot get away from the subject-matter of many of the pictures1 which1 allegorical and doctrinal as they are1 do not lie within the scope of art1 and above all one cannot in any way get rid of the false sentiment and untruthfulness of the whole work4 ,such works will always be interesting to the historian and to the philosopher1 but beyond that1 to us they are valueless1 and we would far rather possess a drawing by ,millet than a masterpiece by ,giotto4 ,when abroad1 and being actually persuaded of their great littleness1 we have been moved with pity for the victims we have met1 victims of the pedant and the guide-book1 who are led by the nose1 and stand gaping before middle-age monstrosities1 whilst some incompetent pretender pours into their ears endless cant of grace1 spirituality1 lustrous colouring1 mellifluous line1 idealism1 et id genus omne1 until1 bewildered and sick at heart1 they return home to retail their lesson diluted1 and to swell the number of those who pay homage at the shrine of pedantry and mysticism4 ,had these travellers spent their short and valuable time in the fields of ,italy1 they would have 8learnt more art10 whatever they may mean by that term of theirs1 than they ever did in the bourgeois ,campo ,santo or dark interior of ,santa ,croce or ,santa ,maria ,novella4 ,alas6 that the painters of the ,middle ,ages were unable to paint well4 ,had they been able to paint1 as can some of the moderns1 and had they painted truthfully the life and landscape around them1 there is no distance some of us would not go to see a gallery of their works3 works showing men and women as they were1 and as they lived1 and in their own surroundings4 ,there at once would have been the pictures1 the history1 and the idyllic poetry of a bygone age2 and what have we now in their place8 ,diluted types of repulsive asceticism1 sentimental types of ignorance and credulity1 pictures hideous and untrue and painful to gaze upon1 lies and libels on our beautiful world1 and on our own race4 ,and whom have we to thank for this8 ,religion--the so-called encourager of truth1 charity1 and all that is beautiful and good4 ,,eastern ,,art4 ,before beginning the renascence we must glance through ,mohammedan1 ,chinese1 and ,japanese art4 ,sidenote3 ,mohammedan ,art4 ,with ,mohammedan art we have little to do1 as it was entirely decorative4 ,it is seen at its best in the ,alhambra1 and was not the outcome of any study of nature4 ,the ,arabian mind seems to have been unable to rise beyond a conventional geometrical picture-writing4 ,such minds are seen to-day in all countries amongst the undeveloped4 ,quite recently we have seen some of the best modern negro work from the ,west ,coast of ,africa2 there too was the love of geometrical ornamentation as strong as in the ,arabian art4 ,sidenote3 ,art amongst the ,philistines4 ,we repeat1 this artistically-speaking low standard of development is often seen among the people of to-day1 and though highly educated in all else1 in art they are uneducated1 in short they are survivals2 and the mischief is1 that they judge pictures by their survival decorative standard2 they look for bright colours placed in ,persian-rug juxtaposition1 and talk of 8glorious colouring40 ,it never seems to occur to them what art really is1 and what the artist has tried to express1 and how well he has expressed it2 and they never refer their 8glorious colouring0 to the infallible standard--nature2 but seem to imagine there are abstract standards of colour and form4 ,sidenote3 ,water-colours4 8,glorious colourings0 are oftener than not meretricious lies dressed out in gaudiest1 vulgarest apparel1 and when compared with nature these 8colourings0 will be found veritable strumpets4 ,look carefully at many of the much-vaunted water-colours1 and then carefully study the same scene in nature1 and if many of those water-colours please you afterwards--well1 in matters artistic1 you have the taste of a frugivorous ape4 ,but apply this test to the water-colours of ,israels or ,mauve1 and you will see they interpret nature4 ,but they have painted chiefly in oils1 and wisely so1 as there is more to be expressed by oil-painting1 and we know of few1 if any1 great men who confine themselves to water-colour as a medium4 ,but it serves the turn of a host of men--painters1 but not artists1 who1 with their pretty paints1 make pot-boilers1 of which the form and idea are often stolen--stolen1 perhaps1 from a photograph4 ,do such ever study nature8 ,no4 ,they sit at home1 and coin vulgar counterfeits with no more of nature in them than the perpetrators have of honesty4 ,it is time that it was clearly and distinctly understood that the man who copies a photograph is as despicable as the man who copies a painting1 and it is very certain neither will ever be respected by his contemporaries1 or remembered by his successors4 ,yet the 8cheap0 work of these men sells well1 and the gulled public talk glibly over them of 8strength0 and 8tone0 and 8colouring10 and what not4 ,nature is so subtle and astonishing in her facts that but few even of those who do paint directly from her can come anywhere near her1 whereas1 those who do not study her at all1 who do not paint coram ipse1 fake and fake1 and by faking they lie1 and set the example to others to lie1 and1 if not fought against1 this sort of thing would speedily take us back to the art of the ,middle ,ages1 when we should be under the tyranny of ,crsus1 instead of ,clericus4 ,sidenote3 ,picture-buyers4 ,it is1 then1 the absolute duty of every picture-buyer1 who has any regard for truth1 and any interest in the future of art1 to learn to study nature carefully1 and to buy only that which is true and sincere1 and let the pink and white school of dishonesty die of inanition4 ,in short1 it is high time that educated people ceased to judge painting as they often do1 by the standard of coloured rugs4 ,this talk of 8colour0 is one of the stumbling-blocks of the weak-kneed in art4 ,colour is good so long as it is true1 and no longer4 ,a ,persian rug1 or ,turkey carpet1 is not the standard of colour whereby to judge pictures1 and only those in the mental state of the frugivorous ape or the ,arab craftsmen can think so4 ,,chinese ,,and ,,japanese ,,art4 ,sidenote3 ,china and ,japan4 ,in ,china and ,japan things were very different4 ,following ,mr4 ,anderson's invaluable work1 the 8,pictorial ,arts of ,japan10 we find that their history of pictorial art begins about ,a4,d4 #deg4 ,sidenote3 ,first period4 ,mr4 ,anderson thinks1 however1 that art was only actually planted in ,japan with the introduction of ,buddhism in the sixth century4 ,sidenote3 ,buddhism4 ,then it begins badly1 for it was under the influence of religion1 and in fact we read that the earliest art consisted of ,buddhist images and mural decorations4 ,this religious influence1 together with a servile imitation of the ,chinese masters1 so enslaved art1 that no development of importance took place till the end of the ninth century4 ,sidenote3 ,the 8,ni 40 ,looking at the plate of the 8,ni 10--a wooden statue--considered the greatest work of the time1 we can see the artist had really struggled to interpret nature1 and no doubt studies were made from the nude1 for the work on the anatomy could not otherwise have been so well expressed2 but1 good as it is1 it runs in the ,michael ,angelo spirit1 is exaggerated1 and lacks entirely all the greatness of the ,greek sculpture4 ,this work--the greatest of what ,mr4 ,anderson has called the first period--shows that there had been a struggle towards the expression of nature4 ,sidenote3 ,second period4 ,the second period1 we learn1 ends with the fourteenth century1 and is parallel1 therefore1 with the ,european medival period4 ,on comparing plates of the ,japanese work with that of the same period in ,europe1 we are forced to give the palm to the ,japanese artists1 they were1 in fact1 vastly superior4 ,in looking at the plate of 8,the ,death of ,kos ,no ,hirotaka0 we cannot but feel there was much more respect for nature in ,japan than there was in ,europe at that time1 notwithstanding the fact that ,buddhism bore the same relation to art in ,japan as ,christianity did in ,europe4 ,sidenote3 ,nobuzan4 ,we read also that in the twelfth century there was one1 ,nobuzan1 who had a brilliant reputation for 8portraits and other studies from ,nature40 ,the specimen of ,nobuzan's work is admirable in expression1 he has caught the living expression of his model1 but the rest is conventional4 ,sidenote3 ,chinese renascence4 ,we are told that the ,chinese renascence began about #abge1 and that the painters of this movement were naturalistic1 8,ink sketches of birds and bamboos1 portraits and landscapes were the subjects chosen10 and though these were only a kind of picture-writing1 yet the movement led the artists more and more to study nature4 ,sidenote3 ,third period4 ,coming now to ,mr4 ,anderson's third period1 from the end of the fourteenth century to the last quarter of the eighteenth1,sidenote3 ,meich4 we find that ,meich seems to have been to ,japanese art what ,giotto was to ,european art1 and at about the same period4 ,we read further on that in the early part of the fifteenth century the revived ,chinese movement referred to made its influence felt in ,japan4 ,sidenote3 ,shibun4 ,an example given by ,mr4 ,anderson of ,shibun's idealized landscape painting1 while far from satisfactory or even pleasing1 is1 we venture to think1 superior to the work of ,giotto4 ,therein is shown some power1 and there is not the childishness which is visible in ,giotto's work4 ,sidenote3 ,soga ,jasoku4 ,much more naturalistic1 powerful1 and pleasing are the works of ,soga ,jasoku1 fifteenth-century ,chinese school4 ,these landscapes show the artist had a feeling for nature1 and although he attempted in the upper plate 7,plate #af7 what we consider to be beyond the scope of art1 yet in the lower the master-hand shows itself4 ,there is atmosphere in the picture4 ,close observation of nature resulted in a grasp of subtlest movement and expression4 ,sidenote3 ,soga ,chokuan4 ,witness the 8,falcon and ,egret0 by ,soga ,chokuan 7sixteenth century71 where the power shown in depicting the grasp of the falcon's talon as it mercilessly crushes the helpless egret1 is very great4 ,then look at the paintings of birds in any of our books1 and see how wooden1 how lifeless they are1 compared with even the sixteenth-century ,japanese representations of bird life4 ,sidenote3 ,sesshi4 ,sesshi1 we are told1 was another great painter1 and the founder of a school 7#adbj-aeji74 ,this great man1 we are told1 8did not follow in the footsteps of the ancients1 but developed a style peculiar to himself4 ,his power was greatest in landscape1 after which he excelled most in figures1 then in flowers and birds10 and later on1 we are told1 in animals4 ,he preferred working in monochrome1 and it is said asserted 8the scenery of nature was his final teacher40 ,sidenote3 ,kano school4 ,then came the ,kano ,school1 all of whose artists evidently struggled for ,naturalism1 and had great power of expression of movement but not of form4 ,the leader1 we are told1 was an eclectic1 and painted ,chinese landscapes in ,japan1 so that he must have neglected nature1 and his works belong to the so-called imaginative or unnatural school4 ,the best men of this period were decidedly impressionists1 and their chief aim seems to have been to give the impression of the scene and neglect the details1 and it is perfectly marvellous how well they succeeded in depicting movement by a very few lines4 ,the 8,rain ,scene0 by ,kano ,tanyu is a fine example of this4 ,we read that the seventeenth and eighteenth centuries were periods of decadence2 we conclude therefore that in ,japan art reached its highest state during the second period1 under ,shibun1 ,soga ,jasoku1 ,sesshi and ,tanyu1 who were all students of nature1 and several of whom would have been called impressionists had they painted in these days4 ,sidenote3 ,matahei4 ,we are told that ,matahei tried to found a naturalistic school1 whose followers should go direct to nature for their subjects1 but the movement did not receive any hearty impulse4 ,however it was taken up afterwards by a series of book-illustrators4 ,sidenote3 ,krin4 ,next we read of ,krin whose 8works demonstrate remarkable boldness of invention1 associated with great delicacy of colouring1 and often 444 masterly drawing and composition40 ,it is quite marvellous to see the work of this seventeenth-century artist4 ,winding up his account of the third period1 ,mr4 ,anderson says1 8,but three-quarters of the eighteenth century were allowed to pass without a struggle on the part of the older schools to elevate the standard of their art1 and painting was beginning to languish into inanition when the revolutionary doctrines of a naturalistic school and of a few artisan book-illustrators brought new aims and new workers to inaugurate the last and most characteristic period of ,japanese art40 ,sidenote3 ,fourth period4 ,mr4 ,anderson says1 8,the fourth and last era began about thirty years before the close of the last century1 with the rise of the ,sidenote3 ,shijo school4,shijo naturalistic school of painting in ,kioto1 and a wider development of the artisan popular school in ,yedo and ,osaka1 two steps which conferred upon ,japanese art the strongest of those national characteristics that have now completed its separation from the parent art of ,amia40 ,he goes on to say 8that the study of nature was admitted to be the best means of achieving the highest result in art by the older painters of ,china and ,japan1 but they limited its interpretation40 ,sidenote3 kio4 ,we are told that ,maruyama kio was the first painter who seriously endeavoured to establish naturalistic art 7#agcc-agie74 ,he preached radical ideas in art at ,kioto1 the centre of ,japanese conservatism1 and gathered a school around him4 ,in summing up this school1 ,mr4 ,anderson remarks1 8,the chief characteristics of the ,shijo school are a graceful flowing outline1 freed from the arbitrary mannerisms of touch indulged in by many of the older masters2 comparative1 sometimes almost absolute1 correctness in the interpretation of the forms of animal life2 and lastly1 a light colouring1 suggestive of the prevailing tones of the objects depicted1 and full of delicate harmonies and gradations40 ,their naturalistic principles do not1 however1 seem to have fully developed1 and their works show ignorance of the scientific facts of nature1 except1 perhaps1 in the painting of plants1 birds1 and animals4 ,yet the work has a verve which renders it very fascinating4 ,sidenote3 ,hokusai4 ,one great man1 ,hokusai1 appears as the last of the race purely ,japanese and uninfluenced by ,european ideas1 as all the ,japanese artists are now4 ,so we find that through various phases the ,japanese developed to impressionistic landscape-painting1 and no doubt when they have got more scientific knowledge1 they will make for themselves1 by their wonderful originality and patience1 a position in art which will surpass all their past efforts4 ,sidenote3 ,japanese art at the ,british ,museum4 ,since writing this section1 a collection of ,japanese and ,chinese art has been opened at the ,british ,museum1 which the student must by all means study1 for there he will see works of most of the masters cited in these notes4 ,sidenote3 ,the ,japanese ,commission4 ,in connection with this subject our readers may have seen the very interesting report on ,art by the ,japanese ,commission that visited the galleries and schools of ,europe2 wherein the conclusion of the commission on the best ,european art is very interesting1--,millet being the greatest painter to their mind4 ,they think1 too1 that ,japan will soon be able to show the world something better than anything yet accomplished1 which we very much doubt4 ,sidenote3 ,japanese art4 ,we feel1 however1 that wonderful as ,japanese art has been1 yet there is a great gulf between it and the best ,greek and modern art4 ,to us ,japanese art is the product of a semi-civilized race1 a race in which there is strong sympathy with nature1 but a very superficial acquaintance with her marvellous workings4 ,in short1 we feel the ,japanese need a deeper and more scientific knowledge of nature1 and that their work falls far short of the best ,european work4 ,at the present day there is a craze for anything ,japanese1 but like all crazes it will end in bringing ridicule upon ,japanese work2 for their work1 though fine for an uncivilized nation1 is absurd in many points1 and this stupid craze by indiscriminate praise will only kill the qualities to be really admired4 ,sidenote3 ,chinese art4 ,the earliest authentic records of ,chinese painting date about ,a4,d4 #bea4 ,the earliest painters were painters of ,buddhist pictures4 ,sidenote3 ,wu-,tao-,tsz'4 ,mr4 ,anderson mentions as one of the best known of the early masters1 one ,wu-,tao-,tsz'1 whose animals were remarkable4 ,he thinks that the art of ,china of to-day is feeble compared with that which flourished #aajj years ago4 ,we are informed too that the 8artistic appreciation of natural scenery existed in ,china many centuries before landscapes played a higher part in the ,european picture than that of an accessory10 and judging from the specimens he gives in his book of the work of the ,sung ,dynasty 7#ifj-abgi ,a4,d471 the ,chinese artists had a great feeling for landscape4 ,we are told that the painters of the thirteenth century 8studied nature from the aspect of the impressionist10 and their subjects were all taken from nature1 landscape especially delighting them4 ,in the fifteenth century we read 8decadence began by their neglect of nature and their cultivation of decorative colouring1 calligraphic dexterity1 and a compensating disregard for naturalistic canons40 ,we are told1 and can readily believe it1 that in painting of bird life they were unequalled save by the ,japanese1 and that down to #abgi the ,chinese were at the head of the world in painting1 and their only rivals were their pupils1 the ,japanese4 ,korean art seems also to have degenerated since the sixteenth century4 ,thus we ever find the same old story4 ,china1 when she painted from nature1 was unequalled by any nation in the world2 when she neglected nature1 as she does now1 she fell to the lowest rank4 ,,the ,,renascence4 ,sidenote3 ,renascence4 ,this is a period of a return to the study of nature1 of a carrying out of the feelings which seemed to be developing even in ,giotto's time4 ,no longer now was the artist to be separated from nature by the intervention of the ,church1 and though natural science was not advancing as fast as art was1 still a growing regard for nature was the order of the day4 ,sidenote3 ,the ,van ,eycks4 ,this feeling first showed itself strongly in the ,netherlands1 with the brothers ,van ,eyck4 ,we are told that the ,van ,eycks 8mixed the colours with the medium on the palette and worked them together on the picture itself1 thus obtaining more brilliant effects of light as well as more delicate gradations of tone1 with an infinitely nearer approach to the truth of nature40 ,the ,van ,eycks regarded nature lovingly1 and tried truthfully to represent her1 and though many of their works were of sacred subjects1 yet they were evidently studied from nature with loving conscientiousness2 and so successful were they that to this day the picture by one of the brothers 7a portrait of a merchant and his wife71 in the ,national ,gallery1 remains almost unsurpassed4 ,sidenote3 ,portrait of a merchant and his wife4 ,it is well worth a journey to the ,national ,gallery on purpose to see it1 and we trust all those who do not already know the picture will take the trouble to go and study it well4 ,it is wonderful in technical perfection1 in sentiment1 in truthfulness of impression4 ,note the reflection of the orange in the mirror1 with what skill it is painted4 ,in fact the whole is full of life and beauty1--the beauty of naturalism4 ,it is a master-piece good for all time1 and yet it is but the portrait of a merchant and his wife4 ,no religious subject here inspired ,john ,van ,eyck1 but a mere merchant family1 yet in many ways the picture remains1 and will remain1 unsurpassed4 ,such powerful minds as the brothers ,van ,eyck of course influenced all art1 and they had many followers2 but it does not seem that these followers had the insight into nature that characterized the ,van ,eycks1 and the work falls off after the death of the brothers1 whose names represent1 and ably represent1 all that was best of the fifteenth century4 ,sidenote3 ,quinten ,massys4 ,in the sixteenth century ,quinten ,massys was the greatest and most naturalistic painter4 ,he was said to be the 8originator of a peculiar class of genre pictures1 being in fact life-like studies from the citizen life of ,antwerp40 ,here was an honourable departure from conventionality4 ,his followers1 however1 having no mind to see how he was so great1 were led away from the study of nature1 and where are they now8 ,their names we all know1 but who cares to see their works8 ,massys1 the greatest painter of this period in the ,netherlands1 was content to take his subjects from the life of his own times1 as all great men have been1 from the ,egyptians downwards4 ,sidenote3 ,germany4 ,turning now to ,germany1 we shall see what the best men there thought of naturalism4 ,the movement towards the study of nature seems to have begun in the methods of engraving as practised by the goldsmiths1 who were trained artists4 ,the earliest plates we find are of subjects illustrating the life of the times1 a hopeful augury for ,germany1 which was fulfilled by the work of the master1 ,albert ,durer4 ,sidenote3 ,albert ,durer4 ,we are told he had 8unlimited reverence for nature1 which made him one of the most realistic painters that have ever existed40 ,what strikes us most after an examination of his plates at the ,british ,museum1 is the wonderful strength and direction with which the man tells his tale4 ,his engravings are1 of course1 without tone1 and when he does natural landscapes1 as was often the case1 this lack of tone is a serious fault2 but for draughtsmanship he is marvellous1 and it is with joy we learn that such a master said1 8,art is hidden in nature1 those who care have only to tear it forth40 ,every one interested in art1 and who is not already well acquainted with ,durer's work1 should make a point of going to the ,print ,room in the ,british ,museum1 and studying carefully all examples of his work4 ,they will1 perhaps1 at the same time1 notice what struck us1 namely1 that one of the best draughtsmen on ,punch's staff has evidently been a great admirer of ,durer4 ,woltmann and ,woermann1 speaking of ,durer's landscapes illustrative of his travels south of the ,alps1 say that 8he reveals himself as one of the founders of the modern school of landscape painting40 ,his 8,mill0 is remarkable4 ,his etchings are mostly of familiar subjects of every-day life4 ,the great danger of a man like ,durer is the bad effect of his influence in later times1 for inferior men imitate his faults and not his merit1 as is always the case with imitators1 and they forget that though ,durer was a genius1 yet did he live today he would probably work very differently and interpret different subjects4 ,an artist's time and environment must always be reckoned with4 ,sidenote3 ,evolution in art4 ,there are so many people who cannot understand the principle of development in art1 and cannot distinguish1 and appreciate1 and value artists according to their periods1 and as steps in development1 but are now-a-days led by them1 holding them up as models for modern painters1 whereas they are but the undeveloped efforts of earlier times4 ,there are numbers of young men who paint better than ,durer ever did1 but who lack ,durer's genius2 just as an undergraduate may know more science than ,galileo1 or more mathematics than ,newton1 but yet be incomparably less great than either ,galileo or ,newton4 ,a work of art1 however1 is only valuable for its intrinsic merits1 and much as we feel the value of ,durer1 ,michael ,angelo1 ,raphael1 and others in their own time1 for many of their works as works of art1 qu art1 we care but little now1 but as historical documents they are priceless4 ,it may be asked how ,durer1 the ,van ,eycks1 and others can be called 8naturalists10 when they painted so many religious pictures4 ,of course the one explanation of this is that they painted conscientiously from living models and natural landscapes1 and not from what is called their 8imagination40 ,the influence of the times on these painters could not but be tremendous1 but if a man must perforce paint an 8imaginative0 picture1 its artistic value must always be in proportion to the truth of the picture2 and1 therefore1 what is good in the picture is the naturalism of it4 ,all the rest seems to our mind--for how could ,durer or any one else paint the ,virgin ,mary8--uninteresting4 ,for ,durer and the men of his day there was1 of course1 every excuse1 but to-day there is none2 and if painters will persist in painting--from their imagination--woolly landscapes1 peopled by impossible men1 women1 and animals1 they will pay the penalty of such vivid imagination--by quick and well-merited consignment to oblivion4 ,the public call such men learned4 ,learned1 forsooth6 when ,lemprire or the poets have supplied the idea4 8,there is something great behind a picture10 is another favourite expression2 well1 so there is behind many an impostor's work1 but that greatness belongs to another man4 ,an artist looks at the art of the picture1 a sentimentalist at the subject alone2 to him a badly-painted subject may bring tears to the eyes1 to an artist the same subject will probably bring a laugh4 ,what is the sense of copying our predecessors8 ,and even as copyists1 these painters of 8imaginative0 works fall immeasurably below their models4 ,botticelli towers yet like a giant over ,blake and ,rossetti1 yet we know he was very far from perfect4 ,sidenote3 ,hans ,holbein4 ,the next great ,german was ,hans ,holbein the younger4 ,he had advantages over ,durer1 for he was born when the feeling for nature was strong1 and thus started with a clear mind1 and arrived at achievements never yet surpassed4 ,hans ,holbein stands out as a master for all time4 ,his portraits are wonderful4 ,he1 again1 threw all his energy into the study of nature1 and his works are chiefly representative of the life of his own times1 portraits of merchants and fellow-citizens4 ,there is the full-length portrait of a gentleman in the ,national ,gallery1 whose name has not come down to us2 yet is the interest less great for that8 ,the dead ,christ at ,basle too is wonderful1 as every one 7with good observation1 be it always said7 who has seen a naked dead body1 will affirm1 but the anatomy of the skeleton in ,holbein's 8,dance of ,death0 would make a first year's medical student laugh4 ,it must have been drawn from the imagination4 ,much of ,holbein's best work was done in ,london1 and is at present in ,england1 and we cannot leave this part of the subject without begging our readers to take every opportunity of seeing the work of this wonderful master1 opportunities which1 alas6 will be rare enough1 who was a naturalistic painter of the first quality4 ,sidenote3 ,swiss art4 ,turning to ,switzerland1 we find no name worth mentioning2 and here we would ask those who trace the effects of sublime mountain scenery on the character of men1 why there has been no ,swiss art worth mentioning8 ,of course the explanation is simple--because art has nothing whatever to do with sublime scenery4 ,the best art has always been done with the simplest material4 ,in ,spain and ,portugal at this time was being felt the influence of the naturalism of the ,van ,eycks4 ,in ,france the ,fontainebleau ,school was struggling towards nature1 but no genius arose4 ,sidenote3 ,da ,vinci4 ,but in ,italy there arose a giant1 ,leonardo ,da ,vinci4 ,never has there been such an instance of the combination of scientific knowledge and artistic capacity in one man4 ,in the ,louvre is his best work1 the portrait of ,monna ,lisa1 a master-piece1 but in our opinion a master-piece eclipsed by other master-pieces4 ,of this great man we are told that 8he constantly had recourse to the direct lessons of nature1 saying that such teaching at second hand made the artist1 not the child1 but the grandchild of nature60 ,again we read that 8,leonardo was wholly in love with nature1 and to know her through science and to mirror her by art were the aims and end of his life40 ,sidenote3 ,m4 ,angelo4 ,michael ,angelo is the next great name we come to4 ,woltmann and ,woermann say that 8the mightiest artist soul that has lived and worked throughout ,christian ages is ,michael ,angelo ,buonarroti40 ,now this is a literary dogma to which we are totally opposed1 and so we are to all the pedantic criticism which follows1 about 8strong and lofty subjectivity10 8purified ideal10 and what not4 ,it is such writing as this that misleads people4 ,let ,michael ,angelo be compared with the standard--nature--by any student of nature1 and ,michael ,angelo will fall immediately4 ,woltmann and ,woermann tell us1 8he studied man alone1 and for his own sake10 the structure being to him everything4 ,this is what we always felt to be the fault of ,michael ,angelo1 i4e4 that he was rather an anatomist1 and often a lover of pathological specimens1 than an artist1 although he was a great sculptor4 ,the action of the muscles in his figures may not go beyond the verge of the possible when taken separately1 and as one would test them with an electric current1 but we do insist that when taken as a harmonious whole1 the spasmodic action of some muscles as expressed by him would have prevented the exaggerated actions of others by antagonizing their effect4 ,michael ,angelo's work has always given us the feeling that he had a model1 on which1 with an electric current1 he tested the action of each muscle separately1 and then modelled each one separately whilst the circuit was joined2 in fact that his works are amateur scientific studies and not works of art2 and herein is his weakness1 he passes the bounds of nature4 ,woltmann and ,woermann say first of all he does go beyond the bounds of nature1 and that therein lies his greatness1 and then they flatly contradict themselves1 and say an anatomist has informed them that he does not go beyond the bounds of nature1 and they quote this as a merit4 ,our opinion1 also that of a student of anatomy1 is that he goes beyond the bounds of nature1 and exaggerates nature1 and so spoils his work completely4 ,he is far below the ,greeks4 ,his influence1 too1 has been hurtful1 for he has kept all but very independent and powerful intellects within his traditions4 ,sidenote3 ,raphael and ,correggio4 ,raphael#e and ,correggio we will quickly dismiss1 though we are fully aware of the #gj1jjj reputation of the one1 and the literary reputation of the other4 ,raphael does not appeal to us1 with his sickly sentimentality1 his puerile composition1 his poor technique1 and his lack of observation of nature4 ,many of the figures in his pictures1 standing some feet behind the foremost1 are taller and larger than those in front4 ,we feel sure he had no independence of mind4 ,he was a religious youth1 with no great power of thought1 and time will give him his true place4 ,but as a taxpayer we must enter a mild protest against the ineptitude of authorities who pay such heavy prices for pictures such as the ,raphael referred to4 ,there was a small picture of a head--the head of a doctor--by an unknown hand1 hanging near the ,raphael1 which1 as a work of art1 is infinitely its superior1 but it was done by an unknown hand4 7,these pictures have since been re-hung47 ,for that #gj1jjj what a splendid collection of good work by men of the present day could have been purchased1 a collection every single picture of which might easily be superior to all the ,raphaels in the world as works of art6 ----- ,footnote #e3 ,m4 ,charcot has recently shown that ,raphael's demoniacs are all false and untrue4 ----- ,sidenote3 ,del ,sarto4 ,to the same period belongs ,andrea del ,sarto1 a naturalistic painter of great power4 ,he had more feeling for nature than most of the men of his time1 and his breadth of treatment and truthfulness of colouring are admirable4 ,of course he painted religious pictures1 but from the naturalistic point of view they are wonderful4 ,the student must study the portrait in the ,national ,gallery painted by him4 ,sidenote3 ,titian4 ,the next and last great master of this period is ,titian1 another of the few entitled to the name of genius4 ,his portraits are his best works4 ,michael ,angelo is reputed to have said1 8,this man might have been as eminent in design as he is true to nature and masterly in counterfeiting the life1 and then nothing could be desired better or more perfect40 ,titian's works show that he had much more love for nature than ,michael ,angelo ever showed1 and we think it a pity for ,michael ,angelo's sake that he did not take a leaf from ,titian's book instead of criticizing his power of design4 ,his landscape backgrounds show a feeling for nature far above anything painted up to that time4 ,after his day art in ,italy fell into evil ways1 and no ,italian name stands out even to this day4 ,the study of nature was neglected1 illogical traditions slipped in1 and though some writers on painting talk of 8,naturalists10 in the period of decadence1 citing ,caravaggio and others1 we would fain know what they mean by the term 8,naturalists10 for the painters they cite were no students of nature1 as is shown by their works1 which are more realistic than naturalistic1 they being as much students of nature as are the 8professional0 photographers of to-day1 whose ideas of nature are sharpness and wealth of detail4 ,sidenote3 ,the camera obscura4 ,canaletto's pictures look like bad photographs1 and that he used a camera obscura is well known1 for ,count ,algarotti has told us as much4 ,he includes ,ribera and other ,tramontane masters in the list of those who used the camera obscura4 ,sidenote3 ,ribera4 ,ribera however1 is no small painter1 although he is not a great master4 ,the passages in some of his works are masterful1 as in the dead ,christ at the ,national ,gallery4 ,,from ,,the ,,renascence ,,to ,,modern ,,times4 ,sidenote3 ,preamble4 ,we shall now glance over the works of the great artists throughout ,europe from the time of the ,renascence period downwards1 and see how and what influence ,naturalism had on them1 and we shall inquire whether the loving truthfulness to and study of nature and adhesion to the subjects of every-day life was not the secret of the success of all who stand out as pre-eminent during this period4 ,the simplest method will be to take separately the countries where art has flourished4 ,sidenote3 ,spain4 ,beginning with ,spain1 we find at the outset from history that there was but little hope for art4 ,religion enchained art1 and that terrible stain on ignorant ,spain1 the ,inquisition1 gave rise to the office of 8,inspector of ,sacred ,pictures40 ,this office was no sinecure1 for it controlled all the artists' movements1 even prescribing how much of the virgin's naked foot should be shown4 ,comments are needless1 for how could art flourish under such circumstances8 ,one name1 however1 comes at last to break through all rule1 and in #aeii1 at ,seville1 was born ,velasquez4 ,sidenote3 ,velasquez4 ,velasquez1 though moving from his youth up in the most refined society of his native town1 had the might of genius to see that the falsely sentimental work of his predecessors was not the true stuff1 and he1 like all great workers1 made ,nature his watchword4 ,he is reputed to have said he 8would rather be the first of vulgar painters than the second of refined ones10 and though he began by painting still life straight from nature1 he finally became in his portraits one of the most refined1 truthful1 and greatest of painters the world has ever seen4 ,though greatly influenced by the religious tendencies of the time1 we find him often painting the life around him1 and we have from his brush water-carriers1 and even drunkards2 but he finally reached his greatest heights and the exercise of his full powers in portraiture4 ,all who have a chance1 and all who have not should try and create one1 should go to the ,national ,gallery and study the remarkable portrait of ,philip of ,spain4 ,barely has portraiture attained such a level as in this example1 and what was the oath this painter took8 8,never to do anything without nature before him40 ,sidenote3 ,murillo4 ,the next name1 great in some ways1 but not to be compared with ,velasquez1 is ,murillo2 and when was he great8 ,was it in his sickly sentimental religious pictures8 ,no1 certainly not4 ,it was in such pictures as the ,spanish peasant boys1 such as can be seen in the ,dulwich ,gallery4 ,sidenote3 ,dulwich ,gallery4 ,this gallery is open to the public1 and quite easy of access1 and should not be neglected4 ,sidenote3 ,fortuny4 ,the last ,spanish name of note is that of ,fortuny1 a ,catalonian1 who is often mistaken for a ,frenchman1 since he lived in ,paris some years ago4 ,fortuny is deserving of much praise as having been the first to shake off the slavery of 8geometrical perspective40 ,his best pictures were homely and festal scenes1 chiefly interiors1 which he painted as he saw them without any preconceived ideas of perspective4 ,for this new departure1 and on account of his work1 ,fortuny deserves all praise4 ,since his death1 in #ahgd1 no ,spanish painter of note has come to the fore1 but art in that country languishes in prettiness1 false sentimentality1 and works done for popularity2 the ephemerid of art4 ,,germany4 ,germany seems to have neglected the lessons taught her by ,durer and ,holbein1 and the mystics seize her and carry her away from nature1 and1 therefore1 from art4 ,since the days of ,holbein no really great man has arisen4 ,sidenote3 ,kaulbach4 ,kaulbach1 who has been well described as 8all literature10 is praised by some1 but he does not seem to have had even poetic ideas4 ,nature to him was nothing1 but the petty doings of erring man were everything4 ,sidenote3 ,makart4 ,sidenote3 ,heffner4 ,makart was meretricious and small1 and ,heffner's pictures are like bad photographs in colour1 just the class of photography we are now writing against4 ,had he been a photographer1 he would never have risen above the topographical1 as he has never risen ,sidenote3 ,munkacsy4 above the topographical in painting4 ,greater is the ,hungarian1 ,munkacsy2 but is he an immortal8 ,we doubt it4 ,sidenote3 ,verestchagin4 ,in ,russia1 ,verestchagin is the only name that has made any stir1 but he1 like ,heffner1 sees ,nature topographically1 and the only emotion caused by his 8show0 was called up by the oriental rugs4 ,,flemish ,,art4 ,sidenote3 ,rubens and ,van ,dyck4 ,rubens and ,van ,dyck we mention only to show we have not overlooked them4 ,the work of both shows more regard for 8getting on0 and the 8ancients0 than for nature3 it is lacking in feeling and in truth4 ,van ,dyck is often wood itself4 ,sidenote3 ,teniers and ,van ,ostade4 ,teniers the younger as an artist is a long way ahead of either of these men1 and in some ways he goes very far4 ,van ,ostade is often good also4 ,his portrait of a man lighting his pipe1 a small picture to be seen at the ,dulwich ,gallery1 is a masterpiece of painting1 and as fine as anything of the kind done up to this period4 ,this little gem is the work of a lover of nature and an artist4 ,it is quite a small canvas1 about #aj #f1 with no 8subject10 nothing but a man lighting his pipe2 yet it is perfect1 and far surpasses all the sentimentalities of ,raphael1 or the tours de force of ,rubens4 ,the student must see this picture without fail4 ,,english ,,art4 ,sidenote3 ,hogarth4 ,the ,english painters of note begin with ,hogarth1 though the bad work of ,lely and ,kneller is cited as ,english1 because executed in ,england1 yet neither of these two men was ,english1 and no lover of art would be proud of them if they were4 ,hogarth1 then1 was the father of ,english painting1 and he began on good healthy lines1 for he was a naturalist to the backbone1 choosing his subjects from his own time2 and though he affected to point a moral in his pictures1 still there is the grip of reality and insight into essentials in his work which mark him as a great painter4 ,the reader will probably have seen his work at the ,national ,gallery2 if not1 he should do so at once4 ,sidenote3 ,wilson4 ,we pass over ,wilson1 for in his work is not apparent any love of nature1 but only a feeling for classicism4 ,sidenote3 ,reynolds4 ,the next name is that of ,joshua ,reynolds4 ,he was a mannerist1 and1 though successful in his own time1 is very mortal4 ,sidenote3 ,gainsborough4 ,close on his knightly heels came one of the true immortals1 ,thomas ,gainsborough1 one of the best portrait-painters the world has ever seen4 ,his landscapes1 though better than any up to his time1 are not good1 and his reputation rests chiefly on his power in portraiture1 in which he was certainly a master4 ,naturalism breathes from his canvas2 he has seized the very essence of his sitters' being1 and portrayed them full of life and beauty4 ,see his portrait of ,mrs4 ,tickell and ,mrs4 ,sheridan in the ,dulwich ,gallery2 you will never forget the charm and the beauty of the ladies1 wherever you go afterwards4 ,mrs4 ,siddons1 in the ,national ,gallery1 too1 is wonderful4 ,study well these two1 and then go and gaze on a portrait by ,reynolds1 and we doubt not you will have learnt something of the gulf that separated the two painters4 ,gainsborough was1 to our mind1 the first immortal in ,english art1 and fit to rank with ,van ,eyck1 ,holbein1 ,da ,vinci1 ,titian1 and ,velasquez4 ,sidenote3 ,kauffman and ,fuseli4 ,leaving 8the ,kauffman0 and ,fuseli to those who can admire them1 we pass on to poor ,george ,morland1 a genius in his own branch of art4 ,sidenote3 ,morland4 ,this man studied and painted from life1 and his pictures bear testimony that he did so1 and notwithstanding the drawbacks caused by his unfortunate temperament1 his name lives and grows more respected every day1 for his study was nature1 and so his work will always be interesting4 ,sidenote3 ,bewick4 ,we now come to a great and deservedly well-known name--that of ,thomas ,bewick1 the engraver on wood4 ,here we have a man working in a humble way1 humble that is as compared with painting or sculpture1 yet loving and studying nature in every detail1 and following her in all her mystery and charm1 only daring now and then to add some quiet fancy of his own1 and yet he lives and his name grows greater every day4 ,a true naturalist and a real artist was he1 and his fame will be lasting4 ,when ,wilson is archaic1 ,bewick will be held up for admiration1 so powerful is the effect of the honest study of nature in his work4 ,his birds and quadrupeds we all know2 but if any reader should not know them1 he should at once get a copy and study the cuts in it4 ,mr4 ,quaritch has1 we believe1 recently issued a reprint of the book4 ,sidenote3 ,wood-engraving4 ,wood-cutting has degenerated4 ,men of little training and no artistic feeling took it up1 and slowly but surely the art decayed until it became purely mechanical1 and so it has remained in ,england4 ,now it bids fair to be superseded by photo-mechanical processes1 as it will undoubtedly be entirely superseded directly a really artistic process of reproduction is discovered for printing with the type4 ,in the ,united ,states1 however1 wood-engraving took a fresh start1 and brought photography to its aid1 and our opinion is that the effect obtained in photographs printed on albumenized paper became the effect which the wood-cutters aimed for1 and the result is a print of wonderful detail and beauty1 but for our taste it is too polished and neat1 the effect of overlaying is far too visible1 and1 in short1 it does not render nature truly1 and though far surpassing anything of the kind done in ,england1 it is1 as a work of art1 altogether eclipsed by ,bewick's work1 the reason being that ,bewick only took wood-engraving as a medium for the expression of the beauties of nature1 every line in his blocks being full of meaning4 ,but the hydra head of commercialism showed itself1 and wood-engravers with little or no feeling for or knowledge of nature set to work turning out blocks like machines4 ,photography will keep these artisans from falling utterly away from nature1 yet such work is harmful and of no artistic good to us1 though it may please the public4 ,had there been no constant returns to nature 7as there must always be in some measure when a photograph is used7 decay would be sharp and speedy1 but photography bolsters up the dying art4 ,lately several woodblocks have been produced cut from photographs1 wherein all the beauty of the photographs has been utterly lost by the engraver1 and the results are bastard slips of trade2 but we shall have more to say on this point later on4 ,one thing at any rate photography can claim3 that is so long as it can be practised1 art can never slip back to the crude work done in some eras of its decadence4 ,photography has helped many of these feeble wood-cutters immensely1 and the picier-critic calls these works 8precious40 ,it is extraordinary how men will deceive themselves4 ,sidenote3 ,water-colours4 ,now we come to a branch of art which is essentially ,english1 namely1 painting in water-colours4 ,it is not meant by this that water-colour is a new medium1 or that the ,english water-colourists were the first to use the medium1 for the tempera paintings were but water-colours1 and ,albert ,durer and others used it considerably2 but what is implied is that the ,english were the first to adopt it largely and develop it1 though it was reserved for the modern ,dutchmen and ,frenchmen to show its full capabilities4 ,the painter in water-colour has not1 of course1 the same control over his medium as he has in using oils1 and the work when finished even by the best artists1 has an artificial look that belies nature4 ,but to see really true water-colours the reader must not look for them in ,english galleries4 ,no ,englishman ever came so near to nature--to the subtleties of nature--in water-colour as do the modern ,dutch and ,french painters4 ,the reader would do well to go to ,goupil's exhibitions of modern ,dutch and ,french painters1 which are held from time to time1 and keep a look-out for water-colours1 and he should carefully study them at the ,paris ,salon4 ,prophecy is always risky and of little count1 but we would like to venture a prophecy that water-colours will never take a very prominent place in art1 because no great genius will ever be content with the medium4 ,of the bulk of ,english water-colours of to-day there is not one word of praise to be said1 and the student in art matters will do well to avoid all exhibitions of this work until he has carefully studied the best work in art1 and until he has a greater insight into nature2 and then let him go to the various water-colour exhibitions1 and if he does not receive a mental shock1 we shall be greatly surprised4 ,there is but little nature in them1 indeed but little anything except pounds1 shillings1 and pence4 ,the best of them are nauseous imitations of ,turner1 and the whole of them show an entire ignorance of the simplest phenomena of nature1 which would be startling did we not remember that most of them are painted from 8notes0 and 8memory40 ,these remarks do not of course apply to such work as is done by a few modern painters1 such as ,mr4 ,whistler1 but these paint in oils first and water-colour afterwards4 ,sidenote3 ,girtin4 ,the first man worth considering in this branch of art is ,girtin1 who was naturalistic as far as he could be1 and had he not died at such an early age 7under thirty7 the probability is that ,turner would have been eclipsed by him4 ,of ,turner we shall speak later on4 ,sidenote3 ,d4 ,cox4 ,the name of ,david ,cox rises above the men of his time2 but1 after all1 his is not the name of an immortal4 ,he aimed well1 however1 for he tried to paint the life and landscape of his time4 ,sidenote3 ,de ,wint4 ,much has been written about ,de ,wint2 but if we go to the basement of the ,national ,gallery and study ,de ,wint1 and then go to ,norfolk and study the landscape there1 we shall find ,mr4 ,de ,wint is but a sorry painter4 ,one thing1 however1 may be said in his praise4 ,he painted out of doors--not in his studio--and was no doubt a lover of nature4 ,his peasants are not the fearful travesties of ,hill1 ,barret1 and ,collins4 ,lewis and ,cotman and ,vincent have1 however1 done some better things than ,de ,wint4 ,returning to oil painting1 we must pass over the long list of names1 including ,presidents of the ,royal ,academy1 whose names are now all but if not quite forgotten1 for their peasantry of the ,opera ,bouffe1 their landscapes after ,claude1 their works of the imagination can now interest no one1 and never did interest any but the painters themselves and an uneducated public4 ,sidenote3 ,turner4 ,then we come to ,turner1 that competitor in painting4 ,to use a colloquialism--8,there is a great man gone wrong40 ,had he but lived to-day1 he might have been an immortal2 but he does not live1 and his lease of fame is not for so long a time as is generally imagined4 ,it has had an artificial afflatus through the writings of a 8splendidly false0 critic1 and1 curiously enough1 the critic1 like the artist1 has had insight enough to see the true purpose of art1 namely1 that the artist should be true to nature1 and should be an interpreter of the life and landscape of his own time2 and1 curiously enough1 the critic1 like the artist1 does not know what nature is4 ,the critic has taken ,turner as nature unalloyed1 and hence the whole of that gigantic work of his is built on sand4 ,the critic never had much1 if any1 weight with the best artists4 ,even ,turner himself was amused with the reasonings of his eulogistic logic6 and gave it out as much as a man can give out about his eulogist1 that all the tall talk about his pictures was rubbish4 ,but ,turner was sincere according to his lights4 ,to say of his earlier pictures that he painted in rivalry or imitation1 if you like1 of ,wilson1 ,poussin1 and ,claude1 is to say they are bad1 as they undoubtedly are4 ,this spirit of rivalry never seems to have deserted ,turner1 for in his will he left directions bequeathing one of his pictures to the ,academy1 on condition it should be hung side by side with a ,claude4 ,the spirit of this is1 of course1 patent4 ,he thinks he has beaten ,claude1 and that is enough4 ,no great genius would have descended to that4 ,art was to him an unending competition1 and the result was that nature was neglected2 and though he revelled in the life and landscape of his own times1 yet the small spirit of competition was his ruin4 ,had he humbly1 like ,constable1 had faith in his tenets1 and lovingly and modestly clung to nature1 his fame might have been immense and everlasting4 ,his later pictures are1 of course1 the eccentricities of senility1 and the false colourings seen by a diseased eye1 as has been lately shown1 and are as unlike nature as one could expect such work to be4 ,but let us take his 8,frosty ,morning0 at the ,national ,gallery4 ,look well at it1 and what do you find8 ,falsity everywhere1 and most of the essence and poetry of a frosty morning completely missed4 ,the truest picture by ,turner that we know is a little aquarelle at ,south ,kensington--8,a ,view on the ,thames40 ,here1 then1 when we get ,turner true to the truth which he felt in himself1 and not competing 7that we know of71 what do we find8 ,we find him immensely behind ,de ,hooghe in a truthful and poetic expression of nature1 as is well possible for so great a man4 ,the ,liber ,studiorum should also be carefully studied1 noting the falsities2 trees drawn by rule1 figures not drawn at all1 the total disregard of the phenomena of nature1 sometimes even the evidence of several suns in one picture4 ,there is no truth of tone2 no atmosphere2 the values are all wrong2 all the charm and subtlety of nature completely missed4 ,sidenote3 ,de ,hooghe and ,clays4 ,go to ,de ,hooghe or ,clays after this1 and what a difference6 ,here are no meretricious adornments1 but more nature and less of erring1 feeble man and his mannerisms4 ,turner is not the man to study1 and if you cannot 8understand him0 well and good4 ,many artists cannot and do not wish to1 for there is nothing to understand1 and many ,french painters of great ability jeer at his very name4 ,sidenote3 ,constable and ,crome4 ,with what relief we turn from ,turner to ,constable and ,crome4 ,these two ,east ,anglians are giants in the history of ,english painting4 ,all should study ,constable's works at the ,national ,gallery and ,south ,kensington2 and his life by ,leslie is well worth reading1 as showing how much of a naturalist in theory he was4 ,the best example of his work that we know is a little river scene1 with some willows1 which we saw at ,south ,kensington ,museum4 ,his work is not1 however1 perfect4 ,you feel that there is no atmosphere in his pictures4 ,this is due to their being out of tone4 ,he had not the knowledge of nature that characterized ,de ,hooghe1 and was not always faithful to his creed3 hence his failings4 ,for though we read in his life such passages as these3--8,in such an age as this1 painting should be understood1 not looked on with blind wonder1 nor considered only as poetic inspiration1 but as a pursuit--legitimate1 scientific1 and mechanical40444 8,the old rubbish of art1 the musty1 commonplace1 wretched pictures which gentlemen collect1 hang up1 and display to their friends1 may be compared to ,shakspeare's #8,beggarly ,account of ,empty ,boxes4' ,nature is anything but this1 either in poetry1 painting1 or in the fields40444 8,observe that thy best director1 thy perfect guide is nature4 ,copy from her4 ,in her paths is thy triumphal arch4 ,she is above all other teachers40444 8,is it not folly1 said ,mr4 ,northcote to me in the ,exhibition1 as we were standing before ----'s picture1 for a man to paint what he can never see8 ,is it not sufficiently difficult to paint what he does see8 ,this delightful lesson leads me to ask1 what is painting but an imitative art--an art that is to realize1 not to feign4 ,then some dream that every man who will not submit to long toil in the imitation of nature1 flies up1 becomes a phantom1 and produces dreams of nonsense and abortions4 ,he thinks to save himself under a fine imagination1 which is generally1 and almost always in young men1 the scapegoat of folly and idleness40444 8,there has never been a lay painter1 nor can there be4 ,the art requires a long apprenticeship1 being mechanical1 as well as intellectual40444 8,my pictures will never be popular10 he said1 8for they have no handling4 ,but ,i see no handling in nature40444 ,blake once1 on looking through ,constable's sketch-books1 said of a drawing of fir-trees1 8,why1 this is not drawing1 but inspiration60 and ,constable replied1 8,i never knew it before2 ,i meant it for drawing40444 8,if the mannerists had never existed1 painting would have been easily understood40444 8,i hope to show that ours is a regularly taught profession2 that it is scientific1 as well as poetic2 that imagination alone never did1 and never can1 produce works that are to stand a comparison with realities40444 8,the deterioration of art has everywhere proceeded from similar causes1 the imitation of preceding styles1 with little reference to nature40444 8,it appears to me that pictures have been overvalued1 held up by a blind admiration as ideal things1 and almost as standards by which nature is to be judged1 rather than the reverse40444 8,the young painter1 who1 regardless of present popularity1 would leave a name behind him1 must become the patient pupil of ,nature0--yet ,constable was not always true to himself4 ,sidenote3 ,crome4 ,crome1 who was1 in our opinion1 a better painter than ,constable1 was like him a naturalist1 and true to his faith4 ,there is an amusing scene in his life1 which we will quote4 8,a brother of the art met ,crome in a remote spot of healthy verdure1 with a troop of young persons4 ,not knowing the particular object of the assembly1 he ventured to address the ,norwich painter thus3 #8,why1 ,i thought ,i had left you in the city engaged in your school4' #8,i am in my school1' replied ,crome1 #8and teaching my scholars from the only true examples4 ,do you think1' pointing to a lovely distance1 #8either you or ,i can do better than that8'0 ,crome has expressed his view of art in the following remarks1 which we read in his life3--8,the man who would place an animal where the animal would not place itself1 would do the same with a tree1 a bank1 a human figure--with any object1 in fact1 that might occur in ,nature2 and therefore such a man may be a good colourist or a good draughtsman1 but he is no artist40 ,at the ,national ,gallery is to be seen a very good specimen of his work1 and one well worth studying4 ,vincent1 another ,east ,anglian1 did some wonderful work1 quite equal to ,van der ,veldes'4 ,sidenote3 ,callcott1 ,nasmyth1 ,mller1 and ,maclise4 ,we now pass over the names of ,callcott1 ,nasmyth1 ,mller1 and ,maclise1 none masters1 though they have been called 8great colourists10 whatever that may mean4 ,a great colourist should be a true colourist1 and ,mller is almost chromographic in originality in this respect4 ,sidenote3 ,creswell1 ,linnell1 and ,cooke4 ,creswell1 ,linnell1 and ,cooke1 are names that stand out at this period1 and the greatest of them is ,cooke2 his painting of 8,lobster ,pots10 at ,south ,kensington1 being wonderfully fresh and true2 but none are poets2 they have but little insight into nature1 though ,linnell at times shows the true feeling4 ,a long list of well-known names follows1 such as ,hilton1 ,haydon1 ,etty1 and ,eastlake1 but none are masters1 and we only mention them to caution against them4 ,sidenote3 ,wilkie1 ,stansfield1 ,mulready1 ,leslie1 ,landseer1 and ,mason4 ,of considerable power were ,wilkie1 ,stansfield1 ,mulready1 ,leslie1 ,landseer1 and ,mason1 but none of them was really good1 although much has been written and said in praise of their works4 ,they are all false in sentiment1 and all lack insight into the poetry of nature4 ,sidenote3 ,wilkie and ,landseer4 ,in technique ,wilkie and ,landseer are often strong1 and they will always appeal to a certain class of people4 ,sidenote3 ,mason4 ,mason's work is a fine example of the folly of introducing the so-called 8imaginative0 into landscape4 ,take his 8,harvest ,moon10 when and where did ever men exist with such limbs8 the whole picture smacks of the model and of the 8stage idealism20 there is no nature there1 but a laughable parody of it4 ,sidenote3 ,f4 ,walker4 ,the next really great name in ,english art is that of ,frederick ,walker1 a naturalist1 and above all an artist who had a great grip of and insight into nature4 ,but in his work the traditions of the idyllic peasants of the golden age lingers1 and we find his ploughman merrily running along with a plough as though it were a toy cart2 and what a ploughman6 he never saw a field in his life4 ,this is a grave fault1 and takes away from the greatness of ,walker1 yet notwithstanding this his name will always be a landmark in ,english art4 ,the reader will be able to study one of his works in the ,national ,gallery4 ,the date of ,walker's death brings us down to the actual present4 ,regarding living ,english painters we will remain discreetly silent4 ,it must be remembered that ,english art is young1 beginning as it practically does in the eighteenth century1 for the miniature-painters cannot count for much1 and we must therefore not expect too much4 ,great men1 especially great artists1 are rare as ,koh-i-noors4 ,england can boast of a few1 such as ,gainsborough1 and ,constable and ,crome4 ,sidenote3 ,american ,art4 ,of ,american art there is but little to say4 ,sidenote3 ,whistler4 ,no name stands out worthy of record till ,j4 ,m4 ,whistler appears1 and he1 though an ,american by birth1 can hardly be called an ,american painter1 for the life and landscape of his own country he neglects1 as also do,sidenote3 ,sargent and ,harrison4 ,sargent and ,harrison1 two strong painters1 both ,french by education4 ,whistler's name rises far above any artist living in ,england1 his portrait of his mother and those of ,carlyle and ,sarasate are works good for all time and worthy to be ranked with the best4 ,mr4 ,whistler's influence1 too1 has been great and good4 ,as a pioneer he led the revolt against ignorant criticism by his attack on ,ruskin4 ,vide 8,art and ,art ,criticism1 ,whistler v4 ,ruskin40 ,his life in ,england has been a long battle for art1 and though many do not approve of all his methods1 and still less of his brilliant but illogical 8,ten o',clock10 his work and influence have been for good4 ,another great step in advance1 introduced by ,mr4 ,whistler1 has been the reform in hanging pictures2 though he has not been allowed to carry out his plans thoroughly1 yet he has managed his exhibitions much more artistically than any others in the country4 ,in landscape his night-scene at ,valparaiso is marvellous1 and we doubt whether paint ever more successfully expressed so difficult a subject4 ,but even as ,homer nods1 so does at times ,mr4 ,whistler1 and sometimes 8impressions0 in oil1 water-colour1 and etching appear with his name1 an honour of which they are unworthy4 ,yet so long as art lives will ,mr4 ,whistler live in his ,carlyle1 his portrait of his mother1 ,lady ,campbell1 and some smaller works4 ,sidenote3 ,sargent4 ,mr4 ,sargent's ,carnations and ,lilies must be fresh in our readers' minds4 ,we will only say of it that we never saw the actual physical facts of nature so truthfully and subtly rendered4 ,it is indeed a picture whose title to admiration will be lasting1 and if the reader has not already seen it or1 having seen it1 has listened to ignorant critics1 and passed it over as being 8ugly10 let him go to ,south ,kensington and view it again1 for the nation is its fortunate possessor4 ,let him look well at it1 and consider what it is4 ,it represents a garden at the time of day when the sunlight is fading but has not quite gone--crepuscule in fact1 and with the dying light of day is represented the artificial light of ,chinese lanterns4 ,this is indeed a masterpiece4 ,sidenote3 ,harrison4 ,mr4 ,harrison's 8,in ,arcady0 is wonderful in its effect of sunshine through trees1 though the picture is marred by the low type of the models introduced and by the painting of the figures4 ,had it but been pure landscape it would have been a wonderful piece of work4 ,never have we seen the effect of noontide heat so well rendered4 ,this1 then1 brings us to the end of ,american art1 and it is to be hoped that men strong as these will go back to their own country and paint the life of their own land and time4 ,sidenote3 ,hunt4 ,william ,hunt is a man much thought of in ,america1 but we have never seen any of his paintings1 though his book shows him to be a naturalist to the heart1 and the reader will do well to read it4 ,here1 then1 we must leave ,england and ,america1 only remarking that things look bad for the education of the ,american public when the best ,americans stay away1 and when rich sausage-makers buy ,herbert's works with which to educate themselves1 and when catalogue compilers take over boat-loads of ,english water-colours with which still further to lead them wrong4 ,america wants no such education as can be given by ,herbert's senilities or ,english water-colours4 ,she wants a band of earnest young men1 who1 having learned their technique in the best schools in the world1 namely those of ,paris1 shall return to ,america and paint the scenes of their own country1 and therein only lies the hope for ,american art4 ,,dutch ,,art4 ,sidenote3 ,rembrandt4 ,the first mighty name of the modern period is that of ,rembrandt ,van ,ryn4 ,holland1 by her bravery1 had thrown off the ,spanish yoke1 and with it the crushing yoke of ,catholicism1 and stood free to follow her own bent4 ,as a result of this freedom a body of ,naturalists arose who did more for modern art than any body of painters in the world4 ,rembrandt1 though a giant and fit for the company of the immortals1 ,van ,eyck1 ,velasquez1 c41 was not perfect1 for sometimes the power of tradition lurks in his work1 and he forces his portraits by warm colours in the background1 an artifice which was not at all necessary1 and which ,mr4 ,whistler has done without4 ,there are a number of his works in the ,national ,gallery1 and a good one in the ,dulwich ,gallery1 where is also a great ,velasquez1 so that the reader should not fail to go there4 ,rembrandt was inspired by the simple life around him1 portraits and interiors satisfied him4 ,it is a significant fact that the greatest painters1 ,durer1 ,da ,vinci1 ,velasquez1 and ,rembrandt have been content to paint the life of their own times and not to draw upon their imagination4 ,the learned painter1 it cannot be too often repeated1 is he who is learned in all the resources of his art1 and we question very much whether one great reason why so few great painters have arisen is not that artists as a rule are so poorly and narrowly educated4 ,at any rate1 the opposite holds good1 that the most highly and soundly educated artists1 men who moved and held their own in the best intellectual societies of their time1 were naturalists4 ,but to return to ,rembrandt4 ,perhaps his mastery1 his grip of nature1 show forth as much in his etchings as in his paintings4 ,sidenote3 ,etchings4 ,he1 like all great etchers1 and there are few enough1 used etching only within its legitimate limits1 that is1 as a method of expression by line1 in a simple1 direct and brief manner4 ,an etching by a master may be looked upon in the same light as an epigram1#f sonnet or ode by a poet4 ,many of ,rembrandt's etchings can be seen in the ,british ,museum1 and should be thoroughly well studied2 after which study1 pick up some of the unmeaning work of ,seymour ,haden or any other modern etcher1 except ,mr4 ,whistler and ,rajon1#g and you will1 without doubt1 distinguish the difference4 ,most modern works are good examples of how not to etch4 ,line after line is put in without any meaning at all2 there is no evidence of the study of nature in the work and the subjects are trivial and commonplace4 ,one of the greatest evils commercialism has done to art is to ruin modern etching1 by having pictures of the old masters copied slavishly by the etcher1 and elaborated and worked up1 so that one wearies of them4 ,such work can scarcely be said to rise to the dignity of fine art at all1 and ,rembrandt1 we think1 would rise in horror from his grave1 if he could see his paintings reproduced by etchers4 ,any reproduction of a picture is unsatisfactory and does not become fine art at all1 but is only useful to publish reflections of the mind whose work it is intended to represent1 and for our part we think a good photo-etching does this better1 because more faithfully1 than any other process4 ,it is difficult to imagine the mind that can set itself to work for months1 even years1 at an engraving or etching from another man's work when the world is so full of pathos and poetry1 and subjects abound on all sides4 ,no great man was ever found in this category4 ----- ,footnote #f3 ,epigram here being used in the old ,greek sense4 ,footnote #g3 ,now dead4 ----- ,durer and ,rembrandt etched1 and ,mr4 ,whistler etches from ,nature direct1 not impertinently--there is no other word for it--tampering with other men's work4 ,but the public will buy these reproductions1 and an artificial value is thus given to them1 and the dealers will of course encourage whatever pays4 ,sidenote3 ,print-sellers4 ,one etching by ,rembrandt himself is worth all these reproductions of pictures by engraving1 etching1 mezzo-tint1 or photo-etching1 because it is an original work of art1 the outcome of the loving study of nature4 ,not long ago a letter appeared in one of the literary 8weeklies10 complaining of the stamping of photogravures by the ,print-sellers' ,association4 ,the obvious answer to this print-seller's letter is1 of course1 that with the works of living painters1 the style of reproduction rests with the painter1 and if the artist is satisfied with photo-etching1 what has any one else to say--painters are the best judges of these things4 ,very few painters we know would entrust the reproduction of their pictures to etchers or engravers1 or would countenance the publication of another man's view of their work4 ,we have seen photographs of ,whistler's ,sarasate1 but never engravings of it4 ,with bad paintings on the other hand1 the engraving of them has often made the painter's name as well as the engraver's4 ,we could cite an example of a living painter who owes his reputation chiefly to the engravings of his works1 and poor things they are even when embellished by the process4 ,at the time this discussion was raging amongst the philistines1 it was gravely asserted that 8engravings always rose in price10 and this was given as a reason for buying them4 ,have the engravings of ,mr4 ,landseer's pictures risen in price6 ,ask the poor subscribers to the first copies4 ,will the engravings of ,dor's works rise in price8 ,quien sabe8 ,if the reader is under any such erroneous idea1 let him attend a few sales of engravings in ,london1 and he will see proofs of etchings and engravings knocked down for a few shillings4 ,sidenote3 ,van ,ostade4 ,leaving with regret the great ,rembrandt1 we pass over several smaller but often-quoted names1 the most influential name we come to is ,van ,ostade1 another naturalist of great power1 of whom we have already spoken4 ,sidenote3 ,de ,hooghe4 ,next we come to ,de ,hooghe4 ,this is the man who first really gripped thoroughly and expressed truly on canvas the mystery and poetry of the open air4 ,there are two specimens 7courtyards7 of this wonderful painter's work at the ,national ,gallery4 ,they are an education in themselves1 and are well worth long and careful study for hours1 indeed there are few pictures more worthy of study4 ,there they hang1 fresh as nature and beautiful as paint can express1 good1 valuable for all time--why8 ,because the painter has known how to give the sentiment of plein air4 ,there they hang true and lovely1 pictures of ,dutch life in the seventeenth century4 ,no history can come up to them in historic value1 none can be so true4 ,sidenote3 ,cuyp4 ,cuyp we will pass over with few words4 ,a great second-rate man he undoubtedly was1 but his hot colouring smacks of the imagination rather than of nature4 ,paul ,potter and ,ruysdael also are men with unduly great reputations2 they are both false in sentiment1 and they handled nature with impertinence4 ,any careful observer can see that ,ruysdael played with the lighting of landscapes as did ,turner1 and of course it is well known that he was not particular as to painting his landscapes on the spot4 ,there is no nature in him1 it is all ,ruysdael1 ,ruysdael1 ,ruysdael1 eternally ,ruysdael4 ,sidenote3 ,hobbema4 ,hobbema at times verged near the truth and greatness1 as for instance in the painting of a road with trees1 in the ,national ,gallery1 which our readers will do well to study2 but he is insincere and untrue all through and was not a naturalist4 ,sidenote3 ,van der ,velde4 ,in sea painting1 ,van der ,velde the younger is wonderful in his truth and love of nature4 ,good specimens of his work can be seen in the ,national ,gallery4 ,sidenote3 ,israels4 ,coming down to our own times1 the elder ,israels stands out as a giant1 a distinguished master4 ,we have only been able to see a few of his pictures1 but those show us the master4 ,hopeful1 indeed1 is the art of ,holland and ,belgium with such men as ,artz1 ,mauve1#h ,maas ,m4 ,maris1 ,mesdag1 ,boosboom1 and others4 ,the reader will often have opportunities of seeing works by these men at the ,french ,gallery1 the ,hanover ,gallery1 and ,goupil's1 and he should take every opportunity of studying their works most carefully4 ----- ,footnote #h3 ,now dead4 ----- ,,france4 ,and now1 lastly1 we come to ,france--,france where art has in modern times reached its highest level4 ,france has in modern times always been the leader of civilization in ,europe1 and even now she is in the van of modern progress1 our intellectual mother4 ,we may have a finer literature to show1 in ,germany science may be more profound1 but in all that is greater than literature or science1 that is in solving the problem of being and throwing off the yoke of religious and political despotism1 ,france has become the leader4 ,practical1 energetic1 and thrifty1 the ,french with all their faults1 still remain in many ways the first nation of the world4 ,france and the ,french have more of the ,ancient ,greek's esprit than any other nation has or ever has had4 ,in all the humanizing influences that distinguish brute man from civilized man1 the ,french are to the fore1 but in histrionic1 glyptic and pictorial art1 she is unapproachable1 and still reigns ,queen of the ,arts1 in these branches4 ,sidenote3 ,poussin and ,le ,brun4 ,passing over ,nicolas ,poussin1 ,le ,brun and other lesser names1 whose works are not those of masters1 ,sidenote3 ,claude ,lorraine4 we arrive at ,claude ,lorraine1 who may claim to have an inkling of the truth and whose work shows a distinct advance on ,poussin1 but who after all is no master because not loyal to nature1 and therefore his already doubtful reputation will go on diminishing4 ,sidenote3 ,watteau4 ,the first name that really stands forth as great in ,french art is that of ,watteau4 ,watteau1 however1 cannot be ranked among the ,immortals1 for though his technique was marvellous1 and his power of drawing unsurpassed1 he like all his contemporaries1 artists and otherwise1 neglected nature1 living as they did in the artificial times of ,louis ,,xiv4 ,there is a picture in the ,national ,gallery which well explains what we mean4 ,then name after name is handed down to us1 but in vain do we look for a master among them4 ,sidenote3 ,boucher and ,greuze4 ,boucher and ,greuze still have admirers1 but they are not great painters1 because they did not study nature or at least did not succeed in painting her1 as it is very easy to see from their works4 ,sidenote3 ,delacroix4 ,delacroix strove to rise from the artificial influence of the time1 but he was not strong enough to become a master4 ,sidenote3 ,ingres4 ,it was reserved for ,ingres to make a real advance4 ,he1 though imbued to some extent with the old spirit of classicism1 was a deep lover of nature1 and the story of the struggle for the mastery between those two opposing tendencies is the story of his art and life4 ,though he rises above all previous painters of his country1 he cannot be ranked with the masters4 ,with ,ary ,scheffer there was a retrogression which in its turn was counteracted by ,delaroche4 ,sidenote3 ,delaroche4 ,it was ,delaroche who afterwards said an artist would one day have to use photography4 ,still1 in vain do we look for a genius1 and until ,constable's pictures exhibited in #ahbd in ,paris1 aroused the ,french as to the real aims of art1 no really great master appears4 ,but when practical ,france saw1 she immediately took up naturalism4 ,sidenote3 ,descamps4 ,then we have first ,descamps1 who took up the newly revived ideas1 but failed1 and ,rousseau made the real departure--the poetry and mystery of nature roused in him an ardent sympathy1 and all honour to him for struggling on at ,barbizon1 in the face of the neglect and contumacy of the ,salon4,sidenote3 ,rousseau4 ,but ,rousseau1 hero though he was1 never rose to be a mighty painter1 and his works fall far behind those of the best painters of to-day1 but as a pioneer his name will always be remembered1 and though he failed1 he at least took ,nature as his watchword4 ,sidenote3 ,corot4 ,after ,rousseau came ,corot1 a master good for all time4 ,his early works show signs of the classical spirit1 from which he had not yet shaken himself free1 thus we sometimes see in his early works1 peasants strangely habited and reminding one of the seventeenth century or ancient ,greece1 which is of course ridiculous2 but his later work is true and great4 ,full of breadth and feeling for the subtleties and poetry of nature1 he has never been surpassed4 ,examples of his work in ,england can sometimes be seen in the ,french ,gallery1 the ,hanover ,gallery and at ,goupil's1 but it must be remembered that great as ,corot is1 there is much of his work that is bad4 ,sidenote3 ,daubigny4 ,another great painter is ,daubigny1 a contemporary of ,corot's1 and though not such a subtle observer as ,corot1 still he is a painter whose work has had great influence and will live though it has been surpassed by younger men4 ,sidenote3 ,troyon4 ,troyon was another who like ,corot loved and studied and painted from nature1 but he lacked the insight into nature that ,corot had1 and his work is not as true as that of his contemporary4 ,sidenote3 ,millet4 ,at length1 however1 we arrive at an ,immortal name1 that of ,jean ,franois ,millet4 ,this great man must not be confounded with two ,jean ,franois ,millets who lived years before1 and who were not artists at all though painters4 ,everything about ,j4 ,f4 ,millet the ,great1 is worthy of study4 ,let the student seize every chance of studying his works1 chances which will1 alas6 be rare enough as many of his best pictures are in ,america and most of the others in ,france4 ,his pastels and water-colours are not very good1 but his etchings which 7reproduced7 can be seen in the ,british ,museum1 are valuable for strength and power4 ,here is a directness of expression never surpassed4 ,before leaving him we will quote a few passages from his letters3-- ,sidenote3 ,j4 ,f4 ,millet4 8,i therefore concede that the beautiful is the suitable4444 ,understand that ,i do not speak of absolute beauty1 for ,i do not know what it is1 and it seems to me only a tremendous joke4 ,i think people who think and talk about it do so because they have no eyes for natural objects2 they are stultified by #8finished art1' and think nature not rich enough to furnish all needs4 ,good people1 they poetize instead of being poets4 ,characterize6 that is the object4 8,when ,poussin sent to ,m4 de ,chantelon his picture of the #8,manna1' he did not say1 #8,look1 what fine pte6 ,isn't it swell8 ,isn't it tip-top8' or any of this kind of thing which so many painters seem to consider of such value1 though ,i cannot see why they should4 ,he says3 #8,if you remember the first letter which ,i wrote to you about the movement of the figures which ,i promised you to put in1 and if you look at the whole picture ,i think you will easily understand which are those who languish1 which are filled with admiration1 those who pity1 those who act from charity1 from great necessity1 from desire1 from the wish to satiate themselves1 and others--for the first seven figures on the left hand will tell you all that is written above1 and all the rest is of the same kind6' 8,very few painters are sufficiently careful as to the effect of a picture seen at a distance great enough to see all at once1 and as a whole4 ,even if a picture comes together as it should1 you hear people say1 #8,yes1 but when you come near it is not finished6' ,then of another1 which does not look like anything at the distance from which it should be seen1 #8,but look at it near by2 see how it is finished6' ,nothing counts except the fundamental4 ,if a tailor tries on a coat1 he stands off at a distance enough to see the fit4 ,if he likes the general look1 it is time enough then to examine the details2 but if he should be satisfied with making fine button-holes and other accessories1 even if they were chefs-d'uvre1 on a badly-cut coat1 he will none the less have made a bad job4 ,is not this true of a piece of architecture1 or of anything else8 ,it is the manner of conception of a work which should strike us first1 and nothing ought to go outside of that4 ,it is an atmosphere beyond which nothing can exist4 ,there should be a milieu of one kind or another1 but that which is adopted should rule4 8,as confirmation to the proposition that details are only the complement of the fundamental construction1 ,poussin says1 #8,being fluted 7pilasters7 and rich in themselves1 we should be careful not to spoil their beauty by the confusion of ornament1 for such accessories and incidental subordinate parts are not adapted to works whose principal features are already beautiful1 unless with great prudence and judgment1 in order that this may give grace and elegance1 for ornaments were only invented to modify a certain severity which constitutes pure architecture4' 8,we should accustom ourselves to receive from nature all our impressions1 whatever they may be1 and whatever temperament we may have4 ,we should be saturated and impregnated with her1 and think what she wishes to make us think4 ,truly1 she is rich enough to supply us all4 ,and whence1 should we draw1 if not from the fountain-head8 ,why for ever urge1 as a supreme aim to be reached1 that which the great minds have already discovered in her1 because they have ruined her with constancy and labour1 as ,palissy says8 ,but nevertheless1 they have no right to dictate for mankind one example for ever4 ,by that means the productions of one man would become the type and the aim of all the productions of the future4 8,men of genius are gifted with a sort of divining-rod2 some discover in nature this1 others that1 according to their kind of scent4 ,their productions assure you that he who finds is formed to find2 but it is funny to see how1 when the treasure is unearthed1 people come for ages to scratch at that one hole4 ,the point is to know where to find truffles4 ,a dog who has not scent will be but a poor hunter if he can only run at sight of another who scents the game1 and who1 of course1 must always be the first4 ,and if we only hunt through imitativeness1 we cannot run with much spirit1 for it is impossible to be enthusiastic about nothing4 ,finally1 men of genius have the mission to show1 out of the riches of nature1 only that which they are permitted to take away1 and to show them to those who would not have suspected their presence1 nor ever found them1 as they have not the necessary faculties4 ,they serve as translators and interpreters to those who cannot understand her language4 ,they can say1 like ,palissy1 #8,you see these things in my cabinet4' ,they1 too1 may say1 #8,if you give yourself up to nature1 as we have done1 she will let you take away of these treasures according to your powers4 ,you only need intelligence and good will4' 8,it must be an enormous vanity or an enormous folly that makes certain men believe that they can rectify the pretended lack of taste or the errors of ,nature4 ,on what authority do they lean8 ,with them who do not love her1 and who do not trust her1 she does not let herself be understood1 and retires into her shell4 ,she must be constrained and reserved with them4 ,and1 of course1 they say1 #8,the grapes are green4 ,since we cannot reach them1 let us speak ill of them4' ,we might here apply the words of the prophet1 #8,god resisteth the proud1 and giveth grace to the humble4' 8,nature gives herself to those who take the trouble to court her1 but she wishes to be loved exclusively4 ,we love certain works only because they proceed from her4 ,every other work is pedantic and empty4 8,we can start from any point and arrive at the sublime1 and all is proper to be expressed1 provided our aim is high enough4 ,then what you love with the greatest passion and power becomes a beauty of your own1 which imposes itself upon others4 ,let each bring his own4 ,an impression demands expression1 and especially requires that which is capable of showing it most clearly and strongly4 ,the whole arsenal of nature has ever been at the command of strong men1 and their genius has made them take1 not the things which are conventionally called the most beautiful1 but those which suited best their places4 ,in its own time and place1 has not everything its part to play8 ,who shall dare to say that a potato is inferior to a pomegranate8 8,decadence set in when people began to believe that art1 which she 7,nature7 had made1 was the supreme end2 when such and such an artist was taken as a model and aim without remembering that he had his eyes fixed on infinity4 8,they still spoke of ,nature1 but meant thereby only the life-model which they used1 but from whom they got nothing but conventionalities4 ,if1 for instance1 they had to paint a figure out of doors1 they still copied1 for the purpose1 a model lighted by a studio light1 without appearing to dream that it had no relation to the luminous diffusion of light out of doors--a proof that they were not moved by a very deep emotion1 which would have prevented artists from being satisfied with so little4 ,for1 as the spiritual can only be expressed by the observation of objects in their truest aspect1 this physical untruth annihilated all others4 ,there is no isolated truth4 8,the moment that a man could do something masterly in painting1 it was called good4 ,if he had great anatomical knowledge1 he made that pre-eminent1 and was greatly praised for it1 without thinking that these fine acquirements ought to serve1 as indeed all others should1 to express the thoughts of the mind4 ,then1 instead of thoughts1 he would have a programme4 ,a subject would be sought which would give him a chance to exhibit certain things which came easiest to his hand4 ,finally1 instead of making one's knowledge the humble servant of one's thought1 on the contrary1 the thought was suffocated under the display of a noisy cleverness4 ,each eyed his neighbour1 and was full of enthusiasm for a manner40 ,sidenote3 ,bastien-,lepage4 ,bastien-,lepage we had judged from reproductions1 but we find lately1 on seeing some of his work1 that we had all along misjudged him1 thinking him a much greater painter than he really is4 ,this study of ,bastien-,lepage has been a revelation to us of the quite misleading and dangerous power of reproductions of a painter's work in black and white4 ,all the black and white reproductions that we have seen of this painter's work give the impression of much greater work than the originals really are1 and we would caution all our readers against judging of any painter's or sculptor's work by a reproduction by any method1 from etching to cheap wood-cutting1 for they may be woefully misled4 ,we feel sure these reproductions--no matter of what kind--will have a very harmful effect on art1 and will give quite wrong opinions of work2 and they are1 no matter of what kind1 whether etching1 engraving1 photo-etching1 woodcut1 or photograph1 to be strongly condemned4 ,bastien-,lepage is not even always strong in drawing1 and his sentiment is often false1 untrue1 and brutal1 and not nearly so fine as ,courbet's sentiment1 yet ,courbet's preceded him2 he was but a follower1 where ,courbet was a leader4 ,sidenote3 ,breton and ,lhermitte4 ,of the older living painters1 ,jules ,breton and ,lhermitte stand out as strong men2 but ,breton has long ago been passed1 and ,lhermitte is not the man he was1 but some of ,lhermitte's work will live always4 ,there is a remarkably fine ,lhermitte in the ,luxembourg1 which every one should try and see4 ,both are naturalistic painters4 ,of other living painters much might be written1 for they1 in our opinion1 represent the acme of painting and its highest development4 ,we feel that we never saw painting done to perfection until we saw the ,paris ,salon1 and we strongly recommend all readers of this book1 after they have studied the pictures and sculptures here referred to1 and have some insight into nature1 to make without fail a yearly pilgrimage to the ,french ,salon1 where they will see painting at its highest development1 though of course there is much bad work in the ,salon1 as at other exhibitions4 ,the marvellous pastel work1 aquarelles1 and charcoal drawings will all show them how immeasurably behind ,france1 ,england is in all the pictorial arts4 ,englishmen do not know what drawing is--therein lies the cause of their failure4 ,this very year we went to the ,academy the day after seeing the ,salon1 and what a fall was there6 ,of living ,french painters the work the student should carefully study is that of ,meissonier1#i ,cabanel1 ,carolus ,duran1 ,pelouse1 ,protais1 ,detaille1 ,perrandeau1 ,doucet1 ,petitjean1 ,busson1 ,landelle1 ,appian1 ,cazin1 ,harpignies1 ,la ,touche1 ,lansyer1 ,le ,roux1 ,c4,m4,g41 ,abraham1 ,anthonissen1 ,moreau de ,tours1 ,nys1 ,nobillet1 ,marinier1 ,michel ,m4 ,japy1 ,carne1 ,vallois1 ,jan-,monchablon1 ,joubert1 ,boucher1 ,j4 ,f41 ,cabrit1 ,durot1 ,poithevin1 ,beauvais1 ,denant1 ,dufour1 and many others whose names we forget for the moment1 but1 be it said1 all naturalistic painters to a marvellous degree4 ----- ,footnote #i3 ,now dead4 ----- ,this brings us to the end1 so we will leave painting with ,france in the van and ,holland and ,belgium closely following and ,america and ,england floundering in the rear of these three1 for we are no believers in the tall talk of the greatness of the immediate future of ,english painting1 though there is good hope since an earnest and sincere band of young artists has arisen in ,england whose watchword is 8,naturalism40 ,,sculpture4 ,with sculpture the same old story greets us that we meet with in the history of painting4 ,after the masterpieces of ,greece come the puerile conventionalities of the ,early ,christians4 ,sidenote3 ,niccola ,pisano4 ,but as we have hitherto done so shall we continue--that is1 we shall discuss the masters only1 and the first we come to is ,niccola ,pisano4 ,though his work shows that he was still imbued with the spirit of classicism1 yet he struggled to throw off the paralyzing conventionality of servile imitation1 and tried hard to get back to nature1 and some of his sculptures in ,pisa are wonderful for expression4 ,he was the pioneer where followed the great ,donatello4 ,pisano's son worked in the same direction as his father1 and has left some wonderful architectural monuments and sculptures1 but his fame rests chiefly on his architectural works1 with which we are not here concerned4 ,sidenote3 ,andrea and ,nino ,pisano4 ,andrea and ,nino ,pisano made great strides towards truth and naturalness1 and so paved the way for the great man to come4 ,sidenote3 ,ghiberti4 ,they were immediately followed by ,ghiberti1 who spent many years of his life in working at the well-known mighty doors of the baptistery at ,pisa4 ,these great gates1 however1 show no subtlety of the sculptor's art4 ,tonality there is none2 the whole is rather a kind of emblematic picture-writing than sculpture1 but ,ghiberti says he spent his time in 8studying nature and investigating her methods of work10 so that even though he did not succeed1 nature was his watchword4 ,sidenote3 ,donatello4 ,but all these sink into insignificance before the mighty name of ,donatello4 ,like all true and great artists1 ,donatello appreciated the limits of his art1 made naturalism his watchword1 and followed his principles with sincerity4 ,whilst we are now writing1 the wonderful low relief of ,st4 ,cecilia1 which is on view at ,burlington ,house1 is fresh in our mind4 ,there is the work in dark marble1 looking as fresh1 beautiful1 lifelike1 and artistic1 as it did the day it left the artist's hand4 ,what simplicity1 what truth of impression1 and what subtle tonality is there seen6 ,those who remember this masterpiece may have noticed the way in which the outline of the neck is raised1 and how untrue it looked close to2 but at a distance the impression was perfect1 and the suggestion of shadow most beautifully rendered4 ,that the modelling of the mouth is feeble is obvious1 but where is perfection8 ,casts of this work can be had for a mere trifle from ,bruciani1 ,covent ,garden1 and we strongly recommend those who have not seen the original to get one1 for a suggestion of such work is better than a gallery of trash4 ,there is another fine specimen of ,donatello's work in low relief at ,south ,kensington1 but in that there is the mark of the allegorical1 and it just misses the distinguished and simple character of the ,st4 ,cecilia4 ,we do not care for his ,judith and ,holofernes1 though it is one of the most noted of his works1 and owes its renown more to its historical association than to its artistic qualities4 ,where ,donatello relied on nature1 however1 his work is unsurpassed for truth and subtlety4 ,it was natural that such a great man should have many followers1 but1 like most imitators of genius1 they copied his bad points and none of his good ones1 for these they could not attain to1 not being geniuses themselves4 ,sidenote3 ,vittore ,pisano4 ,the wonderful medals of ,vittore ,pisano or ,pisanello must not be forgotten1 as they are well worthy of study4 ,the student can get casts of most of these for a trifling sum1 and we strongly recommend him to buy a few casts of ,pisanello's medals4 ,sidenote3 ,della ,robbia4 ,the work of the ,della ,robbia family is so well known that we must touch upon it1 although for most of it we care little or nothing1 the medium1 a glazed terracotta1 being unnatural4 ,lucca1 the greatest of the family1 worked1 however1 at first in marble4 ,here and there in his work one meets with a beautiful face1 and often with fine expressions1 but the whole lacks simplicity and fineness4 ,he was more a decorative artist than a sculptor4 ,sidenote3 ,m4 ,angelo4 ,cellini4 ,canova4 ,of ,michael ,angelo we have spoken4 ,benvenuto ,cellini1 a name well known1 was a master in gold-working1 but hardly a sculptor4 ,many lesser names follow1 but no immortal is again seen in ,italy2 for though ,canova made a name of some sort1 he was no master4 ,after ,michael ,angelo came imitation and decline4 ,neglect of nature1 together with patronage1 killed the spark of art1 and so thoroughly killed it that even writers on art who had no art-training were listened to1 as ,winckelmann and ,lessing1 ,sidenote3 ,thorwaldsen4 but their work only produced an artificial afflatus1 as ,canova and ,thorwaldsen proved1 for both were small men1 false in sentiment1 and with little or no insight into nature4 ,we say this advisedly1 after seeing much of ,canova's work and nearly all that of ,thorwaldsen4 ,there is no nature in their works1 but in addition to a classical sentiment a puerile realism which is still in vogue in ,italy to-day in such work as a ,pears delights in1 8,you ,dirty ,boy0 and other trivialities4 ,england1 ,spain1 ,holland1 and ,america seem1 up to the present1 not to have produced a single sculptor1 but1 in our humble opinion1 the young sculptors of ,england will lead the way in the twentieth century1 and the world may look for the advent of an immortal master and for work which will surpass the ,greeks4 ,sidenote3 ,modern ,french sculptors4 ,at present ,france leads the way1 and has some strong men in ,jouffrey1 ,aub1 ,falguire1 ,rodin2 but there1 too1 the tendency seems to be towards a fumbling realism and petty motif4 ,there is much talk of ,french sculpture being in advance of ,french painting4 ,sidenote3 ,future of ,english sculpture4 ,we do not believe it1 and we feel that ,england is at present the only country where there is any distinct and original school of sculpture1 with such modellers as ,gilbert and ,onslow ,ford1 and with such a sculptor as ,havard ,thomas1 to say nothing of younger men1 the outlook is very bright indeed4 ,sidenote3 ,final advice4 ,and now we must end the chapter with the final advice to the student to study deeply all good examples of the great artists whose work we have noted1 and to leave all others alone4 ,by and by the student will find that he is in a position to compare the good with the bad1 then will it be time enough for him to look at the second-rate work1 much of which contains fine passages here and there and special merits of its own2 but these cannot be appreciated until the student has considerable knowledge1 and that is only to be obtained by a serious study of nature and of the work of the best masters here cited4 ,sidenote3 ,barometer of naturalism4 ,finally1 we think we have shown that 8,naturalism0 has been the watchword of all the best artists1 and that1 after all1 there are but few artists in any age4 ,many painters and modellers and sculptors there be1 but artists are few indeed4 ,one point which has impressed us in the inquiry into naturalistic art is the curious regularity with which so-called 8imaginative0 painters have appeared and made reputations for themselves in the after-glow1 so to speak1 of the setting sun of naturalism4 ,it would appear that painters who have lived in an age of strong men have got fairly staggered by the good naturalistic work of their age1 and have instinctively felt that1 being no match for the great masters on their own lines1 that their only way to fame and fortune is by eccentricity1 and in assuming a superior tone of culture by the production of allegorical or classical inanities4 ,the uneducated of their own generation1 thoroughly tired of a naturalism whose aim they have never understood1 hail with delight any novelty or new departure1 and they praise puerility and falseness of colour as colour1 false drawing as idealizing1 conventional composition as original1 the conventional and modern treatment of draperies beneath which no anatomy is discernible as an idealized and poetic treatment of drapery1 and finally1 in the subject of the picture they often mistake sentimentality for sentiment and sentiment for poetry4 ,thus these weaker men rise to fame1 and many follow where they lead4 ,but the generation which gave them fame dies1 and a new generation1 which has forgotten the triumph of the naturalistic masters of the past generation1 wearies of them1 and naturalistic work is again appreciated4 ,the story of art seems to us like the mercury in a barometer1 ever oscillating upwards and downwards1 ever up towards the acme of naturalism1 and ever down towards the abyss of conventionality and classicism4 ,if we mentally map out the readings of this barometer on a chart1 we shall find naturalism triumphant as the apex of each curve1 whilst in the ascending curve will be found the strugglers towards naturalism1 and in the descending curve the fallers away from naturalism4 ,sidenote3 ,the masters4 ,on the apices of these curves will be found triumphant the masters1 such as the sculptors of the ,egyptian lions1 the sculptors of the ,assyrian lion-hunts1 ,pheidias1 ,van ,eyck1 ,durer1 ,holbein1 ,da ,vinci1 ,titian1 ,velasquez1 ,donatello1 ,rembrandt1 ,de ,hooghe1 ,corot1 ,millet1 ,gainsborough1 and ,whistler4 ,,chapter ,,iii4 ,,phenomena ,,of ,,sight1 ,,and ,,art ,,principles ,,deduced ,,therefrom4 ,sidenote3 ,introduction4 ,having thus demonstrated that the best artists have always tried to interpret nature1 and express by their art an impression of nature as nearly as possible similar to that made on the retina of the human eye1 it will be well to inquire on scientific grounds what the normal human eye really does see4 ,sidenote3 ,the argument4 ,our contention is that a picture should be a translation of a scene as seen by the normal human eye4 ,that the impression will vary with individuals1 there is no doubt1 for the artist will see subtleties never dreamed of by the commonplace or uneducated eye1 and his aim will1 of course1 be to portray those subtleties in his picture1 and hence one source of individuality in a work1 another being in the way in which it is done4 ,our task now shall be to examine into the physical1 physiological and psychological properties of sight1 and to arrive at a conclusion1 in so far as science allows us1 as to how the normal eye does see things4 ,the student will do well to read ,chapter ,,ii4 of ,book ,,iii4 of ,dr4 ,michael ,foster's 8,text ,book of ,physiology10 as well as the matter on the eye in ,ganot's ,physics1 before going any further in this chapter1 for we do not wish to go over ground which has been occupied previously1 our aim being to give a view from the artistic standpoint of the physical1 physiological1 and psychological properties of eyesight4 ,we will1 then1 proceed to consider how well we see external nature1 that is1 within what limits1 for we never see her exactly as she is1 as we shall show4 ,sidenote3 ,optic nerves4 ,to begin with1 then1 the retinal nerves are strictly reserved to respond to the vibrations of ether--called light4 ,if the student has ever had a blow on his eye1 he has probably seen 8stars10 because every stimulus to this pair of nerves makes us see things1 and not feel them4 ,now each sense has certain limits between which it can detect subtle vibrations1 but beyond which all is blank4 ,the more refined the organization of the person1 the greater will be the number of vibrations he can distinguish4 ,thus #cii1jjj1jjj1jjj vibrations in a second produce in us the sensation of light1 above this the vibrations appear as spectral colours until the number #hca1jjj1jjj1jjj1jjj is reached2 to an increase in the number of vibrations above that number the optic nerve does not respond4 ,now the eye is an optical apparatus fixed between the brain and the ether1 not that we may perceive light1 for we could do that without the eye1 but that we may distinguish objects4 ,the glyptic and pictorial arts are founded entirely on the sense of sight as music is founded on the sense of hearing4 ,in the pictorial arts1 then1 we must clearly distinguish between the physical1 physiological1 and psychological properties of sight4 ,sidenote3 ,le ,conte's division4 ,le ,conte divides the scientific1 i4e4 physical and physiological data1 into3 ,a4 ,light2 ,b4 ,direction of ,light2 ,c4 ,intensity2 ,d4 ,colour2 and the psychological data into ,binocular vision1 size1 solidity1 and depth4 ,following up ,le ,conte's scheme1 let us begin1 then1 to discuss briefly the scientific data1 that is1 considering the apparatus purely from the standpoint of physics and physiology4 ,a4 ,,light4 ,sidenote3 ,light4 ,i4 ,physical characters of the eye as an optical instrument4 ,if a ray of light passes through a small hole into a darkened room 7pin-hole camera71 an image is formed of the object or objects without4 ,the condition of a good definition of the image is that 8all the rays from each point on the object must be carried to its own point on the image40 ,if this hole be enlarged1 this condition is impossible1 and the light spreads over certain areas called diffusion areas or diffusion circles4 ,in other words1 widely divergent rays and contiguous rays become mixed4 ,to admit more light a lens is used in the eye1 and by the photographer1 for although it is possible 7by pin-hole camera7 to take pictures without a lens1 the light so admitted is necessarily so limited that the exposure needed is too long4 ,the lens1 however1 helps us by admitting more light1 and at the same time giving better definition1 but it also introduces many disadvantages and sources of error4 ,now a theoretically perfect physical image has been described by physicists as being both bright and sharp in definition1 but the theoretically perfect image does not exist2 for1 apart from other considerations1 the lens which we use to get microscopic sharpness1 cuts off light1 and the sharper the image is rendered by stops1 the less brightness do we get4 ,thus we see the lens introduces scores of errors as well as desirable qualities4 ,in the human and photographic lenses the chief faults are3-- ,sidenote3 ,dispersion4 ,dispersion4 ,all refraction or bending of light by a lens is accompanied by dispersion4 ,this error is corrected in opticians' lenses to a great extent4 ,in the human eye1 however1 this fault is in some degree present1 as can be proved by looking at a lighted street lamp through a violet glass1 when a red flame will be seen surrounded by a bluish-violet halo4 ,what1 then1 is the effect of dispersion on our theoretically perfect image8 ,it is slight blurring of the sharpness of outline1 since the size and position of the optical images thrown by the differently bent rays is not the same4 ,sidenote3 ,spherical aberration4 ,a lens having a spherical surface bends the rays so that they do not all come to a focus at the same point4 ,what is the effect of this on our theoretically perfect image8 ,again it is slight blurring of the sharpness of outline4 ,it is said the spherical aberration in a perfectly corrected optician's lens is less than that in the lens of the human eye4 ,this must be remembered in connection with our later remarks4 ,in the lower animals1 spherical aberration is nearly absent4 ,their vision therefore is more periscopic1 and therefore more like that of an optician's lens4 ,sidenote3 ,astigmatism4 ,this defect can be avoided in the optician's lens1 but it exists in1 and is a serious fault of1 the human eye4 ,helmholtz considers the amount of spherical aberration unimportant as compared with this defect4 ,astigmatism is the result of imperfect symmetrical curvature of the cornea and of imperfect centering of the cornea and lens4 ,this defect is found in most human eyes4 ,astigmatism prevents the eye seeing vertical and horizontal lines at the same distance perfectly clearly at once4 ,the defect in centering also causes irregular radiation1 so that1 as ,helmholtz says1 8,the images of an illuminated point as the human eye brings them to focus1 are inaccurate40 ,what is the effect of those defects on the 8perfect image08 ,dimness of outline and detail in the textures of objects seen4 ,sidenote3 ,turbidity4 ,the optician's lens is made of pure glass1 the media of the human eye are not clear1 but slightly turbid1 so that ,helmholtz says1 8,the obscurity of dark objects when seen near very bright ones depends essentially on this defect4 ,this defect is most apparent in the blue and violet rays of the solar spectrum2 for then comes in the phenomena of fluorescence to increase it40 ,sidenote3 ,fluorescence4 ,by fluorescence is meant the property which certain minutely divided substances possess of becoming faintly luminous1 so long as they receive violet and blue light4 ,the bottles filled with solution containing quinine1 which look blue in the chemists' windows1 owe their colour to this fact1 as also does the blueness of 8,london0 milk4 ,these defects1 combined with entoptic impurities which are constantly floating about in the humours1 all help to detract from the brightness and sharpness of the 8perfect image40 ,sidenote3 ,blind spot4 ,this is a portion of the retinal field with no cones or rods1 and therefore insensitive to light4 ,this causes a gap in the field of vision4 8,this blind spot is so large that it might prevent our seeing eleven full moons if placed side by side1 or a man's face at a distance of only six or seven feet10 says ,helmholtz4 ,in addition to this1 there are lesser gaps in the retinal field1 due to the cutting off of light by the shadows thrown by the blood vessels4 ,any one who has examined the retinal field with an ophthalmoscope knows what this means4 ,sidenote3 ,macula lutea4 ,in addition to this the macula lutea is less sensitive to weak light than other parts of the retina4 ,the effect of all these imperfections is to blur and dull the perfect image4 ,the serious defects due to the blind spot are not noticed1 according to ,helmholtz1 because 8we are continually moving the eye1 and also that the imperfections almost always affect those parts of the field to which we are not at the moment directing our attention40 ,the italics are ours4 ,here1 then1 is another great difference between the eye and the optician's lens4 ,sidenote3 ,focussing4 ,the focus of the eye in a passive state is adjusted to the most distant objects4 ,it focusses for nearer objects by contracting the ciliary muscle which pulls tight the zonule of ,zinn and so curves the crystalline lens4 ,it can focus thus up to within five inches of itself1 but the changes of focus are almost imperceptible to the eye beyond twenty feet4 ,now a theoretically perfect eye might form perfect images of objects at infinite distances when there were no intervening objects4 ,but as has already been shown1 the eye is very imperfect1 and its images are not therefore perfect1 and it could not form theoretically perfect images1 even if the atmosphere were pure ether and nothing else1 for there are other facts in nature which prevent this2 thus we cannot see a sharp image of the sun with the naked eye on account of its dazzling brightness4 ,sidenote3 ,fovea centralis4 ,this central spot is a most important factor in the study of sight and art4 ,for though the field of vision of the two eyes is more than #ahj laterally1 and #abj vertically1 yet the field of distinct vision is but a fraction of this field1 as we can all prove for ourselves4 ,now the field of distinct vision depends on the central spots for the reason that the central spot differs anatomically from the rest of the retina by the absence of certain layers which we need not specify here4 ,the absence of these layers exposes the retinal bacillary layer to the direct action of light4 ,helmholtz says 8all other parts of the retinal image beyond that which falls on the central spot are imperfectly seen10 so that the image which we receive by the eye is like a picture minutely and elaborately finished in the centre1 but only roughly sketched in at the borders4 ,but although at each instant we only see a very small part of the field of vision accurately1 8we see this in combination with what surrounds it1 and enough of this outer and larger part of the field1 to notice any striking object1 and particularly any change that takes place in it40 ,if the objects are small1 they cannot be discerned with the rest of the retina1 thus1 to see a lark in the sky1 ,helmholtz says it must be focussed on the central spot4 ,finally he says1 ,sidenote3 ,direct and indirect vision4 8,to look at anything means to place the eye in such a position that the image of the object falls on the small region of perfectly clear vision4 ,this we may call direct vision1 applying the term indirect to that exercised with the lateral parts of the retina1 indeed with all except the central spot40 ,again1 he says1 8,whatever we want to see we look at and see it accurately2 what we do not look at1 we do not as a rule care for at the moment1 and so do not notice how imperfectly we see it40 ,now all this is most important in connection with art1 as we shall show later1 we must beg the student therefore to hold it fast4 ,it will be seen from all this that a perfect periscopic image is never seen by the eye of man1 though in some of the lower animals the matter may be different4 ,b4 ,,direction ,,of ,,light4 ,sidenote3 ,law of projection4 ,le ,conte says1 8,the retinal image impresses the retina in a definite way2 this impression is then conveyed by the optic nerve to the brain1 and determines changes there1 definite in proportion to the distinctness of the retinal image1 and then the brain or the mind refers or projects this impression outward into space as an external image1 the sign and facsimile of an object which produces it40 ,not only does this hold good of external images1 but in certain diseases retinal impressions arising from within are projected outwards1 thus ghosts are seen4 ,sidenote3 ,corresponding points1 c4 8,from ,mller's law10 ,le ,conte further says1 8it is evident that each point--every rod or cone--in the retina has its invariable correspondent in the visual field1 and vice vers40 ,sidenote3 ,law of visible direction4 ,le ,conte's law of visible direction states that1 8,where the rays from any radiant strike the retina the impression is referred back along the ray line 7the central ray of the pencil7 into space1 and therefore to its proper place40 ,from these laws we understand why we see things in the relative positions which they occupy in space4 ,all the previous remarks are applicable to monocular vision4 ,c4 ,,intensity4 ,sidenote3 ,intensity4 ,a quotation from ,helmholtz will best illustrate this point4 ,he says1 8,if the artist is to imitate exactly the impression which the object produces on our eye1 he ought to be able to dispose of brightness and darkness equal to that which nature offers4 ,but of this there can be no idea4 ,let me give a case in point4 ,let there be in a picture-gallery a desert scene1 in which a procession of ,bedouins1 shrouded in white1 and of dark negroes1 marches under the burning sunshine2 close to it a bluish moonlight scene1 where the moon is reflected in the water1 and groups of trees1 and human forms1 are seen to be faintly indicated in the darkness4 ,you know from experience that both pictures1 if they are well done1 can produce with surprising vividness the representation of their objects2 and yet in both pictures the brightest parts are produced with the same white lead1 which is but slightly altered by admixtures2 while the darkest parts are produced with black4 ,both being hung on the same wall1 share the same light1 and the brightest as well as the darkest parts of the two scarcely differ as concerns the degree of their brightness4 ,how is it1 however1 with the actual degrees of brightness represented4 ,the relation between the lightness of the sun's light1 and that of the moon1 was measured by ,wollaston1 who compared their intensities with that of the light of candles of the same material4 ,he thus found that the luminosity of the sun is #hjj1jjj times that of the brightest light of a full moon4 ,an opaque body1 which is lighted from any source whatever1 can1 even in the most favourable case1 only emit as much light as falls upon it4 ,yet1 from ,lambert's observations1 even the whitest bodies only reflect about two-fifths of the incident light4 ,the sun's rays1 which proceed parallel from the sun1 whose diameter is #he1jjj miles1 when they reach us1 are distributed uniformly over a sphere of #aie millions of miles in diameter4 ,its density and illuminating power is here only one-forty-thousandth of that with which it left the sun's surface2 and ,lambert's number leads to the conclusion that even the brightest white surface on which the sun's rays fall vertically1 has only the one-hundred-thousandth part of the brightness of the sun's disk4 ,the moon1 however1 is a grey body1 whose mean brightness is only about one-fifth that of the purest white4 ,and when the moon irradiates a body of the purest white on the earth1 its brightness is only the hundred-thousandth part of the brightness of the moon itself2 hence the sun's disk is #hj1jjj million times brighter than a white which is irradiated by the full moon4 ,now1 pictures which hang in a room are not lighted by the direct light of the sun1 but by that which is reflected from the sky and clouds4 ,i do not know of any direct measurements of the ordinary brightness of the light in a picture-gallery2 but estimates may be made from known data4 ,with strong upper light1 and bright light from the clouds1 the purest white on a picture has probably #a-bjth of the brightness of white directly lighted by the sun2 it will generally be only #a-djth1 or even less4 ,hence the painter of the desert1 even if he gives up the representation of the sun's disk1 which is always very imperfect1 will have to represent the glaringly lighted garments of his ,bedouins with a white which1 in the most favourable case1 shows only the #a-bjth part of the brightness which corresponds to actual fact4 ,if he could bring it1 with its lighting unchanged1 into the desert near the white there1 it would seem like a dark grey4 ,i found1 in fact1 by an experiment1 that lamp-black1 lighted by the sun1 is not less than half as bright as shaded white in the brighter part of a room4 ,on the picture of the moon the same white which has been used for depicting the ,bedouins' garments must be used for representing the moon's disk1 and its reflection in the water2 although the real moon has only one-fifth of this brightness1 and its reflection in water still less4 ,hence white garments in moonlight1 or marble surfaces1 even when the artist gives them a grey shade1 will always be ten to twenty times as bright in his picture as they are in reality4 ,on the other hand1 the darkest black which the artist could apply would be scarcely sufficient to represent the real illumination of a white object on which the moon shone4 ,for even the deadest black coatings of lamp-black and black velvet1 when powerfully lighted1 appear grey1 as we often enough know to our cost1 when we wish to shut off superfluous light4 ,i investigated a coating of lamp-black1 and found its brightness to be about one-hundredth that of white paper4 ,the brightest colours of a painter are only about one hundred times as bright as his darkest shades4 ,the statements ,i have made may appear exaggerated4 ,but they depend upon measurements1 and you can control them by well-known observations4 ,according to ,wollaston1 the light of the full moon is equal to that of a candle burning at a distance of twelve feet4 ,now1 assume that you suddenly go from a room in daylight to a vault perfectly dark1 with the exception of the light of a single candle4 ,you would at first think you were in absolute darkness1 and at most you would only recognize the candle itself4 ,in any case1 you would not recognize the slightest trace of any objects at a distance of thirteen feet from the candle4 ,these1 however1 are the objects whose illumination is the same as that which the moonlight gives4 ,you would only become accustomed to the darkness after some time1 and you would then find your way about without difficulty4 ,if now1 you return to the daylight1 which before was perfectly comfortable1 it will appear so dazzling that you will1 perhaps1 have to close your eyes1 and only be able to gaze round with a painful glare4 ,you see thus that we are concerned here not with minute1 but with colossal1 differences4 ,how now is it possible that1 under such circumstances1 we can imagine there is any similarity between the picture and reality8 ,our discussion of what we did not see at first1 but could afterwards see in the vault1 points to the most important element in the solution2 it is the varying extent to which our senses are deadened by light2 a process to which we can attach the same name1 fatigue1 as that for the corresponding one in the muscle4 ,any activity of our nervous system diminishes its power for the time being4 ,the muscle is tired by work1 the brain is tired by thinking1 and by mental operations2 the eye is tired by light1 and the more so the more powerful the light4 ,fatigue makes it dull and insensitive to new impressions1 so that it appreciates strong ones only moderately1 and weak ones not at all4 ,but now you see how different is the aim of the artist when these circumstances are taken into account4 ,the eye of the traveller in the desert1 who is looking at the caravan1 has been dulled to the last degree by the dazzling sunshine2 while that of the wanderer by moonlight has been raised to the extreme of sensitiveness4 ,the condition of one who is looking at a picture differs from both the above cases1 by possessing a certain mean degree of sensitiveness4 ,accordingly1 the painter must endeavour to produce by his colours1 on the moderately sensitive eye of the spectator1 the same impression as that which the desert1 on the one hand1 produces on the deadened1 and the moonlight1 on the other hand1 creates on the untired eye of its observer4 ,hence1 along with the actual luminous phenomena of the outer world1 the different physiological conditions of the eye play a most important part in the work of the artist4 ,what he has to give is not a mere transcript of the object1 but a translation of his impression into another scale of sensitiveness1 which belongs to a different degree of impressibility of the observing eye1 in which the organ speaks a very different dialect in responding to the impressions of the outer world4 ,sidenote3 ,fechner's law4 ,in order to understand to what conclusions this leads1 ,i must first explain the law which ,fechner discovered for the scale of sensitiveness of the eye1 which is a particular case of the more general psycho-physical law of the relations of the various sensuous impressions to the irritations which produce them4 ,this law may be expressed as follows3--,within very wide limits of brightness1 differences in the strength of light are equally distinct1 or appear equal in sensation1 if they form an equal fraction of the total quantity of light compared4 ,thus1 for instance1 differences in intensity of one-hundredth of the total amount can be recognized without great trouble1 with very different strengths of light1 without exhibiting material differences in the certainty and facility of the estimate1 whether the brightest daylight1 or the light of a good candle be used40 ,herein1 then1 are contained the limits with which we can work1 and the physiological reasons why we can render a fairly true impression of a scene in nature4 ,the only constant factor1 then1 is the ratio of luminous intensities1--that is1 the picture must be as true as possible in relative tones or values4 ,obviously a picture of bright sunlight should look brighter in a moderately lighted room than the surrounding room1 that is1 its first impression on the observer should be as if he were looking at a landscape beyond the walls1 through the frame4 ,from these remarks it will be seen how utterly impossible it is to render truly a bright sunlight scene1 for if the values be true1 starting from the top of the scale1 the highest light1 when you get to the middle tints1 they are too black already1 and the picture is out of tone and false4 ,obviously the right way is to start from the lower end of the scale1 the darks1 and get them as true as possible1 and let the lights take care of themselves2 but more of this anon4 ,d4 ,,colour4 ,sidenote3 ,colour4 ,as photographers1 the matter of colour exercises us but indirectly1 still the subject should be understood1 on account of its bearing on painting4 8,colour perception0 says ,le ,conte1 8is a single perception1 and irresolvable with any other4 ,it must1 therefore1 have its basis in retinal structure40 ,helmholtz divides the vibrations of ether known as light into three degrees4 ,he says the longest and shortest rays do not essentially differ in any other physical property1 except that we distinguish them from the intermediate waves40 ,thus the ear can receive at once many waves of sound or notes1 and they remain distinct1 but notes of colour do not keep distinct in the same way1 8so that the eye is capable of recognizing few differences in quality of light10 says ,helmholtz1 and can only perceive the elementary sensation of colour by artificial preparation4 ,he also says1 the only bond between the objective and subjective phenomena of colour may be stated as a law thus1 8,similar light produces under like conditions a like sensation of colour4 ,light1 which under like conditions1 excites unlike sensations of colour is dissimilar20 what we want in art1 then1 is the appearance of the phenomena4 ,the illumination of the sun's rays cannot be weakened without at the same time weakening their heating and chemical action2 this is a point to be remembered in exposure4 ,colour is1 of course1 excited by the length of the waves and their frequency1 red being the longest and slowest1 and they diminish in length and increase in frequency in the order of the spectrum through orange1 yellow1 green1 blue1 indigo1 to the shortest waves1 which produce the effect of violet1 the whole combined forming white4 ,now ,hering has shown that there are only four primary colour sensations1 though he at one time included black and white1 thus making six4 ,the four are red1 yellow1 green1 and blue1 which are reduced by him to two complementary colours1 red and green1 and yellow and blue4 ,in our present state of knowledge the ,young-,helmholtz theory of three primary colour sensations for red1 green1 and blue seems preferable as a working hypothesis1 though it seems incompatible with anatomical and physiological facts4 ,sidenote3 ,difference of colour4 ,all objective differences between colours1 according to ,helmholtz1 may be reduced to differences of tone1 difference of fulness 7saturation71 and difference of brightness4 ,these are the three colour constants4 ,by tone1 or hue1 he means in fact difference of colour as in the spectral colours4 ,he here refers to the vibration on a tonic scale4 ,fulness or purity is greatest in the pure tints of the spectrum1 and becomes less in proportion as they are mixed with white light4 ,all compound colours are less full than the simple hues of the spectrum4 ,brightness or luminosity is strength of light1 or amount of illumination4 ,it is measured by the total amount of light reflected to the eye4 ,in nature black and white must be included among the primary colours when quality is spoken of1 as light acts on black and white4 ,all differences of tone1 therefore1 are the result of combinations in different proportions of the four primary colours4 ,among the defects of the eye in seeing colour1 ,helmholtz says1 8,all are red blind at the innermost portion of the field of vision1 all red colours appear darker when viewed indirectly40 ,the furthest limit of visible field is a narrow zone1 in which all distribution of colour ceases1 and there only remain differences of brightness4 ,probably those nervous fibres which convey impressions of green light are alone present in this part of the retina4 ,the yellow spot makes all blue light appear somewhat darker in the centre of the field4 ,all these inequalities are known and more or less rectified by constant movement4 ,as the eye becomes fatigued by bright light1 so that it cannot at first answer to delicate stimulus1 so it can become partially fatigued for certain colours4 ,fatigue weakens the apparent illumination of the entire field of vision4 ,the colour of illumination of a picture1 too1 varies greatly by effect of local colour4 ,what is constant in the colour of an object is not the brightness and colour of the light which it reflects1 but the relation between the intensity of the different-coloured constituents of this light1 on the one hand1 and that of the corresponding constituents of the light which illuminates it on the other4 ,for example1 white paper in full moonlight is darker than black satin in daylight1 or a dark object with the sun shining on it reflects light of exactly the same colour1 and perhaps the same brightness1 as a white object in shadow4 ,grey in shadow looks like white4 ,brightness of local colour diminishes with the illumination or as the fatigue of the retina is increased4 ,in sunshine1 local colours of moderate brightness approach the brightest1 whereas in moonlight they approach the darkest4 ,pictures to be seen in daylight do not admit of difference of brightness between sun and moon4 ,as colours increase in brightness1 red and yellow become apparently stronger than blue4 ,painters make yellow tints predominate when representing landscape in full sunshine1 while moonlight scenes are blued4 ,helmholtz says3--8,differences of colour which are actually before our eyes are more easily apprehended than those which we only keep in memory1 and contrast between objects which are close to one another in the field of vision are more easily recognized than when they are at a distance4 ,all this contributes to the effect4 ,indeed1 there are a number of subordinate circumstances affecting the result which it would be very interesting to follow out in detail1 for they throw great light upon the way in which we judge of local colour2 but we must not pursue the inquiry further here4 ,i will only remark that all these effects of contrast are not less interesting for the scientific painter than for the physiologist1 since he must often exaggerate the natural phenomenon of contrast in order to produce the impression of greater varieties of light and greater fulness of colour than can be actually produced by artificial pigments40 ,again1 when turbidity is composed of fine particles its appearance is blue1 as the mists seen in autumn hanging round coverts1 but it is whiter than the arial blue because of the colour of the covert behind4 ,when this turbidity is absent the colours are brighter1 hence the fierce blue on bright sunshiny days with easterly winds4 ,this matter of turbidity must not be forgotten in portrait work2 it is this which helps to give relief1 hence the absurdity of all photographers' devices1 the object of which is to minimize this turbidity4 ,in addition to these is the ever-changing effect of atmosphere on colour1 that subtle medium with which the enchantress ,nature produces ever-changing effects1 and its chief effect on colour is to lower it in brightness4 ,atmosphere greys all things1 hence on a misty day all the colours are greyed--we have1 in fact1 a 8grey day40 ,another point which must not be forgotten is that with bright illumination bright objects become more like the brightest1 and with feeble illumination dark objects become more like the darkest4 ,this is a very important matter1 for it means that in bright sunshine the lightest greys are lost in white1 whilst in dull weather the darkest greys are lost in black1 hence the falsity of having deep blacks in brightly-lighted landscapes1 and as has been shown1 these are untrue1 and the result of ignorance and of faulty manipulation4 ,as ,helmholtz has it1 8,the difference of brightness and not absolute brightness2 and that the differences in them in this latter respect can be shown without perceptible incongruity if only their graduations are imitated with expression40 ,e4 ,,binocular ,,vision--,,psychological ,,data4 ,single ,image4 ,sidenote3 ,binocular ,vision4 ,the remarks already made would apply equally well to man if he were a one-eyed animal1 but we find there are other considerations to take into account since man is two-eyed4 ,now the phenomena of binocular vision cannot be treated of with such accuracy as the physical and physiological facts already discussed4 ,in this subject we shall follow ,le ,conte4 ,it is obvious there is a common binocular field of view for the two eyes4 ,now ,dr4 ,le ,conte shows us that we see all objects double1 except under certain conditions4 ,when we look directly at anything1 then we see it clearly1 but all things nearer to us than the object looked at and beyond it1 are seen double1 or blurred and indistinct4 ,this is the case in life1 as can be proved4 ,he goes on to tell us that we see things singly when the two images of that thing are projected outward to the same spot in space1 and are therefore superimposed and coincide4 ,objects are seen single when their retinal images fall on corresponding points--that is1 objects lying in a horizontal circle passing through the point of sight and the central spots are seen single4 ,now 8all objects at the same or nearly the same distance1 but a little to the right or left1 or above or below1 are also either seen single1 or else the doubling1 if any1 is usually imperceptible40 ,this surface of single vision is called the horopter4 ,there are1 then1 two adjustments1 the focal and the axial1 the one an adjustment for distant vision1 the other for single vision1 and connected with these is the adjustment of the pupil1 which contracts and expands1 not only to light1 but also to distance and nearness of the object4 ,therefore1 three adjustments take place when we look at anything4 ,connected with these laws are the laws of direction and corresponding points4 ,thus we see our perfect image can only exist in one place at once1 that all between the eye and the object and beyond the object is indistinct1 and that the further off an object is the more luminous does it appear4 ,two objects1 too1 may be seen as one4 ,f4 ,,perspective4 ,depth1 ,size1 and ,solidity4 ,sidenote3 ,perspective4 ,the next question is1 8,to what is due the appearance of solidity and depth80 ,depth1 or relative distance1 is judged of by a combination of four kinds of perspective4 #a4 ,focal or monocular perspective4--,objects at the point of sight are sharp1 but all objects beyond or within this distance are dim4 ,distance is judged partly by the act of focussing the eye by acting1 as we have said1 on the lens4 ,as this power only acts within twenty feet1 it is evident that things can only be in focus in one plane4 #b4 ,mathematical ,perspective4--,objects become smaller in appearance and nearer together as they recede4 ,this is another aid to the judging of distance4 ,the true rendering of this perspective in photography depends on the correct use of the lens1 as will be explained4 #c4 ,arial ,perspective is the perspective due to the scattering of light by arial turbidity1 for the atmosphere always contains floating particles of matter4 ,as the objects recede this curtain of turbidity becomes thicker and the distant objects grow dimmer and bluer4 ,this is another aid to the judging of distance1 but any one not accustomed to count on this effect may easily misjudge1 as we have done before now to our cost in ,switzerland1 where a peak miles away has1 at times1 seemed to be in the next valley4 #d4 ,binocular ,perspective is due to the convergence of the optic axes and formation of a single image4 ,le ,conte says1 8,the perspective of depth or relative distance1 whether in a single object or in a scene1 is the result of the successive combinations of the different parts of the two dissimilar images of the object on the scene40 ,binocular perspective1 too1 gathers together the imperfect retinal impressions when the eye sweeps over the field of view4 ,this only acts within a few hundred yards4 ,thus1 then1 in taking a photograph we must remember that theoretically speaking1 up to twenty feet the picture can be made sharper all over than beyond that distance2 for the eye has all these perspectives acting within that distance4 ,sidenote3 ,size4 ,by size we estimate distance4 ,sidenote3 ,solidity4 ,solidity is judged by binocular vision and lighting4 ,when to all these difficulties are added those dependent on the subtleties of light reflected into shadow1 and the thousand-and-one changes of colour due to the numerous shadows cast by objects in nature1 we get a complexity which forces upon us how impossible it is for man to copy nature4 ,a 8mere transcript of nature10 which is so glibly talked of1 is1 humanly speaking1 an impossibility4 ,no man ever painted a 8mere transcript0 of nature1 or a truthful copy1 any more than a man can make plants or animals in a laboratory2 but he can1 by a picture1 give a truthful impression of nature4 ,on these data and within these limits1 then1 must we work1 and here we append a few general principles deduced from these data1 which must guide us in our work4 ,we have followed them ourselves1 and they form the scientific part of our creed of 8,naturalistic ,photography40 ,we have said little upon the drawing of photographic lenses1 as that is discussed in another chapter2 but of course ,naturalistic ,photography claims as of vital importance that lenses be used so as to give the drawing of objects as they are seen by the eye--in other words1 as they would be drawn by a good draughtsman4 ,,art ,,principles ,,deducted ,,from ,,the ,,data ,,cited4 ,sidenote3 ,art ,principles4 ,we have shown why the human eye does not see nature exactly as she is1 but sees instead a number of signs which represent nature1 signs which the eye grows accustomed to1 and which from habit we call nature herself4 ,we shall now discuss the relation of pictorial art to nature1 and shall show the fallacy of calling the most scientifically perfect images obtained with photographic lenses artistically true4 ,they are not correct1 as we have shown1 and shall again show1 but what is artistically true is really what we have all along advocated2 that is that the photographer must so use his technique as to render a true impression of the scene4 ,the great heresy of #8sharpness' has lived so long in photographic circles because firstly the art has been practised by scientists1 and secondly by unphilosophical scientists1 for all through the lens has been considered purely from the physical point of view1 the far more important physiological and psychological standpoints being entirely ignored1 so that but one-third of the truth has been hitherto stated4 ,sidenote3 ,what a picture is4 ,to begin with1 it must be remembered that a picture is a representation on a plane surface of limited area of certain physical facts in the world around us1 for abstract ideas cannot be expressed by painting4 ,in all the works in the world the painter1 if he has tried to express the unseen or the supernatural1 has expressed the unnatural4 ,if he paints a dragon1 you find it is a distorted picture of some animal already existing2 if he paints a deity1 it is but a kind of man after all4 ,no brain can conjure up and set down on paper a monster such as has never existed1 or in which there are no parts homologous with some parts of a living or fossil creature4 ,we defy any man to draw a devil1 for example1 that is totally unlike anything in existence4 ,all so-called imaginative works fall then within the category of the real1 for they are in certain parts real because they are all based on realities1 even though they may be utterly false to the appearance of reality4 ,by this we mean that an ideal dragon may be based on existing animals2 his form may be a mixture of a ,cobra1 ,saurian1 and a reptile1 as is often the case2 so far it may be real1 but then the way in which it is painted may be utterly false1 for the natural effect of light and atmosphere on the dragon may and probably will be ignored1 for there is no such animal to study from4 ,the modern pre-,raphaelites are good examples of painters who painted in this way2 they painted details1 they imitated the local colour and texture of objects1 but for all that their pictures are as false as false can be1 for they neglected those subtleties of light and colour and atmosphere which pervade all nature1 and which are as important as form4 ,children and savages make this same error1 they imitate the local colour1 not the true colour as modified by light1 adjacent colour1 and atmosphere4 ,but what the most advanced thinkers of art in all ages have sought for is the rendering of the true impression of nature4 ,proceed we now to discuss the component parts of this impression4 ,sidenote3 ,tone and ,atmosphere4 ,when we open our eyes in the morning the first thing we see is light1 the result of those all-pervading vibrations of ether4 ,the effects of light on all the objects of nature and on sight have been dealt with in the beginning of this chapter1 it only remains1 therefore1 to deduce our limits from these facts4 ,in the first place1 from what has been said in that section it is evident we cannot compete with painting1 for we are unable to pitch our pictures in so high a key as the painter does1 and how limited is his scale has been shown1 but by the aid of pigments he can go higher than we can4 ,it has been shown1 too1 that it is impossible to have the values correct throughout a picture1 for that would make the picture too black and untrue in many parts4 ,this fact shows how wrong are those photographers who maintain that every photograph should have a patch of pure white and a patch of pure black1 and that all the lighting should be nicely gradated between these two extremes4 ,this idea arose1 no doubt1 from comparing photography with other incomplete methods of translation1 such as line-engraving4 ,the real point is that the darks of the picture shall be in true relation1 and the high lights must take care of themselves4 ,by this means a truer tone is obtained throughout4 ,now to have these tones in true relation it is of course implied that the local colours must be truly rendered1 yellow must not come out black1 or blue as white1 therefore it is evident that colour-corrected plates are necessary4 ,but such plates are useless when the quantity of silver in the film is little1 for the subtleties of delicate tonality are lost1 which are not compensated for by gain in local colour1 and this is a point the makers of orthochromatic plates must take into consideration4 ,it will be seen now why photographs on uncorrected plates 7even when the greatest care and knowledge in using them is exercised7 are not1 as a rule1 perfectly successful1 and why the ordinary silver printing-paper is undesirable1 for it exaggerates the darkness of the shadows1 a fatal error4 ,false tonality destroys the sense of atmosphere1 in fact1 for the true rendering of atmosphere1 a photograph must be relatively true in tone2 in other words the relative tones1 in shadow and half shadow1 must be true4 ,if a picture is of a bright1 sunlit subject1 brilliancy is of course a necessary quality1 and by brilliancy is not meant that 8sparkle0 which so delights the craftsman4 ,of course the start of tone is naturally made from less deep shadows1 when the picture is brightly lighted1 for the black itself reflects light1 and all the shadows are filled with reflected light4 ,it will be seen1 therefore1 that it is of paramount importance that the shadows shall not be too black1 that in them shall be light as there always is in nature--more of course in bright pictures1 less in low-toned pictures--that therefore the rule of 8detail in the shadows0 is in a way a good rough-and-ready photographic rule4 ,yet photographers often stop down their lens and cut off the light1 at the same time sharpening the shadows and darkening them1 and throwing the picture out of tone4 ,it cannot be too strongly insisted upon that 8strength0 in a photograph is not to be judged by its so-called 8pluck0 or 8sparkle10 but by its subtlety of tone1 its truthful relative values in shadow and middle shadow1 and its true textures4 ,photographers have been advised by mistaken craftsmen to spot out the 8dotty high lights0 of an ill-chosen or badly-rendered subject to give it 8breadth40 ,such a proceeding of course only increases the falsity of the picture1 for the high lights1 as we have shown1 are never high enough in any picture1 and if a man is so unwise as to take a picture with 8spotty lights10 he is only increasing his display of ignorance by lowering the high lights1 which are already not high enough4 ,this does not of course apply to the case where a single spot of objectionable white fixes the eye and destroys harmony1 but to the general habit of lowering the high lights in a 8spotty0 photograph4 ,spotty pictures in art as well as in nature are abominations to a trained eye1 and it is for that very reason that such subjects are more common among photographers who are untrained in art matters than in the works of even third-rate painters4 ,the effect of the brightest sunlight in nature1 for reasons explained1 is to lessen contrast1 the effect of a sharply-focussed1 stopped-down photograph is to increase contrast in the subject and thus falsify the impression4 ,as the tendency of 8atmosphere0 is to grey all the colours in nature more or less1 and of a mist to render all things grey1 it follows that 8atmosphere0 in all cases helps to give breadth by lessening contrast1 as it also helps to determine the distance of objects4 ,as shown in the previous chapter1 this arial 8turbidity10 by which is meant atmosphere1 takes off from the sharpness of outline and detail of the image1 and the farther off the object is1 the thicker being the intervening layer of atmosphere1 the greater is the turbidity cteris paribus1 therefore from this fact alone objects in different planes are not and should not be represented equally sharp and well-defined4 ,this is most important to seize--as the prevalent idea among photographers seems to be that all the objects in all the planes should be sharp at once1 an idea which no artist could or ever did entertain1 and which nature at once proves to be untenable4 ,the atmosphere in the main rules the general appearance of things1 for if this turbidity be little1 objects look close together1 and under certain other conditions are poor in quality4 ,sidenote3 ,drawing and ,lighting4 ,in addition to tone and atmosphere1 the diminished drawing of objects as they recede from us 7mathematical perspective7 helps to give an idea of distance1 but by choosing a suitable lens1 which does our drawing correctly1 we need not regard this matter of drawing4 ,a minor aid to rendering depth is the illumination of the object1 a lateral illumination giving the greatest idea of relief1 but the photographer should be guided by no so-called 8schemes of lighting10 because1 for more important reasons1 it maybe advisable to choose a subject lighted directly by the sun1 or silhouetted against the sun4 ,all depends on what is desired to be expressed4 ,for example1 an artist may wish to express the sentiment and poetry of a sunset behind a row of trees4 ,is he to consider the minor matter that there will be little relief1 and it is not a good 8scheme of lighting08 ,no1 certainly not1 otherwise he must forgo the subject4 ,nature ignores all such laws4 ,the only law is that the lighting must give a relatively true translation of the subject expressed1 and that a landscape must not be lighted by two or more suns4 ,in portrait work1 even1 it must be remembered that the arial lighting must stand out against the background1 for in all rooms there is a certain amount of turbidity between us and distant objects4 ,sidenote3 ,on the ,impression4 ,the reason we prefer pictures which are not too bright lies in the fact that the eye cannot look long at very bright paintings without tiring4 ,as a physical fact1 too1 the most delicate modelling and tonality is to be obtained in a medium light4 ,from what has been previously said1 it will now be understood that a picture should not be quite sharply focussed in any part1 for then it becomes false2 it should be made just as sharp as the eye sees it and no sharper1 for it must be remembered the eye does not see things as sharply as the photographic lens1 for the eye has the faults due to dispersion1 spherical aberration1 astigmatism1 arial turbidity1 blind spot1 and beyond twenty feet it does not adjust perfectly for the different planes4 ,all these slight imperfections make the eye's visions more imperfect than that of the optician's lens1 even when objects in one plane only are sharply focussed1 therefore1 except in very rare cases1 which will be touched upon elsewhere1 the chief point of interest should be slightly--very slightly--out of focus1 while all things1 out of the plane of the principal object1 it is perfectly obvious1 from what has been said1 should also be slightly out of focus1 not to the extent of producing destruction of structure or fuzziness1 but sufficiently to keep them back and in place4 ,for1 as we have been told1 8to look at anything means to place the eye in such a position that the image of the object falls on the small region of perfectly clear vision1 444 and 444 whatever we want to see1 we look at1 and see it accurately2 what we do not look at1 we do not1 as a rule1 care for at the moment1 and so do not notice how imperfectly we see it40 ,such is the case1 as has been shown1 for when we fix our sight on the principal object or motif of a picture1 binocular vision represents clearly by direct vision only the parts of the picture delineated on the points of sight4 ,sidenote3 ,rule for focussing4 ,the rule in focussing1 therefore1 should be1 focus for the principal object of the picture1 but all else must not be sharp2 and even that principal object must not be as perfectly sharp as the optical lens will make it4 ,it will be said1 but in nature the eye wanders up and down the landscape1 and so gathers up the impressions1 and all the landscape in turn appears sharp4 ,but a picture is not 8all the landscape10 it should be seen at a certain distance--the focal length of the lens used1 as a rule1 and the observer1 to look at it thoughtfully1 if it be a picture1 will settle on a principal object1 and dwell upon it1 and when he tires of this1 he will want to gather up suggestions of the rest of the picture4 ,if it be a commonplace photograph taken with a wide-angle lens1 say1 of a stretch of scenery of equal value1 as are most photographic landscapes1 of course the eye will have nothing to settle thoughtfully upon1 and will wander about1 and finally go away dissatisfied4 ,but such a photograph is no work of art1 and not worthy of discussion here4 ,hence it is obvious that panoramic effects are not suitable for art1 and the angle of view included in a picture should never be large4 ,sidenote3 ,the ,pseudo-,impressionists4 ,it might be argued from this1 that ,pseudo-,impressionists who paint the horse's head and top of a hansom cab are correct1 since the eye can only see clearly a very small portion of the field of view at once4 ,we assert1 no1 for if we look in a casual way at a hansom cab in the streets1 we only see directly the head of the horse and the top of the cab1 yet1 indirectly1 that is1 in the retinal circle around the fovea centralis we have far more suggestion and feeling of horse's legs than the eccentricities of the ,pseudo-,impressionist school give us1 for in that part of the retinal field indirect vision aids us4 ,the field of indirect vision must be suggested in a picture1 but subordinated4 ,but we shall go into this matter later on1 here we only wish to establish our principles on a scientific basis4 ,afterwards1 in treating of art questions1 we shall simply give our advice1 presuming the student has already studied the scientific data on which that advice is based4 ,all good art has its scientific basis4 ,sidenote3 ,sir ,t4 ,lawrence4 ,sir ,thomas ,lawrence said1 8,painting is a science1 and should be pursued as an inquiry into the laws of nature4 ,why1 then1 may not landscape painting be considered as a branch of natural philosophy1 of which pictures are but experiments80 ,sidenote3 ,fuzziness4 ,some writers who have never taken the trouble to understand even these points1 have held that we admitted fuzziness in photography4 ,such persons are labouring under a great misconception2 we have nothing whatever to do with any 8fuzzy school40 ,fuzziness1 to us1 means destruction of structure4 ,we do advocate broad suggestions of organic structure1 which is a very different thing from destruction1 although1 there may at times be occasions in which patches of 8fuzziness0 will help the picture1 yet these are rare indeed1 and it would be very difficult for any one to show us many such patches in our published plates4 ,we have1 then nothing to do with 8fuzziness10 unless by the term is meant that broad and ample generalization of detail1 so necessary to artistic work4 ,we would remind these writers that it is always fairer to read an author's writings than to read the stupid constructions put upon them by untrained persons4 ,,book ,,ii4 ,,technique ,,and ,,practice4 8,artists are supposed to pass their lives in earnest endeavour to express through the medium of paint or pencil1 thoughts1 feelings1 or impressions which they cannot help expressing1 and which cannot possibly be expressed by any other means4 ,they make use of material means in order to arrive at this end4 ,they tell their story--the story of a day1 an impression of a character1 a recollection of a moment1 or whatever1 more or less clearly or well1 as they are more or less capable of doing4 ,they expose their work to the public1 not for the sake of praise1 but with a feeling and a hope that some human being may see in it the feeling that has passed through their own mind in their poor and necessarily crippled statement4 ,the endeavour is honest and earnest1 if almost always with a result weakened by over-conscientiousness or endeavour to be understood4444 ,your work is exhibited not with the intention of injuring any of the human race4 ,it is a dumb1 noiseless1 silent story1 told1 as best it may be1 by the author to those whom it may concern4 ,and it does tell its story1 not to everybody1 but to somebody40 ,,william ,,hunt4 ,,chapter ,i4 ,,the ,,camera ,,and ,,tripod4 ,sidenote3 ,the camera4 ,the camera as used to-day is a modified form of the ,camera ,obscura adapted to the special end of taking photographs4 ,it is essentially nothing but a light-tight box1 to one end of which a lens can be adjusted1 and to the other end of which the slide containing the sensitive plate can be applied and exposed1 so that it receives no light1 save that passing through the lens4 ,sidenote3 ,choice of camera4,there are many patterns and many minor differences in the construction of these boxes1 some few of real value1 but the majority the work of ingenious and speculating manufacturers1 who hope by some novelty to increase the sale of their new patents4 ,in all apparatus the student should choose the simplest and strongest1 for in artistic work lightness per se is no object1 nay1 it may be harmful1 as leading to over-production4 ,in fact nothing should stand in the way of getting the best results1 and though many of the cameras on the market are light and fitted with numerous devices which are said to simplify operations and help the worker1 yet such is not really the case1 and these thousand-and-one aids to work are apt to become deranged1 and finally to embarrass the worker at some critical moment4 ,in choosing a camera1 then1 for landscape work1 choose a square one1 with a reversing frame1 a double swing-back1 and good leather bellows4 ,let the flange of the lens be fitted to a square front which can be easily removed and replaced1 and let there be a rising front4 ,it is advisable to have the camera brass-bound for the sake of its preservation1 and if for use in tropical climates the bellows should be made of ,russian leather1 as the oil of birch with which the leather is cured is most distasteful to insects4 ,sidenote3 ,special considerations in choosing a camera4 ,in ordering a camera there are a few points which experience has led us to consider essential to comfort4 ,sidenote3 ,base-board4 ,one is that the part of the base-board of the camera which rests on the tripod head should be strengthened or made of much stouter material than is usually used4 ,sidenote3 ,thumb-screw4 ,another is that the thumb-screw should be of much larger diameter than is usually the case1 and this should be borne in mind1 even in the making of the smaller cameras1 for on a windy day when the camera has a heavy lens on one end and a loaded double dark slide on the other1 the vibration is often ruinous to the picture during exposure1 while sudden gusts of wind may even crack the wood round the screw hole4 ,it seems to us a thumb-screw at least half an inch in diameter should be used1 unless the camera be made to fit into the tripod head1 a method often adopted of recent years1 and of course the best way of all4 ,on more than one occasion we have nearly lost the camera altogether in the water when trying to screw it to the tripod when working from a boat on a tideway1 but by having a part of the base-board made to fit into a wooden tripod head1 this at times most difficult operation is rendered easy and certain4 ,the camera should always extend and close by means of a tail-screw1 those opening by means of a rack and pinion are much more liable to get out of order4 ,of course this remark is not applicable to the smallest-sized cameras4 ,sidenote3 ,spirit levels4 ,two small spirit-levels sunk into the tail-piece of the camera are invaluable2 one will do if made of the right shape4 ,sidenote3 ,size of camera4 ,in ordering a camera the two vital points to be considered are the size including the length of the bellows4 ,the size of plate you intend working with determines the size of the camera4 ,we have worked with all sized cameras1 from quarter-plate up to one taking twenty-four by twenty-two inch plates1 and it is only after long experience and much consideration that we venture to offer an opinion on the size to be chosen4 ,for ordinary work1 then1 we recommend the half-plate size as the minimum1 and the ten by eight inch size as the maximum4 ,perhaps a whole-plate camera 7#h #f inches7 is on the whole as useful as any4 ,the strength required to do a day's work with a twelve by ten inch camera is beyond any but a strong man4 ,it is assumed1 of course1 that the pictures of the sizes cited are for albums1 portfolios1 or book illustrations4 ,it must be remembered1 however1 that the size of a picture has nothing to do with its artistic value1 an artistic quarter-plate picture is worth a hundred commonplace pictures forty by thirty inches in size4 ,for producing large pictures for the wall1 however1 we consider the camera should be between fifteen by twelve inches and twenty-four by twenty-two inches2 we cannot imagine anything larger than twenty-four by twenty-two inches for out-door work1 and our memory goes back to a marsh road in ,norfolk where we and two peasants had all we could do to carry a twenty-four by twenty-two inch camera when set up1 from one marsh to another4 ,sidenote3 ,square cameras4 ,the student will of course remember that his camera must be square in order to have a reversing frame fitted1 but that makes no difference to the dark slides4 ,sidenote3 ,length4 ,having then fixed on the size of his camera1 a question requiring the greatest thought1 he must next tell the maker the length of bellows he requires1 which is usually measured from front to back when the camera is racked out to its full length4 ,as we recommend the use of long-focus lenses only1 as will be seen in the chapter on lenses1 and as no definite law can be laid down for this length1 it is advisable to order a camera four or five inches longer than the focal length of the lens which is advertised to cover the next larger-sized plate to that which your dark slide holds4 ,sidenote3 ,size of plate4 ,and now for a caution against a fallacy still current in photographic circles1 which is that one size of plate is more suitable for pictorial purposes than another4 ,let no such nonsense influence you1 the size of the plate has nothing whatever to do with success or beauty4 ,every composition will demand its own particular size and shape1 and though you work with a ten by eight inch camera or any other size1 you will find you will often take a nine by four inch or a ten by three inch plate or a dozen other sizes and cut off all the rest4 ,all fanciful rules for fixing on the size of a plate for pictorial reasons cannot be too strongly condemned4 ,such things must be left to the individuality of each artist1 and every picture-gallery in ,europe gives the lie to all rules for a choice of size4 ,the artist1 must of course1 suit his canvas or plate to his subject1 not his subject to his canvas or plate4 ,sidenote3 ,studio cameras4 ,for studio1 or indoor work1 the camera may of course be heavier for obvious reasons1 and a different form of support is necessary1 the one usually adopted being very convenient for lowering or raising the lens so that the best point of sight is obtained according to the position of the model4 ,it seems to us1 however1 that these studio cameras and stands are made a great deal too heavy and cumbersome4 ,sidenote3 ,hood4 ,for this kind of work a very necessary part of the apparatus is a hood of some dark material fixed on to the front of the camera and extending above and beyond the lens1 in order to obviate the effect of the numerous reflections always present in a glass studio4 ,out of doors this is only necessary when the sun is shining into the lens2 otherwise it is never needed1 for we have tried it1 and have proved that its use has in no way improved either the truth or the artistic quality of the negative4 ,in cases where the sun shines into the lens a hat1 a piece of cardboard1 a folded newspaper1 or anything of the kind1 will answer the purpose equally well4 ,sidenote3 ,tripod head4 ,the tripod head should be preferably of tough wood covered with felt4 ,a metal tripod head is apt to endanger the woodwork of the camera1 even when covered with leather4 ,sidenote3 ,tripods4 ,the legs should be simple and firm1 the best we know of being made of two pieces of ash or oak hinged at the bottom1 the points shod with iron1 and the legs being stiffened1 when in position by a bar of iron which is secured by a hinge4 ,every one should have two pairs of legs at least2 one pair1 so that when the camera is set up the lens may be on a level with the eye of a man of average height1 and one pair shorter1 so that the lens is only three feet from the ground4 ,sidenote3 ,supplementary poles4 ,in addition to these we always have handy three tough poles eight feet long and about the diameter of a broomstick2 these are shod with iron heels1 and have notches cut at the unshod ends4 ,these are most useful to lash to the long legs when using them in water-ways4 ,sidenote3 ,double-backs4 ,it is as well to have six double-backs1 for by filling them all at one operation the student empties a box of plates1 and so avoids a chance of mixing exposed and unexposed plates4 ,sidenote3 ,bags4 ,the most convenient method of carrying the plates in all cases up to and including the ten by eight size1 is to have a bag made which will take the camera1 three double-backs and the focussing cloth1 and a separate bag for the other three double-backs which can be left or taken out at pleasure4 ,sidenote3 ,clamp4 ,a very useful piece of apparatus is a clamp which can be screwed on anywhere1 but especially to a boat's gunwale1 the taffrail of a steamer1 a fence1 and numerous other places whence good pictures can often be secured4 ,such a clamp can be purchased at most of the dealers' shops4 ,sidenote3 ,setting up the camera4 ,having decided on these matters1 we will suppose the novice is now provided with camera and tripod4 ,now for a few details about starting4 ,in setting up the camera on its tripod1 one leg should be placed either between the photographer's legs or exactly opposite to him1 he will then find he can command the camera easily and alter its position with a touch4 ,if1 on the contrary1 the legs are put up by chance1 he will soon find his lens playing all sorts of gymnastic tricks1 one moment looking up as if threatening the stars1 the next studying with the deepest interest the ground at its foot4 ,sidenote3 ,rising front4 ,the manipulation of the rising front is a power needing considerable study1 for1 by moving it1 you can regulate the amount of foreground you wish to include in your picture4 ,the limit of rise of the front is determined by the manufacturer1 and the limit beyond which the student must not go is determined by the covering power of the lens he is using1 for he will remember that every lens only covers a certain circle1 the area of the circle depending on the construction of the lens4 ,the usual method of describing the covering power of a lens is to give the measurements of the greatest parallelogram that can be inscribed in this circle4 ,it will be easily seen that if the lens we use only just covers the plate1 that when the front is raised1 the lower corners will have no image exposed on them1 and the higher the lens is carried1 the more of the lower part of the picture will be cut off4 ,as the image is upside down1 the blank corners will appear in the sky of the negative4 ,it is then obvious that if the covering capacity of the lens is greater than needed for the plate used1 the rising front may be used to a much greater extent than if you only use a lens advertised to cover the plate you are exposing4 ,it must always be remembered that if the optical axis of the lens be raised above the centre of the plate the illumination may be unequal4 ,sidenote3 ,swing-backs4 ,the effect of the horizontal and vertical swing-back is identical1 as is obvious if the camera be placed on its side1 for the horizontal swing becomes vertical1 and vice vers4 ,if the camera be set up plumb1 the effect of using the vertical swing-back to its extreme limits 7which are determined by the mechanical construction of the camera7 is to lengthen objects in the direction of their obliquity and to sharpen them4 ,what does this mean from an art point of view8 ,it means that as a rule it throws the whole picture out of drawing1 the relative positions of the planes are altered1 the relative definition in the planes is altered and therefore the relative values1 and therefore as a rule the picture1 is artistically injured4 ,this rule-of-thumb use of the swing-back arose1 no doubt1 from the practice of those craftsmen1 untrained in art1 whose aim was the production of 8sharp0 pictures4 ,the only legitimate extensive use of the swing-back is when the camera is tilted before an architectural subject1 when it is quite correct to have the ground-glass plumb1 although for our part we deem the tilting of the camera to be undesirable4 ,the swing-backs can1 however1 be used1 with the greatest caution1 in artistic work1 and their value can scarcely be overrated1 but it requires great knowledge to use them appropriately4 ,the subtle changes in the drawing and composition of a picture which can be obtained by an intelligent use of the two swing-backs1 make them1 to those who know how to use them1 most valuable tools4 ,but if the beginner will take our advice1 he will keep his ground-glass plumb1 and his horizontal swing-back square1 and never venture to alter either until he has thoroughly mastered his technique1 and has some insight into the principles of art4 ,the use of these swing-backs seems so easy1 as of course it is1 when 8sharpness0 is all the desideratum and embodiment of the operator's knowledge of art1 but in reality none but artists know their real value4 ,by their means1 the impression of the whole scene can often be more truly rendered1 and things can be subdued and kept back in the most wonderful manner2 and since we wish to get a true impression of the scene we are interested in1 not a realistic wealth of detail1 it can be easily understood how invaluable are the swing-backs when used cautiously4 ,sidenote3 ,on impression and fact4 ,muybridge's galloping horses are in all of their movements true1 but many of these are never seen by the eye1 so quick are they4 ,on the other hand1 the student1 if he goes to the ,british ,museum1 can see in the ,parthenon ,frieze that the sculptors in some cases carved the legs of the farthest off of three horses in higher relief than those of the nearer horses1 but if he goes off a few paces and views the carving in its entirety1 he will see the true impression is gained2 the nearest legs look the farthest off1 and so the work is true in impression1 though not true in absolute fact4 ,and though the use of the swing-back makes the drawing a little false1 yet if the lens we shall describe hereafter be used1 the falsity is so very slight as to be hardly noticeable1 while it is far more correct than any human hand guided alone by a human eye can render it4 ,with art as with science1 nothing is absolutely correct1 the personal equation and errors of experiment must be allowed for1 but the results are true enough for working purposes4 ,sidenote3 ,pin-hole photography4 ,by perforating a thin metal plate with a minute hole1 large enough only to admit a pin's point1 and fitting it to the front of the camera in place of the lens1 an image will be thrown on the focussing screen1 as the piece of ground glass at the opposite end of the camera is called4 ,if the image be received on to a sensitized plate1 it will be impressed on the plate1 and can be developed in the ordinary way4 ,were it not for the great length of time required for exposure1 it would be a great question whether any lens at all need be used in photography1 but since the exposures required to produce pictures without lenses vary roughly from one to thirty minutes1 this method cannot be seriously considered here1 for1 as we shall show1 within certain limits1 the quicker the exposure the better2 nevertheless1 the drawing of pictures taken in such way would obviously be correct4 ,in cases where the length of exposure is immaterial1 this method would be a worthy field for experiment4 ,sidenote3 ,accidents to the camera4 ,the student must be careful to see that the inside of the camera is a dead black1 and that it keeps so4 ,at times the camera may leak or get out of register1 that is1 the plate does not exactly take the place of the ground glass1 in which case he should at once send it to the maker4 ,sidenote3 ,test for register4 ,should the student wish at any time to test the register of his camera1 he has only to pin up a printed card and focus it as sharply as possible1 using a magnifying glass1 if one is at hand4 ,then load the dark-slide with a plate of ground-glass1 and after sliding it into position1 open the slide 7if a double-back7 when the image will be seen on the ground-glass plate1 and its sharpness can be noted4 ,if perfectly sharp1 the camera is in register4 ,sidenote3 ,hand cameras4 ,a good form of small camera to be carried in the hand is a great desideratum for artistic studies4 ,exquisite studies of figures1 birds1 and all sorts of animal life could be made with such a contrivance1 studies admirably suitable for tail-pieces or illustrations to go in with the text4 ,that there are dozens of patterns of hand cameras commonly called 8detective cameras10 we are well aware1 and we have tried some of the best1 but we have found none satisfactory for artistic purposes1 and can therefore recommend none4 ,we may here remark that the name 8detective camera0 is1 in our opinion1 undesirable1 photographers ought not to have it even suggested to them that they are doing mean1 spying work with their cameras1 whereas the term 8hand camera0 meets every requirement4 ,of course the smaller cameras advertised to be worn on the person are nothing but toys4 ,the camera we should like to see introduced would be a very light collapsible camera1 which could be easily carried in the pocket when not in use4 ,it should be able to take pictures not larger than four and a half by three and a half inches1 and should be fitted with the ,eastman spools1 so that any number of exposures could be made4 ,the lens should be ,dallmeyer's long focus rectilinear landscape lens1 fitted with a good shutter4 ,there should be a light view meter attached to the top4 ,there is no necessity for a ground-glass screen1 for on the tail-board could be registered various distances1 at which the film is in focus2 and since for artistic purposes most of the studies would be of objects near at hand1 this arrangement would be effectual4 ,sidenote3 ,view finder4 ,many hand cameras are fitted with a camera obscura4 ,the handiest view finder for quick exposure work is to fit a double convex lens of the same focal length as the working lens to the front of the camera1 and turn up the focussing screen at right angles to the plane of the top of the camera1 when it may be secured by a small brass catch fitted for the purpose4 ,when the focussing cloth is thrown over the lens and screen a temporary double camera is made1 and the moving objects can be watched on the ground glass4 ,with experience it is possible to judge by simply looking over the top of the camera4 ,,chapter ,,ii4 ,,lenses4 ,sidenote3 ,optics4 ,we do not intend to incorporate in this chapter elementary optics1 as the subject is well known to most educated men1 but in case any reader should know nothing of light and optics1 we recommend him to get ,sidenote3 ,ganot's ,physics4,ganot's ,physics1 and thoroughly master at least the paragraphs of ,book ,,vii41 on 8,light10 that we enumerate below4#aj ,this may seem a little formidable1 but our reader will find that with a very simple knowledge of mathematics he can easily understand all the sections marked1 and it is our opinion that light and chemistry should be studied directly from systematic text-books that treat of those subjects4 ,in the ,appendix we shall refer to some additional books which we consider advisable for the student to read1 but for the present we strongly recommend him to thoroughly master the parts of ,ganot that we have cited1 and to avoid all other desultory reading until he has done so4 ----- ,footnote #aj3 ,namely1 paragraphs #dii1 #ejj1 #eja1 #ejb1 #ejc1 #ejd1 #ejf1 #ejh--the ,laws of the ,intensity of ,light1 #eji--,photometers1 ,rumford's and ,bunsen's1 #eaj1 #eaa--;first proof only1 #eab1 #eac1 #ead1 #eah1 #eai1 #ebd1 #ebe1 #ebh1 #ecc1 #ecf1 #ecg1 #ech1 #eci1 #edj1 #edb1 #edc1 #edd1 #eea1 #eeb1 #eed1 #eee1 #eef1 #eeh1 #efd1 #efe1 #eff1 #efg1 #efh1 #efi1 #egj1 #ega1 #egb1 #egc1 #egd1 #ege1 #egf1 #egi1 #ehj1 #eha1 #ehb1 #ehc1 #ehd1 #fjb1 #fjd1 #fab1 #fae1 #faf1 #fag1 #fah1 #fai1 #fbj1 #fba1 #fbe1 #fbf1 #fbg1 #fbh1 #fbi1 #fca1 #fcb1 #fcd1 #fce1 #fcf1 #fcg1 #fci1 #fdj1 #fda1 #fde1 #fdf1 #fej1 #feb1 #fee1 #fef1 #fei1 #ffa1 and #ffd4 ----- ,far too much time has been given1 and far too much importance has been hitherto attached1 to the subject of optics in connection with photography4 ,much time and expense would have been saved had the pioneers of photography had good art educations as well as the elementary knowledge of optics and chemistry which many of them possessed1 for without art training the practice of photography came to be looked upon purely as a science1 and the ideal work of the photographer was to produce an unnatural1 inartistic and often unscientific1 picture4 ,it is1 indeed1 a satire on photography1 and a blot which can never be entirely removed1 that at the very time the so-called scientific photographers were worrying opticians to death1 and vying with each other in producing the greatest untruths1 they were all the while shouting in the market-place that their object was to produce truthful works4 ,at length1 when the most doubly patented distorting lenses were made to meet their demands1 they1 with imperturbable self-confidence1 presented a sharp1 untrue photograph1 insisting upon its truth4 8,a truer picture10 said they1 8than drawing20 8truer than the eye sees10 some said4 ,in short their picture was absolutely perfect4 ,when a lens giving a brilliant picture1 with all the detail and shadows sharp1 and the planes all equally sharp1 was at last produced1 the scientists were in excelsis4 ,but1 alas6 they proved themselves as unscientific as they were inartistic6 ,had they but taken up their simplest form of lens and used it as a magnifying-glass1 they would have seen immediately that all was not right1 and instead of clamouring for the artistic falsities of 8depth of focus10 8wide-angle views10 8sparkle10 and the other hydra-heads of vulgarity1 they might have set to and made the lens which was required4 ,it was but a simple thing that was required4 ,sidenote3 ,dallmeyer's long-focus landscape lens4 ,the question then arises--,what is the best lens for artistic purposes8 ,that lens is ,dallmeyer's new long-focus rectilinear landscape lens4 ,this summer 7#ahhh7 we used one of these lenses and were delighted with it4 ,sidenote3 ,why this lens is the best4 ,why is this the best lens for our purpose8 is the question that naturally arises4 ,it is the best because being what is called a long-focus lens1 it cannot be so ignorantly employed as can lenses of shorter focus1 there is no appreciable marginal distortion1 and with open aperture the outlines of the image are softly and roundly rendered1 and in addition the relative values seem to us to be more truly rendered by it4 ,sidenote3 ,best focal length to use4 ,this lens then being1 as we think1 the best for artistic work1 the next question that arises is what focal length of lens must we use to get the best results4 ,the student will be told ad nauseam that if he places his eye at the distance of the focal length of the lens from the photograph he is inspecting1 all will be well4 ,such1 however1 is not always the case4 ,he may prove it for himself by taking a lens of short focus and photographing any suitable object placed too near to him1 and he may then place his eye at the distance of the focal length1 and if he be an artist1 he will immediately detect that the drawing is false1 and the distance is dwarfed and pushed together as compared with foreground objects1 whilst in a true drawing the proportions must be true between the foreground objects and distant objects4 ,this misuse of the lens is what leads to the production of so many photographs false in drawing1 and it is evident that since many of these falsely drawn photographs have been and are a basis for many scientific purposes1 the deductions based upon them will have to be reconsidered4 ,sidenote3 ,experiment for finding a rough rule for the use of lenses4 ,the next question is1 what proportion1 as a rule1 should the focal length of the lens bear to the base of the picture to give approximately true perspective delineation8 ,this proportion should be as two to one1 that is1 the focal length of the lens should be as a rough working rule twice as long as the base of the picture4 ,we arrived at the result by making a series of drawings on the ground glass of the camera1 and comparing them with a perspective drawing made upon a glass plate4 ,opticians have arrived at the same conclusion1 for we find this is the rough rule stated by ,mr4 ,dallmeyer in his 8,choice ,lenses40 ,sidenote3 ,comments4 ,the falsity of the statement that photographs are always true--a statement that has been in vogue from the earliest photographic days--is then apparent4 ,sidenote3 ,false drawing producing false tonality4,it will now be obvious why some lenses make ponds of puddles1 and otherwise falsify the landscape4 ,this fact would have long ago been noticed had artists always seen the landscape from which the photograph had been taken4 ,another thing which a wide-angle lens1 if wrongly used1 does1 is1 in the case of a picture with clouds1 to draw down and crowd together the clouds1 and define them more sharply than the eye sees them1 so that when the negative is printed they appear too strong in value1 and the whole picture is thrown out of tone1 and is therefore false and inartistic1 even if the lens be correctly used2 this fault is generally present in pictures taken with these lenses4 ,sidenote3 ,lenses recommended4 ,it will be seen from our remarks1 therefore1 that the only lens we recommend for artistic work is ,dallmeyer's new rectilinear landscape lens4 ,at least two of these should be obtained of different focal lengths1 one of which is advertised to cover a plate a size larger than that used by the photographer1 and the second to cover the same sized plate that he uses4 ,in addition a rapid rectilinear lens as advertised to cover a plate of the same size as his camera1 will be found very useful for quicker work4 ,sidenote3 ,lenses for special purposes4 ,for special purposes1 for example in photographing beetles1 or fish1 or flowers for scientific manuals1 the finest lenses procurable must be used1 and sharpness1 brilliancy1 c41 are vital qualities in such cases1 for the work desired is diagrammatic and not artistic1 but in these cases also the greatest care must be taken to use the lenses properly1 so that the drawing is correctly rendered4 ,ignorant critics and enthusiastic partisans alike have claimed for photography1 as its chief merit1 8truthfulness40 ,as has been shown1 a photograph may be very false indeed4 ,sidenote3 ,composite photography4 ,another chimera is that of 8composite photography10 to which we shall again refer4 ,when ,mr4 ,galton tells us he uses an ordinary portrait lens for his work1 and gives no other details1 that is quite sufficient1 in our opinion1 to seriously impair the value of his 8composites10 even were there no other considerations4 ,sidenote3 ,portraits taken with rapid rectilinear lens4 ,the only really artistic series of photographic portraits we have ever seen1 namely1 those by ,mrs4 ,cameron1 were taken with the next best lens to that advocated1 namely1 a rapid rectilinear lens1 but even they would have been improved by the use of the new lens4 ,we have besides seen here and there really artistic portraits by others 7but these were the result of chance1 as no second picture was ever produced by the same worker71 and they were taken by a rapid rectilinear lens4 ,mrs4 ,cameron1 though not an artist1 had knowledge enough to see that the portrait lenses of the day were undesirable for her work4 ,and here it may be remarked that a great ignorance of optics is as harmful as wasting too much time upon its study4 ,one industrial portrait photographer1 who has very occasionally succeeded in producing an artistic picture1 prides himself1 we are told1 on not knowing what lens he uses4 ,such a man can never be an artist1 for he cannot know whether his work be true or false4 ,to appreciate falseness in drawing requires considerable training4 ,an average judge of photography might discover gross distortion of limbs1 due to violent perspective2 but how many would notice the false drawing in a face which is taken with a portrait lens8 ,sidenote3 ,diaphragms4 ,supplied with his lenses1 the student will find 8stops10 or diaphragms4 ,the name1 8stop10 suggests its use4 ,by making the light pass through a contracted hole1 the weak marginal rays are cut off1 and the image is therefore made sharper all over1 spherical aberration is reduced1 and the depth of focus is increased4 ,but though diaphragms are used to correct an error1 yet the ignorant use of them is as great a source of error4 ,one of the causes of sharply defined and false heavy shadows in the much-vaunted 8sharp photographs0 is due to focussing sharply1 and 8stopping down10 that is1 to using a small diaphragm4 ,this is the invariable practice of most photographers4 ,sidenote3 ,modified diaphragms4 ,some ingenious workers have suggested modifications in the construction of diaphragms1 with a view to improving the picture2 one of these being a paper diaphragm1 made translucent with castor oil2 but we have not found any advantage in these novelties4 ,it is1 however1 a legitimate field for experiment1 and translucent diaphragms might be tried in indoor work and bright out-door effects4 ,sidenote3 ,intensity of lens4 ,the student will often see in photographic papers that a lens works at ,f_/#h1 or ,f_/#cb1 or some other number4 ,this simply expresses the ratio between the working aperture and the equivalent focus of the lens1 and is obtained by dividing the equivalent focus by the working aperture4 ,f_/#h then means the aperture is one-eighth of the focal length of the lens referred to4 ,the rapidity of lenses are compared in this way by squaring the denominators of the fractions thus obtained2 when the results will give the ratios of rapidity4 ,sidenote3 8,depth of focus40,by 8depth of focus0 is roughly meant the sharp rendering of the different planes of a landscape1 or any object with more than one plane in one plane4 ,needless to say1 this quality1 greatly sought for in lenses by photographers1 is a thing to be carefully avoided in artistic work1 as we shall show later on4 ,sidenote3 ,flare spot4 ,by a flare spot is meant a circular spot on the focussing screen1 which receives more light than the surrounding field2 it is said to be caused by the diaphragms being wrongly placed4 ,the same effect is produced when the sun shines into the lens1 the light being then reflected from the brass tubing of the lens1 and it is for that reason that the lens must be carefully shaded during exposure1 when the sun is directly in front of the camera4 ,sidenote3 ,angle of view4 ,the angle of view included by a lens is an important consideration1 and we shall refer to this later on2 here we shall only show how this angle may be determined when the student wishes to do so4 ,the angle depends on two factors1 the length of the base line of the picture1 and the focal length of the lens4 ,this is practically determined by ruling a horizontal line the actual length of the base line of the picture1 and drawing from the centre of this line a perpendicular equal in length to the focal length of the lens4 ,completing the triangle1 we have in the angle contained by the two sides of the triangle the required angle1 which can be measured by an angle measurer4 ,experience shows that if the base of the picture is greater than or equal to the focal length of the lens1 the angle included will vary between #ec and #ij2 but if the base is less than the focal length1 these angles will vary between #dd and #ai1 or less4 ,it will be seen1 therefore1 that the long-focus lenses give more suitable angles of view for pictorial purposes4 ,sidenote3 ,hints on lenses4 ,delicate optical instruments1 like lenses1 must1 it is needless to say1 be carefully protected4 ,a good lens should be free from scratches1 striations1 dull patches1 due to imperfect polishing1 and veins2 but air bubbles do not affect its value1 for it must be remembered that the shape of the hole through which the light passes does not affect the image1 save only by cutting off some of the light4 ,thus1 if a wafer be stuck to the centre of the lens1 the image will be found unimpaired4 ,dust and dirt1 however1 though they do not seriously impair the definition of the image1 yet cut off much light1 as will occur to any one when he thinks of the difference between the light of a room1 when the windows are dirty1 and when they are perfectly clean4 ,lenses should not be left in bright sunlight1 for this causes a change that slows them1 the dark also injures them in certain cases1 for1 as all microscopists know well1 darkness causes a change in ,canada balsam1 with which lenses are cemented together4 ,mr4 ,dallmeyer insists that lenses should be kept dry and free from sudden changes of temperature1 otherwise they may tarnish or sweat1 as it is called4 ,any one who has been troubled with this sweating will never forget it4 ,our experience is that the best way to keep lenses is in small leather1 velvet-lined cases4 ,we generally keep with them a piece of soft chamois leather1 or an old silk handkerchief4 ,no compound of any kind should be used to clean lenses1 if anything appears to be going wrong with them1 they should at once be sent to the maker4 ,sidenote3 ,view-meter4 ,a valuable little tool is a view-meter4 ,the handiest and compactest we have seen is that supplied in telescopic form4 ,,chapter ,,iii4 ,,dark ,,room ,,and ,,apparatus4 ,sidenote3 ,dark room4 ,there is no need to despair if there is no dark room1 no place to build one1 no means to pay for one4 ,some of our most successful plates were developed in a scullery1 and others in the bedroom of a house-boat4 ,sidenote3 ,developing rule4 ,in fact1 the sooner the student learns to develop anywhere1 the better1 for no one1 studying to do artistic work1 should leave his plates till his return home 7if he is away on a journey72 they should without fail be developed the same day on which they are exposed4 ,sidenote3 ,dark room4 ,only for portraiture is a dark room very necessary1 and you cannot do better than build one as suggested by ,captain ,abney1 in his 8,treatise on ,photography10 modifying it to suit your taste and means4 ,one thing1 however1 you should be careful about1 and that is the ventilation1 and money should not be spared on that department4 ,sidenote3 ,ventilation4 ,the dark room can be scientifically ventilated by any good sanitary engineer4 ,we have already1 elsewhere1 gone into the subject of ventilation of dark rooms1 warning photographers of the pernicious effects of defective ventilation4#aa ,sidenote3 ,apparatus4 ,the best sinks are made of earthenware1 as supplied by ,doulton4 ,the lamp should be large1 and give a good light4 ,sidenote3 ,ruby glass4 ,ruby glass is1 to some1 injurious to the eyesight1 and has been known to produce nausea and vomiting1 in which cases cathedral green and yellow glass should be used4 ,sidenote3 ,dishes4 ,the photographer will require at least eight dishes1 and at the very start he should make it a rule never to use a dish save for one purpose4 ,we consider the best dishes for all purposes are made of ebonite4 ,they should be bought in a nest1 the smallest size taking the largest plate used by the operator1 and the other seven increasing in size1 so that one fits into the other4 ,this makes them more convenient for carriage4 ,the dishes should be marked by painting on their bottoms4 ,one will be wanted for developing1 one for the alum bath1 one for the changing bath1 one for the hyposulphite bath1 one for the acid bath in developing platinotype prints1 one for the water bath in the same process1 one for an intensifying bath1 leaving one over for odd jobs4 ----- ,footnote #aa3 8,ventilation of the ,dark ,room0 and 8,ammonia ,poisoning0 in the 8,year ,book of ,photography and ,photographic ,news ,almanac0 for #ahhe-hg1 and on 8,pharyngitis and ,photography0 in the 8,year ,book of ,british ,journal of ,photography0 for #ahhg4 ----- ,when it is remembered that hyposulphite of soda is so 8searching0 that it has been known to penetrate through the ordinary so-called 8porcelain0 dishes and crystallize on the outside1 one may judge how important it is to keep a separate dish for each operation4 ,sidenote3 ,light cover4 ,a light wooden board with a handle is most convenient for putting over the developing dish1 in the earlier stages of developing1 especially when using ortho-chromatic plates1 but the student must be careful to keep it on a shelf by itself4,sidenote3 ,sable brush4 ,another requisite is a broad brush of fine sable hair1 say three inches broad1 this had better be kept perfectly dry and clean in a box of its own4 ,sidenote3 ,chemical solutions4 ,the chemical solutions should be kept in bottles with glass stoppers1 each bottle should have an enamelled label1,sidenote3 ,plate washer4 so that it can be readily seen in the dark room1 and cannot be destroyed by acids4 ,a zinc washing trough which holds two dozen plates must be procured4 ,sidenote3 ,drainage rack4 ,travelling lamp4 ,a simple wooden drainage rack is also necessary4 ,we have tried several travelling lamps1 and have so far found no satisfactory one4 ,there are several in the market1 and the photographer must choose his own4 ,sidenote3 ,measures4 ,two measuring-glasses at least must be procured1 and it is a good plan to use ,hicks' opaque glass measures1 as they can be so easily read in the dark room4 ,it is as well to have one minim glass to hold sixty minims1 and a large measure to take the full quantity of developer required for one plate4 ,sidenote3 ,scales4 ,a pair of ordinary scales with weights 7apothecaries'71 costing a few shillings1 will complete the list of apparatus required4,sidenote3 ,printing frames4 ,a few simple printing frames will be wanted1 one of which should be a size larger than the plate used4 ,sidenote3 ,slabs of glass4,a square slab of glass1 the size of the plate1 and another a few inches larger each way1 will be found the best for trimming prints upon4 ,a razor or very sharp knife will be found the best tool for this purpose4 ,our student should get all these things of good quality1 and set his face against the syrens who whisper in his ear that he ought to get this1 and ought to have that2 he does not want anything more than we have told him1 a greater number of things will only embarrass him4 ,we are perfectly well aware that the most elaborate fittings have been put up by 8amateurs0 and 8professionals10 and we are equally aware that these have as yet not led to the production of a single picture4 ,,chapter ,,iv4 ,,the ,,studio4 ,sidenote3 ,studio4 ,for portraiture a studio is a necessity for obtaining the best results4 ,we shall very briefly discuss the question of studios1 for we hold that1 provided a studio be large enough and light enough1 there is not much else to consider4 ,we have been in several studios1 and worked for a considerable time in them1 one of which we1 having hired1 had all to ourselves1 so that our remarks are based on the experience of studios photographic1 as well as on those of painters and sculptors4 ,sidenote3 ,top and side light4 ,the best light is undoubtedly a top light and a side light1 the side light reaching to within a few feet of the ground4 ,it is a common fallacy among some portrait photographers that the side light should reach to the ground1 so that the boots may be lighted4 ,such an idea evidently arises from a misconception of the thing required2 the boots are to be subdued as much as possible1 it is the model's portrait we want1 not that of his boots4 ,the studio in this country should1 if possible1 face north1 or north-east1 the roof sloping at an inclination of half a right angle4 ,there should be no tall buildings standing near it1 as exterior shadows and reflections interfere with the purity of lighting4 ,sidenote3 ,building a studio4 ,we do not intend to give specifications for the building of a studio1 for this has been already admirably done1 and we advise any one proposing to build to consult ,dr4 ,e4 ,l4 ,wilson's 8,photographics10 page #afc et seq4 ,sidenote3 ,dr4 ,wilson's specification4 ,in our opinion this description leaves nothing to be desired2 this proviso only being made1 that the studio be made long enough to use a long-focus lens1 that shall give us correct drawing4 ,we have not tried ,dallmeyer's new lenses in a studio1 but if quick enough they should be used in preference to all others4 ,even if these lenses be not quick enough for studio work1 no doubt one will soon be made that will be quick enough4 ,sidenote3 ,glazing4 ,the glazing should not extend from one end of the studio to the other2 an unglazed space should be left at each end4 ,by curtains the length of glazing can always be shortened4 ,sidenote3 ,walls4 ,a grey distemper is perhaps the most suitable colour for the walls4 ,sidenote3 ,home portraiture4 ,successful portraits can be taken in ordinary sitting-rooms1 but we do not think the best results can be obtained in this way4 ,regarding business arrangements and conveniences1 we have nothing to do with them4 ,,furniture4 ,sidenote3 ,furniture4 ,the old1 and even modern1 portrait painters are answerable for many of the faults to this day committed by photographers1 because they take portrait painters as models4 ,lawrence was especially guilty in the use of conventional backgrounds and accessories4 ,of photographic furniture1 as generally understood1 there should be none4 ,the studio should be furnished simply1 and with taste1 as an ordinary sitting-room4 ,there should be no shams of any kind1 and the furniture should be chosen with a regard to unobtrusiveness and grace1 rather than to massive beauty4 ,all heavy curtains1 draperies1 hot-house plants1 and such incongruous lumber1 should be avoided4 ,it should be remembered that what is wanted is a portrait--the face1 or figure1 or both--and all accessories should be subdued4 ,it is very little use to lay down rules for these things1 all must depend on the individual taste of the photographer4 ,sidenote3 ,objets d',art1 so called4 ,but1 above all1 avoid shams and cheap ornamental objects1 such as cheap bronzes1 china pots1 and ,birmingham bric--brac4 ,the chairs should be upholstered with some good plain coloured cloth1 with no pattern1 and the floor carpeted with matting1 or a simply coloured carpet without pattern4 ,let simplicity and harmony predominate4 ,the room in fact should be a harmony in some cool colour1 and the furniture should not be felt when in the room4 ,our advice is1 buy your furniture anywhere1 save at a photographic furniture dealer's4 ,sidenote3 ,head-rests4 ,head-rests must be entirely tabooed4 ,we have taken many portraits1 some with very long exposures1 and no head-rest was necessary4 ,in nine cases out of ten it simply ruins the portrait from an artistic point of view4 ,sidenote3 ,reflectors4 ,reflectors1 on light stands1 should be ready for use2 but it is obviously erroneous to use large and unwieldy reflectors4 ,the reflector is really only necessary for the head and shoulders2 for our object is to subdue all other parts as much as possible4 ,sidenote3 ,backgrounds4 ,all artificial backgrounds should be banished1 together with such stupid lumber as banisters1 pedestals1 and stiles3 they are all inartistic in the extreme4 ,it is a false idea to represent people in positions they are never found in--such as a girl in evening dress against a seascape1 and all the other hideous conventionalities of the craftsman's imagination4 ,the background--which is a matter of vital importance--should be arranged to suit the sitter1 that is1 a harmony of colour should be aimed at4 ,light fabrics without patterns1 or pieces of tapestry1 will serve every purpose1 and give most artistic results4 ,the portraitist should keep a selection of pieces of fabric of light hues1 and a light skeleton screen can be kept ready1 to which to tack them as required1 suiting the colour to the dress of the sitter4 ,gradated backgrounds are a mistake1 the tonality is much better shown by having a background of one tint1 and so arranging the light that the modelling and tonality shall be subtle and true4 ,breadth and simplicity are the foundation of all good work4 ,the background should never be placed close behind the sitter1 as is customary2 but its distance from the sitter should be studied with the lighting4 ,as a rule1 it is better to place the background three or four feet from the back of the sitter4 ,what is required1 is that the head shall melt softly into the background1 and yet retain its modelling4 ,sidenote3 ,the camera4 ,the camera should work with a shutter--the ,cadett pneumatic shutter for portraiture being as good as any we know--and the pneumatic apparatus should have a very long india-rubber tube attached1 for reasons to be explained later on4 ,sidenote3 ,artificial light portraits4 ,means may be arranged for taking pictures by artificial light1 if necessary1 though personally we do not care for them4 ,the tonality1 though true to the light1 has a false1 artificial appearance by day4 ,there are many methods of making artificially lighted pictures2 the best1 in our opinion1 are those taken by the electric light4 ,others are done by gas1 and by magnesium flashes2 a method quite recently revived as something new1 whereas it is very old4 ,the best of those we have seen were done by the ,american 8blitz-pulver20 but the results appeared to us somewhat artificial4 ,we think artists will always avoid these artificial lights4 ,sidenote3 ,studio effects4 ,you must remember that in a studio you are taking a person in a room1 and that is the impression you must try to get in your picture4 ,sidenote3 ,a lighting rule4 ,it is a false idea and an inartistic one to endeavour to represent outdoor effects in a studio4 ,studio lighting and outdoor lighting are radically different1 and in a studio you have only to try and give an indoor effect4 ,this has been the principle of all great artists4 ,none but an amateur could fail to notice the falsity of lighting as seen in outdoor subjects taken in the studio4 ,sidenote3 ,studio lighting4 ,on the other hand1 in a studio you may get any effect of lighting you can for indoor subjects1 for all such effects are to be seen in a room by a careful observer4 ,sidenote3 ,adam ,salomon4 ,adam ,salomon took many of his portraits in front of a red-glass window4 ,this is quite legitimate1 as is also the arrangement of fabrics for the background1 and the dictating what coloured dress the sitter shall wear4 ,let our student work in harmonies of colour as much as possible1 and let him never take outdoor effects in a studio4 ,make the room as much like a comfortable sitting-room as possible1 and hide all the tools of the craft4 ,,chapter ,v4 ,,focussing4 ,sidenote3 ,focussing4 ,having now seen the principles by which we must be governed1 and the apparatus required1 we will briefly apply them4 ,sidenote3 ,how to focalize4 ,by focussing we understand1 bringing the ground-glass into the plane which coincides with the sharpest projection of the image2 the position of this plane varying of course according to the focal length of the lens and the distance of the object from the lens4 ,presuming1 then1 that the camera is in register1 and set squarely before the object to be photographed1 as can be determined by the spirit-levels1 let the student proceed to focus his picture as sharply as he can without any stop4 ,he must be careful that the swing-backs are parallel to the front planes of the camera4 ,sidenote3 ,mental attitude infocussing4 ,now the great habit to cultivate is to think in values and masses1 that is1 you must1 in your mind1 by constant practice1 analyze nature into masses and values1 and if you constantly practise this at the beginning1 you will find that it becomes a habit1 and automatically1 as you look at a scene or a person1 you will see on the ground-glass of your mind the object translated into black and white masses1 and you will notice their relative values4 ,this habit is absolutely necessary for artistic work1 for it is by this analysis that you will learn to know what is suitable for pictorial art1 and what is not2 for if the masses and values in a picture are not correctly expressed1 nothing will ever put the picture right4 ,our own experience has been that where this analysis has left an impression of a few strong masses1 the picture has always been stronger when finished than otherwise4 ,now our student1 having sharply focussed his picture with open aperture1 must take his head from beneath the focussing cloth1 and look steadily at his picture2 fixing his eye on the principal object in the picture1 he should go through this mental analysis1 and at the same time note carefully how much detail he can see1 both in the field of direct and indirect vision2 and his sole object should be to render truly the impression thus obtained4 ,sidenote3 ,how to 8stop down40 ,he should then look on the focussing screen1 and putting in his largest diaphragm1 and using his swing-backs1 and altering the focussing as may be necessary1 see how truly he can get this impression1 always remembering that the larger the diaphragm he uses the better4 ,for this reason he should always begin with an open aperture1 and work down to the smaller-sized diaphragm as needed4 ,by working in this way1 he will soon see what marvellous power and command he has over his translation1 all by the judicious use of his focussing screen1 swing-backs1 and diaphragm combined4 ,in focussing he must remember one thing1--never to focus so that it can be detected in the picture where the sharper focussing ends1 and the less sharp focussing begins--as can be brought about by diaphragms4 ,the sharpness should be gradated gently4 ,sidenote3 ,ground-glass picture false4 ,he must also remember that the ground-glass picture is false and deceptive in its brightness1 due to obvious physical facts4 ,this is a point of great importance1 which must not be forgotten when we are developing4 ,sidenote3 ,camera obscura4 ,the ground-glass picture1 though greatly admired by the ,tramontane masters1 and approved by ,canaletto and ,ribera1 as ,count ,algarotti assures us in one of his raptures on the camera obscura1 is not so natural and beautiful as it may appear from the toy point of view1--it is not what the artist wants1 any more than he wants the pictures of an ordinary camera obscura1 for if these pictures were satisfying in an artistic sense1 every one could1 by erecting a camera obscura1 have the satisfaction of his desire1 and there would soon be an end to the pictorial arts1 photography included2 for no one who loved this picture so dearly would want a camera to take photographs with1 but only one to look through4 ,the deceptive luminosity of the ground-glass picture must not be allowed to influence our normal mental analysis of the natural scene4 ,sidenote3 ,rule for focussing4 ,as we said before1 therefore1 the principal object in the picture must be fairly sharp1 just as sharp as the eye sees it1 and no sharper2 but everything else1 and all other planes of the picture1 must be subdued1 so that the resulting print shall give an impression to the eye as nearly identical as possible to the impression given by the natural scene4 ,but1 at the same time1 it must be distinctly understood that so called 8fuzziness0 must not be carried to the length of destroying the structure of any object1 otherwise it becomes noticeable1 and by attracting the eye detracts from the general harmony1 and is then just as harmful as excessive sharpness would be4 ,experience has shown1 that it is always necessary to throw the principal object slightly 7often only just perceptibly7 out of focus1 to obtain a natural appearance1 except when there is much moisture in the air1 as on a heavy mist-laden grey day1 when we have found that the principal object 7out of doors7 may be focussed quite sharply1 and yet appear natural1 for the mist scattering the light softens the contours of all objects4 ,nothing in nature has a hard outline1 but everything is seen against something else1 and its outlines fade gently into that something else1 often so subtilely that you cannot quite distinguish where one ends and the other begins4 ,in this mingled decision and indecision1 this lost and found1 lies all the charm and mystery of nature4 ,this is what the artist seeks1 and what the photographer1 as a rule1 strenuously avoids4 ,sidenote3 ,example4 ,as this loss of outline increases with the greyness produced by atmosphere1 it follows that it is greater on grey days and in the distance2 and less on bright1 sunshiny days4 ,for this reason1 therefore1 the student must be very careful on bright days about his focussing1 for on such days there is often no mist to assist him1 but still he must keep the planes separate1 or he has no picture4 ,let us imagine an example3 ,a decaying wooden landing-stage stands beneath some weeping willows at the edge of a lake4 ,from the landing-stage a path leads through a garden to a thatched cottage one hundred yards distant2 behind the cottage is an avenue of tall poplars4 ,on the landing-stage stands a beautiful sun-bronzed village girl in a plain print dress3 she is leaning against the willow and is looking dreamily at the water4 ,we row by on the lake1 and are struck by the picture1 but above all by the dazzling native beauty of the peasant girl3 our eyes are fixed on the ruddy face and we can look at nothing else4 ,if we are cool enough to analyze the picture1 what is it we see directly and sharply8 ,the girl's beautiful head1 and nothing else4 ,we are conscious of the willow-tree1 conscious of the light dress and the decaying timbers of the landing-stage1 conscious of the cottage1 away in the middle distance1 and conscious of the poplars telling blue and misty over the cottage roof2 conscious1 too1 are we of the water lapping round the landing-stage2--we feel all these1 but we see clearly and definitely only the charming face4 ,thus it is always in nature1 and thus it should be in a picture4 ,let us1 however1 still keep to our scene1 and imagine now that the whole shifts1 as does scenery on a stage2 gradually the girl's dress and the bark and leaves of the willow grow sharp1 the cottage moves up and is quite sharp1 so that the girl's form looks cut out upon it1 the poplars in the distance are sharp1 and the water closes up and the ripples on its surface and the lilies are all sharp4 ,and where is the picture8 ,gone6 ,the girl is there1 but she is a mere patch in all the sharp detail4 ,our eyes keep roving from the bark to the willow leaves and on from the cottage thatch to the ripple on the water1 there is no rest1 all the picture has been jammed into one plane1 and all the interest equally divided4 ,now this is exactly what happens when a deep focussing lens and small diaphragms are used1 the operator 7for no artist would do this7 tries to make everything sharp from corner to corner4 ,let the student choose a subject such as we have suggested1 and put what we have imagined into practice1 and he will see the result4 ,yet this 8sharp0 ideal is the childish view taken of nature by the uneducated in art matters1 and they call their productions true1 whereas1 they are just about as artistically false as can be4 ,for this reason1 too1 it must be remembered that the foreground is not always to be rendered sharply4 ,if our principal object is in the middle distance1 let us say1 for example1 some cottages on the border of a lake2 our foreground1 consisting we will suppose of aquatic plants1 must be kept down1 and purposely made unimportant4 ,this is done chiefly by the focussing and stopping4 ,sidenote3 ,mrs4 ,cameron's portraits4 ,among the few satisfactory portraits we have seen are1 as we have already said1 those by the late ,mrs4 ,cameron4 ,in all of these1 that fatal sharpness has been avoided2 her focussing was carefully attended to4 ,sidenote3 ,newton4 ,the well-known miniature painter1 ,sir ,w4 ,j4 ,newton1 one of the first vice-presidents of the ,photographic ,society of ,great ,britain1 distinctly advised that all portraits should be thrown a 8little out of focus40 ,the falsity of focussing a head sharply is shown by the fact that by doing so freckles and pimples1 which are not noticed by the eye1 stand out most obtrusively1 indeed a case is on record1 where an eruption of small-pox was detected in its earliest stage by the lens1 while nothing at all could be detected by the eye1 though this was but partly due to the lens4 ,this false focussing has brought in its train another huge falsity--retouching--of which we shall speak more fully hereafter4 ,sidenote3 ,scientific diagrams4 ,sharp focussing1 too1 by making objects tell too strongly1 throws them out of tone1 and so ruins the picture4 ,when sharpness is obtained by stopping down1 the diaphragm cuts off light1 injures normal brilliancy1 exaggerates shadows1 and so throws the picture out of tone4 ,of course1 if the object in view is to produce a diagram for scientific purposes1 such1 for instance1 as photographs of flowers for a work on botany1 or of fish for a work on ichthyology1 or of butterflies for a work on entomology1 the most brilliant illumination possible should be aimed at1 and the focussing should be microscopically sharp1 for such works are required to show the structure as well as the form4 ,but1 above all1 the drawing should be correct1 and this is obtainable only by the correct use of lenses1 which1 as we have pointed out1 has not always been the case4 ,if1 on the other hand1 the operator wishes to produce pictures of flowers1 butterflies1 fruit1 fish1 c41 the same rules hold good as for any other picture4 ,sidenote3 ,fantin's flowers4 ,as an example of the treatment of flowers1 the student will do well to study ,mr4 ,fantin's paintings of flowers4 ,we have never yet seen flowers1 fruit1 or still life artistically rendered by photography1 though we have seen some diagrams to all appearances perfect1 but in which the drawing must have been a little false4 ,we have seen it stated by craftsmen who have produced diagrams of microscopic and other objects1 that they were untouched 7and rightly so71 and that1 therefore1 these diagrams were artistic and true to nature4 ,of course1 from what has been already said1 it is obvious they were not necessarily true to nature 7though1 perhaps1 none the less useful for that71 and the statement that they were 8artistic0 arises of course from a total misconception as to what that word means4 ,here1 then1 we must quit this subject1 and we hope that we have impressed upon the student the fundamental necessity for exercising much thought and judgment and care in focussing1 stopping down1 and using the swing-backs1 for these three all work together1 and are quite as important as the questions of exposure and development4 ,of course there is no absolute state of 8sharpest focus10 but when we use the word 8sharp0 we mean the sharpest focus obtainable by any existing photographic lens when used in the ordinary way4 ,,chapter ,,vi4 ,,exposure4 ,sidenote3 ,ways of exposing4 ,a plate can be exposed in three ways1 that is1 by removing the cap and replacing it1 when the exposure is made2 by folding the camera cloth and placing it over the lens 7the cap having been removed71 before the shutter of the dark-side is drawn1 and then quickly withdrawing and replacing the cloth and sliding back the shutter2 and thirdly by using a mechanical aid1 called a shutter4 ,the first method needs no comment save that the cap should be withdrawn in an upward direction4 ,the second method has been of invaluable service to us1 and is much practised by ,scotch photographers4 ,by this means very rapid exposures can be made1 and yet detail obtained in dark foreground masses4 ,sidenote3 8,instantaneous shutters40 ,the third method is so well known that hundreds of mechanical contrivances1 called 8instantaneous shutters10 have been invented4 ,sidenote3 ,quick exposures4 ,we have always done all the work we could by quick exposures1 and here we may at once say that for artistic purposes 8quick exposures0 are absolutely necessary where possible4 ,sidenote3 8,instantaneous40 ,we do not say 8instantaneous exposures10 because it is high time that this unmeaning word should be relegated to the limbo of photographic archaics4 ,is it not obviously illogical to call exposures of #a_/bjj of a second1 and of one second1 both instantaneous8--yet such at present is the custom4 8,instantaneous0 means nothing at all1 for a quicker exposure can be obtained by the second method we have described than with some shutters4 ,sidenote3 ,classification of exposures4 ,it is in fact difficult to classify exposures1 for obviously the classification must be based1 cteris paribus1 on the time the plate is exposed1 and this1 especially in quick exposures1 is not to be measured save by special apparatus1 which of course is of no rough working use4 ,we offer as a suggestion the following rough working classification for describing exposures4 ,we would define as ,,quick ,,exposures1 ,sidenote3 ,quick exposures4 ,uncapping and capping lens as quickly as possible4 ,snatching velvet-cloth away and replacing it as quickly as possible4 ,all shutter exposures which cannot be timed by the ordinary second-hand of a watch2 a note being added in the case of shutter exposures1 giving make of shutter1 and stating whether it was set to quickest1 medium1 or slow pace4 ,,time ,,exposures4 ,sidenote3 ,time exposures4 ,all other exposures might be called time exposures1 it being understood by this term1 that the exposures were long enough to be counted by the second-hand of an ordinary watch4 ,a note could always be added giving the number of seconds the plate was exposed4 ,we are perfectly aware this method would give only approximately rough statements of the times of exposure1 but that is all that is wanted for ordinary work1 for after all1 except in delicate scientific experiments1 the times given to exposure must always vary greatly1 for exposure1 as we shall show1 can never be reduced to a science4 ,on the other hand1 in cases of delicate scientific work1 it may be required to measure exactly the length of the exposure1 and this is easily done with the proper apparatus1 as applied by ,mr4 ,muybridge and others4 ,our nomenclature is intended for the use of ordinary operators1 so that they may describe more accurately than they now do the exposure given to a particular plate2 and it is at any rate more accurate than any nomenclature now in use1 for1 as we have shown1 by the camera cloth method a quicker exposure can be made than with many shutters working slowly4 ,the fundamental distinction1 it seems to us1 for everyday work is1 whether the time of exposure is measurable by the seconds-hand of an ordinary watch or not1 and that is the point on which our nomenclature is based4 ,hence1 when we use the term 8quick exposures0 in this work1 we mean it as already defined4 ,sidenote3 ,name of shutters4 ,the shutters themselves should1 we think1 be called 8quick exposure shutters10 or simply 8exposure shutters10 instead of instantaneous shutters4 ,we will say but few words on 8shutters10 as these mechanical aids to exposure are called4 ,sidenote3 ,exposure shutters4 ,theoretically1 the best shutter is that which allows the lens to work at full aperture for the longest time1 and which causes no vibration or alteration of the position of the apparatus during exposure4 ,the mechanism should be simple and strong1 and the whole small in bulk4 ,mr4 ,t4 ,r4 ,dallmeyer's new central shutter1 in our opinion1 best fulfils these requirements4 ,another important matter is the correct position of the shutter1 and this1 theoretically again1 is behind the lens1 providing the aperture be large enough to prevent any of the rays of light admitted by the lens being cut off4 ,but in practice1 a shutter working in the diaphragm slot of the lens answers best1 and the very worst way of all is to work the shutter on the hood of the lens4 ,sidenote3 ,quick exposures4 ,all portraits should be taken by shutter1 and by quick exposure1 if possible2 in fact1 we feel sure a first principle of all artistic work in photography is quick exposure4 ,there is nothing to be said for time exposures1 although we are fully aware how much has been written on their advantages1 and the beneficial effects on the resulting negatives4 ,we1 however1 have never seen these wonderful gains1 and for quality we have seen very rapidly exposed plates result in negatives which will hold their own in quality against any1 whilst in every other respect1 there is everything to lose in 8slow0 or time exposures4 ,there are cases1 of course1 when time exposures are admissible1 and even necessary1 as in certain grey-day landscapes1 but when dealing with figures or portraits in good light1 let the exposure be as quick as possible1 ere the freshness and naturalness of the model be lost4 ,sidenote3 ,variation of exposure4 ,from what has already been said1 the student can understand that the exposure will vary with the attendant circumstances4 ,when he considers that there are several factors to be considered in determining the length of exposure1 such as the lens used1 the diaphragm1 the hour of day1 the season of the year1 the constantly varying conditions of light1 the subject and the plate used1--he will see how hopeless it is to lay down any rule for the time of exposure1 but it will be as well to consider the effects of these factors1 and thus briefly to indicate to the student what he must especially study4 ,sidenote3 ,the lens and diaphragm4 ,we have already shown how the rapidity of different lenses may be compared4 ,this factor1 then1 can be determined1 but after all it is of little practical value4 ,it is no doubt necessary when a new lens is used1 and every photographer may1 when using a lens for the first time1 have to work out its ratio intensity1 but as most workers know their lenses1 this factor is hardly worth considering1 for by practice the operator easily determines their intensities4 ,sidenote3 ,meteorological conditions4 ,these are by far the most important factors with which we have to deal in exposure1 and as they are as variable and uncertain as nature herself1 so must exposures vary and be uncertain until meteorology shall be perfected4 ,even the perfect actinometer which we are promised will not settle the matter1 for there are so many subtle conditions to consider besides the mere chemical power of light4 ,for instance1 for artistic reasons of light and shade1 it may be absolutely necessary to work against the readings of the theoretical perfect actinometer4 ,that a perfect actinometer may be of use in scientific photography we do not doubt1 but that is a matter which concerns only scientific specialists4 ,sidenote3 ,bouquet4 ,a few examples showing the protean aspects of nature1 and the difficulties of dealing with it1 will illustrate our meaning4 ,bouquet has calculated that the sun at an altitude of #ej above the horizon is #abjj times brighter than at sunrise4 ,if we1 then1 apply the ordinary chemical law1 that the chemical action is proportionate to the illumination1 noon would be the time to give the least exposure2 but such is not our experience1 for the period of greatest intensity is often an hour or so before or after noon1 because the angle of reflection is more favourable to us in ,england4 ,again1 another factor to be considered is the presence of clouds2 white clouds needing less exposure1 as they reflect light to a powerful extent4 ,again1 in sunrise and sunset light we have to consider refraction1 the warm colours predominating4 ,another point to consider is our altitude1 for there is less atmosphere in high altitudes2 therefore1 as any ,alpine traveller knows1 the sun acts more powerfully on the peaks than in the valleys4 ,dr4 ,vogel tells us that the light of the blue sky is chemically active and powerfully so4 ,it will be seen1 then1 from previous remarks1 why winter light is so feeble4 ,bunsen has worked out the chemical power of light1 and expressed it in degrees thus3-- #ab #a #b #c #d #e #f #g #h 7noon74 p4m4 p4m4 p4m4 p4m4 p4m4 p4m4 p4m4 p4m4 ,june #a #ch #ch #ch #cg #ce #cj #bd #ad #f ,dec4 #ba #bj #ah #ae #i #j #j ,thus at noon on ,june #bast the light is nearly twice as powerful as on ,december #bast1 and when we couple with this fact the moisture generally found in the atmosphere at mid-winter1 we see how deceiving are appearances4 ,again1 it is acknowledged by many that the light in autumn is one and a half times as great as it is in spring2 but we cannot act on this knowledge alone for outdoor work1 for the conditions of vegetation are quite different1 for1 as ,tyndall has shown1 8in delicate spring foliage the blue of the solar light is for the most part absorbed1 and a light mainly yellowish-green1 but containing a considerable quantity of red1 escapes from the leaf to the eye3 444 as the year advances the crimson gradually hardens to a coppery red40 ,another complication is the east wind4 ,it certainly sweeps away the moisture from the air and dries everything up1 giving all things a black hue and bringing them up closer to view1 at the same time dwarfing distant objects2 and while an east wind does all this by taking away moisture from the atmosphere1 the actinic value of light is at the same time lowered4 ,on the other hand1 after rain1 the light acts quickly1 probably owing to the numerous reflections from moist leaves1 and from the fact that they do not absorb so much light under these conditions4 ,that the warm colours require a longer exposure than others is too well known to need dwelling on4 ,the presence of water in the foreground1 on the other hand1 necessitates a shorter exposure3 even the amount of sky included in the picture will affect the length of exposure4 ,the existing temperature1 too1 strongly affects the negative4 ,sidenote3 ,no rule for exposure4 ,it is perhaps necessary here to state that there is no set key or scheme of lighting to work by4 ,some untrained persons have preached that no photograph should be taken when there is no sun1 or that sunlight is the best time for taking a photograph3 such statements are as absurd as childish1 one might as well ordain that all music should be played in one key4 ,as beautiful pictures are to be obtained on the grey dull days of ,november as in sunny ,june4 ,we remember once reading a statement that all paintings were of sunshine subjects4 ,we quite forget by whom this extraordinary statement was made1 but at any rate the writer must have been very ignorant of his subject2 he could never have heard of half the great pictures of the world2 but surely the name of ,rembrandt might have occurred to him4 ,a photograph must be true in sentiment1 and true to the impression of the time of day1 just as a picture must be4 ,there are some subjects which in sunshine look beautiful1 and which on grey days are worthless1 and vice vers4 ,therefore1 here again there is no rule1 each subject must be judged by itself4 ,sidenote3 ,sensitometer4 ,the rapidity of plates can be measured by an instrument called a sensitometer4 ,that one in general use is made by ,warnerke4 ,but this sensitometer1 like many so-called scientific things in photography1 seems to us very unscientific1 for the light cannot be uniform2 for1 as is well known1 the light given from phosphorescent paint varies in intensity with the temperature4 ,since writing this1 we have been informed that this has been proved to be the case by ,dr4 ,vogel1 who1 in addition1 brings against this sensitometer serious errors of experiment1 due to yellow glass being employed4 ,dr4 ,nicol1 too1 has stated that the screens sent out vary in density4 ,sidenote3 ,on exposure tables4 ,we have seen how the rapidity of a lens is determined2 beyond1 then1 the comparing the relative rapidities of lenses1 all tables of exposures are fallacious and unscientific4 ,can absurdity go any further than some of the data of some of these so-called scientific tables3 8,panoramic ,view10 8,living objects out of doors10 c48 ,briefly1 what is the difference of exposure required on a living ass and on a dead donkey1 both out of doors8 ,but seriously1 let the student be not led away by such chimeras1 for there can be no tables of exposures until the science of meteorology is as fixed a science as mathematics2 and any attempt to work by exposure tables will end in dismal failure4 ,if our word is not sufficient to convince any reader1 let him note what two eminent scientists think of these tables4 ,dr4 ,vogel says1 in one of his works1 8,there is no rule which determines the length of time a photograph has to be exposed to the light20 and ,captain ,abney has told us he considers such tables absurd and unscientific4 ,it is with his sanction that we quote him on the subject4 ,exposure must be judged by circumstances3 no artificial aids will help4 ,fortunately for us1 plates allow of considerable latitude of exposure4 ,but as in all good things1 simplicity goes hand in hand with perfection4 ,we have advocated quick exposures as absolutely essential to artistic work1 and it follows1 therefore1 that in making quick exposures there is less liability of going wrong2 so the two work hand in hand4 ,he who exposes slowly misses the very essence of nature1 and it is this very power of exposing so quickly that gives us a great advantage over all other arts4 ,the painter has to resort to all sorts of devices to secure an effect1 which perhaps only lasts for half an hour in the day4 ,not so with photographers1 if we see and desire to perpetuate an effect1 it is ours in the twinkling of an eye1 and thus in a really first-rate photography there will always be a freshness and naturalism never attainable in any other art4 ,and here we would state definitely that the impression of these quick exposures should be as seen by the eye1 for nothing is more inartistic than some positions of a galloping horse1 such as are never seen by the eye but yet exist in reality1 and have been recorded by ,mr4 ,muybridge4 ,here1 then1 comes in the artist1 he knows what to record and what to pass over1 while the craftsman1 full of himself and his dexterity1 tries to take a train going at sixty miles an hour1 and lo6 it is standing still1 or he expends his energy in taking a yacht bowling along abeam because that result is more difficult to obtain than to take it going away from him1 and he calls it natural and therefore artistic4 ,of course such performances are born of ignorance and vanity4 ,hundreds of such things have been done in the past1 hundreds will be done in the future1 and they will sell1 but only to be finally destroyed4 ,no photographer has yet done a series of marine pictures2 here and there one sea-picture has been done which has oftener been the result of chance than of art4 ,as for the ordinary photographs of yachts1 they are mere statements of facts that merit no artistic consideration4 ,here1 then1 we must leave the question of exposure4 ,it is1 perhaps1 the most important and the most difficult of all photographic acts4 ,in the studio the matter is simpler than out of doors1 because the light is not so much affected by reflections and various meteorological conditions2 in landscape work1 on the other hand1 exposure becomes a most difficult problem1 yet long experience can bring an intelligent man to give comparatively correct exposures1 so that the resulting picture may be developed to obtain the exact impression that he requires1 still1 even after years of experience1 he will at times find himself baffled and humiliated by failure4 ,it is in exposures that intuition acts as it does in all intellectual matters1 and he who can seize on the right exposure at once by instinct is the photographer born1 and unless1 after some practice1 the student can do this1 there is little hope that his work will ever rise above mediocrity4 ,,chapter ,,vii4 ,,development4 ,sidenote3 ,study of chemistry4 ,before entering on the subject of development1 it is necessary to tell the student that if he does not already understand the principles of chemistry1 he should lose no time in doing so1 and as aids to such understanding he cannot do better than get ,roscoe's 8,lessons in ,elementary ,chemistry10#ab and ,abney's 8,photography with ,emulsions10 and master the chapters mentioned in the footnote1 ignoring the rest for the time4 ,also let him buy ,bloxham's 8,laboratory ,teaching40 ,for a few shillings he can purchase apparatus enough to do qualitative analysis4 ,this he will be able to do by following ,mr4 ,bloxham's directions1 omitting1 perhaps1 testing with the blow-pipe4 ,if he has the time and means1 he will do well to do some quantitative analysis1 working1 say with water1 since it is of such immense importance to the photographer4 ,he will find a knowledge of chemistry as interesting as useful1 and the power of observation and accuracy acquired by the study will be invaluable in subsequent stages of his work4 ,we refer the student to works on chemistry by specialists1 because we think it is a mistake to swell the bulk of our book by an exposition of chemical principles4 ,we caution the student1 however1 who intends to take up photography as an art1 to have nothing to do with plate-making4 ,sidenote3 ,plate-making4 ,that manufacture can only be done satisfactorily by experts constantly employed at it1 and it is as reasonable to expect a painter to prepare his own colours1 and make his own canvas1 as to insist upon a photographer making his own plates4 ,some people have tried to propagate the false idea that a picture taken on a plate of the exhibitor's own making has a special kind of merit1 but obviously this is only true when the object is an 8,emulsion process competition40 ,in judging of the merits of a picture1 no facts should be taken into consideration1 save the art expressed by the picture4 ,sidenote3 ,plates4 ,still the student should know the methods by which his plates are prepared1 and that his chemistry will teach him1 and when he has found plates which suit him1 let him keep to them4 ,we have worked with fourteen different kinds of plates1 and have found most of them good1 though each requires different treatment4 ,one piece of advice is1 however1 necessary1 always buy your plates direct from the makers1 unless you can rely upon your dealer4 ,some plates are1 of course1 much quicker than others1 and this point the beginner must carefully bear in mind1 making his exposures accordingly4 ,sidenote3 ,vigilance committees4 ,he must not forget1 however1 that there are brands of plates which are 8starved0 of silver2 these he should avoid1 and it would be well if a vigilance committee were appointed in every society to test batches of plates occasionally1 and report on them in the photographic journals1 thus showing up the fraudulent manufacturers4 ,assuming1 then1 that the student has carefully studied the chemistry of development and has fixed on a satisfactory brand of plates1 we will proceed to give him a few practical hints1 but before we do so we must get rid of an obstacle in his path1 and that is the wet-plate process4 ----- ,footnote #ab3 ,roscoe's ,chemistry3-- ,lessons #a1 #b1 #c1 #d1 #e1 #f1 #g1 #h1 #i1 #aj1 #aa1 #ab1 #ac1 #ad1 #ae1 #af1 #ag1 #ah1 and potassium1 sodium1 and ammonium in lessons #ai1 #bb1 #bc2 chromium and uranium in lesson #be2 mercury1 silver1 and platinum in lessons #bf1 #bg1 and #bh4 8,photography with ,emulsions30-- ,caps4 #a1 #b1 #c1 #e1 #f1 #g1 #h1 #i1 #bb1 #bd1 and #ca4 ----- ,sidenote3 ,wet-plate process4 ,if the student were to ask ten middle-aged photographers whether they prefer a wet plate or a dry plate negative1 nine out of ten would1 without doubt answer1 8,oh1 a wet-plate negative40 ,if the student is curious and asks1 why8 he will get a vague answer1 in which the words 8bloom0 and 8beauty0 play conspicuous parts1 the adjectives reminding him of an advertisement for patent balms for the skin4 ,the fact is1 not knowing the first principles of art1 photographers have raised for themselves false gods1 and they are still worshipping them4 ,let us at once and most emphatically state that wet plate negatives do not give so true an impression of nature as a gelatino-bromide plate1 nor are the results so artistic4 ,we have seen much of the best of ,mrs4 ,cameron's work1 and she obtained from collodion and silver some of the best results ever obtained from wet plates1 for she had artistic insight1 yet even in her work the tonality is not so true1 and the 8quality0 and freshness is not so fine as can be obtained from gelatino-bromide negatives4 ,the work by this process is hard1 and incapable of expressing texture correctly1 while the general impression is more or less artificial4 ,this is fortunate for us1 for the slowness of the wet-plate process would seriously handicap it1 even if the artistic result were better than that of dry plates4 ,the inadequacy of collodion plates is emphasized when we look at the work of the craftsmen who used them1 and whose ideal was sharpness and 8bloom40 ,such work will be found most unnatural and inartistic4 ,surely many of the false ideas current amongst photographers arose from the evolution of the art4 ,daguerreotypes1 the first photographs1 were shiny1 and most of the subsequent processes followed in their wake1 until one clear-sighted photographer1 ,blanquart-,evrard1 tried to combat the evil tendencies4 ,considering1 then1 the poor artistic quality of collodion plates and their slowness in exposure1 there is absolutely nothing to be said in their favour for art work4 ,it is decided1 then1 that our student will work with gelatino-bromide plates4 ,sidenote3 ,hints to be remembered in developing4 ,we venture to state briefly certain hints founded on the chemistry and practice of development1 which the student must have at his fingers' ends1 for let him remember that the vital question of tone depends on development4 ,that exceedingly nice question of getting the tones in approximately true relation1 which gives all artists so much work1 gives him who uses photography as his medium no less thought1 and it is on account of the plasticity of the process of development that we can at once take our stand and repudiate the ignorant assertion that photography is a mechanical process4 ,of course there are fifty other reasons why it is not merely a mechanical process1 to mention one more of which will be enough1 i4e4 the variety of exposures ranging between the #a_/bjjj of a second 7as with ,muybridge's work71 and a couple of hours as in taking an interior4 ,developing is really what modelling is to the sculptor1 and as art guides the modeller's hand1 so it must the photographer's who wishes to obtain pictures1 and the art value of the work of both men will be proportionate to the art knowledge and insight of the workers4 ,now you can understand how absolutely necessary to pictorial photography is a knowledge of art4 ,where photographers are devoid of all art knowledge1 their aim is to get 8pluck10 8nice gradation10 8vim10 8snap10 8sparkle10 8brilliancy10 to use only a few of their strange and cheap terms1 and1 according to them all these loosely named qualities must be present equally in a sunny picture and in a grey day picture1 if ever they dare to expose a plate on a grey day4 ,it is all such talk that has brought photography down to be called a merely mechanical process1 which of course it becomes in the hands of those who can and do give 8pluck0 and 8sparkle0 to every negative1 regardless of effect4 ,it never occurs to these that each picture is a problem in itself1 and needs different management from beginning to end4 ,they aim for their 8sparkle0 from the moment of exposure to the end of development1 and obtain all the other qualities described so eloquently by their cheap adjectives1 by their unvarying development4 ,now let the student1 keeping all this in mind1 carefully commit to memory these hints1 for they are of vital importance4 ,sidenote3 ,hints4 ,placing the plate in water before using the developer is equivalent to weakening the developer4 ,by first immersing the plate in the pyrogallic acid solution with no restrainer or alkali1 the subsequent development is slowed1 and greater contrast obtained4 ,when pyrogallic acid is added in excess1 too great density and fog result4 ,by adding pyrogallic acid1 greater density and contrast are obtained4 ,if the high lights are getting too dense1 before the detail in the shadows is well out1 take the plate out of the developer and let the details develop up with the amount of solution contained in the film1 and then replace it in the developer for density1 if necessary4 ,develop plates coated with quick emulsions to a greater density than others4 ,where there is much black and white in the picture1 as in photographing sculpture against black velvet1 weaken the pyrogallic acid4 ,the alkali brings up the detail1 and in properly exposed pictures increases density4 ,in excess it causes fog4 ,the rate at which the picture is to be developed can be governed by the restrainer1 which also checks detail and increases density4 ,for long exposures the restrainer should be freely used1 whilst for quick-exposure work its use should be very limited4 ,too much hyposulphite in the developer tends to solarization4 ,although its value in the alkaline developer has been denied1 we are of opinion that in certain cases it is invaluable2 it accelerates development in dark shadows1 rendering the reflected light in the shadows as nothing else can4 ,captain ,abney recommends its use in the ferrous oxalate developer only1 but we are well assured of its value in conjunction with the alkaline developer in all cases of very rapid exposure4 ,the action of the developer is of course increased by the alkali1 and slowed by the oxidizing agent1 but the tonality is affected unless it be well governed by the restrainer4 ,if a picture flashes out quickly1 add the restrainer and plenty of water4 ,if it comes up very slowly1 mix a new developer containing half as much restrainer as the normal and twice as much alkali4 ,the quicker the action of the developer the less marked the relative tones2 this is most important to remember2 the pyrogallic acid should never be extremely strong1 never perhaps so strong as recommended in the standard formul4 ,sidenote3 ,method4 ,we must remember1 then1 that we have our three necessary factors for development1 the oxidizer1 the alkali1 and the restrainer1 all of which we can modify at will4 ,on our minds1 too1 we have1 or should have1 a vivid impression of the picture translated into black and white2 we remember what we wish to emphasize1 and what to subdue1 so that the resulting picture shall be true in tone and impression4 ,we proceed then to mix our developer accordingly1 remembering first that the temperature of the developing-room makes a difference1 and remembering that the photographic image exists on the film to a degree proportionate to the actinic value of the light which fell upon it4 ,therefore1 if it is a brightly-lighted landscape in sunshine1 taken with a full exposure1 we must get a picture in a high key1 but be it remembered in such a picture the light greys will be lost in the whites1 as has been already shown2 on the other hand1 if it is a very low-toned effect1 the dull greys will be lost in the blacks4 ,sidenote3 ,slow development4 ,we must never forget to develop all plates slowly1 let this be our ever-present rule1 for by developing slowly1 the student has far more command over his work1 and that is what every artist seeks4 ,no haphazard work1 but complete control1 so that we can mould the picture according to our will4 ,and here we must again remind the student that he can never get scientifically correct gradations from high light to deep shadow1 therefore he must be prepared to get only the true impression1 and as a fundamental law1 let him remember to watch over the truth of the lowest tones4 ,sidenote3 ,meteorological conditions to be adhered to in developing4 ,it must not be forgotten that ,nature is ever varying1 and that the chemicals will act differently under different conditions of temperature1 mixture1 electrical conditions1 c41 c41 and the worker must learn to modify them accordingly2 thus weaker solutions should be used in summer and on mist effects4 ,in fact1 the more one sees into photography1 the more difficult does the matter become1 for every picture is1 from start to finish1 a new problem4 ,artistic work is not nearly so amenable to rules as is laboratory work1 where the conditions are generally more constant and better determined4 ,even the state of the weather at the time of exposure has great influence4 ,the careful observer will soon see1 in going over a collection of first-rate negatives1 developed by the same hand and developer1 that they all differ in quality1 each one has physical characteristics of its own1 which are the combined resultant of these protean conditions of ,nature1 and that such is the case is yet another proof of the individuality of a photograph per se1 apart from any other reasons4 ,sidenote3 ,plates to be developed on day of exposure4 ,another very important point is the fact that the light does not act on the film proportionately to the length of exposure2 the greatest action occurs at the earliest part of the exposure1 as can be proved1 in a rough way1 by exposing a plate on different subjects for the same length of time4 ,this fact alone at once and obviously creates a fatal objection to composite photography4 ,it is a fact which must be constantly remembered in relation to tonality4 ,it has been stated that an under-exposed plate can be improved by being kept 7undeveloped7 for several months1 the idea being that the action having once begun will continue1 but this is not our experience with gelatine plates1 though we have observed something of the kind in working with carbon tissues4 ,instead of keeping his exposed plates1 our advice to the student is develop your negatives as soon as possible after exposure1 never later than the day on which they are taken1 and for these reasons4 ,first1 and chiefly1 because you should develop your negative whilst yet the mental impression of what you are trying for is fresh4 ,you have1 we will hope1 analyzed your subject and thought it all out in black and white masses1 and by developing while that analysis is still vivid to you1 you stand a very much greater chance of getting a true thing4 ,secondly1 of course1 you are on the spot to take another negative if the first prove a failure4 ,for complete success1 this is the only way1 and even if it entail carrying about a cumbersome dark tent1 the practice will in the end bring its own reward1 and it must be insisted upon as the best method of working4 ,the astounding habit which some industrial photographers indulge in1 of sending their operators all over the country1 while they themselves stay at home to develop the work of those and other operators1 accounts in a great measure for the numerous parodies of ,nature which deck the shop-windows4 ,this is truly mechanical work1 and we are prepared to say that no one1 save by mere chance1 can produce perfect artistic work1 who does not develop his own plates on the spot4 ,sidenote3 ,on over-production4 ,then1 again1 the student of photography who wishes to produce artistic work must not hurry or over-produce4 ,one picture produced in a month would be well worth the time and trouble spent on it4 ,we once asked an eminent landscape painter how many plates he would be content to produce in a year if he were a photographer4 ,his answer was1 8,twenty first-rate things would be good10 and that meant working all the year round4 ,we recommend that saying as one worthy to be remembered4 ,the poet ,gray purchased immortality by one short poem2 many historians and novelists1 now forgotten1 have written as many volumes as there were verses in that one poem of ,gray's1 yet few would prefer the oblivion of the prolific ones to the name that ,gray has won4 ,sidenote3 ,ferrous oxalate developer4 ,but we must go back to developing1 and we come now to the question of1 8,what developer to use80 ,in our opinion the ferrous oxalate developer is unsuited to artistic work4 ,at one time we used it for negatives and positives4 ,for negatives we do not think it gives the quality which can be obtained with the alkaline developer nor does it allow of the same control1 which is1 of course1 a very grave fault4 ,for positives1 on the other hand1 where the conditions are better known1 and where absolute purity of film is required1 it is very useful1 but as we are not concerned with positives here1 we will not go further into the matter4 ,sidenote3 ,chemicals4 ,we must impress upon the student the necessity of always using fresh and pure chemicals1 and to secure such1 it is wise to procure them from a good chemist4 ,re-sublimated pyrogallic acid should always be used1 and re-crystallized sulphite of soda1 and1 above all1 be sure the water is pure4 ,for all operations where chemical action results1 none but pure non-aerated water should be used1 preferably1 boiled1 distilled water1 for the air and other impurities in ordinary water may be most harmful1 as any one who has studied the analysis of water and air knows well4 ,let the developers 7the stock solutions7 be mixed with boiling or distilled water1 for this will aid in preserving them4 ,the alum and hyposulphite solutions should be mixed with cold boiled distilled water1 the alum bath being a saturated solution4 ,sidenote3 ,standard developer4 ,perhaps the simplest advice we can give as to the particular developer to be used is to take as the normal developer one mixed according to the formula sent out with the plates which the student has chosen to work with1 but the student must not use it in the exact proportions given by the maker4 ,let the student mix up the stock solutions as told1 varying the constituents as the case in hand demands4 ,if he has carefully and thoroughly read his chemistry1 and if he remembers the hints we have given him1 he will have no difficulty in following out the directions4 ,he should1 as a rule1 never use more than two-thirds of the amount of pyrogallic acid recommended2 let him be very careful how he uses the restrainer1 and let him add the ammonia only in small quantities1 unless the exposure has been very rapid4 ,as a rule let him work with weak developers4 ,we could easily give a dozen or even fifty formul for developers1 but the student would be no wiser if we did1 only more confused4 ,every photographer fancies his own particular formula1 but we have no belief in any special favourites2 we have worked with many1 and find the results depend altogether on the quantities used and the manner of developing rather than on the constituents4 ,take1 then1 the formula recommended by your plate-maker1 but use it1 as we have said1 with judgment4 ,begin with a sufficiency of pyrogallic acid 7according to the subject71 use little restrainer1 except in over-exposure1 and add the ammonia slowly1 adding a few drops from time to time as required4 ,in short1 make it your rule to use weak developers1 and develop slowly4 ,if you think you are likely to have under-exposed1 add ten to twenty drops of a one per cent4 solution of hyposulphite of soda1 using no restrainer4 ,some unscientific persons imagine that development can be reduced to a science1 and that absolute quantities of each solution must be used4 ,one might as well expect a physician always to prescribe the same doses4 ,each picture requires a developer of its own2 that should never be forgotten4 ,we have tried hydrokinone instead of pyrogallic acid2 a given quantity of hydrokinone does the work of double that quantity of pyrogallic acid1 but it has no advantages1 so far as we can see1 except for the development of under-exposed plates4 ,for very rapid work we recommend the carbonate-of-potash developer1 as green fog does not result4 ,sidenote3 ,eder's potash developer4,the formula we use is ,dr4 ,eder's3-- ,a4 ,pure dry mono-carbonate of potash #ij parts ,water #bjj 0 ,b4 ,pyrogallic acid #ab 0 ,sulphite of soda #be 0 ,citric acid #a 0 ,water #ajj 0 ,before using1 mix forty to sixty drops of ,a with three ounces of water1 and the same quantity of ,b4 ,we generally use more water than that recommended in the formula4 ,now it will be remembered that in bright sunny effects brilliancy1 and therefore density1 is needed2 the gamut of light and shade is not so extended as in some subjects1 for the shadows are bright with reflected light1 but the whole must be brilliant and in a high key4 ,in our opinion ,dr4 ,eder's potash developer gives this better than any other4 ,for snow scenes1 on the other hand1 where there are often very black heavy shadows1 we recommend1 as we have done before1 the developer given by the maker of the plates1 used in a weak solution4 ,sidenote3 ,local development4 ,no photographer need hope to obtain perfect results and exactly what he wishes1 without resorting to local treatment2 and here once more the knowledge of the artist steps in and places him at an advantage over the craftsman1 but no one without sound art-knowledge should attempt this local development4 ,on the other hand1 with a thorough knowledge of the tonality of his subject1 the artist can1 by local development1 so modify his work that he will be able to obtain wonderfully true results4 ,let us imagine such a subject as a dark tree in the foreground of a landscape with a bright delicate distance4 ,no manner of development will bring these into true relation unless local treatment is resorted to4 ,unfortunately1 directions cannot be given for this work1 for each subject will of course require special treatment2 the rationale of the practice1 however1 is founded on the general chemical principles of photography4 ,for use in local development1 then1 it is always wise to keep a series of small paint-brushes at hand4 ,all three developers may thus be used locally with great effect4 ,during local development1 the plate should constantly be re-plunged into the developer1 so that the local development may not show4 ,we strongly recommend the student always to develop by artificial light1 for by this method he will have a more regular standard to judge of the quality of his negative than if he trusts to the varying strength of daylight4 ,the best way of judging of the tonality of a negative is to hold it up from time to time before the light of the developing-room2 correct judgment on this matter can1 however1 only be obtained by long experience4 ,the student will be told in the printed directions--supplied with many plates--that if the image does not come up in #aj or #ae seconds1 the plate has been under-exposed4 ,this is not our experience1 and1 as a rule1 the image takes longer to show than the time named4 ,we prefer to judge by the way the image comes up4 ,if the highest lights come up very sharply defined and turgid1 then the plate is under-exposed1 but if they come up delicately1 and detail begins to appear gradually over the various parts of the plate1 all is well4 ,but all this will only become familiar by experience4 ,by constant habit the student will mentally run over the facts of the problem before him1 as does a physician1 and proportionately to his skill will he apply the right remedy at the right time4 ,sidenote3 ,after treatment of plate4 ,after development the plate should be well washed1 and then placed in an alum bath4 ,alum acts as a scavenger1 and clears up all the remains of the developer4 ,next the plate should again be well washed1 and put in the hyposulphite bath4 ,this bath should be constantly renewed1 for as soon as it becomes well discoloured it is inadvisable to continue its use4 ,it should not be made stronger than #a to #e1 #a to #aj being the best proportion4 ,taking the plate from the fixing bath1 you should wash it very thoroughly1 and re-plunge it into a fresh alum bath1 leaving it for a few minutes1 then again wash it1 and put it into a plate-washer1 the water of which should be frequently changed4 ,it can then be placed in a drying rack1 and left to dry gradually in a dry room1 where no dust is raised4 ,sidenote3 ,duplicate plates4 ,it is1 in our opinion1 always well to expose two plates on each subject1 for the operator can thus1 in a second plate1 correct any error he may detect in the first4 ,this is our own invariable rule1 and the practice1 apart from the better results obtained1 has taught us better than any other method could have done1 how wonderfully the plate can be brought under the operator's will4 ,it is hardly necessary to say the first plate should be examined after development1 by daylight1 before proceeding to develop the second4 ,once having seen a beautiful thing in nature1 the enthusiastic student will determine to get it perfectly1 if it takes fifty plates and as many days to do it in4 ,sidenote3 ,study of tone4 ,we strongly advise those desirous of doing artistic work to begin by studying tone1 expose 7always giving two exposures to each subject7 on selected subjects1 especially fit for the study of tone2 for example1 a figure in a white dress against a white background1 another in a black dress against a black background1 and then a white dress against a black background1 and a black dress against a white background2 some white flowers against a sheet of white paper2 yacht-sails against the sky2 faces against the sky2 black velvet in bright sunshine1 and on a grey day2 yellow flowers 7with orthochromatic plates7 on a white background4 ,in short1 the student should think of all the possible harmonies and discords that can be found indoors and out of doors1 and he should1 before taking a plate1 make a mental translation of the subject into black and white1 and put on paper roughly1 with a piece of charcoal1 what he expects to get1 by drawing rough masses in tone of the subject4 ,he should at first think nothing whatever of composition1 or the more poetical qualities of a picture2 but simply study tone1 and by this he will learn thoroughly exposures and development4 ,let him eschew all requests to take portraits1 dogs1 horses1 parks1 and what-nots2 but let him always study tone4 ,when he has mastered tone1 and with it exposure and development1 he knows the most difficult part of his technique and practice1 let him then proceed to picture-making4 ,in this early stage let him take anything and everything that is a study of tone1 and let him take it anyhow1 no posing1 no arrangement1 and when he knows his mtier thoroughly let him destroy all these early plates ruthlessly4 ,we strongly advise him to give away no prints of early work1 or he will most surely rue the day when he did so4 ,in our opinion a year is not too much in which to work in this way1 both in doors and out of doors1 in studios and out1 with shutter and without1 before there is any attempt to take a portrait or picture of any kind4 ,sidenote3 ,accidents and faults4 ,in working with gelatine plates various unavoidable accidents and faults will crop up1 some of which can1 however1 be remedied4 ,such cases we will now go into4 ,sidenote3 ,under-exposure4 ,gives chalky whites and sooty blacks1 ergo no tonality1 ergo worthless4 ,no remedy1 destroy at once4 ,sidenote3 ,over-exposure4 ,gives thin negatives4 ,what a thin negative is1 is a matter of opinion1 and must be settled by a comparison of the print with the impression of nature which it is wished to obtain4 ,for many effects thin negatives are invaluable1 and the student must not take the ordinary photographer's opinion as to his negatives2 but only that of an artist1 for1 as has been shown1 low-toned prints are unrecognized by the ordinary craftsman1 his aim and object is never to produce such things1 these he designates by all sorts of names1 whereas they may be1 by their tonality1 infinitely truer than his 8sparkling0 falsehoods4 ,in short1 it all depends on what the student wishes to express4 ,some of the best work done has been produced from negatives made purposely thin1 which have at the same time been true in tone1 and full of breadth4 ,sidenote3 ,intensification4 ,the density of a negative can be increased by intensifying the negative2 but it must not be forgotten that intensification does not1 in our opinion1 correct the tonality1 this is a matter of great importance which has been overlooked4 ,from this it will be seen that a negative that requires intensification is worthless for artistic purposes1 and had better be destroyed at once4 ,but as intensification may be required for some particular object1 we must caution the student against the ordinary perchloride of mercury and ammonia intensifier4 ,in many cases it acts well enough1 in many others it acts unevenly and in patches1 and in all cases it is not permanent4 ,the best intensifier we know of is ,dr4 ,eder's1 whose formula we give-- ,sidenote3 ,dr4 ,eder's intensifier4 ,uranium nitrate #ae grs4 ,potassium ferricyanide #ae grs4 ,water #d ,wash the plate thoroughly after fixing1 so that no hyposulphite remains1 and immerse in the intensifier4 ,it works up the scale from the lower tones1 which is an advantage over any other4 ,to remove all the hyposulphite of soda it is well to treat the plate before using the intensifier1 as ,captain ,abney directs4 ,a drachm of a #bj-vol4 solution of peroxide of hydrogen should be mixed with #e oz4 of water1 and the plate soaked in it for half an hour1 and then washed4 ,sidenote3 ,fog4 ,the student will find that for certain effects he may intentionally produce a slight fog over his plate1 as has often been done with very good results2 but if his plates are unintentionally fogged1 they are ruined4 ,fog is due to light having had access to the plate1 either during manufacture1 during exposure1 or during development4 ,by developing an unexposed plate it can be proved whether it was fogged during the manufacture1 as in that case the plate turns black4 ,if the fog is caused by a leaky camera the edges of the plate1 which are generally clear glass1 are not fogged1 for they have been hidden behind the rebate of the dark slide4 ,light coming through the dark slide shows itself in lines or patches1 and is not general4 ,if all these sources have been eliminated1 the dark room must be suspected4 ,this is tested by putting a plate in the slide1 drawing the shutter out half way1 and exposing the plate for a few minutes to the developing light4 ,if the exposed half fogs1 then the dark room is to blame4 ,sidenote3 ,red fog4 ,we have only met with this phenomenon once1 and that was in developing a uranium plate4 ,sidenote3 ,green fog4 ,this is green by reflected light1 and red by transmitted light4 ,it is generally deposited at the corners of the plate and round the edge4 ,sidenote3 ,yellow and brown fogs4 ,are rarely met with1 and are yellow and brown by reflected light1 whereas stains are coloured only by transmitted light4 ,the student can easily distinguish between fogs and stains in this way4 ,we have been very successful experimentally with ,captain ,abney's method of clearing off green fog4 ,he recommends the following solution to be used after fixing3-- ,ferric chloride #ej grs4 ,potassium bromide #cj grs4 ,water iv ,the plate should be well washed after this treatment1 and developed up with the ferrous oxalate developer4 ,but such plates are not always saved artistically by the method1 for the tonality may be thrown out1 and the texture of substances is nearly always damaged4 ,sidenote3 ,frilling4 ,is due to the expansion of the gelatine1 and will rarely occur if the plate be put in the alum bath before fixing4 ,the gelatine can be made to contract by soaking in methylated spirits of wine4 ,sidenote3 ,blisters4 ,are of rare occurrence1 and will dry out if the plate be carefully handled and washed in alum1 as directed4 ,they may be treated locally with methylated spirit1 which causes the gelatine to contract4 ,sidenote3 ,dense negatives4 ,the best reducer we know of is ,dr4 ,eder's4 ,he recommends the use of--,a41 one part chloride of iron to eight parts of water4 ,b41 two parts neutral oxalate of potash to eight parts of water4 ,a well-known authority on photographic matters1 ,dr4 ,h4 ,w4 ,vogel1 says1 8,both solutions keep a long time without deteriorating4 ,immediately before using1 equal parts of ,a4 and ,b4 are mixed1 forming a bright green solution1 which keeps well for several days in the dark1 but decomposes in the light4 ,of this mixture a little is added to a fresh and strong solution of #8hypo4' ,in difficult cases #a part #8hypo' and #a_/d to #a_/b of iron solution are employed4 ,the plate to be reduced is placed in this solution4 ,the image weakens quickly and uniformly4 ,the plate is taken out and washed just before the desired reduction is reached1 because the action continues during the washing1 gradually diminishing under the stream from the tap4 ,this reducer acts on plates developed either with #8pyro' or #8oxalate1' and does not destroy the details in the shadows like cyanide4 ,there is also less tendency to frill than with the cyanide bath40 ,reducers1 like intensifiers1 should not be resorted to1 unless in case of a very valuable negative1 for it must never be forgotten that1 though the printing density is reduced1 the tonality is not corrected4 ,sidenote3 ,yellow stains4 ,due to the developer1 are easily removed by ,edwards' clearing solution1 which we have found most effectual-- ,sulphate of iron iii4 ,alum i4 ,citric acid i4 ,water ,o i4 ,sidenote3 ,transparent spots4 ,are due to dust in camera or slide1 or to using the 8hypo0 bath too long4 ,if the spots have sharply defined edges1 they are due to air bubbles forming at the beginning of development4 ,sidenote3 ,halation4 ,this is a bug-bear we have had little experience of1 though we have taken many interiors4 ,the only occasion on which we met with it was once when the plate was overexposed on a stained glass window1 containing much blue in it4 ,if a large stop be used1 and the exposure kept as short as possible1 our experience is that no halation need occur4 ,if1 however1 the student fears it1 and there is always a danger of it where any bright lights act on the film1 he should1 with a squegee and some glycerine1 apply a piece of some dark tissue to the back of the plate2 this is easily stripped off before development4 ,sidenote3 ,defects due to damp4 ,all plates should be kept in a dry place1 and whilst travelling it is as well to keep them in tinfoil4 ,the effect of damp is to produce patches1 which either do not develop at all or develop unequally4 ,sidenote3 ,removal of varnish4 ,this is easily done by putting the plate into hot methylated spirit1 and rubbing the varnish off with cotton wool4 ,sidenote3 ,sea air4 ,it has been said that sea air affects gelatine plates1 this has not been our experience4 ,sidenote3 ,dirty backs4 ,the backs of the negatives which are generally dirty1 should be cleaned by scraping1 and then rubbing up with a rag moistened in hot water1 or preferably1 methylated spirit4 ,the negatives should be kept in a dry place1 in grooved cardboard boxes4 ,wooden boxes should not be used for storing either plates or negatives4 ,sidenote3 ,marblings4 ,are due to a dirty fixing bath2 or to an uneven action of the developer arising from not rocking the plate1 or to adding the alkali to the developer in the dish and not thoroughly mixing them before putting in the plate4 ,the clearing solution removes some of these4 ,sidenote3 ,prolonged and patchy fixing4 ,due to the alum bath being used before 8fixing0 in plates from which the developer has not been thoroughly washed4 ,it can be remedied by washing and swilling the plate in water just rendered alkaline by ammonia1 and then fixing as before4 ,we once had a plate which took several hours to fix even after this treatment4 ,sidenote3 ,limpet-shell markings4 ,we have had these appear in a few negatives some months after development4 ,we know of no remedy for the defect2 nor do we know the cause1 but believe it to be due to hyposulphite of soda left in the film4 ,sidenote3 ,deposit on film4 ,this is sometimes met with after the imperfect washing out of hyposulphite of soda2 or sometimes whilst the negative is in the fixing bath1 if it has been in the alum bath previously1 and not thoroughly washed4 ,sulphur is deposited4 ,the remedy is obvious4 ,sidenote3 ,metallic patches4 ,coloured metallic-looking patches appear at times near the edges of the plate1 which may1 or may not1 be accompanied with fog4 ,we have often observed these patches in plates which have been kept a long time4 ,there is no remedy if they are unaccompanied by fog1 but if fog is present1 the ferric-chloride solution will generally remove them4 ,sidenote3 ,scratches4 ,on the back of the negative show as dark lines in the film4 ,sidenote3 ,undeveloped islands4 ,rarely1 we have met with small patches which seem to have refused to develop2 they are generally circular4 ,captain ,abney says they are due to the use of chrome alum in the emulsion4 ,there does not appear to be any remedy for this accident4 ,sidenote3 ,dull spots and pits4 ,in one batch of plates we were greatly troubled by these faults1 one of the plates being covered with pits as thickly as if it had been peppered with a pepper-box4 ,captain ,abney says they are due to the use of gelatine which contains grease4 ,they ruined a whole series of fine negatives for us once4 ,these complete the enumeration of the accidents likely to occur during development4 ,sidenote3 ,varnishing4 ,we shall now presume that the student has thoroughly dried his negatives1 after having developed them4 ,before storing them1 however1 he must varnish them1 to protect them from scratches1 and especially from damp1 for gelatine1 being very hygroscopic1 easily absorbs moisture4 ,at times1 when warming an apparently perfectly dry negative over a flame1 preparatory to varnishing it1 a slight steam can be seen to arise1 due to the evaporation of the moisture in the film4 ,this moisture in the gelatine would of course in time lead to decomposition1 and ruin the image2 for these reasons1 then1 all negatives should be varnished4 ,before 8varnishing0 each negative should be carefully brushed over with a camel's-hair brush4 ,sidenote3 ,dr4 ,carey ,lea's ,varnish4 ,now it is obvious that many of the varnishes used are more or less non-actinic1 as ,dr4 ,carey ,lea has proved2 he1 therefore1 recommends the following3-- ,bleached lac x4 ,picked sandarac v4 ,alcohol xii4 ,let the lac dissolve in the alcohol1 then filter1 first soaking the filter paper with alcohol4 ,pour slowly1 and if necessary at the end add #a more of alcohol to enable the rest to pass4 ,next add the sandarac to the filtrate and refilter1 using of course a fresh filter4 ,warm the plate gently1 and1 holding it in the left-hand bottom corner between the thumb and finger1 pour a pool of varnish on to the plate that will cover about one-third the area of the plate1 then let it run to the right-hand top corner1 then to the left-hand top corner1 then to the thumb1 and finally drain off at the right-hand bottom corner into a filter4 ,then place it on a drainage rack1 till just set1 when rewarm by the fire1 otherwise it does not set hard and smooth4 ,sidenote3 ,roller slide4 ,since paper negatives and a roller slide were suggested by ,fox ,talbot1 and made fit for use by ,blanquart-,evrard1 several ingenious persons have been trying to improve upon these early attempts4 ,from time to time1 during the last fifty years1 various workers have announced old ideas as new discoveries1 nor have these been confined to roller slides and paper negatives1 but extended to many other photographic processes4 ,that no one can claim any originality of discovery on this head since ,talbot and ,evrard is obvious2 only perfected methods can be claimed4 ,there have been many of these introduced1 but none worth discussing until that offered by the ,messrs4 ,walker and ,eastman4 ,they have perfected ,talbot's and ,evrard's work1 and though they have numerous imitators1 their work is facile princeps4 ,sidenote3 ,paper negatives4 ,now the student will naturally expect us to give an opinion on these paper negatives4 ,for many photographic processes they are of course invaluable1 but for artistic work our opinion is that they are not equal to the ordinary method4 ,these remarks apply equally to the various flexible films which have lately been introduced4 ,for hand cameras1 we should think1 film negatives would be very useful1 and for small studies such as they produce1 would do well2 but then such are not pictures4 ,a picture must be perfect in all points1 and for this reason the films will not as yet answer4 ,they do show grain1 say what people will2 we have examined dozens of the very best1 and that is our opinion4 ,besides this1 they are liable to the defects common to paper1 such as transparent spots1 and the defects common to films1 such as markings and stains1 and in addition to all this there is the liability to injury of the negative after development1 in the subsequent processes of oiling and stripping1 if stripping films be used4 ,the quality1 too1 of the picture is not equal to that of an ordinary negative4 ,why it is so we cannot explain4 ,what the future of these processes may be we do not pretend to say1 but for the present we feel assured that the finest quality of work is to be obtained on a glass support4 ,for ordinary touring purposes no doubt the roller-slide and flexible films have every advantage1 but with any but the art side of the question we have nothing to do4 ,in artistic work1 all hap-hazard results or accidental effects must be carefully eliminated4 ,lightness1 printing from either side1 and a good retouching basis are no considerations for the artist1 he wants none of these things4 ,sidenote3 ,ortho-chromatic photography4 ,there still remains1 however1 a very important point from the art point of view1 as regards tonality1 for as the student who has read his chemistry knows1 the different parts of the spectrum act differently on the different haloids4 ,the effect of this has been to destroy true tonality1 thus a yellow flower comes out black if taken on ordinary plates4 ,to remedy this dyes have been used which absorb the weakly acting rays1 and thus has been made one of the greatest advances in photography1 both scientifically and artistically4 ,this ortho-chromatic photography has engaged the attention of experts1 and ,abney1 ,vogel1 ,eder1 ,ives1 ,bothamley1 and ,edwards are hard at work upon it now1 besides many amateur scientists4 ,we have been for some time experimenting in this direction for artistic purposes1 having begun with ,tailfer's plates before any others were introduced into the ,english market4 ,for the photographing of pictures ,messrs4 ,dixon and ,grey conclusively proved the superiority of the process by their exhibits at the ,exhibition of the ,photographic ,society of ,great ,britain1 in #ahhf4 ,but the matter is different when landscapes and portraits from life have to be considered4 ,it is with the wonderful protean aspects of nature that we have to deal when working from nature1 and we feel the question is not one to be entirely settled in the laboratory4 ,our method is always to work out of doors1 noting1 as far as possible1 the conditions and judging the results by the prints1 and though such experiments are far from conclusive1 we can at present say that the ortho-chromatic plates are nearly correct in the rendering of tonality1 but not perfect1 the reds overrun the other colours1 and are too strongly rendered4 ,in fact1 the reds and greens are not perfectly rendered1 and even if the correct values of the spectrum are rendered in a laboratory1 this will not and does not give the relative tones of nature4 ,this is the point which must be remedied4 ,undoubtedly ortho-chromatic photography alone will be used in the near future1 but just at present it is not cut-and-dried enough for all practical purposes4 ,the student1 however1 must use these plates4 ,they are supplied by ,b4 ,j4 ,edwards2 and ,dr4 ,vogel's eoside of silver plates can be bought of ,gotz1 #ai1 ,buckingham ,street1 ,strand4 ,so far the truest tonality that we have seen has been obtained on ,dr4 ,vogel's plates1 and in addition his landscape plates require no yellow screen to be used with them1 which is a tremendous advantage4 ,sidenote3 ,final4 ,thus it will be seen that in every operation the art-knowledge of the operator will tell4 ,for example1 let us suppose a camera set up with the lens fixed1 before a beautiful landscape composed on the ground-glass screen by an artist1 then let us imagine that two photographers proceed to take plates of the picture4 ,after the very first operation of focussing1 stopping and adjusting the swing-backs2 a mighty gulf will separate the two pictures2 the gulf widens as the exposure is made1 and finally in the developed plates they are no longer the same thing4 ,one may be a sharp1 common-place fact1 false in many parts1 the other may be full of truth and poetry4 ,let a print be taken from each plate and presented to an artistically uneducated craftsman and to an artist1 the craftsman will go into raptures over the sharp craftsman picture1 the artist will do the same over the artistic picture1 but the artist will not look for a moment at the craftsman's ideal1 and this little matter any one can prove for himself4 ,let the student1 then1 strive to earn the artist's praise1 and let him ignore the craftsman's1 and value his opinion on these matters at the same price he would value his opinions upon any other subject where taste and refinement are called into question4 ,,chapter ,,viii4 ,,retouching ,,negatives4 ,sidenote3 ,definition of retouching4 ,retouching is the process by which a good1 bad1 or indifferent photograph is converted into a bad drawing or painting4 ,sidenote3 ,working up in monochrome1 oils1 c4 ,theoretically1 retouching may be considered admissible1 that is if the impression can be made more true by it4 ,there are1 perhaps1 half a dozen painters in the world who could do this1 but no one else4 ,nature is far too subtle to be meddled with in this manner4 ,we have discussed the question with many artists1 and their verdict is the same as ours4 ,it is the common plea of photographers that photography exaggerates the shadows1 but we think it has been shown that if photography is properly practised1 no such exaggeration of shadows takes place1 and if it did1 retouching would only add to the falsity in another way4 ,this retouching and painting over a photograph by incapable hands1 by whom it is always done1 is much to be deprecated4 ,the result is but a hybrid1 and is intolerable to any artist4 ,one fatal fact in all painted photographs1 and one which for ever keeps them without the realm of art1 is that the shadows1 being photographic1 are black and not filled with reflected colour as in nature and as in good oil painting4 ,the same remark applies to mechanically-coloured photographs4 ,such abominations1 from an art point of view may1 however1 be useful in the trades1 for pattern plates and such things4 ,consider for a moment the habit of working up in crayon1 monochrome1 water-colour and oils4 ,what does it mean8 and how is it done8 ,in some establishments the practice is for a clerk to note down certain of the sitter's characteristics1 such as 8hair light1 eyes blue1 necktie black20 these remarks are sent with a photograph1 generally an enlargement1 to the artist6 ,he1 in a conventional and crude manner1 makes necessarily a travesty of the portrait1 and for these abominations the customer pays from #el4 to #bjl4 ,consider the utter sham and childishness of the whole proceeding1 and remember that a portrait painter of the greatest ability can only paint with the model actually before him1 yet these workers-up1 who are not artists at all1 can paint from memoranda made by a clerk4 ,it is astonishing to think there are people in the world foolish enough to pay for such trash4 ,even the very best oil painting done in such a way is but trash1 and if the photographic base is so destroyed or covered over that none of it shows1 it must then be judged on the grounds of monochrome drawing or painting as the case may be1 and a sad thing it is when judged on these grounds4 ,sidenote3 ,posthumous portraits and busts4 ,it may be said1 8,but painters paint posthumous portraits40 ,yes1 they do1 confiding public1 but they paint them as sculptors model posthumous busts1 but they do not call them works of art4 ,we know several artists who are compelled by necessity and the vanity of human nature to execute these posthumous portraits1 and we know1 too1 how they value such work4 ,but it must not be forgotten what a gulf separates able artists from the third-rate 8workers-up0 for photographers4 ,moreover1 true artists never attempt posthumous portraits on the top of a photograph1 but simply use the photograph as a guide for modelling1 light and shade1 c41 a quite legitimate use1 both for painter and sculptor4 ,sidenote3 ,phot4 ,soc4 ,great ,britain4 ,the ,photographic ,society of ,great ,britain is to be congratulated on the stand it has made in the matter by not hanging any of these abominations on their walls1 and it is to be hoped they will stand firm and never admit coloured photographs of any kind until the great problem of photography in natural colours be solved4 ,sidenote3 8,high ,art0 photographers4 ,we have amongst photographers to-day persons who pride themselves on their skill in taking out of a photograph double chins1 wrinkles1 freckles1 and all the character of a face1 and who call themselves1 we believe1 8high art photographers10 mere flatterers of mankind's weaknesses are they1 not even honest craftsmen4 ,and not only do they thus mutilate portraits1 but with their ,chinese white and ,indian ink will they1 with all the confidence of the uneducated1 touch up a landscape or a face with no model before them4 ,of tonality of course they never heard1 and ,nature they never knew4 ,it was once our lot to judge the pictures at a ,cambridge photographic exhibition1 and we were not a little staggered by the audacity with which one noted 8,london firm0 had touched up and worked upon an opal enlargement of ,niagara ,falls4 ,the picture was very true and beautiful before those vandals had got hold of it1 but1 great ,csar6 what a sight it was afterwards1 with its impasto of ,chinese white1 and its shiny gum polished1 ,india ink deepened shadows6 ,in short1 a more meretricious production it has seldom been our lot to inspect1 and this thing was exhibited by an ,university undergraduate6 ,if such is the taste of an educated man1 what can one expect from the rest of the world6 ,let1 then1 the student avoid all these meretricious productions as he would all vulgarities1 such as eating his peas with his knife4 ,no first-rate artist will allow his prints to be retouched2 he would never be able to bear the look of them afterwards4 ,that the idea of retouching springs from a wrong theory is evident1 the improper use of lenses gave false drawing1 and people were in artistically and sharply photographed1 so that wrinkles1 warts1 freckles1 and even the pores of the skin showed1 and then arose the demand for a retoucher to correct all that1 and one error led to another1 although1 without doubt1 the false work of a retoucher is much truer than the false work of an uneducated operator4 ,certainly people do not see1 at the distance a photograph is taken from1 the wrinkles1 spots1 and other small blemishes1 and they are too uneducated to see the falseness of tone which retouching engenders4 ,of all the photographers who talk glibly of art1 we warrant scarcely one is able to distinguish between a bust carved by a stone-mason1 one carved by a mediocre sculptor1 and one carved by a master1 in fact we have proved this1 and yet they talk1 talk1 write1 and lecture on art2 while to an artist the difference between each of those three busts is as great as the difference between a mountain1 a hillock1 and a marsh4 ,the public see the warts and spots and call them false1 the greater falsity of tone and retouching they cannot distinguish4 ,an etcher once remarked to us1 8,how is it photographers seem to do everything to make photographs anything but photographs80 ,and such is the case2 the matchless beauty of a pure and artistic photograph does not satisfy their vulgar minds1 and yet such is the only kind of photograph at which artists will look4 ,sidenote3 ,artists on retouching4 ,it is now fifty years since ,daguerre publicly announced ,niepce's discoveries1 and on the scientific and industrial side1 photography has results to show nothing short of marvellous1 but what has it to show on the artistic side8 ,of the thousands who have practised photography since #ahci1 and who are now dead1 how many names stand out as having done work of any artistic value8 ,only three4 ,one a master1 who was at the same time a sculptor1 namely1 ,adam ,salomon2 one a trained painter1 but without first-rate artistic ability1 ,rejlander2 and one1 an amateur1--,mrs4 ,cameron4 ,beside these three there is no name among the numerous dead photographers worth a mention4 ,and have matters improved8 ,well may it be asked by those who have the good of photography at heart1 whether it will always be thus4 ,we hope not2 but if it is to be otherwise1 some radical change must be made1 and the blind no longer lead the blind4 ,we have said1 then1 that of all the thousands of craftsmen who have practised photography and are dead1 three names only stand out as having produced works to which we can apply the title artistic4 ,now let us see what those three have to say to the matter of retouching4 ,sidenote3 ,adam ,salomon4 ,mr4 ,adam ,salomon1 though he strengthened certain parts of his negatives by artificial means1 which in the hands of an accomplished artist like himself1 was admissible1 condemned retouching altogether4 ,he says1 8,eschewing retouching with brush or pencil on the film1 risking the further deterioration of the negative1 ,i make light finish the task it has1 from want of time1 or bad quality1 insufficiently done1 and in such a manner that no hand can hope to rival its delicacy and precision1 and this is the only plan that a lover of his calling can justifiably pursue40 ,so we see that a highly-trained sculptor1 like ,adam ,salomon1 dared not retouch1 but only sunned down violent contrasts at first1 and then printed in all the picture1 so that it could not be detected2 yet ,adam ,salomon1 in our opinion1 could have quite legitimately worked on his negatives1 being as he was a highly-trained artist4 ,sidenote3 ,rejlander4 ,rejlander1 not being a painter of great ability1 but having a painter's training1 tried all methods until he arrived at the legitimate scope of photography1 then he came to the conclusion that retouching was inadmissible1 and it must be remembered that ,rejlander was more capable of retouching truthfully than any retoucher has been since1 and yet he says1 8,i think the practice of retouching the negative a sad thing for photography4 ,it is impossible1 for even very capable artists1 to rival or improve the delicate1 almost mysterious gradations of the photograph4 ,magnify the photographic rendering of1 say1 the human eye1 with a strong lens1 and it is found to be almost startling in its marvellous truth4 ,magnify the retouched image1 and it will look like coarse deformity4 ,it ceases to be true4 ,i have sometimes seen a touched photograph which looked very nice1 but it possessed no interest for me2 ,i knew it could not be trusted4 ,i have been charged with sophisticating photographs because ,i combined and masked and sunned prints4 ,but there is a great distinction between suppressing and adding2 ,i never added4 ,i stopped-out portions of the negatives which ,i did not require to form my picture2 ,i sunned down that which was obtrusive1 and where one negative would not serve1 ,i used two or more1 joining them with at much truth as ,i could4 ,but ,i never attempted to improve negatives4 ,i never believed that ,i could draw better or more truly than ,nature4 ,i consider a touched photograph spoiled for every purpose40 ,this1 then1 was ,rejlander's verdict1 and though from this we gather he had not yet thrown off the fallacy of combination-printing1 yet he subsequently abjured that also4 ,even when he did use combination-printing1 he practised it in a manner never equalled by his imitators1 for like all imitators they have copied the bad qualities and left all the genius behind4 ,sidenote3 ,mrs4 ,j4 ,cameron4 ,mrs4 ,cameron1 the last and least of the three1 had knowledge and feeling enough also to eschew retouching1 none of her work is retouched1 just as she had knowledge enough to use a rapid rectilinear lens1 although working in the wet-collodion days1 for she evidently saw what escaped so many other workers1 that the drawing was truer with that lens than with the quicker portrait lenses4 ,when it comes1 by the means of retouching1 to straightening noses1 removing double chins1 eliminating squints1 fattening cheeks1 and smoothing skins1 we descend to an abyss of charlatanism and jugglery1 which we will not stop to discuss4 ,that such things pay and please vain and stupid people1 no one denies1 but so do contortionists please a certain public1 so do jugglers and tight-rope dancers1 and such like1 but all that is not art4 ,sidenote3 ,doctoring negatives4 ,there are various practices of doctoring the negative by using paint and other mediums on the backs1 or by grinding the backs of the negatives4 ,these are1 in our opinion1 all unnecessary and harmful1 the remarks on retouching apply equally well here4 ,such artifices may easily deceive and even please the uneducated1 but the artist only sees them to despise and condemn them4 ,the technique of photography is perfect1 no such botchy aids are necessary1 they take the place of the putty of the bad carpenter4 ,sidenote3 ,spotting4 ,of course1 spotting does not come under the head of retouching4 ,the spotter does not attempt to modify structure or tone1 but merely to render an unavoidable and accidental 8blemish0 less patent4 ,all spots should be filled with red paint mixed with a little gum and water1 but care must be exercised in this operation1 to put on only just enough paint to fill the hole4 ,our parting injunction1 then1 to the photographer who would be an artist1 is1 avoid retouching in all its forms2 it destroys texture and tone1 and therefore the truth of the picture4 ,,chapter ,,ix4 ,,printing4 ,sidenote3 ,the process4 ,having his negative1 the next thing our student will want to do is to print from it2 but before doing so1 it will be necessary to decide upon the process he will use4 ,this is a question of great moment1 and one which will here be considered on purely artistic grounds4 ,sidenote3 ,silver prints4 ,when first we began photography1 we printed in all sorts of ways2 but silver printing1 on account chiefly of its unpleasant glaze1 was soon discarded4 ,sidenote3 ,platinotype4 ,then we prepared some ordinary drawing paper1 and printed on that1 till one day we saw an album of views printed in platinotype4 ,their beauty acted like a charm1 and straightway we took to platinotype4 ,still we felt that for portraiture1 a red colour gave a truer impression4 ,sidenote3 ,carbon4 ,so we tried carbon1 and practised it when necessary4 ,even now1 when we look back on those days1 we remember the intense pleasure carbon printing gave us4 ,sidenote3 ,platinotypes4 ,in the year #ahhb1 when we first exhibited at ,pall ,mall1 we sent four platinotype prints1 and two silver prints4 ,at that exhibition there were only three other exhibits in platinotype4 ,immediately after that exhibition we determined to give up all methods of printing except platinotype1 and we have since steadily by example and precept advocated that process4 ,when we were brought into contact with artists1 and learned something of art1 we knew the reason of what we had instinctively felt to be true4 ,and now1 after much experience and careful examination1 in many cases in company with able artists1 of all the printing papers and processes to-day employed1 we emphatically assert that the platinotype process is facile princeps4 ,we should maintain this1 even if platinotypes were no more permanent than silver prints1 but here again1 as in all good things1 simplicity of manipulation goes with excellency1 for there is no doubt that platinotypes are permanent1 they will last in good condition as long as the paper on which they are printed4 ,this fact alone would finally place the process at the head of the list4 ,since the introduction of the platinotype process various papers have been introduced into the market1 with unglazed surfaces1 for which the quality of permanency has been claimed4 ,several of these are old methods re-dressed1 as the gelatino-bromide and chloride papers4 ,but are these papers permanent8 ,at any rate they do not give any truer tonality than silver prints1 and this is a fatal drawback4 ,we have examined hundreds of prints on gelatino-bromide and chloride paper1 and they all give false tonality as compared with platinotype4 ,sidenote3 ,fading of prints4 ,the gelatino-bromide paper like all silver prints1 whether matt or glazed1 is false in tonality1 the blacks are too black1 and the whole picture lowered in tone4 ,then1 again1 as to the question of permanency1 it is of course incontestable that silver prints fade1 and as regards the gelatino-bromide paper1 experiment has not proved it to be permanent4 ,sidenote3 ,mr4 ,spiller on gelatino-bromide prints4 ,this is what a chemist1 ,mr4 ,a4 ,spiller1 says in the ,year ,book of ,photography and ,photographic ,news for #ahhh2 writing on 8,bromide versus albumenized paper10 he says1 8,from the above considerations it may fairly be conceded that under the same conditions a bromide print will most likely remain intact longer than an albumenized paper print2 but more than this1 ,i am afraid1 with the evidence at present at hand1 we are not in a position to state4 ,in offering this1 it must be understood1 that only under equally favourable circumstances is the bromide process likely to yield results more permanent than that on albumenized paper1 for just as a gelatine plate or silver print fades when the #8hypo' fixer has been imperfectly removed1 so again in the bromide process1 if insufficient washing after fixing be resorted to1 the resulting photograph cannot be expected to last long40 ,such was the opinion of every photographer who had thought the matter out1 but we give ,mr4 ,spiller's opinion since it is that of a specialist in chemistry4 ,in conjunction with a noted landscape-painter we went carefully into this question of the different printing processes1 for a book we were conjointly engaged upon was to be illustrated by photographs from our negatives4 ,we soon determined1 on artistic grounds1 that there was nothing that could compete with platinotype4 ,before deciding1 however1 we wrote to a leading producer of gelatino-bromide papers1 asking him if he could guarantee the permanency of prints on this paper4 ,when the answer came it was evasive and unaccompanied by any guarantee4 ,these gelatino-bromide papers are to be met with under different names1 and though for certain trade or industrial purposes they may be invaluable1 for artistic purposes they are inferior to platinotype4 ,carbon1 though superior to silver printing1 is still inferior to platinotype1 for even when the glaze is got rid of1 the method of the formation of the image1 being sculpturesque1 gives a falsity of appearance and an unnatural running together 7like melted wax7 of portions of the detail4 ,sidenote3 ,mr4 ,willis4 ,there is1 then1 in our opinion1 for the art student1 but one process in which to print1 and that is the platinotype process discovered by ,mr4 ,willis4 ,every photographer who has the good and advancement of photography at heart1 should feel indebted to ,mr4 ,willis for placing within his power a process by which he is able to produce work comparable1 on artistic grounds1 with any other black and white process4 ,we have no hesitation in saying that the discovery and subsequent practice of this process has had an incalculable amount of influence in raising the standard of photography4 ,no artist could rest content to practise photography alone as an art1 so long as such inartistic printing methods as the pre-platinotype processes were in vogue4 ,if the photo-etching process and the platinotype process were to become lost arts1 we1 for our part1 should never take another photograph4 ,but here it is necessary to warn the student against the remarks of the platinotype company and many of their admirers1 who maintain that for good prints 8plucky0 negatives are necessary2 and then follows the old story about 8fire10 8snap10 8sparkle10 and ,co4 ,as we have already despatched that gang1 we will spend no more time over their funeral4 ,for low-toned effects1 and for grey-day landscapes1 the platinotype process is unequalled1 but the 8fire10 8snap10 8sparkle0 company think such effects bad1 weak1 muddy1 and what not4 ,of course1 the student will listen to nothing of this1 but try for himself1 and when he wants advice1 let him ask it of good artists4 ,we once showed a grey-day effect to a clerk at the ,platinotype ,company's ,office1 having previously had the opinion of some first-rate painters upon it2 the clerk looked at it critically and said1 8,yes1 very nice2 but look at this10 and he took us to a frame hanging in the same room and pointed to a commonplace view1 taken with a small stop in bright sunlight--a view1 we believe1 of a church or something of that kind2 there was his ideal of what a platinotype should be4 ,the print in question was about fit for a house-agent's window4 ,no6 ,platinotype printers do not seem to know what a good thing they have4 ,their paper is as suitable and as beautiful for soft grey-day effects as for brilliant sunshiny effects1 and it is to be hoped they will soon have their eyes opened to this fact1 and cease to encourage the false notion that good1 ergo plucky1 sparkling1 snappy negatives are those required for the use of the paper4 ,the process1 however1 is not perfect1 the only perfect printing process being photo-etching1 as we shall show presently2 but of all the processes for printing from the negative it is the best2 of all the typographic processes it is the best2 and it is better than many of the copperplate processes4 ,sidenote3 ,cold process4 ,since writing this chapter1 ,mr4 ,willis has introduced a great improvement in his process1 by which the print can be developed with a cold solution2 but what is far more important1 artistically speaking1 the development can be controlled1 for the developer can be applied with a brush1 so that parts can be intensified or kept back at will1 and 8sinking-in0 is avoided4 ,this is a great and distinct advance4 ,sidenote3 ,ferro-,prussiate printing process4 ,the ,ferro-,prussiate printing process1 of course1 does not concern us1 blue prints are only for plans1 not for art4 ,sidenote3 ,hints for platinotype printing4 ,our printing process1 then1 is to be platinotype and platinotype only1 and as there is no use in swelling this work with facts already published1 we advise every student to get full directions from the ,platinotype ,company1 #bi1 ,southampton ,row1 ,high ,holborn1 ,london1 and to study them carefully4 ,it is advisable to arrange the printing so that you are not compelled to keep the paper any time2 get it fresh when required1 therefore1 and only as much as you require for immediate use4 ,before putting it in the box1 drive all the moisture out of the calcium-chloride by heating it on a shovel1 or old tray1 over the fire1 and dry the box thoroughly before the fire4 ,dry also all the printing frames thoroughly before a fire1 also the rubbers1 the use of which must not be neglected4 ,be sure you mix the baths and developer with pure boiled distilled water only1 or else you will be apt to find a fine powder on the prints4 ,be very careful not to place the prints in water between the washings4 ,above all1 never use your dishes for any other purpose4 ,some photographers1 living in the country1 complain that they cannot get up heat to boil a large enough quantity of developer for #ab #aj prints4 ,sidenote3 ,lamps4 ,we found an excellent heating apparatus in the tin spirit lamps with treble wicks1 supplied by ,allen of ,marylebone ,lane1 with his portable ,turkish baths4 ,with two of these lamps we had no difficulty in heating a developer for #bd #bb prints4 ,the dish can be supported by blocks of wood at the four corners1 and raised to the height required by other blocks1 or a tripod4 ,the prints when taken from the washing water should be dried on a clean sheet1 and are finally improved by pressing with a warm iron4 ,sidenote3 ,spotting4 ,for spotting1 ,india ink is the most suitable medium4 ,this1 it is said1 is permanent1 and any shade can be got1 but good ,india ink1 like many other articles of trade1 is a rare thing4 ,sidenote3 ,texture of papers4 ,there are different kinds of paper sold by the ,platinotype ,company for printing1 and the printer will of course choose the texture of paper that suits his subject4 ,delicate landscapes and small portraits should be printed on the smooth papers1 while for strong effects1 large figure subjects1 and large portraits full of character1 the rough papers are more suitable4 ,sidenote3 ,colour4 ,the charcoal grey tint of ordinary platinotypes is apt to become monotonous in book illustration1 and it is as well to vary it occasionally by using the sepia tints2 these are quite suitable for landscapes and certain figure subjects4 ,directions are given by the company for producing this colour4 ,a great desideratum is a red colour for portraiture1 and it is to be hoped that ,mr4 ,willis will see his way to producing a paper on which prints in what is called 8,bartolozzi red0 can be obtained4 ,red1 though it does not give such true tonality1 gives a truer impression of flesh and texture1 just as sepia often gives a truer impression of certain kinds of landscape4 ,but of course these tints must be used with judgment1 and no one but a vandal would print a landscape in red1 or in cyanotype4 ,having now disposed of the question of the printing process to be used1 we must discuss some of the details incidental to printing4 ,sidenote3 ,vignetting4 ,whoever introduced the practice of vignetting was no artist1 and the 8dodge0 was evolved from a misconception of the aims of art1 or for commercial purposes4 ,its origin is obvious1 the idea was taken from one of the incomplete methods of artistic expression1 such as chalk drawing4 ,in such methods the artist has a perfect right to leave the background untinted1 or only to shade round the head so as to give it relief1 but with a perfect technique like photography1 vignetting is useless1 nay inartistic and false1 as it destroys all tonality4 ,we get by this method a softly delicately lighted head1 against a sparkling background1 the two are incompatible1 and not only that1 but the photographer who vignettes is deliberately throwing away a most effective aid to perfect impression1 namely1 the relief effected by the reflected light from his background1 and when you add to this the conventional shape of the vignetted head and shadows1 the result is feeble in the extreme4 ,here1 then1 is another false god which has for years held sway4 ,we ask the student1 did he ever see a vignette painted by ,da ,vinci1 ,rembrandt1 ,holbein1 ,velasquez1 ,gainsborough1 or ,frank ,hals8 ,such men knew too well the value of a background to throw it away2 they could not have painted a vignetted head4 ,look at their chalk drawings1 and the case is very different2 there they were dealing with an incomplete method1 and kept rigidly within their bounds4 ,in our early photographic days1 we learned printing from an industrial photographer1 who did an extensive business in vignetted heads1 and it was a source of great amusement to us to watch the mechanical application of the vignettes by the 8head0 printer4 ,this is of course another source of the mechanical appearance of ordinary photographs2 for by vignetting fifty different heads a certain uniformity must result1 as in a regiment dressed in uniform1 with of course the fatal result1 the loss of all individuality1 character1 and of course art4 ,the few photographic portraits that we have seen worth studying were certainly not vignetted4 ,mrs4 ,cameron did not vignette1 she knew better4 ,that people demand vignettes and pay for them is nothing to us1 let photographers sell them as they do scraps and chromographs1 and other fancy articles1 if it please the childish and vulgar1 but let them not be called works of art1 for on the contrary they are certain indices of bad taste4 ,vignetting might be admissible in certain decorative cases in book illustration1 as when a landscape decorates an initial letter1 but in pictures for framing1 never4 ,sidenote3 ,combination printing4 ,the simplest application of this method is the printing of a cloud into a landscape from a different negative4 ,though it is far preferable to obtain the clouds on the same negative1 and this is quite easy in ortho-chromatic photography1 it is1 if you use great judgment1 admissible to print in clouds from a separate negative1 but this requires an intimate knowledge of out-door effects1 and the clouds must be taken in a particular way4 ,printing in clouds is admissible because1 if well done1 a truer impression of the scene is rendered4 ,sidenote3 ,cloud negatives4 ,but the ordinary way of taking cloud negatives is much to be condemned4 ,the practice is to point the camera to the zenith if need be1 to focus sharply1 to to use the smallest stop1 develop and select for final use according to the lighting1 indeed1 not always being very particular on that point4 ,but1 by elevating the camera a point of sight is taken different from that employed in taking the landscape2 by focussing sharply1 often using a lens drawing falsely1 the clouds are rendered false in tone and false in drawing4 ,all this an artist detects in a moment1 a craftsman1 never4 ,the first necessity1 then1 in taking cloud negatives is that the point of sight shall be the same as that chosen for the landscapes2 the second that the clouds shall be so focussed and developed that their tonality shall remain true2 and the third and most important point1 that the cloud form shall be harmonious with the landscape4 ,the very simplest truths of nature are daily ignored by photographers in the works they exhibit4 ,there are often three1 or even four suns in one landscape1 or at least the evidence of them2 mighty cumuli float over lakes where there is no ripple1 and yet there is no reflection2 or1 as we have seen1 reflections of clouds have been printed in where there are ripple marks2 or heavy nimbi lighted from one direction are placed over cirro-cumuli lighted from another direction2 or1 again1 a setting sun sinks to rest over wave-broken water that reflects glints of light from exactly the opposite direction4 ,sidenote3 ,how to take clouds4 ,the best way1 then1 if a cloud negative is wanted1 is to take it at the same time as the landscape and from the same point of view1 getting as much as possible the same impression as seen in nature4 ,the exposure must of course be by a shutter set quickly4 ,sidenote3 ,to print in clouds4 ,we think the best way of printing in clouds so obtained1 is to take a piece of damp tissue paper the size of the negative1 gum it round the edges to the back of the negative1 then with some blacklead and a stump blacken the sky out when the paper is dry1 carefully following the contours of those objects which stand in relief against the sky with a lead pencil4 ,in this way you can with marvellous accuracy stop out the sky1 and the work being on the back of the negative and in plumbago1 the contours still show the mingled decision and indecision of nature4 ,the print is then taken1 and afterwards the cloud negative is arranged as desired1 the sky-line being covered with cotton-wool and the rest of the exposed landscape by a black cloth4 ,no special printing frames are required for this purpose1 only one a size or two larger than the negative you are printing from4 ,cloud printing1 as we have said1 is the simplest form of combination printing1 and the only one admissible when we are considering artistic work4 ,sidenote3 ,combination printing4 ,rejlander1 however1 in the early days of photography1 tried to make pictures by combination printing4 ,this process is really what many of us practised in the nursery2 that is cutting out figures and pasting them into white spaces left for that purpose in a picture-book4 ,with all the care in the world1 the very best artist living could not do this satisfactorily4 ,nature is so subtle that it is impossible to do this sort of patchwork and represent her4 ,even if the greater truths be registered1 the lesser truths1 still important1 cannot be obtained1 and the softness of outline is entirely lost4 ,the relation of the figure to the landscape can never be truly represented in this manner1 for all subtle modelling of the contours of the figure are lost4 ,such things are easy enough to do1 and when we first began photography we did a few1 but soon gave it up1 convinced of its futility4 ,sidenote3 ,rejlander4 ,rejlander1 though he tried it1 soon saw the folly of such play1 and he is the only artist we know of who used it4 ,mrs4 ,cameron and ,adam ,salomon never indulged in such things that we know of4 ,some writers have honoured this method of printing by calling it the highest form of photographic work4 ,heaven help them6 ,the subject is hardly worth as many words1 for though such 8work0 may produce sensational effects in photographic galleries1 it is but the art of the opera bouffe4 ,sidenote3 ,masks4 ,in printing1 variously shaped masks are used4 ,there is no objection to them1 but in our opinion they do not in any way improve the subject1 although they do not necessarily spoil it like vignetting4 ,besides all these 8dodges10 there are machines for producing imitation enamel portraits in basso-relievo and cavi-relievo1 but all such ideas are false in theory1 and the results inartistic hybrids unworthy of any serious consideration4 ,sidenote3 ,final4 ,here1 then1 we come to an end of the subject of printing1 and in our opinion the student should consider himself fortunate indeed in having so beautiful a method as the platinotype process with which to work4 ,,chapter ,x4 ,,enlargements4 ,sidenote3 ,enlargements4 ,the best enlargements made for the trade are made from very sharply-focussed negatives4 ,in fact1 some of the best enlargers take up the negative from which the enlargement is to be made1 and examine it with a small magnifying-glass1 and if any of the outlines are woolly they will not promise a good enlargement4 ,this1 then1 shows that a small negative must be taken very sharply if it is to produce a good enlargement2 that is1 it must be taken purely from that point of view1 all artistic considerations being thrown aside4 ,it is obvious1 then1 from what we have already said1 that this is undesirable1 for every negative should be suited to the subject4 ,sidenote3 ,increased falsity of drawing4 ,enlarging1 too1 of course increases all falseness in drawing2 if the drawing in the different planes is wrong in the small negative1 it will be still worse in the large negative or print4 ,sidenote3 ,enlarging hap-hazard4 ,but1 it will be argued1 and justly1 that sometimes an enlargement is more artistic than the small picture from which it was produced4 ,this is sometimes1 but rarely1 the case2 and when such is the case1 it is the result of chance4 ,you would never be able to take a negative in a particular way so that you know for certain it will be improved by enlarging so many diameters1 and therein lies the inherent defect which unfits this process for artistic work4 ,sidenote3 ,the method4 ,the actual process of enlarging is very simple1 either by artificial light or daylight2 but it is in our opinion a needless and undesirable proceeding4 ,sidenote3 ,an example4 ,we have made many experiments in this direction1 but we have never yet been able to get an enlargement as fine in quality as the direct photograph4 ,all the little subtleties which give quality to the work are either lost or are only obtained accidentally4 ,not long ago we saw a beautiful portrait--an enlargement1 the print from the small negative of which was very poor1 and no one was more surprised at the improvement in the enlargement than the photographer himself1 but he could never make sure of doing the same thing again4 ,therefore eschew enlargements4 ,a picture of fine quality1 quarter-plate size1 is worth a dozen enlargements #bd #bb4 ,sidenote3 ,tonality4 ,it is only in certain very limited effects that the tonality will be true after enlargement1 and that of course constitutes another fatal objection4 ,,chapter ,,xi4 ,,transparencies1 ,,lantern ,,and ,,stereoscopic ,,slides4 ,sidenote3 ,transparencies4 ,for industrial and educational purposes transparencies of all kinds are valuable1 and we shall touch upon them elsewhere4 ,sidenote3 ,lantern slides4 ,with lantern slides our art-student has nothing to do4 ,a lantern picture is an optical illusion1 and lantern slides are toys when they do not serve lecture purposes4 ,for lecture purposes they are of course invaluable1 but they have no place in art1 neither have stereoscopic slides4 ,they all rank with the camera obscura1 the diorama1 and the panorama4 ,we say all this because a beginner must be cautioned against paying any serious attention to these subjects if his aim be to become an artist4 ,art is much too serious for her devotees to trifle with any other subject1 and besides the making of lantern and stereoscopic slides is apt to have a bad effect on the beginner4 ,his attention becomes centered on the production of pretty things--a neat1 small1 superficial prettiness pervading most of the work of good lantern-slide workers4 ,conventional compositions and ,birket-,foster prettiness are the lantern-slide maker's beau-ideals4 ,of course these qualities are very admirable for lantern slides1 for without them they would have but little attraction2 but they are quite distinct from1 and very1 very far removed from1 having any connection with fine art4 ,sidenote3 ,stereoscopic slides4 ,we know many artists who photograph and value photography per se1 but we have yet to meet that one who deigns to make lantern slides except for the purpose of making enlargements from which to draw4 ,it has been said that the appearance of stereoscopic pictures is wonderfully true2 this is not the case4 ,there is a lustre1 false tonality1 and apparent illusion1 which to an artist makes them anything but true4 ,in short1 until photographers do away with much of the 8play0 of their art1 and look at it seriously1 they cannot hope that highly-trained artists will join in with them4 ,sidenote3 ,lecture purposes4 ,for scientific lectures of course lantern slides are invaluable1 as we have already said1 and for this purpose they should be untouched2 but we cannot help smiling when we hear of producers of slides claiming for their work the title of 8artistic10 because they are untouched and true4 ,absolute truth is not necessarily art1 as we have often pointed out1 and as ,muybridge's photographs prove4 ,let our student1 then1 avoid these snares1 unless he wishes to cultivate what ,professor ,herkomer has aptly called 8,handkerchief-box art40 ,,chapter ,,xii4 ,,photo-,,mechanical ,,processes4 ,sidenote3 ,photo-mechanical process4 ,from our earliest photographic days we always felt that all 8ordinary0 printing methods1 however good in themselves1 would finally have to give way to photo-mechanical methods1 as all processes are called by which the negative is reproduced4 ,all the photo-mechanical printing processes may be divided into two great classes3-- ,sidenote3 ,classification4 ,a4 ,processes in which the aim is to produce diagrams4 ,b4 ,processes in which the aim is to produce pictures4 ,for the first purpose any of the methods are useful3 that is1 typographic processes1 where the block is set up with the type in the printing-press2 the collotype process1 where the prints are subsequently mounted on paper1 or interleaved in a book2 and the photo-etching process1 where the plates are introduced between the leaves of a book4 ,sidenote3 ,diagrammatic plates4 ,it is obvious that when the aim is diagrammatic1 brilliancy1 sharpness1 correct drawing1 and the truthful rendering of texture are the requisites1 as in the reproductions of negatives from nature to illustrate scientific works1 books of travel1 c4 ,in such cases these are the main points to be considered2 and when to these considerations is added the question of cost of production1 it is evident nearly all the processes worth mentioning which are now in existence will serve one or other1 or all such purposes4 ,but when the question comes to be considered from an artistic point of view1 the matter is totally different1 for it is a sine qu non in this case that all the artistic quality of the original photograph be preserved4 ,sidenote3 ,art blocks4 ,cost must not be considered4 ,from the art point of view alone1 then1 we shall briefly discuss these processes4 ,sidenote3 ,platinotypes4 ,as we said in a former chapter1 of ordinary printing papers the platinotype is alone worth considering for this purpose1 but for book illustration a serious objection to its use is its monotony4 ,for1 although there are two colours1 the charcoal grey and the sepia1 the gamut of colour is very limited2 a serious matter this1 for our experience leads us to believe that there is a particular colour and tint especially suitable to each subject4 ,another objection to all ordinary printing papers is the want of relief in the gelatine film of an ordinary negative1 a want which gives a certain flatness in the resulting print1 when compared with a print from a copperplate where the cavi-relievo is deeper4 ,relief in the block undoubtedly has a great influence on all results1 and in all the photo-mechanical processes 8depth0 is an essential1 and the best processes are those in which the printing-plates have the deepest surfaces4 ,another fact which renders platinotype less valuable than photogravure is that there is always a certain amount of 8sinking in0 of the image1 as there is with a painting on canvas2 but a painting can be brought up by varnish1 a platinotype cannot4#ac ----- ,footnote #ac3 ,this 8sinking-in0 is now scarcely appreciable with1 the new cold-bath process4 ----- ,let us1 then1 examine the various processes1 and see which will serve our purpose4 ,sidenote3 ,collotypes1 ,woodbury types1 c4 not durable4 ,for artistic reasons we are of the opinion that ,collotypes1 ,woodburytypes1 and all such methods1 are undesirable2 and this we say deliberately1 after long study of the subject1 for in supervising and choosing illustrations for the books which we have illustrated we carefully examined specimens of nearly all the photo-mechanical processes extant4 ,we say this1 although one writer on the subject of photo-mechanical processes has given out the opinion that the ideal process is one in which the resulting print should be a facsimile of a 8silver print20 but of course such a remark is artistically wrong1 and is in keeping with the rest of the compilation in which the statement appears4 ,sidenote3 ,typographic processes4 ,for the benefit of the student1 then1 we say there are but two processes to be considered for artistic book illustration--a typographic block to be printed with the text1 and an intaglio copperplate4 ,the typographic block has the whites lowered like a woodblock2 and as it is printed in the ordinary way1 with the type1 there is no extra trouble or cost in the printing4 ,with a copperplate1 on the other hand1 the plate must be carefully inked and wiped1 and each print separately pulled by hand1 the difference in time taken by this process1 and consequently the cost1 is therefore greatly increased4 ,after a careful examination of all the typographic processes we have no hesitation in saying that there is not one satisfactory in the market4 ,when the original picture is not travestied and cheapened by mechanical-looking crenellations and stipplings1 it is marred by obvious hand-work and by falsity of tonal translation4 ,any photo-mechanical process1 to be perfect1 must1 as we have all along maintained1 require no retouching of any kind4 ,all the typographic blocks1 too1 are too shallow2 hence in the rough working and pressure of the printing-press all tonal subtleties are lost in smudges1 as the block becomes clogged with ink4 ,many of these blocks serve remarkably well for rough diagrammatic purposes1 but for artistic purposes there is not one we can recommend when the object is to reproduce pictures taken from nature4 ,for facsimile work they serve the purpose4 ,sidenote3 ,a great desideratum4 ,a first-rate photo-mechanical block to print with the text in the ordinary printing-press1 which is entirely the result of a chemical process1 is a great desideratum1 and it is a problem which experimenters in this direction will do well to study4 ,not only is it that there is no typographic block adequate1 but in addition1 when the present process is employed for diagrammatic purposes1 or to satisfy the pictorial standards of the untrained in art1 they are terribly marred by crude retouchings and daubings with ,chinese white1 until such travesties of nature appear that are only to be equalled by some of the 8finishing artists0 of the photographic studio4 ,yet1 bad as these block processes are1 they are infinitely better than the second-rate woodcuts made from photographs4 ,day after day1 books appear illustrated with woodcuts done from photographs1 in which the woodcutter has effectually ruined all the beauty of the photograph4 ,if the student1 then1 should ever be in the position of having to choose between the facsimile woodcuts of ,english woodcutters find photo-mechanical block-work1 let him choose the latter as the lesser evil2 it is better than any except the ,american school of facsimile woodcutters4 ,and here it may be well to note a dishonest practice which is daily becoming more common with writers of books of travel who buy photographs abroad1 and unscrupulously have their books illustrated with them4 ,we know of certain such illustrations which are advertised as being prints from woodblocks done from sketches by the author4 ,quite recently a book of travel appeared illustrated with third-rate woodcuts purporting to be done from sketches by the author1 which were really done from photographs purchased in the shops abroad4 ,we know of one case where this was done in ,england1 the photographs pirated being ,english photographs4 ,should such a thing ever happen to the student1 he must1 as a duty to the photographic world1 prosecute without compunction1 and exact the utmost penalty of the law4 ,such dishonesty is one of the most despicable forms of thieving4 ,sidenote3 ,photo-etching4 ,but to return to our subject4 ,as we have said1 we felt from the first that photo-etching was the ultimate goal to be reached2 that was the final end and method of expression in monochrome photography4 ,we argued the matter out with many painters1 and they agreed with us1 as did they agree that the process of reproduction must be the result of chemical changes only--that no retouching was admissible1 or a hybrid would be the result1 and a hybrid is detestable to all artists1 although we have recently seen writers untrained in art matters advocating a photo-etched plate as a basis for etching or mezzotinting4 ,having decided1 then1 on these points1 we determined to try the photo-etching processes of the various firms4 ,on inquiring from the best ,english and ,french firms1 we found that but very few1 in most cases no landscapes from nature had been reproduced in this way1 although a few portraits had been done4 ,we carefully examined the specimens 7nearly all specimens of facsimile work7 of thirteen different firms2 in fact1 all the firms practising photo-etching that we could hear of4 ,from this examination it was evident that however good many of the processes were for facsimile work1 but few were adaptable to our needs4 ,having at last settled on the four apparently most suitable processes1 we began our studies4 ,negatives were sent to each of these firms1 of whom only one had ever attempted reproducing a landscape direct from a negative from nature4 ,the proofs came1 and were in every case most unsatisfactory2 they had all been barbarously retouched1 all the tonality had been falsified1 faces against the sky were made lighter than the sky1 faces were roughly outlined with an etching-needle1 high lights were scraped away needlessly1 and shadows barbarously deepened with the roulette4 ,our battles then began1 and we demanded plates free from retouching2 the voluminous correspondence we had on the subject would afford amusement4 ,various firms protested--it couldn't be done2 it was absurd2 was art the result of a chemical process8 and ,heaven knows what6 ,however1 we persisted with inflexibility1 and though we had to accept in some cases the least visibly retouched plates1 we finally gained the day all round1 in so far that all the firms supplied us with plates with no visible retouching4 ,thus was instituted a new departure1 negatives from nature were reproduced1 through our battlings1 with no visible retouching2 and although a few diagrammatic negatives had been reproduced here and there before us1 we were the first to start the serious reproduction of negatives from landscapes and figure subjects which could be regarded as pictures per se1 and not merely as topographical views4 ,sidenote3 ,typographic ,etching ,company's process4 ,but now the coast is clear1 and the student can get his negatives done without visible retouching by asking for it4 ,from an examination of these results it was soon evident that one firm1 the ,typographic ,etching ,company1 produced plates immeasurably superior to those of any other firm1 and in addition1 they would guarantee their production without retouching4 ,for reproducing negatives taken from nature1 then1 this process is perfect1 and we cannot see how any photo-engraving process will ever surpass it4 ,sidenote3 ,messrs4 ,dawson and ,colls4 ,mr4 ,dawson and ,mr4 ,colls are trained artists1 and perhaps therein lies the secret of their success4 ,it is perhaps invidious to select one firm for special mention1 but as the results of ,mr4 ,colls and the ,typographic ,etching ,company are in every way so superior when artistically considered1 we feel it our duty to record the fact here for the benefit of the student4 ,quite recently there has been much discussion on the vital question of 8,photogravures v4 ,engravings10 and some of the ,english firms have publicly announced that it is necessary to finish their work by hand1 while others privately maintained the same fact4 ,mr4 ,colls1 late of the ,typographic ,etching ,company1 on the other hand1 maintains that a plate1 perfect in quality1 can be produced without the aid of a touch by hand4 ,further on will be found a communication on the process by the etcher1 ,mr4 ,colls1 who therein states that he can and does produce his work without any retouching4 ,the ,dawson process renders the light in the shadows better than any of the other processes1 this being effected by the method of working1 and1 as a whole1 the 8quality0 of the work is unapproachable1 it beats mezzotint out of the field in its subtlety and delicacy4 ,sidenote3 ,english v4 ,french photogravure4 ,and here we would caution the gentlemen of the press who have lately written so freely and so mistakenly on the subject of photogravure1 that the best photogravures are not produced in ,france1 but in ,england4 ,englishmen do not seem to know when they possess a 8good thing40 ,we venture to say1 without any diffidence1 that for the reproduction of negatives from nature1 ,dawson's process is facile princeps1 and to assert that for the reproduction of pictures1 some of the ,english processes are equal to1 if not superior to1 the continental processes4 ,this is also the opinion of several artists who have seen specimens of the work done in both countries4 ,the process1 as worked in ,america1 does not give results equal to those obtained in ,england4 ,for diagrammatic purposes1 we consider nearly all of the ,english processes possess qualities of equal value4 ,another new departure for which we had some battling was a minor point1 but an important one4 ,it was on the question of lettering4 ,it had been the practice of many of the firms to engrave in plain lettering beneath the picture1 the name of the firm1 and the words 8negative by ----10 and often in addition the word 8copyright40 ,this engraving1 as it was usually done1 gave a 8cheap0 look to the picture4 ,we felt that the picture was injured by this procedure1 so we insisted that our name should be cut in the picture1 in a quiet manner1 as an etcher would sign his name1 and that no ordinary engraving should appear on the plate4 ,in case1 then1 our student should at any time have any of his works reproduced1 we will give him a few hints1 for though the publisher does the business part1 the artist always has the passing of the plates4 ,sidenote3 ,hints for those having plates reproduced by photo-etching4 ,when sending his plates1 then1 to be bitten1 he should send a well-printed platinotype print with them1 a print having just the effect he wishes for in the copper-plate4 ,if clouds are to be introduced1 the cloud negative should be sent as well4 ,he will in due time receive a proof1 which he must go carefully over1 making any notes on the margin as to re-biting1 c4 ,if it be retouched or utterly bad1 it must be rejected4 ,of course1 it is here evident that his art knowledge will come in1 for if ignorant of art1 how can he make remarks to the 8biters0 who are often artists8 ,he must continue asking for proofs until he receives a satisfactory one1 for no plate can be forced upon him if he can prove it to be wrong4 ,if he have real grounds for objection1 he will find the ,english firms most generous1 for they take a pride in their work4 ,they have1 in some cases1 made as many as three plates from a subject for us1 with no extra charge1 and this we could never get a ,french firm to do4 ,when he approves of the plate1 he signs the proof to that effect4 ,then comes the great question of 8colour10 that is the coloured ink to be used2 for one of the great advantages in photo-etching lies in the number of colours and shades of colours which can be used4 ,here1 again1 his artistic knowledge comes in1 and he will find the effects produced by different colours are marvellous4 ,having1 then1 suggested his colour and tint1 he will receive proofs printed in them1 and he finally decides upon the tint suitable for each plate1 and these are kept as standards on a file4 ,the matter of printing papers1 too1 offers great variety and scope for artistic selection2 but here the student will find he has not a free hand1 the publisher often limiting his choice in that on financial grounds4 ,the student must see1 however1 that if ,india paper be used1 an unsuitable tint be not selected4 ,for example1 ,india paper may be yellow or white1 obviously then1 if the plate is to be printed in bartolozzi red1 white ,india must be used1 and not the ordinary yellow-tinted ,india4 ,the student must be careful when sending his platinotype print1 to cut it exactly to the limits he wants the picture on copper4 ,copper-plates can be produced in this way from prints in cases where the negative has been broken4 ,if the sky is not an important part of the picture1 it is better to have it a flat grey tint1 or delicately gradated4 ,the student1 of course1 remembering certain physical truths1 as1 for example1 that still water is1 as a rule1 lower in tone than the sky which it reflects1 c4 ,the best test of relative value of sky and water is to turn the picture upside down4 ,all these subtleties must be carefully considered1 for a sky lower in tone than the still water reflecting it1 would1 with rare exceptions1 be a fatal artistic error1 and enough to condemn the plate4 ,the details which thus go to make or mar a picture are countless4 ,sidenote3 ,w4 ,l4 ,colls on photo-etching4 ,this1 then1 is our experience of the photo-mechanical processes1 and1 as we make it a rule never to write on anything we have not full practical knowledge of1 we have asked our friend1 ,mr4 ,colls1 to write us some particulars of these processes4 ,we have done this because there are certain misleading books in the market on the subject1 written by men without such special knowledge as can only be obtained by a man who has worked at the process for years and at nothing else1 and who is1 in addition1 an artist4 ,mr4 ,colls is both a specialist and an artist in this work4 ,in our opinion the future artists who practise photography will also photo-etch their own plates1 which is greatly to be desired1 but since these processes are at present kept very secret1 this knowledge cannot now be acquired4 ,nevertheless1 we feel that the day is not far distant when every artist who expresses himself by photography will also bite his own plates and make his own blocks1 and the prints will be published by print-dealers as etchings are now4 ,this1 in our opinion1 is the only method which can give full artistic satisfaction4 ,a final important consideration is the number of good prints which can be pulled from each plate4 ,dawson's plates1 being bitten deeper1 will obviously stand more wear and tear than the others1 and will produce a greater number of good impressions4 ,mr4 ,colls thinks that at least #cjjj good impressions can be pulled from each plate1 if the steel-facing will last4 ,we append ,mr4 ,colls' remarks3-- ,,methods ,,of ,,reproducing ,,negatives ,,from ,,nature ,,for ,,the ,,copper-,,plate ,,press4 ,sidenote3 ,preamble4 8,in giving a description of the various methods that are employed for reproducing photographs from nature for the copper-plate press1 it is obvious that only those which are purely #8automatic' need be mentioned1 as it is impossible to give a true rendering of those beautiful forms and delicate gradations of tone1 which we see in nature1 by any but automatic means4 ,for so ever-varying and sudden are her changes1 that it is by photography alone we are able to secure these effects1 and having obtained them1 we require a process which will give us our impressions1 and one which will harmonize with printed matter when required for book illustration4 8,this we have in the ,intaglio plate1 which gives the most perfect tonality1 and possesses all the richness and quality of a mezzotint plate1 with the same degree of permanency4 ,sidenote3 ,grown and bitten plates4 8,for convenience of description the different methods of producing ,intaglio plates may be classed under two heads--#8,grown' and #8,bitten4' ,i will first mention the #8grown1' and will endeavour to point out the characteristics of the different processes1 so that a comparison may be made between them1 with the object of determining the one best suited for the purpose4 ,in all the growing methods the basis of the process consists in obtaining a gelatinous mould of the subject2 the most usual and simple way being to develop a carbon print from a reversed negative on a polished copper-plate which has been previously silvered1 to prevent the copper which is afterwards deposited upon it adhering2 and to produce the grain which is necessary to hold the printing ink4 ,the mould when wet is dusted over with powdered glass1 sand1 or the like1 previously treated with wax or stearine1 to assist its removal4 8,when the mould is quite dry the gritty particles are removed by gentle rubbing1 leaving the gelatine in a grained state4 ,plumbago is then rubbed well over the picture to render the mould conductive1 and it is placed in the electrotyping battery and a stout cast taken4 ,there is some little uncertainty attending the entire removal of the gritty particles1 and great danger that in making the mould sufficiently conductive in the heavy portions1 the fine work is destroyed by getting blocked with the plumbago4 ,the former objection has been overcome by substituting powdered resins1 which can be readily dissolved away without injury to the mould1 and the latter by the introduction of a tissue containing granular plumbago1 which while producing the necessary grain for holding ink1 is one of the best conductors of electricity1 so that no after-treatment is required4 8,similar to this is a process by which the grain is obtained by the action of light on a chemical substance1 which crystallizes under the action of light1 the crystals becoming larger the longer they are acted on by it4 ,a deposit of copper is then made on the crystalline surface and a plate obtained4 8,by these methods very satisfactory results may be obtained for certain classes of work where the range of tone is not great1 they are more particularly suited for reproducing the works of early engravers1 old cuts1 etchings1 pencil and crayon drawings1 and similar work upon rough or grained surfaces4 ,in fact1 when printed upon old paper1 as is sometimes done in particular cases1 so closely do they resemble the originals1 that the most expert judge would have great difficulty in detecting the reproduction from the original2 but for reproducing nature work1 where the scale ranges from the highest lights to the deepest shadows1 these methods are not suitable without much hand-work1 which is ruinous to the faithful rendering of the subject1 and the introduction of the roulette which is used to give the necessary depth does not improve the appearance1 as the depth obtained by it is heavy1 and lacking that transparency which is so desirable in all classes of work from nature4 ,the great drawback to these methods is that the grain produced is upon the surface of the plate1 standing up in innumerable little prickles1 and the only way of working up a plate is with the roulette and scraper 7the nature of the grain being unsuited for re-biting74 ,these1 added to the soft nature of grown copper1 as compared to rolled or hammered copper1 which is used in the biting methods1 necessitates the greatest care in printing1 and usually require very strong and sometimes forcing inks to give the necessary strength1 and although a plate be steel-faced it will not hold out for a large number of impressions4 8,there are other ways of producing a grain upon a gelatinous mould by re-sensitizing and1 when dry1 dusting over the picture brocade powder1 either coarse or fine1 as the subject may require2 the mould being previously treated with vaseline1 or a similar substance1 to allow of the powder adhering1 and exposing to daylight for a short time4 ,the powder is then removed1 and it is ready for the battery1 after being blackleaded4 ,as all the growing methods resemble each other so closely1 ,i will not mention any others1 but will proceed with a short description of the biting processes4 ,sidenote3 ,biting process4 8,a polished copper-plate1 preferably a hammered one1 is thoroughly cleaned1 to remove all traces of grease1 and is dusted over with powdered asphalt or resin1 and the plate heated until the powder becomes partially melted4 ,a carbon print from a reversed transparency is next developed upon the grained plate and allowed to dry4 ,the unprotected margin is then painted round with asphalt1 or other resist-varnish1 and a wall of bordering wax placed round the work4 ,it is then ready for biting1 which is done with perchloride of iron1 the bare portions being first attacked2 water is then added1 and the biting proceeds to the next tone1 and so on1 adding water when required1 until the solution has penetrated the thickest portions of the film4 ,the greatest care must be exercised during this operation1 and a careful watch kept lest the action remain too long on any part4 ,the biting should proceed in a gradual manner1 so that the values are not exaggerated4 ,the plate is then rinsed in water1 the bordering wax removed1 and the pigment cleaned off with a little potash ley4 8,the biting of a plate resembles very closely the development of a dry-plate positive1 as the action may be seen throughout the operation as each successive tone is reached4 ,there are many variations to the above method1 and each worker has his particular way of producing the grain1 making the mould1 biting1 c41 but they are all based on the one just described4 ,as the introduction of the biting methods as commercially worked is of more recent date than the grown1 less is known of it1 and those who work it most successfully keep it secret1 and were it known there is little likelihood of its being satisfactorily worked by any but those experienced in copper-plate work1 as long and careful study is necessary to master those minute details which are so important to ensure good results4 ,for so delicate are the operations1 that the changes of weather1 temperature1 c41 play an important part1 and must be attended to4 8,one of the great advantages a bitten plate has over a grown is that the scale is greater than by any other method1 and the nature of the grain admirably lends itself to re-biting should any parts require deepening4 ,that is1 re-entering the original work by covering the grained surface with a protective coating1 which resists the action of the acid etching-fluid1 and deepening those parts that may require it1 stopping out with resist-varnish any portion where deepening is not wanted4 ,this at once does away with the roulette1 and the plate still maintains its original character4 ,re-biting is seldom required on a plate from nature1 for with care a plate can be made which needs no after-work whatever1 and when bevelled and steel-faced is ready for the press1 notwithstanding the assertion that has been made to the contrary1 which recognizes the process only as a basis for skilled after-work4 ,it is needless to say that in all mechanical processes the very best negative is required to work from1 for although a great deal may be done in the biting to counteract any defects in the negative1 yet1 if the negative is wanting in any particular1 the after-result is sure to suffer4 ,and here ,i wish to say that by the #8very best negative' ,i do not mean the ordinary photographer's beau-ideal1 but a negative which gives a true impression of the object photographed1 and is full of the #8quality' and subtlety of nature4 8,the grain obtained on a plate which is bitten1 differs materially from one that is grown1 inasmuch as in the former it is below the surface1 and in the latter upon it1 as previously described2 consequently its wearing capabilities are far greater4 ,sidenote3 ,another biting method4 8,another biting method which possesses the merit of ingenuity rather than utility1 is of converting an ordinary bromide of silver positive into chloride of silver1 by the action of perchloride of iron and chromic acid4 ,the film when damp is brought into close contact with the face of a polished copper-plate4 ,chloride of silver now rests upon the copper-plate1 more of it in the vigorous or dark portions1 and less of it in the lighter1 and by a galvano-chemical process the chloride of silver decomposes1 forming metallic silver and soluble chloride of copper1 and producing depths corresponding to the amount of chloride of silver present4 ,the energy of the action may be increased by moistening the film with a weak solution of chloride of zinc1 and a battery current seems necessary to produce good results4 ,as can be seen1 the process is a very delicate one1 admitting of little if any latitude in working1 and1 unlike the first-mentioned biting process1 will not permit of any work being put on the positive as is usually done in the first method for certain work where the darks are very hard and pronounced1 and a great saving of after-labour avoided4 8,it is advisable to say that the work done on the positive and plate to which ,i refer is done in connection with facsimile work1 and not with #8nature work1' for in the reproduction of engravings the deep blacks of the engravings have to be reproduced1 and since in nature there is no black of this kind we do not have to accentuate parts of the plates to produce it40 ,,chapter ,,xiii4 ,,mounting ,,and ,,framing4 ,sidenote3 ,mounting and framing4 ,having our print1 the next question is how shall it be mounted and framed4 ,there can1 of course1 be no laws for this1 but we feel justified in making a few remarks on this head4 ,sidenote3 ,mountants4 ,the best mountant we know of is a weak solution of fine ,french glue4 ,it acts better than any other mountant we have used1 and we have tried several of the formul made with starch1 arrowroot1 and other compounds4 ,fine ,french glue holds firmly and there is no cockling after mounting4 ,after mounting the prints are improved by being passed through a press1 but this is by no means necessary4 ,we shall now make a few remarks upon framing4 ,sidenote3 ,framing4 ,in the first place it is our opinion that all cut mounts are inartistic4 ,mr4 ,whistler1 not long since1 made some remarks on this head1 which are well worthy of attention4 ,his objections to cut mounts were that the different tints of the picture1 the gold border1 and the cut mount1 weakened the edges of the picture and detracted from its directness and strength1 and this is no doubt true4 ,for this reason we do not think platinotypes look well mounted on ,india paper1 the edges are decidedly weakened1 and as for mounting silver prints on ,india the result is most inharmonious4 ,in our opinion then the print should be mounted upon white paper1 preferably ,whatman's rough drawing-paper1 and for all pictures less than whole plate size1 we should recommend a margin from three to four inches4 ,a suitable moulding for these would be a bevelled moulding enamelled white4 ,sidenote3 ,moulding4 ,in all cases where the mount shows1 it must be remembered that the colour should harmonize with the print4 ,sidenote3 ,mounts4 ,we saw some prints of ,whistler's 8,sarasate0 mounted on plain black cabinet mounts1 and they looked charming4 ,as in that case1 the picture came out nearly all black1 the whole made a harmony in black4 ,when the prints are mounted on cards as in the case of cartes and cabinets1 there should be absolutely nothing on the face of the card4 ,the hideousness of the photographer's name in shining golden letters is far too common4 ,nothing could look better for these small pictures than plain black mounts1 with no word or letter or coloured line or any other embellishment4 ,if the photographer is such a tradesman at heart that he must air his medals1 let him put all that part of him on the back of the card4 ,the method of stamping each photograph with the photographer's name is not less to be deprecated4 ,for the industrial photographer some simple but artistic lettering should be chosen1 and it should be printed small in one corner in ,indian ink1 which harmonizes with the grey of platinotypes4 ,any good die-cutter could supply an artistic stamp1 and the charge1 even if a little greater than usual1 could not be very great4 ,or the photographer might cut out his name artistically in the gelatine film1 but we recommend the former plan4 ,the mounts for cartes and cabinets should have a margin of at least half an inch all round1 as this adds considerably to the effect4 ,sidenote3 ,platinotypes4 ,for platinotypes ranging from whole plate size up to #ae by #ab1 we prefer to frame them up closely1 showing no mount4 ,the frame we like best for large black and white work is a pattern we took from a painting by ,de ,hooghe4 ,these frames are made of mahogany1 #b inches wide1 and bevelled inwards1 and have a rather broad slip of ,english gilt between the frame and the picture4 ,sidenote3 ,frames4 ,the mahogany is stained black and polished4 ,pictures of #ae by #ab and upwards1 should also be framed close up1 and for the larger sizes we prefer gilt frames and simple mouldings with but little carving4 ,cambridge frames are simple1 but do not look distinguished4 ,each picture should have a separate frame1 and we trust that exhibition committees will one day see their way to enforcing this rule1 which1 besides ensuring a better effect1 would prevent much bad work being hung4 ,sometimes six prints are hung for the sake of one or two1 because they are all in one frame4 ,we could scarcely believe1 had we not seen it1 the fact that some exhibitors have chronicled on a part of their frame the medals taken elsewhere by the picture4 ,such a proceeding1 besides being vain and ill-bred1 is apt to influence credulous judges4 ,one would think it quite needless to say that this form of advertisement is not ornamental1 nor does it enhance the virtue1 qualities1 or beauty of the picture4 ,all artificial methods of mounting and framing are to be avoided4 ,one of these is mounting on glass4 ,sidenote3 ,albums4 ,all albums used for mounting prints should have plain pages1 tinted in harmony with the charcoal grey of the platinotype4 ,all the vulgar decorations of ships1 flowers1 c41 which disfigure the photographic albums of to-day should be rigidly excluded4 ,the bad taste of the manufacturers of these things is only another proof of the bluntness of the sthetic feelings of producers and buyers alike4 ,,chapter ,,xiv4 ,,copyright4 ,sidenote3 ,copyright4 ,the hazy notions existing among many photographers as to how to secure the copyright of their photographs1 and other details1 has led us to make a few remarks on the subject4 ,in the first place the student is cautioned to secure the copyright of every photograph worth keeping1 for we presume he will only keep pictures4 ,this should be done at once2 it is our practice to send the first rough print at once to the copyright office4 ,sidenote3 ,method of copyright4 ,the photographer must write to the ,registrar1 ,stationers' ,hall1 ,doctors' ,commons1 ,e4,c41 for forms for copyrighting photographs4 ,these cost one penny each1 and a money order must be enclosed for the amount1 stamps not being accepted4 ,he will then receive the form as given on the next page4 ,sidenote3 ,on agreements4 ,the student must carefully note the footnote on the schedule1 and be most particular in all cases when he sells his copyright in any plates to have a written agreement drawn up and signed before he fills in the copyright schedules4 ,after this proceeding he can fill up the schedule as directed1 and it is1 of course1 only on these occasions that he will be required to fill in columns two and three of the schedule4 ,the student should carefully study the matter of copyrighting1 for he will find both publishers and photographers are1 as a rule1 ill-informed on those parts of the copyright law to which we now refer4 7,,copy ,,of7 ,memorandum for ,registration under ,copyright 7,works of ,art7 ,act4 ,,to ,,the ,,registering ,,officer ,,appointed ,,by ,,the ,,stationers' ,,company4 ,i1 ,john ,silver1 of #j1 ,regent's ,street1 ,london1 do hereby certify1 ,that ,i am entitled to the ,copyright in the undermentioned ,work2 and ,i hereby require a ,memorandum of such ,copyright or1 the ,assignment of such ,copyright to be entered in the ,register of ,proprietors of ,copyright in ,paintings1 ,drawings1 and ,photographs1 kept at ,stationers' ,hall1 according to the particulars underwritten4 7,every particular given must be clearly written47 ,description of ,date of ,names of ,name and ,place,name and ,place ,work4 ,agreement or ,parties to of ,abode of of ,abode of ,assignment4 ,agreement or,proprietor of ,author of ,assignment4 ,copyright4 ,work4 ,photograph ,john ,silver1,john ,silver1 entitled #j1 ,regent #j1 ,regent 8,spring40 ,street1 ,street1 ,london4 ,london4 ,dated this #bhth day of ,june1 #ahhh4 7,signed7 ,john ,silver4 ,n4,b4--,office ,hours from ,ten to ,four2 ,saturdays1 ,ten to ,two4 ,n4,b4--,in all cases where a ,painting1 ,drawing1 or ,negative of a ,photograph is transferred for the first time by the owner to any other person1 the ,copyright will cease to exist1 unless at or before the time of such transfer an ,agreement in writing be signed by the transferee reserving the ,copyright to the owner1 or by the owner transferring the ,copyright to the transferee1 as may be the intention of the parties2 and the date of such ,agreement and names of parties must be inserted above1 or registration will be no protection4 ,he fills in then all but columns #b and #c1 as in the dummy1 and returns the form with a shilling1 a copy of the photograph to be registered1 and one penny for postage1 when he will receive a receipt4 ,each photograph must be separately copyrighted4 ,this #as4 #a;d4 protects the photograph for #db years1 or for the author's lifetime and seven years after death4 ,the author 7being a ,british subject1 or resident within the dominions of the ,crown7 is entitled to the copyright of every photograph made in the ,british dominions or elsewhere4 ,we shall extract a few pertinent remarks from an excellent article on copyright1 which appeared in the 8,year's ,art of #ahhg30-- ,the 8author0 of a photograph seems to be the person who actually groups the sitters1 and 8is the effective cause of the picture40 ,an agreement is made with operators to obviate this reading of the law4 8,a photograph taken from an engraving is #8an original photograph' within the section40 ,thus a photographer cannot copy the photograph of an engraving in which there exists copyright4 ,sidenote3 ,the nature of the right4 ,the copyright given by the act is 8the sole and exclusive right of copying1 engraving1 reproducing1 and multiplying the photograph and the negative thereof1 by any means or of any size4 ,the fact that there is copyright in a representation of a scene or object does not prevent other people making an independent representation of such scene or object1 but a photograph of groups so arranged as to exactly resemble a picture would be an infringement of the copyright of the picture1 for if in the result that which is copied be an imitation of the picture1 then it is immaterial whether it be arrived at directly or by intermediate steps40 ,photographers should pay great heed to this clause4 ,for if a photograph or photogravure be so arranged or grouped as to resemble another already copyrighted1 the law has been infringed4 ,this is a most wholesome fact1 for the veriest fool can go and arrange a picture after an artist has once shown him how to do it1 for as in all art the originality is to select a beautiful scene in nature1 there lies the difficulty4 ,sidenote3 ,registration4 ,the photograph is not protected until it has been registered1 and if the picture is pirated before registration there is no remedy except in special cases4 ,photographers should then register the first print they take from their negatives4 ,making lantern-slides from copyrighted photographs or photo-etchings is of course an infringement of the law1 and should be severely dealt with4 ,sidenote3 ,replicas4 8,if a picture or photograph is painted or taken on commission as the copyright 7unless reserved7 is in the hands of the purchaser1 the painter or photographer may not paint or produce a replica40 ,sidenote3 ,remedies for infringement4 ,penalties4 8,for each offence the offender forfeits to the proprietor of the copyright1 for the time being1 a sum not exceeding #ajl4 ,when several copies are sold together1 the sale of each copy constitutes a separate offence40 ,it will be seen that a photographer could be ruined if a sale of say #ajjj copies could be proved1 and serve him right too4 ,sidenote3 ,forfeiture4 ,all pirated repetitions1 copies and imitations1 and all negatives of photographs made for the purpose of obtaining such copies1 are to be forfeited to the proprietor of the copyright4 ,sidenote3 ,damages4 8,the proprietor may also bring an action for damages against persons making or importing for sale unlawful copies1 although the importation is without guilty knowledge40 ,sidenote3 ,spurious pictures4 ,issuing spurious pictures4--,if a photograph be falsely signed1 it is an infringement1 as it is to make any alteration in the work and then publish it as original4 ,it is commonly believed that1 unless the word copyright be on the photograph1 it is not secured4 ,this is an error--as long as the photograph is copyrighted that is all that is required4 ,sidenote3 ,pecuniary penalties4 8,pecuniary penalties can be recovered by bringing an action against the offending party1 or by summary proceedings before any two justices having jurisdiction where the offender resides40 ,sidenote3 ,final advice4 ,in ending this subject1 we would impress upon the photographer that it is his solemn duty to exact the utmost rigour of the law1 should he ever have his work pirated4 ,,chapter ,,xv4 ,,exhibitions4 ,sidenote3 ,exhibitions4 ,exhibiting a work of art is publishing it1 and the student will1 when he obtains suitable works1 very naturally begin to think about exhibiting them4 ,the subject of photographic exhibitions is one upon which we have written many times in the photographic press4 ,photographic exhibitions are in a most unsatisfactory condition all over the world4 ,at present1 a society1 or a corporation1 or a private firm1 for ends of their own1 advertise an exhibition1 often on purely financial grounds2 they hope it will pay them1 sometimes it does pay and sometimes it does not4 ,the method of organizing these exhibitions is to get a list of patrons1 generally a few of the 8classes10 a few photographers who are known1 but whose fame more often than not is based on nothing solid1 and is ephemeral1 and finally perhaps the names of a few artists may be used to conjure with4 ,numbers of medals are advertised and all works have to be sent carriage paid4 ,the judges are then chosen1 and in nearly all cases they are utterly incompetent4 ,no one can judge a work of art unless he be an artist4 ,the combined assurance and ignorance of those who accept what should be considered a serious office1 is laughable and lamentable4 ,is our exhibiting student then going to submit his work to men untrained in art8 ,if he does1 he will find it either unhung1 skied1 or passed over in the awards1 to make room for the pretty nothings and false renderings of the craftsmen's ideal4 ,the whole judging business is such a blatant farce that the method of awards at photographic exhibitions is a stock joke among artists4 ,we have repeatedly been to exhibitions with artists1 and on nearly every occasion their opinion was that many of the most worthy pictures were passed over4 ,such a state of things is appalling1 and when with that is coupled the notorious unfairness with which certain exhibitions are directed1 as recent disclosures have proved1 it is indeed lamentable4 ,the tendency of all exhibitions as at present conducted is to degrade photography as an art2 that is our deliberate opinion1 after having for several years watched the system of making awards and having served on several juries of awards4 ,a fatal error very common among photographers is to suppose that1 because a man is an eminent scientist or a great authority on lenses1 he is therefore a fit and proper person to judge pictures4 ,the truth is he is one of the most unfit1 for he is prejudiced1 and his scientific knowledge has a bad influence on his judgment4 ,sidenote3 ,abolition of medals4 ,in our opinion all medals should be done away with1 all distinctions between 8amateur0 and 8professional0 removed2 all pictures should be hung on the line1 the hanging committee should be selected from those photographers who have proved themselves by their works to know most about art2 and all pictures should be exhibited in separate frames4 ,if medals must be awarded in order to attract exhibitors1 let the awards be made by artists of recognized position only4 ,you have only to look at the medals awarded1 to know what to expect2 there is1 with one or two exceptions1 not the feeblest suggestion of art in them1 they belong to the class of medals awarded to patent ice-cream machines1 best refined arrow-root and dog-biscuits4 ,sidenote3 ,medals as works of art4 ,if medals are awarded1 each one should be a work of art1 the original having been modelled by a good sculptor4 ,the student1 as a rule then1 should pay no regard whatever to the awards made at exhibitions by photographers1 the only real test of value is when the awards are made by trained artists1 but it is rarely that even one artist serves on a jury of awards4 ,if our student must exhibit1 we advise him to mark his work 8,not for ,competition40 ,sidenote3 ,gambling for medals4 ,gambling for medals has lately assumed alarming proportions1 as the recent comments in the ,photographic ,news prove4 ,it is enough to disgust all artists1 who will of course keep aloof from photographic circles1 as they already do1 as long as things continue as they are4 ,sidenote3 ,queer judges4 ,can the folly of human nature go further than when we hear of ,mr4 ,guncotton1 noted for his studies in collodion1 or ,mr4 ,chromatic1 noted for his patent lens1 or ,mr4 ,gelatine noted for his emulsion process1 assembling in solemn conclave to award medals for pictures1 to judge which1 needs years of careful and special study and wide artistic experience4 ,the student1 curious on these matters1 has only to note how different are the awards when artists give the prizes4 ,many of our best workers1 we know1 will not exhibit1 so long as the craftsman's ideal is set up as the standard1 and the judges are not artists4 ,sidenote3 ,early days of the ,photographic ,society4 ,in the early days of photography1 when ,sir ,charles ,eastlake1 formerly president of the ,royal ,academy1 was also president of the ,royal ,photographic ,society1 and when ,sir ,w4 ,j4 ,newton1 the eminent miniature painter was one of the vice-presidents1 there seemed some chance for photography1 and all might have gone well1 had not these artists1 as we are informed1 been harried and worried by the ignorant wranglings of their brother 8photographic artist0 787 judges4 ,those who were thus responsible for the resignation of those artists1 deserve to be pilloried to the end of time in photographic literature1 and such1 we are sure1 is the feeling of all who earnestly wish for the good and advancement of photography4 ,sidenote3 ,j4 ,constable4 ,this is a painful subject1 but we conceive it to be our solemn duty to warn the student who is anxious to follow photography as an art1 against all these traps4 ,let him set out with the determination to work for the approval of artists1 and let him despise the approval or disapproval of all ignorant of art4 ,as ,john ,constable said long ago1 8the self-taught artist has a very ignorant master60 ,sidenote3 ,reforms in exhibitions4 ,we hope the reforms regarding exhibitions which we have for years advocated1 and more fully set forth in a photographic journal1 in an article entitled 8,an ,ideal ,exhibition10 may some day be adopted1 but we cannot be very sanguine4 ,however1 until some such reforms are adopted1 photography must struggle on in darkness1 and the blind will continue to lead the blind2 and all we can do is to caution others1 and ourselves avoid the guidance of the blind1 unless we too wish to be led into the ditch4 ,,chapter ,,xvi4 ,,conclusion4 ,sidenote3 ,advice4 ,we have then finished ,book ,,ii41 and we presume that the student has now mastered his technique and practice1 but the end is not yet4 ,the student may thoroughly understand the scientific side of photography1 he may have mastered completely the use of his tools and he may be able to produce impressions on his plates such as he desires1 but the end is not yet1 for now he has to learn the practice and principles of art1 he has to prove whether he can be an artist1 for such is only given to a few4 ,all can learn to draw1 to paint1 to photograph1 to etch1 but they may remain draughtsmen1 painters1 photographers1 etchers all their lives1 and never become artists4 ,the history of art shows indeed how few become artists at all1 and as for those who become great artists1 they are as scarce as great poets4 ,the student then must study art in some form or other1 as well as his own technique and practice1 which he could learn alone if he followed our instructions4 ,art1 however1 cannot so be learned1 and the student should1 if possible1 attend some art classes4 ,there are numerous art schools throughout the kingdom1 and our student cannot do better than enter one of them and go through a course of drawing4 ,though no very profound knowledge is to be obtained at such schools1 what is taught is better than nothing at all1 and after all the student cannot expect to get the best advice on the matter1 that is given to but the very few and fortunate4 ,in the next book we shall give what advice we can1 but at the same time our student must study practically some branch of art2 unless1 indeed1 he wishes to become one of the mighty band of art-ignorant craftsmen1 or unless he is so fortunate as to be cast amongst highly talented artists1 to whom he can easily apply for advice4 ,for having learned his technique and practice he has but learned how to speak1 he can only show his calibre by what he has to say and how he says it1 just as all the world can write yet only the highly trained can write artistically4 ,in a very few months the student will see1 if he is fitted by nature to become an artist1 and if he is not our advice is give it up1 or take up one of the scientific special branches1 and if he is incapable of doing good work there1 he must content himself to play at photography1 as too many photographers do now1 but in our opinion the art is not worth playing at1 there are so many more satisfying games when play is the end and aim4 ,,book ,,iii4 ,,pictorial ,,art4 8,he does not sufficiently understand that things are of value only according to their fundamental qualities1 and he still believes that the care with which a thing is done1 even if it is aimless1 ought to be taken into account4 ,in fact it would be a good thing to make him understand that things exist only to the extent of the stuff they contain40 ,j4 ,,fran,,ois-,,millet4 ,,chapter ,i4 ,,educated ,,sight4 ,sidenote3 ,born blind4 ,we are all born mentally blind1 but almost immediately we detect light1 as can some of the lowest animals1 then we learn to distinguish the colours and forms of objects as we grow older1 and there the majority of us stop1 and yet we all think we can see equally well4 ,that we cannot is a truism1 for after being able to distinguish colours and forms1 but very few persons go on to educate their sight more perfectly4 ,sidenote3 ,trades4 ,some of us may learn to distinguish certain kinds of material1 the different aspects of these materials under different conditions1 and so they learn trades and are excellent judges of tea1 coffee1 hosiery and paper4 ,sidenote3 ,science4 ,still higher come the scientific men who pay more attention to the education of the sight4 ,they learn to distinguish the microscopic beings1 the life-histories of the lower forms of animal life1 the histology of flowers1 the structure of the trees1 the aspects of the skies1 the physical and chemical phenomena of the elements1 the movements of the planets1 so that in all their walks nature is full of interest to them2 they find wisdom in a pond1 they revel in a marsh1 or they travel to a far country for the sake of rare birds' eggs1 or spend days and nights in their laboratories to solve new chemical problems1 or organize expeditions to study unusual phenomena of the heavenly bodies2 they see and love all these things4 ,the man uneducated in science finds no interest in a drop of muddy water1 he finds nothing wonderful in the vegetation of the country side1 he passes unheeded the rarest birds1 and the rainbow1 and storm cloud1 and the blazing comet1 all alike to him have no interest1 he is blind to them2 or if he sees them at all1 it is as through a glass1 darkly4 ,sidenote3 ,art4 ,all this the world allows1 and allows that no one save those who by hard work have trained themselves can see these things4 ,but mark the stupidity of mankind1 he allows he is blind to the pleasures of science and will remain so1 unless he studies the subject1 but when it comes to art matters1 like a weathercock1 he shifts round and thinks he can understand all that without any training at all1 yet he is born as blind and incapable of understanding art as he is of understanding science until he has trained himself to understand4 ,sidenote3 ,the artist4 ,the artist1 like the scientific man1 begins by studying closely his subject--nature as a whole--he studies her in all her aspects1 he seeks for harmonies and arrangements in colour and form1 for beautiful lines of composition1 and only after long and close observation do the scales drop from his eyes and he sees a beautiful pose1 even in a child digging up potatoes1 or a man throwing a hammer or running a race1 or he sees subtle beauties of colour in a reed-bed1 or poetry and pathos in an old peasant stooping under a load of sticks1 and this is far more difficult to see than it is to learn to see the scientific truths1 and that is why there are so few real artists and poets and so many more scientific men4 ,art1 alas1 cannot be learned like science1 hard work will not necessarily make an artist4 ,sidenote3 ,photographers art-blind4 ,most photographers are art-blind1 but they are like the colour-blind old lady who did not know it1 and of course the only hope for them is to be convinced of their blindness1 then perhaps they may do something towards getting rid of the defect4 ,sidenote3 ,necessary to cultivate artistic faculty4 ,the student should now clearly understand why it is so necessary that this faculty of artistic sight should be cultivated and trained1 for since it is our fundamental principle that all suggestions for pictures should come from nature1 we must first see the picture in nature and be struck by its beauty so that we cannot rest until we have secured it on our plate2 we must therefore learn to see it in nature4 ,if we see a beautiful pose1 or a beautiful effect in nature1 we should at least make a note of it if we cannot secure it4 ,a slight sketch made at the time will do4 ,therefore1 amateur reader1 if you have not trained yourself by study to see these things in nature1 blame no one but yourself1 but remember you are blind1 blind1 blind2 but there is a remedy1 and no surgical operation is required either4 ,sidenote3 ,necessity of study4 ,study6 ,you must ever be on the look-out for beauties1 that is the necessary mental attitude1 otherwise they will never be seen4 ,you must look for a thing if you wish to find it1 and it is only by showing us your finds that you will prove you have artistic insight1 we shall not believe a word you say about art until we see it in your work4 ,if you do not study1 or if you are incapable1 you will remain blind in spite of your looking1 and there will be weeping and gnashing of teeth when you show to the world commonplaces which you think are gems1 for the world will soon tell you they are commonplace4 ,we once knew a person who was colour-blind1 who resented the suggestion as a personal insult1 until one evening her eyesight was tested1 when her colour-blindness was proved4 ,let the student then be assured that he is blind1 he cannot see art and nature until he has studied them long and closely4 ,he may be arrogant enough to think he knows all about her without study4 ,if that is so1 as he grows older let him refer back to his earlier works1 and if he has progressed meanwhile1 let him recall how perfect he thought those early works at the time he did them1 and then let him lash himself for his folly4 ,a really good work will always bear looking back at1 and will hold its own however old the artist gets4 ,sidenote3 ,no royal road4 ,there is no royal road to this appreciation of the beauties of art and nature1 none but incessant and loving study1 and though the cockney1 or sage of the university1 who dwells in towns and learns his art and his nature in the ,national ,gallery and ,british ,museum1 may lecture on nature and art1 let the student avoid him and his example4 ,lectures on art at any time are but ,dead ,sea fruit4 ,the student then must educate his eyesight in order to see the beauties of nature and art1 and to do this he must study hard1 for the true artist wishes to see these beauties and to record them1 that is all1 nothing more4 ,the seers who see deeply1 they are the poets6 ,in science the original discoverers are the seers1 and since but few can aspire to become seers1 nevertheless let the rest be content to go on studying1 for all of us can see these things with an educated and intelligent eye1 and seeing1 understand1 and that reward is worth the pains4 ,,chapter ,,ii4 ,,composition4 ,sidenote3 ,composition4 ,no chapter of this book has given us so much thought as this chapter on composition4 ,sidenote3 ,laws of composition4 ,we could easily1 as most writers have done1 have given a digest of ,mr4 ,burnet's laws of composition1 but we have no faith in any 8laws of composition40 ,a law1 to be logical1 must hold good in all cases2 now the so-called 8laws of composition10 are often broken deliberately by great artists1 and yet the result is perfect4 ,this is easily explained1 for these so-called laws are mere arbitrary rules1 deduced by one man from the works of many artists and writers2 and they are no more laws in the true sense than are the laws of ,phrenology or ,astrology4 ,sidenote3 ,our problem4 ,the great question then1 which presented itself to us1 was this3 ,will the study of these so-called rules do good or harm to the student8 ,will a knowledge of them lead him to the production of conventional work1 or will it in any way help him in his future work8 ,we had many earnest discussions on this point with artists1 and they seemed equally uncertain in the matter1 though one condemned all such laws as absurd and unnecessary4 ,sidenote3 8,treatise on ,painting40 ,we most certainly feel inclined to agree with that one dissentient1 but in trying to place ourselves in the position of the photographic student1 with absolutely no knowledge of art1 we have come to the conclusion that1 perhaps1 the student had better study ,mr4 ,burnet's 8,treatise on ,painting40 ,a cheap edition of this book is published by ,dr4 ,e4 ,wilson1 of #hce1 ,broadway1 ,new ,york1 and every student should get a copy of it4 ,it can be thoroughly mastered in a week or two1 so that not much time will be lost4 ,the numerous plates will at any rate be of some use to the student4 ,sidenote3 ,our ideas on composition4 ,now1 from these remarks1 it must not be assumed that we are no believer in 8composition40 ,composition is really selection1 and is one of the most--if not the most--vital matters in all art1 certainly the most vital in the art of photography4 ,but the writer maintains there are no laws for selection4 ,each picture requires a special composition1 and every artist treats each picture originally2 his method of treatment1 however1 often becomes a 8law0 for lesser lights4 ,it has been assumed by opponents to 8,naturalism0 that naturalistic artists ignore composition1 and portray nature 8anyhow10 just as she happens to present herself to them4 ,nothing could be further from the truth4 ,none is more careful in selection and arrangement than the naturalistic painter1 at the same time none is less conventional4 ,nature is not always suitable for pictorial purposes1 though she is often enough suitable1 and it is when she is propitious that the artist depicts her2 hence the great principle of naturalism1 that all suggestions should come from nature4 ,the object of art training is to show these propitious moods1 and to enable the painter to portray them4 ,we prefer1 then1 the word 8selection0 to composition4 ,the matter really stands thus1 a good naturalistic artist selects a composition in nature which he sees to be very fine4 ,by composition1 as used in this paragraph1 is meant the harmonious and fitting combination of the various component parts of the picture which shall best express the picture4 ,our best method will be to follow ,mr4 ,burnet's division of his subject1 and offer a running commentary on the essentials of his work from a photographer's standpoint1 giving our ideas on the subject when they differ from those of the author of 8,a ,treatise on ,painting40 8,a ,,treatise ,,on ,,painting10 by ,j4 ,,burnet1 ,f4,r4,s4 ,education of the ,eye4--,measurement and ,form4 ,sidenote3 ,burnet's 8,painting40 ,omitting to comment on ,mr4 ,burnet's remarks1 we put the matter thus1 that it is highly desirable for all photographers to learn drawing1 and to learn it intelligently4 ,nothing could be more lamentable than the way in which drawing is taught in our schools1 it is worse than useless4 ,the student should go to some good art school for a few months1 and learn drawing1 for in that way are learned the analysis and construction of objects1 and1 above all1 the eye is trained to careful observation1 which will be invaluable in the study of tone and selection4 ,perspective4 ,sidenote3 ,perspective4 ,this section the student should read over carefully1 understanding thoroughly the 8point of sight0 and the causes of violent perspective4 ,for in photography1 though his lens may be true in drawing1 he can as easily obtain violent perspective as the draughtsman1 by placing the lens too close to his model4 ,fore-shortening1 too1 should be thoroughly understood4 ,arial perspective has been simply treated by us in this work1 and the various remarks of ,burnet on this subject must be taken cum grano salis4 ,chiaro-oscuro4 ,sidenote3 ,chiaro-oscuro4 ,this term means light and shade4 ,now the term 8chiaro-oscuro0 is very misleading1 for it is used by different artists to mean different things4 ,the whole of photography depends on the proper management of light and shade1 for our drawing is done for us2 but we prefer to use the more modern term1 8tone10 to express what we mean by light and shade2 that term we have already fully explained4 ,chiaro-oscuro1 as we understand it1 is the arbitrary placing of masses of light against masses of shade to produce certain desired effects2 it is1 therefore1 conventional1 and akin to the law which required all trees to be painted fiddle-brown4 ,it is needless to say the only way such a conventional chiaro-oscuro can be obtained in photography is by arranging the objects in nature1 or by retouching1 and both are against our principles4 ,the student1 then1 must1 as we have said1 master 8tone10 that is his chiaro-oscuro1 his light and shade1 and he must always remember to look for 8breadth0 in his treatment4 ,sidenote3 ,breadth4 ,breadth is found in all good work1 and it depends in photography not entirely upon light and shade1 but upon the focussing and developing as well1 as we have already indicated4 ,why are spotty-lighted1 sharply-focussed1 brightly-developed negatives so 8noisy0 and garish and inartistic8 ,it is that they lack 8breadth40 ,it must not be thought from this that no sunny pictures have breadth2 on the contrary1 if the masses are large1 and the planes well rendered1 and the tonality true1 there can be as much breadth in a sunny picture as in a grey-day effect4 ,it has been said that 8breadth0 is a device of the painters1 but this is mere nonsense4 ,let the student look well at a simple stretch of grass-land bordering a still lake1 on a damp1 misty evening1 and then he will see breadth4 ,let him focus that scene as sharply as he likes1 including a portion of sky as well1 and develop and print from it1 and he will find breadth1 and he will probably have a clear understanding as to the meaning of the word4 ,mr4 ,burnet divides chiaro-oscuro into five parts1 viz4 light1 half-light1 middle tint1 half-dark1 dark4 ,this arbitrary division is hypercritical4 ,for working purposes1 light1 half-tone or middle tint1 and dark1 are quite sufficient2 other subdivisions are far too subtle and numerous to be considered theoretically1 and1 practically1 truth of tone is only to be learned by long experience and study1 and we believe all the directions given by ,mr4 ,burnet for producing relief1 harmony1 and breadth1 to be artificial and useless4 ,an examination of the plates shows clearly how futile are his deductions1 and how untrue in light and shade1 viz4 tone1 they all are4 ,composition4 ,sidenote3 ,composition4 ,mr4 ,burnet opens with the statement that 8geometric forms in composition are found to give order and regularity to an assemblage of figures40 ,this is the first principle on which is built his structure of geometrical composition4 ,we will omit the dicta of literary men on pictorial art which ,mr4 ,burnet is so fond of quoting1 but which we consider too worthless to do more with than mention4 ,let us then apply ourselves to the study of his thesis4 ,his first remarks are upon angular composition1 and as he finds that these lead him into conventional methods1 he goes on to say that this conventionality can be rectified by balance4 ,even if we would follow this form of composition our means are limited1 for1 unlike the painter1 we cannot alter and re-arrange4 ,however1 we have no wish to make 8angular compositions10 and consider them false in theory4 ,painters1 on the other hand1 must settle these matters for themselves2 we know how many settle them1 that is by ignoring all such teachings as nonsense4 ,next we come to the 8circular composition10 which1 we are told1 is 8applicable to the highest walks of art10 wherever they may be4 ,soon after this we come upon the truest remark in the book4 8,artists generally prefer the opinions of untutored children to the remarks of the most learned philosophers10 and we fear most modern artists prefer the teachings of nature to those of that philosopher ,john ,burnet1 ,f4,r4,s4 ,finally1 ,mr4 ,burnet winds up with the words1 8,i must also caution the young artist against supposing that these modes of arrangements are given for his imitation4 ,i merely wish him to be acquainted with the advantages any particular composition possesses1 that in adopting any invention of his own1 he may engraft upon it these or similar advantages40 ,now this reads very oddly after talking of rules of composition1 for what is the good of a rule if it is not to be followed8 and it reads very illogically when compared with the quotation from ,reynolds 7,brougham871 which goes to back up the excuse for advocating rules as ,burnet gives them1--viz4 8to those who imagine that such rules tend to fetter genius1 c40 ,in short1 the whole work is illogical1 unscientific1 and inartistic1 and has not a leg to stand on4 ,it is very specious to say that all compositions are made according to geometrical forms1 for nothing can be easier than to take arbitrary points in a picture and draw geometrical figures joining them4 ,the pyramid is a favourite geometrical form of composition4 ,now take any picture1 and take any three points you like1 and join them1 and you have a pyramid1 so does every composition contain a pyramid1 as does a donkey's ear4 ,but enough of this4 ,the student is distinctly warned against paying any serious attention to these rules2 it is1 however1 as we have said1 well that he should know of them1 and we suspect he will learn something of design from merely looking carefully at the plates4 ,of tone he will learn nothing4 ,with ,mr4 ,burnet's remarks upon colour we are in no way concerned4 ,but the student will say1 how1 then1 can composition be learned8 ,our answer to this is that composition1 that is selection1 cannot be learned save by experience and practical work--there is no royal road to it1 no shilling guide4 ,this subtle and vital power must be acquired if we are to do any good work1 for we are dumb until we do acquire it4 ,we can no more express ourselves in art without having mastered composition1 than a child can express himself in prose until he has learnt the art of writing4 ,it is for this reason that we must learn art practically1 for no written 8rules or laws0 can be given4 ,each picture is a problem in itself1 and the art-master can help the student to solve the problems as they arise1 in that way only can composition be learned4 ,the proof of this is that young painters who have been through the schools are very weak in composition1 it is only by continual failures that they acquire the necessary knowledge4 ,let the student trace the development of any painter's work1 and he will find that his early works are always poor in composition and feeble in motif4 ,,chapter ,,iii4 ,,out-,,door ,,and ,,in-,,door ,,work4 ,it is presumed the student has thoroughly mastered and applied all that has preceded this chapter1 especially the matter of tone1 otherwise it is no use attempting to make pictures1 which means attempting composition4 ,presuming then the student is master of the subject as already treated1 we will now proceed to offer some suggestions on picture-making1 but be it distinctly understood they are only suggestions4 ,we shall divide the subject into two sections1 beginning with out-door work4 ,,out-,,door ,,portraiture4 ,sidenote3 ,out-door portraiture4 ,very fine portraits and groups can be taken out of doors4 ,in taking such pictures1 it is admissible to dictate the dress of the model1 and to arrange tea-parties1 sporting1 athletic1 and other groups4 ,but if the student intends to make them artistic1 he must be very particular with his types1 and see above all things that the sentiment is true4 ,for example1 it is a fine parody on nature to photograph a gaunt and self-conscious girl in sthetic clothing1 for dress it cannot be called1 with a tennis-bat in her hand4 ,for a tennis picture1 fine girls1 physically well-formed1 should be chosen4 ,sidenote3 ,background4 ,next the student should choose a simple background1 which with the dress and flesh tints form a harmony or fine study in tone4 ,the model's dress should be very simple and well-fitting1 such dresses as were worn by ,botticelli's women 7dresses quite unlike the modern sthetic gowns71 being very artistic for women1 while flannel shirts or simple white trousers will look well on the men4 ,all monstrosities and exaggerations of fashion should be avoided1 such as flowers1 chatelaines1 wasp-waists1 high heels1 and dress improvers4 ,sidenote3 ,materials for dresses4 ,the best material for dresses for pictures is a coarse1 limp1 self-coloured muslin 7butter-cloth is excellent for the purpose74 ,sidenote3 ,jewellery4 ,all jewellery should be eschewed1 the only decoration of this kind that photographs simply and well is perhaps a string of pearls1 which looks charming4 ,the work must be true in sentiment1 and the student must choose an appropriate treatment of the subject4 ,the portrait being out of doors1 we must be made to feel that fact2 thus1 a girl resting from tennis1 a girl in a riding-habit1 or better still on horseback1 would be very appropriate4 ,the background must be carefully selected to be in keeping with the figure1 and to help to tell the story fully and emphatically1 and yet it must be kept subdued4 ,sidenote3 ,groups4 ,groups are very difficult to treat artistically1 and our never-failing rule is to limit as much as possible the number of people in the group4 ,sidenote3 ,treatment of model4 ,having now chosen his model and arranged other matters1 the student must remember to let his model stand or sit1 as he or she likes1 and all suggestions for the pose should come from the model2 this is a fundamental principle of naturalism4 ,a great friend of ours1 a well-known sculptor1 assures us he would not dare to pose a model according to any preconceived idea1 but he watches the model pose in different ways1 and when he sees a striking and beautiful attitude be seizes on that and makes a rapid sketch of it4 ,that is the only true way for the photographer to work1 he must have the camera ready1 focussed and arranged1 and when he sees his model in an unconscious and beautiful pose1 he must snap his shutter4 ,it is thus very evident how important is art-knowledge and insight for all good photographic work1 and it is thus evident how a man who is sympathetic and of a refined temperament will show his individuality in his work4 ,sidenote3 ,commercial ,groups4 ,with commercial groups of bands1 football teams1 c41 the student has nothing to do1 and let him never be induced to photograph anything which he does not think will make a picture4 ,he must have patience also1 when waiting for nature's suggestions2 we have waited a whole morning1 rubber ball in hand1 for a suitable grouping of colts1 but we finally got one of the best things we ever produced4 ,if our photographer be a smoker1 let him light his pipe and take it easy1 talking meanwhile to the model2 at length his chance will come1 but it may only come once1 and then he must not hesitate or the picture may be lost in a moment4 ,it is preferable that all out-door portraits should be taken on a grey day1 or in the shade if the sun be shining4 ,there is a wide field open to wealthy photographers for producing really good pictures of their friends at country houses4 ,but the student must remember that to produce a perfect picture takes a long time and can only be achieved by long and patient practice1 coupled with artistic ability4 ,the hurried representations of shooting1 boating1 and family groups1 which are so often produced by industrial photographers1 are artistically beneath contempt4 ,they are mere statements of facts1 and as much akin to art as the directions in a cookery-book are akin to literature4 ,photography up to a certain point1 and in a haphazard way1 is so easily learned now-a-days that there is absolutely no merit in producing such work4 ,such photographs are only the confessions of untrained and commonplace minds4 ,,landscape4 ,sidenote3 ,landscape4 ,the student who would become a landscape photographer must go to the country and live there for long periods2 for in no other way can he get any insight into the mystery of nature4 ,all nature near towns is tinged with artificiality1 it may not be very patent but the close observer detects it4 ,among fisher-folk this may be seen in the sealskin cap1 in the rustic it shows itself in the hard billycock hat1 in landscape pure it may be seen in some artificial forms of the river-banks1 or in artificial undergrowths2 the mark of the beast1 the stamp of vulgarity1 that hydra-headed monster which always appears whereever a few men are gathered together1 is sure to be found somewhere4 ,for this reason then the would-be landscape-photographer should pack up his things and go to some locality with which he is in sympathy1 just as a painter does4 ,sidenote3 8,outings40 ,here let him be cautioned against taking part in any of those 8outings10 organized by well-meaning but mistaken people4 ,it is laughable indeed to read of the doings of these gatherings2 of their appointment of a leader 7often blind72 of the driving in breaks1 always a strong feature of these meetings2 of the eatings1 an even stronger feature2 and finally of the bag1 #cb 8,ilford's10 #db 8,wrattens'10 #eb 8,paget's10 c4 ,apply the same sort of thing to painting1 and would it not indeed be ridiculous8 ,would it not lower painting in the eyes of the world if say thirty academicians with a leader for the day1 assembled at ,victoria ,station with pastels and boards1 or with paint-tubes and small canvasses1 and went by train to some village and there proceeded to pastel or paint what the leader suggested2 then would follow the dinner 7the best part1 no doubt71 and next day how edified would be the world to read in the daily papers of the most successful outing1 the result of which was the covering of #cb 8,rowney10 #bi 8,windsor and ,newton10 and #dj 8,newman0 canvasses6 ,all these 8playings0 bring photography down to the level of cycling and canoeing1 and yet many photographers wonder that artists will have no official connection with photography4 ,we know well that it is for these and similar reasons that serious artists will not allow their names to be officially connected with photography1 and we here earnestly appeal to all who really have the advancement of photography at heart to do all in their power to bring such trivial 8play0 to an end4 ,sidenote3 ,choice of district4 ,having then decided to go to the country1 let the student think well with which kind of landscape he is most in sympathy1 but let him always remember this fact that all landscape is not suitable for pictorial purposes2 he must therefore learn to distinguish between the suitable and the unsuitable4 ,landscapes there are full of charm1 pleasant places for a picnic or encampment1 but when you come to put them into a picture1 they become tame and commonplace4 ,again let the student avoid imitation4 ,if he knows that an artist has been successful in one place1 do not let him1 like a feeble imitator1 be led thither also1 for the chances are1 if his predecessor were a strong man1 that he will produce commonplaces where the other produced masterpieces1 and thereby confess his inferiority4 ,it is far better to be original in a smaller way than another1 than to be even a first-rate imitator of another1 however great4 ,sidenote3 ,photographic haunts4 ,for this reason the present method adopted by inartistic writers of publishing 8,photographic ,haunts0 is strongly to be deprecated1 such guides can but lead to conventional and imitative1 therefore contemptible work4 ,the fact of the matter is nature is full of pictures1 and they are to be found in what appears to the uninitiated the most unlikely places4 ,let the honest student then choose some district with which he is in sympathy1 and let him go there quietly and spend a few months1 or even weeks if he cannot spare months1 and let him day and night study the effects of nature1 and try at any rate to produce one picture of his own1 one picture which shall show an honest attempt to probe the mysteries of nature and art1 one picture which shall show the author has something to say1 and knows how to say it1 as perhaps no other living person could say it2 that is something to have accomplished4 ,remember that your photograph is as true an index of your mind1 as if you had written out a confession of faith on paper4 ,we will now offer a few remarks on the component parts of a picture4 ,,the 8,,lines40 ,sidenote3 8,lines40 ,as we have said there can be no rules for the arrangement of lines1 yet they are all-important and essential to the expression of harmony and directness4 ,the student must cultivate the habit of quickly analyzing the lines of a picture1 and coming to a decision whether they are harmonious and pictorially suitable4 ,for example1 he must not have the lines of different objects cutting each other and forming unpleasant angles1 for if he does this the eye of the observer will never get away from the geometrical figure1 however good the other part of the picture may be4 ,he should look for repeated line1 and his lines should run into the picture1 thus all uncomfortableness is avoided4 ,sidenote3 ,balance4 ,there is no necessity for balance or the equal arrangement of masses on either side of the picture1 for this1 though it may produce pretty pictures1 will never produce strong ones4 ,every line must help to tell the story and strengthen the picture1 otherwise it weakens it4 ,a,,rial ,,perspective4 ,sidenote3 ,arial perspective4 ,it is of vital importance that this be well rendered1 the method for obtaining it having already been shown4 ,the student must remember that he must give the true value to the separate planes of the picture1 or it is worthless for reasons already stated4 ,the state of the weather1 has1 as we have indicated1 a wonderful modifying effect on this perspective1 and must be carefully studied4 ,,tone4 ,sidenote3 ,tone4 ,of vital importance is the relatively true rendering of tone as already indicated4 ,this is such a subtle subject that no directions can be given for it1 and the student can only master the subject by a long and ardent study of nature4 ,he can test his knowledge by his power of criticizing pictures away from nature1 for their truth or falsity of tone4 ,the key in which the picture is pitched should always be in keeping with the subject rendered4 ,,composition4 ,sidenote3 ,composition4 ,the objects must be arranged so that the thing expressed is told clearly and directly1 in short1 the student should try to express his subject as it has never been expressed before4 ,all things not connected with the subject should be removed1 and all but the chief thing to be expressed should be carefully subdued4 ,the interest must not be divided1 but all must go to help the expression of the motif of the picture4 ,thus a white patch the size of a threepenny piece may ruin a twelve by ten inch plate1 as many a hat1 a basket1 as many a small article has done2 just as a false foot may ruin an otherwise fine stanza4 ,be most careful how you introduce a detail1 it may either make or mar your picture4 ,the sentiment and detail must always be appropriate or the result is a travesty4 ,thus haymakers do not wear new-fashioned buttoned boots1 nor do rustics wear sun-bonnets and aprons all clean and fashionably cut4 ,but this is only a superficial matter1 the artist must carry appropriateness much deeper than in mere costume2 for example1 a flock of sheep on a pasture may be made quite false in sentiment1 if they are driven in a way that suggests a march to the slaughter-house1 and they very easily huddle together in a manner that suggests that final procession4 ,the student will now see how subtle all these matters are1 and how little yet how much divides the masterpiece from mediocrity4 ,some photographers think naturalism consists only in taking things as they are1 and they will exclaim1 if you criticize their work1 8,oh6 it was just like that any way40 ,true1 oh ingenuous one1 but it was just some other way as well1 and perhaps that other way might have given a work of art1 whereas this way has given a bald and uninteresting fact4 ,selection or composition is a most subtle matter1 and one very difficult to learn1 but let the student persevere1 and if he has the ability he will find that the scales will fall from his eyes as he goes on4 ,,impression4 ,sidenote3 ,impression4 ,the impression must be true throughout1 and if all the preceding components are true the impression will be true4 ,our student may now have carried out all these things and yet there may be no picture1 his mind may be commonplace4 ,he may have wasted a good technique on a commonplace subject1 such as a yacht going in full sail1 an express train1 some very ordinary dogs or horses1 or some very extraordinary men or women4 ,we are then brought to a very important matter1 the subject4 ,,subject ,,of ,,the ,,picture4 ,sidenote3 ,subject4 ,the subject must have pictorial qualities1 it must be typical1 and must give sthetic pleasure4 ,the student must look for elegance and a distingu air in his subject4 ,you will find that the best pictures will be of those subjects which hit you hardest in nature1 those which strike you so much that you feel an irresistible desire to secure them4 ,sidenote3 ,art of feeling nature4 ,you must then train your feelings1 for1 as ,john ,constable said1 8the art of feeling nature is a thing almost as much to be cultivated as the art of reading the ,egyptian hieroglyphics40 ,you must then1 when you have felt your subject1 be resolute and only take in what is necessary to express your subject2 this is the text of the artist4 ,everything must be harmonious and comfortable1 but that alone will not suffice any more than will the subject alone4 ,everything must be in keeping in the picture4 ,the artist must be in sympathy with his subject1 8entrer dans la mme peau10 as the ,french say4 ,he must have no preconceived notion of how he is going to do a subject1 but take all his suggestions from nature and humbly follow them and lovingly portray them4 ,pure imitation of nature 7even if it were possible7 won't do1 the artist must add his intellect1 hence his work is an interpretation4 ,to photograph a 8flying express0 so that it looks as if standing still is imitation1 to render it with the suggestion of motion by its smoke and steam is an interpretation4 ,the great question which the student should ask himself is3 ,my aim1 what is it8 ,if that be serious and honest1 and not feeble and vainglorious1 he is all right4 ,remember that the aim of art is to give sthetic pleasure1 and that artists are the best judges of this matter1 and you will find that so good is their training that they often elevate the meanest things they touch4 ,sidenote3 ,poetry in works of art4 ,the highest expression is that of poetry1 and therefore the best works of art all contain poetry4 ,what poetry is and how it is to be got is not to be discussed in our present state of knowledge1 suffice it to say that the poet is born and not made1 though the poet's speech may be improved by training4 ,sidenote3 ,qualities of a picture4 ,thus it will be seen how difficult a matter it is to produce a picture1 even when we have thoroughly mastered our technique and practice1 for1 to recapitulate1 in a picture the arrangement of lines must be appropriate1 the arial perspective must be truly and subtily yet broadly rendered1 the tonality must be relatively true1 the composition must be perfect1 the impression true1 the subject distinguished1 and if the picture is to be a masterpiece1 the motif must be poetically rendered1 for there is a poetry of photography as there is of painting and literature4 ,never rest satisfied then until these requirements are all fulfilled1 and destroy all works in which they are not to be found4 ,that it will be possible for comparatively few to succeed is evident1 but the prize is worth striving for1 for even if we do not all attain to the production of perfect works1 we shall have gained a knowledge of art and an insight into nature1 that will be a never-failing source of pleasure to us in our daily walks4 ,,figure ,,and ,,landscape4 ,sidenote3 ,figure and landscape4 ,by far the most difficult branch of photography is that in which figures occur in landscapes4 ,all previous remarks apply to this branch of the art1 only here it is more necessary than ever that every detail be perfect4 ,this is a branch which we have perhaps studied and developed more than any other1 and yet even now we feel but a beginner in it4 ,one thing you must never forget1 that is the type2 you must choose your models most carefully1 and they must without fail be picturesque and typical4 ,the student should feel that there never was such a fisherman1 or such a ploughman1 or such a poacher1 or such an old man1 or such a beautiful girl1 as he is picturing4 ,it is a great mistake for photographers to attempt rural subjects unless they have lived in the country for a long time and are thoroughly imbued with the sentiment of country life4 ,the truth of this axiom is proved by the falseness of sentiment seen in most country pictures done by painters even4 ,the student who lives in town will find good figure-subjects in the town1 and if he has no sympathy with such life1 he should try such subjects as shooting parties1 coursing meets1 riding subjects1 and beautiful women4 ,it is fallacious to try and cultivate an unsympathetic field and is sure to end in mediocrity or failure4 ,,studio ,,portraiture4 ,sidenote3 ,studio ,portraiture4 ,the easiest branch of photography is portraiture in the studio1 for all conditions1 including even the dress of the model1 are in the photographer's hands4 ,the lighting is also perfectly under control4 ,sidenote3 ,principles of lighting4 ,the principles of lighting a face are briefly these3 ,a top light gives the best and subtlest modelling1 and gives more relief than any other lighting4 ,but the aim of pictorial art is not to give relief to illusion1 therefore the top light effect is modified by a side light and by reflectors4 ,the principle of using a reflector is this3 ,light falling at right angles on a plane surface gives the highest light1 then as we turn the reflector through a circle1 we get all gradations up to full dark1 when the reflector is turned right round4 ,this principle must be remembered in lighting the planes of the face4 ,the portraitist must work as does the sculptor1 in planes and tone1 that is1 he must quickly make an analysis of the face and observe the most suitable treatment of the subject1 and then he must focus and develop so as to bring the planes well out1 and they must be broad in treatment and relatively true in tone4 ,these are the only principles which can be given for lighting1 their application can be learned by study first on a plaster cast1 and afterwards on the living model4 ,sidenote3 ,character or expression4 ,the great thing to obtain is the character or expression of the model1 everything must be sacrificed for this in portraiture1 and enough of the figure must be taken in to thoroughly express the character4 ,thus the head alone may do in some cases1 in others it will be necessary to include the hands1 in others the whole body4 ,it is needless to repeat that all portraits should be taken by quick exposures4 ,the best way is for the student to have a very long elastic tube to his shutter1 then he can walk about and talk to the model1 and when he sees a good natural pose1 he can expose1 and his picture will probably be good4 ,the present way of posing1 using head-rests1 c41 is feeble and archaic1 and nearly certain to result in failure4 ,another important hint is to place the lens on the same level as the eye of the model1 neither higher nor lower1 especially if large heads are taken4 ,when the picture is to be full length or three-quarter length1 the head should still receive the principal attention1 and all else be subdued4 ,we have already treated of arrangements of backgrounds and dresses in harmonies1 and of the absolute necessity for using only suitable accessories4 ,in addition all other principles of composition1 harmony1 breadth1 as already described1 must be remembered4 ,sidenote3 ,adam ,salomon4 ,finally we give a quotation from ,m4 ,adam ,salomon1 sculptor and photographer3-- 8,each subject should be treated according to its own requirements1 its own individualism4444 ,when the artist is interested in his work and believes in his art1 it becomes wonderfully plastic1 and the materials wonderfully tractable in his hands40 ,,chapter ,,iv4 ,,hints ,,on ,,art4 ,sidenote3 ,practical hints4 ,as practical hints for working cannot be woven into a continuous text1 we will give them separately4 ,sidenote3 ,prizes for 8set subjects40 ,never compete for prizes for 8set subjects10 for work of this kind leads to working from preconceived ideas1 and therefore to conventionality1 false sentiment1 and vulgarity4 ,sidenote3 ,man originally vulgar4 ,remember that the original state of the minds of uneducated men is vulgar1 you now know why vulgar and commonplace works please the majority4 ,therefore1 educate your mind1 and fight the hydra-headed monster--vulgarity4 ,seize on any aspect of nature that pleases you and try and interpret it1 and ignore--as nature ignores--all childish rules1 such as that the lens should work only when the sun shines or when no wind blows4 ,sidenote3 olus4 ,merit of photographs4 olus is the breath of life of landscape4 ,the chief merit of most photographs is their diagramatic accuracy1 as it is their chief vice4 ,sidenote3 ,pseudo-scientific photographers and art4 ,avoid the counsels of pseudo-scientific photographers in art matters1 as they have avoided the study of art4 ,sidenote3 ,resolution4 ,if you decide on taking a picture1 let nothing stop you1 even should you have to stand by your tripod for a day4 ,sidenote3 ,point of sight4 ,do not climb a mast1 or sit on the weathercock of a steeple1 to photograph a landscape2 remember no one will follow you up there to get your point of sight4 ,sidenote3 ,rembrandt pictures4 ,do not talk of ,rembrandt pictures1 there was but one ,rembrandt4 ,light your pictures as best you can and call them your own4 ,sidenote3 8,artist photographers40 ,do not call yourself an 8artist-photographer0 and make 8artist-painters0 and 8artist-sculptors0 laugh2 call yourself a photographer and wait for artists to call you brother4 ,sidenote3 ,falsity of photographic portraits4 ,remember why nearly all portrait photographs are so unlike the people they represent--because the portrait lens as often used gives false drawing of the planes and false tonality1 and then1 comes along the retoucher to put on the first part of the uniform1 and he is followed by the vignetter and burnisher who complete the disguise4 ,sidenote3 ,amount of landscape to be included in a picture4 ,the amount of a landscape to be included in a picture is far more difficult to determine than the amount of oxidizer or alkali to be used in the developer4 ,sidenote3 8,flat0 and 8weak0 negatives4 ,pay no heed to the average photographer's remarks upon 8flat0 and 8weak0 negatives4 ,probably he is flat1 weak1 stale and unprofitable2 your negative may be first-rate1 and probably is if he does not approve of it4 ,sidenote3 ,bad wood-cutters4 ,do not allow bad wood-cutters and second-rate process-mongers to produce libels of your work4 ,sidenote3 ,broad and simple4 ,work and faith4 ,be broad and simple4 ,work hard and have faith in nature's teachings4 ,sidenote3 ,the propitious moment4 ,remember there is one moment in the year when each particular landscape looks at its best1 try and secure it at that moment4 ,sidenote3 ,procrastination4 ,do not put off doing a coveted picture until another year1 for next year the scene will look very different4 ,you will never be able twice to get exactly the same thing4 ,sidenote3 ,vulgarity4 ,vulgarity astonishes1 produces a sensation2 refinement attracts by delicacy and charm and must be sought out4 ,vulgarity obtrudes itself1 refinement is unobtrusive and requires the introduction of education4 ,sidenote3 ,art and legerdemain4 ,art is not legerdemain2 much 8instantaneous0 work is but jugglery4 ,sidenote3 8,going in for photography40 ,though many painters and sculptors talk glibly of 8going in for photography10 you will find that very few of them can ever make a picture by photography2 they lack the science1 technical knowledge1 and above all1 the practice4 ,most people think they can play tennis1 shoot1 write novels1 and photograph as well as any other person--until they try4 ,sidenote3 ,faith4 ,sensational in nature4 ,be true to yourself and individuality will show itself in your work4 ,do not be caught by the sensational in nature1 as a coarse red-faced sunset1 a garrulous waterfall1 or a fifteen thousand foot mountain4 ,sidenote3 ,prettiness4 ,avoid prettiness--the word looks much like pettiness1 and there is but little difference between them4 ,sidenote3 ,on studying photography4 ,no one should take up photography who is not content to work hard and study so that he can take pictures for his own eye only4 ,the artist works to record the beauties of nature1 the bagman works to please the public1 or for filthy lucre1 or for metal medals4 ,sidenote3 ,on 8form40 ,at the ,university of ,cambridge1 in our student days1 it was considered 8bad form0 to give a testimonial to a tradesman for publication4 ,this is still 8bad form20 let the student1 therefore1 never let his name appear in the advertisement columns of photographic papers beneath a puff of some maker's plates or some printing papers4 8,good wine needs no bush40 ,sidenote3 ,value of a picture4 ,the value of a picture is not proportionate to the trouble and expense it costs to obtain it1 but to the poetry that it contains4 ,sidenote3 8,good art40 ,good art only appeals to the highly cultivated at the first glance1 but it gradually grows on the uncultivated1 or the half cultivated2 with bad art the case is otherwise4 ,sidenote3 ,life of the model4 ,give the life of the model in a portrait1 not his bearing towards you during a mauvais quart d'heure4 ,sidenote3 ,reflections and shadows4 ,do not call reflections--shadows2 learn to distinguish between the two4 ,sidenote3 ,beautiful poses4 ,always be on the look-out for a graceful movement when you are conversing with a person1 thus you will learn4 ,sidenote3 ,limits of art4 ,keep rigidly within the limits of your art1 do not strive for the impossible1 and so miss the possible4 ,sidenote3 ,on reproduction4 ,never judge of the merits of a painting or piece of sculpture from reproductions4 ,sidenote3 ,quality4 ,sentiment and poetry4 ,every good work has 8quality40 ,do not mistake sentimentality for sentiment1 and sentiment for poetry4 ,sidenote3 ,spontaneity4 ,failure4 ,spontaneity is the life of a picture4 ,continual failure is a road to success--if you have the strength to go on4 ,sidenote3 ,colour of landscape4 ,the colour of a landscape viewed in the direction of the sun is almost unseen2 therefore turn your back on the sun if you wish to see nature's colouring1 and you do6 ,sidenote3 ,christmas cards and 8artistic0 opals4 ,do not emulate the producers of photographic ,christmas cards and 8artistic0787 opals2 they are all worthy of the bagman4 ,sidenote3 ,finish4 ,mystery4 ,do not mistake sharpness for truth1 and burnish for finish4 ,the charm of nature lies in her mystery and poetry1 but no doubt she is never mysterious to a donkey4 ,sidenote3 ,apparatus4 ,it is not the apparatus that does the work1 but the man who wields it4 ,say as much as you can1 with as little material as you can4 ,sidenote3 ,good work4 ,vanity4 ,flatter no man1 but spare not generous praise to really good work4 ,lash the insincere and petty homunculi who are working for vanity4 ,sidenote3 ,artist and artist-photographer4 ,hold up to scorn every coxcomb who paints 8artist-photographer0 or 8artist0 on his door1 or stamps it on his mounts4 ,sidenote3 ,on publishing4 ,remember every photograph you publish goes out for better for worse1 to raise you up or pull you down2 do not be in haste1 therefore1 to give yourself over to the enemy4 ,sidenote3 ,on success4 ,by the envy1 lying and slandering of the weak1 the ignorant1 and the vicious1 shall you know you are succeeding1 as well as by the sympathy and praise of the just1 the generous1 and the masters4 ,sidenote3 8,sharpness40 ,when a critic has nothing to tell you save that your pictures are not sharp1 be certain he is not very sharp and knows nothing at all about it4 ,sidenote3 ,interiors4 ,don't be led away to photograph bourgeois furnished interiors1 they are not worth the silver on the plate for the pleasure they will give when done4 ,sidenote3 ,greatness4 ,the greater the work the simpler it looks and the easier it seems to do or to imitate1 but it is not so4 ,sidenote3 ,photographs as historical records4 ,photographic pictures may have one merit which no other pictures can ever have1 they can be relied upon as historical records4 ,sidenote3 ,art at home4 ,art is not to be found by touring to ,egypt1 ,china1 or ,peru2 if you cannot find it at your own door1 you will never find it4 ,sidenote3 ,nature and pictures4 ,people are educated to admire nature through pictures4 ,sidenote3 ,science and art4 ,science destroys or builds up1 and seeks only for bald truth4 ,art seeks to give a truthful impression of some beautiful phenomenon or poetic fact1 and destroys all that interferes with her purpose4 ,sidenote3 ,topography4 ,topography is the registration of bald facts about a place2 it is sometimes confounded with ,art4 ,sidenote3 ,art and culture4 ,the artistic faculty develops only with culture4 ,a man may be a ,newton and at the same time never get beyond the chromographic stage in art4 ,sidenote3 ,individuality4 ,without individuality there can be no individual art1 but remember that the value of the individuality depends on the man1 for all the poetry is in nature1 but different individuals see different amounts of it4 ,sidenote3 8,fiddle-brown0 trees4 ,had ,constable listened to rules we might have had 8fiddle-brown0 trees in our pictures to-day4 ,sidenote3 ,naturalistic works4 ,nature is full of surprises and subtleties1 which give quality to a work1 thus a truthful impression of her is never to be found in any but naturalistic works4 ,sidenote3 ,on opinion in art4 ,the undeveloped artistic faculty delights in glossy and showy objects and in brightly coloured things4 ,the appreciation of delicate tonality in monochrome or colour is the result of high development4 ,the frugivorous ape loves bright colour1 and so does the young person of 8culture10 and the negress of the ,west ,indies1 but ,corot delighted only in true and harmonious colouring4 ,sidenote3 ,nature and sanity4 ,nature whispers all her great secrets to the sane in mind1 just as she delights in giving her best physical prizes to the sane in body4 ,sidenote3 ,busy insanity4 ,nature abhors busy insanity4 ,sidenote3 8,stolen bits40 ,do not be surprised if you find 8stolen bits0 of your photographs in the works of inferior etchers1 aquarellists1 and black and white draughtsmen2 it pays them to steal1 while it does not hurt you1 for they cannot steal your 8quality40 ,sidenote3 ,nature and photography4 ,many photographers think they are photographing nature when they are only caricaturing her4 ,sidenote3 ,sun and shadows4 ,the sun when near the horizon gives longer shadows than when near the zenith4 ,sidenote3 ,photography and art4 ,when writers tell you photography is one thing and art another1 find out who they are1 and you shall find their opinion on art-matters is contemptible1 and it is only their omniscient impudence and fanaticism that allow them to contradict a sculptor like ,adam ,salomon1 and a painter like ,t4 ,f4 ,goodall1 to say nothing of others4 ,sidenote3 ,clearness4 ,the shallow public like 8clearness10 they like to see the veins in the grass-blade and the scales on the butterfly's wing1 for does it not remind them of the powerful vision of their periscopic ancestors--the ,saurians4 ,sidenote3 ,japers at photography4 ,when the vulgar herd jape at photography1 stand firm and ask them if their long-eared ancestors did not jape at water-colour painting and at etching4 ,sidenote3 ,criticism4 ,ask of critics only 8fair play40 ,much of the criticism of to-day consists in the suppression of the truth of the author and the advocacy of the falsity of the critic4 ,criticism is as yet in the metaphysical stage1 but it will one day become rational and of some worth4 ,then1 critics will not attempt the huge joke of 8placing0 people in order like a pedagogue1 e4g4 ,matthew ,arnold between ,gray and ,wordsworth1 as some wonderful person did not long ago in one of the reviews2 but criticism will show us how works of art may serve to illustrate the life-history of different epochs4 ,the huge farce of 8placing0 criticism will be one of the stock jokes of the twentieth century4 ,,chapter ,v4 ,,decorative ,,art4 ,sidenote3 ,decorative art4 ,by the term 8decorative10 we mean the ornamentation of anything constructed for some useful or special purpose as opposed to the ornamentation whose object is to please per se4 ,thus1 though both sculpture and easel pictures are decorative in one sense1 they are executed with no consideration or regard for other purposes than to please4 ,as we have before shown1 the humblest of the decorative arts may be raised to the dignity of a fine art if an artist takes the work in hand and succeeds1 or the work may degenerate into mere craftsman's work4 ,for decorative purposes1 the various methods are modified and adapted to the important considerations of the use and fitness of the object or place decorated4 ,thus no good artist would paint a finished and studied landscape on a dado1 he would paint the scene flat1 and colour it in appropriate harmony with surrounding objects1 for that is the aim2 and a workman not an artist would1 of course1 painfully elaborate and finish it so that it was neither a decorative work nor a painting in the ordinary sense4 ,sidenote3 ,naturalism in decorative art4 ,in all good decorative work the same old story of naturalism holds good2 all the best decorative work we have seen was suggested by nature1 and though1 of course1 it is beyond the scope of decorative art to 8copy nature10 as superficial folk say1 yet all patterns and forms and harmonies should be suggested by nature4 ,we have seen harmonies of sea-weed and sand which would have made a beautiful colour scheme for decorative work4 ,the best decorative work has always been suggested by nature2 geometrical patterns being taken from crystals1 microscopic drawings of vegetable cells1 c4 ,sidenote3 ,photography as applied to decorative art4 ,however1 we must omit a general discussion of this interesting subject1 for we are here only concerned with its photographic side4 ,we are not aware that this application of decorative art has ever received much attention2 and when we mention transparencies and enamels1 we have said all that has been done towards employing photography decoratively4 ,by enamels1 of course1 is not understood those glossed and raised productions on paper1 which by some extraordinary blunder have been erroneously called enamels4 ,sidenote3 ,principles4 ,now the photographer1 who studies and hopes to excel at decorative photography1 must remember that he must work on the same general principles as he does in producing pictures1 that is1 he must pay attention1 in a broad way1 to the tone of the room1 to effects of contrast1 to harmonies1 to the effect of artificial lights and of complementary colours1 and above all to naturalism4 ,thus a delicate landscape must not be enamelled on a tea-cup1 for it is obviously false in principle to place a picture on a curved surface4 ,again1 a palmetto leaf must not be burned into the tiles of a fireplace1 the two are incongruous and incompatible4 ,taste and a regard for truth should govern all such work4 ,we will now briefly enumerate the uses to which photography might be put in decoration4 ,,for ,,panelling ,,and ,,friezes4 ,sidenote3 ,panelling and friezes4 ,much might be done in this direction by an appropriate choice of subject4 ,for panels bits of landscape of strongly marked types1 sea pieces1 dead game1 and plants might be admirably done4 ,by landscapes of strongly marked type1 we mean such things as a dead or leafless tree overhanging a pond1 a pollarded willow in winter1 and like subjects1 where the elements are few1 the composition simple1 and where there are no subtle atmospheric effects4 ,for this work the subject must be expressed with great terseness and directness1 for the form is what is required1 not subtlety of tone or mystery4 ,a group of dead mallard or teal1 or an arrangement of bulrushes and water-lilies1 are all suitable and admirable subjects4 ,sidenote3 ,negatives4 ,negatives for this class of work should be rather dense1 and in some cases they may be as sharply focussed as possible1 it being remembered that for form 7diagrammatic form7 decision is what is required4 ,there are certain subjects1 however1 which will bear being only just suggested1 such as bulrushes1 reeds1 c41 which are full of character in themselves4 ,these objects should be photographed against flat-tinted backgrounds1 the colour chosen being ruled by the colour of the furniture of the room4 ,sidenote3 ,red carbon4 ,the best method of procedure would be to sensitize the panel and print directly on to it by the platinotype process1 or perhaps by some of the carbon processes1 red carbon being especially suitable for this work4 ,the ,platinotype ,company give directions for sensitizing various surfaces1 all of which can be obtained from their offices in ,southampton ,row1 ,high ,holborn4 ,sidenote3 ,friezes4 ,for friezes1 beautiful arrangements could be made of suitably draped figures of girls1 of athletes1 and of animals1 the draped figures being in white1 taken against a black background4 ,these subjects printed in red carbon would look admirable if properly arranged4 ,enlargements could be used in these cases1 as it does not matter if the original negatives are made microscopically sharp4 ,various subjects and methods of treatment will suggest themselves to the thoughtful and artistic student4 ,sidenote3 ,tiles4 ,we cannot help thinking there is a field for the photographic decoration of tiles4 ,for this purpose1 as they are low down and seen close to1 tone pictures might be used2 but any quality of landscape would not be admissible for this work4 ,mr4 ,henderson's method of enamelling is fully given in the late ,baden-,pritchard's 8,studios of ,europe40 ,these tiles would have to be cautiously used4 ,sidenote3 ,windows4 ,there is little or nothing to be done in the decoration of windows by photography4 ,of course1 transparencies will immediately suggest themselves1 but they1 like modern glass painting1 are false art4 ,the first requisite of glass painting is that all the light possible shall pass through the pane1 and that the colours shall be flat4 ,modern window-painters overstep the limits of the art1 and try to render tone as well1 the result being bad artistically and bad decoratively1 as utility is affected4 ,glass transparencies and opals are1 to our mind1 worthless for decorative purposes1 and should not be encouraged4 ,sidenote3 ,enamels4 ,m4 ,lafon de ,camarsac was the first to apply photography to porcelain work1 in the year #ahed4 ,he worked with colours and produced some marvellous results1 applying gold1 silver1 and various pigments in this way4 ,his method was used for producing enamels for jewellery1 but1 of course1 such things could be utilized in decorative work4 ,but to produce pictures on tea-cups1 saucers1 brooches1 c41 seems to us1 against all principles of truth4 ,we think that with great care and taste this class of work might be artistically utilized in decorative art1 but none but an artist must attempt it4 ,so we shall give ,poitevin's method4 ,sidenote3 ,poitevin's method4 ,a positive on glass is obtained1 and a glass plate is coated with gum sensitized with bi-chromate of potash4 ,the positive is then placed in contact with the prepared plate and exposed to the light1 the result being invisible as in carbon printing4 ,a very fine hair sieve is now taken1 and dry powdered charcoal is sifted over the coated plate1 and it will be found that the charcoal adheres to the parts acted upon by light4 ,thus is produced a delicate portrait in as perfect tone as the original4 ,this portrait is temporarily secured by brushing it over with collodion4 ,the collodion film has now to be separated by delicate knives1 and it brings away with it the charcoal picture4 ,this film is next placed on a white enamelled copper plate1 which plates are bought ready prepared1 and a fixing paste 7that used by ceramic painters being employed7 is spread with a brush over the enamel4 ,this paste combines with the charcoal image4 ,all is now ready for placing in the enamelling furnace1 when vitrification takes place1 and all the organic bodies are destroyed1 the vitrified charcoal image alone remaining4 ,we think that with taste even china services might be decorated by means of photography4 ,at any rate there is a wide field for any one with taste and feeling4 ,sidenote3 ,wall-papers and hangings4 ,we do not know whether or not photography has been applied to the manufacture of either of these materials1 but there is wide scope for it4 ,it must be remembered1 however1 that definite patterns are obtrusive and undesirable4 ,a rather monotonous geometrical pattern is required1 the suggestion1 however1 coming from nature4 ,thus a good pattern could be obtained from a transverse section of a rose-bud1 or from various seed-cases1 such as those of the convolvulus and rose4 ,histological specimens also1 and desmids and diatoms1 all suggest beautiful and varied forms of geometrical patterns4 ,this has often occurred to us when examining the wonderfully varied and beautiful forms of the diatom family4 ,it would1 it seems to us1 be very easy with multiplying backs to get large numbers of a form on one plate1 and then to reproduce them by cheap photo-mechanical means1 and though we have never yet heard of photographic wall-papers1 yet there is no reason why they should not be manufactured1 if made artistically4 ,sidenote3 ,d',oyleys4 ,for hangings these same patterns might be woven in or even printed directly upon the materials1 by the platinotype process4 ,the company who brought forward that process keep prepared nainsook1 why not other materials8 ,for small things1 such as d',oyleys1 an endless and pleasing variety might be introduced4 ,in short1 photography can and should be made amenable to the principles of decorative art1 and employed legitimately in thousands of ways2 but the student must never forget that he must rigidly and resolutely keep within the bounds of his art1 which bounds we have briefly indicated here4 ,common sense1 taste1 and study are his best safe-guards4 ,in all attempts1 however1 let him go to nature for his suggestions2 she1 if he be humble and patient1 will not be less lavish to him than to the painter4 ,so we find ourselves at the end of this chapter1 and our considerations on photography as applied to decorative art lead us to conclude that the form in which it is at present chiefly applied1 i4e4 transparencies1 is false in principle1 and therefore undesirable4 ,we felt this long before we studied art at all1 and although we made many opals and transparencies at one time1 we soon gave them up as vanity and foolishness4 ,those1 however1 who with training and artistic feeling care to explore the undeveloped fields above indicated1 will be sure to find many new treasures4 ,l',,envoi4 ,,photography--,a ,,pictorial ,,art4 ------- ,it is easier to jape at the light-bearing goddess than to imitate her works4 8,in such an age as this1 painting should be understood1 not looked on with blind wonder1 nor considered only as poetic inspiration1 but as a pursuit1 legitimate1 scientific1 and mechanical40 ,,john ,,constable4 ,l',,envoi4 ,,photography--,a ,,pictorial ,,art4 ,sidenote3 ,the aim4 ,we wish from the first to make it clearly understood as to what is our object in comparing photography with the other pictorial arts4 ,it is not to condemn any of the other arts as inadequate for artistic expression1 for we hold that good art1 as expressed even by a lead pencil1 is better than bad art expressed on the largest of canvases1 but our object is to inquire what position the technique of photography takes when regarded side by side with the methods and limits of each of the pictorial arts4 ,sidenote3 ,rock scratchings4 ,the earliest pictorial expressions of the human mind were1 as we all know1 rude rock-scratchings in the form of outline4 ,sidenote3 ,outline drawing4 ,this outline drawing served the earliest nations1 as it still serves children1 to express in a conventional way certain limited truths1 for the power of seeing and analyzing nature is of recent development1 and is even now far from fully developed4 ,keeping this in mind1 we must nevertheless not allow ourselves to despise these efforts of the undeveloped mind4 ,line drawing1 it must be remembered1 has nothing to do with tone4 ,if you look at a line drawing of a figure by a great master1 it suggests to you1 in a certain limited way1 the real thing1 for the lines bound spaces1 hence there is a suggestion of the solid figure4 ,with almost any medium1 even with pen1 ink1 and paper1 an artist will often draw a subject in outline1 to see 8how it will come40 ,sculptors nearly always do this1 but these men do not consider these outlines as finished works1 but simply as an aid to their work1--mere brief sketches suggestive of what shall be4 ,of course1 such notes when done by a great artist become invaluable1 as suggesting great truth of impression4 ,yet there are men who seem to stop at this stage1 and revel in 8beauty of line10 or else they elaborate these drawings until they pass beyond the legitimate limits of the art by which they are expressed4 ,we will now briefly enumerate these arts with their limitations4 ,sidenote3 ,lead pencil4 ,lead ,pencil4--,the scale between the white and black is very limited1 for1 as any one who has drawn with lead pencil will remember1 the lowest tones are grey as compared with dead black4 ,they are also shiny because light is reflected by the plumbago4 ,an artist can1 however1 express a suggestion of tone within a limited scale1 and1 notwithstanding this limitation1 a first-rate lead pencil drawing may give a far truer impression of nature than a bad painting1 and will accordingly rank higher artistically4 ,sidenote3 ,pen and ink4 ,pen and ,ink4--,the scale in this case is also limited and there can be no tone1 but an artist1 by shading can give an impression of tone1 as can be seen in the clever drawings by an artist in the 8,german ,punch40 ,of course1 as in lead pencil drawings1 all subtle tonality is left out1 the lightest tones being lost in white1 and the darkest in black1 but the suggestion may be a truthful impression if well done1 and in such cases the work commands the greatest respect1 ranking far higher than inferior work done with a more perfect technique4 ,sometimes washes are added to pen-and-ink drawings to increase the impression of tone4 ,here1 again1 the bad craftsman goes beyond the legitimate limits of the art1 by the pen-rendering detail1 and by the wash-rendering tone1 impossibilities except in monochrome work4 ,we have seen some detestable hybrids of this class1 the result of the misspent energies of amateurs and others4 ,sidenote3 ,chalk4 ,chalk4--,this gives the artist greater scope1 for his scale is greater1 and1 in addition1 chalk is not shiny and unnatural4 ,this material is generally used for large work1 and is better suited to that purpose1 for the line is not so regular and has more of the decision and indecision of a natural outline as seen in a figure standing against a background4 ,by choosing an appropriately colored chalk an artist can give a potent suggestion of texture1 and1 therefore1 of truthfulness4 ,chalk was formerly much used for studies1 but charcoal has now largely taken its place4 ,sidenote3 ,lithography4 ,lithography4--,in this art a peculiar stone is chosen1 which has an affinity for water and grease4 ,the stone is drawn upon with a greasy1 specially prepared lithographic ink4 ,from this many copies can be taken4 ,for reproducing chalk drawings the method is worked a little differently4 ,it is of little use now for original work1 on account of the introduction of the cheaper1 more certain1 and more beautiful photographic processes4 ,we are all only too well acquainted with the outcome of this process of lithography1 chromo-lithographs1--monstrosities which1 it is needless to say1 do not enter into the category of the fine arts4 ,chromo-lithography1 however1 has a commercial value1 being very useful in the reproduction of patterns1 c4 ,sidenote3 ,line engraving4 ,engraving4--,this is drawing on metal with a burin in a special manner2 that is by pushing the burin away from the operator4 ,considerable pressure must be exerted2 and it is evident that lines cut in this way must be formal4 ,it is1 perhaps1 for this reason that it is scarcely ever used for original work1 but only for copying4 ,the scale in this case is limited between the black ink and white paper1 and is greater than in the arts above dealt with2 but there can be no subtleties of tone4 ,engravers supply this suggestion of tone by cross-hatching1 and so suggest a natural impression1 as can be seen in some of the landscapes engraved from nature by ,albert ,durer4 ,personally we are but very little interested in engraving apart from its historical interest4 ,artistically1 the early work of ,durer1 and some of that of the so-called 8little masters0 is1 in our opinion1 the best ever done4 ,all the work--and there is much of it--which has overstepped the narrow limits of the art of line engraving is to us distasteful1 because it could have been so much better expressed by other methods4 ,engraving with a burin1 even when assisted by dry point work1 is always hard1 formal1 textureless1 and without tonal subtlety2 while the quality of modern engravings1 by which popular editions of well-known authors are illustrated1 is to us positively unpleasing and false4 ,there is at the present day a vigorous attempt to bolster up engraving1 and give it a fictitious value1 but we feel sure it is doomed4 ,such a narrow1 limited1 untrue method of expression could never live beyond the day of necessity1 when there was no better mode of expression4 ,that day is already past1 as there exist more complete methods4 ,a good pen-and-ink work by ,du ,maurier is1 artistically1 far better than any engraving ,cousins ever did2 and as for the fearful travesties exposed for sale in dealer's windows1 we can only wonder who buys them4 ,perhaps the same mild imbeciles who collect 8old engravings0 promiscuously1 not for any art qualities they possess1 for the best of them are bad in many ways1 but in order to collect1 and appear learned 787 and artistic 787 to their less gifted 7in purse7 brethren4 ,of all the painters and sculptors we have known1 we have never found one really interested in the class of engravings we are now describing4 ,stippling1 or engraving in dots1 seems to us a yet worse device than cross-hatching4 ,it is done with prepared needles1 or a toothed wheel called a roulette4 ,stippling was by ,bartolozzi and others combined with etching1 and a hybrid was produced which1 like all hybrids1 was doomed to extinction4 ,as compared with photo-etching for the reproduction of pictures1 no one but a fanatic would maintain its superiority4 ,by using orthochromatic plates relatively1 true values or tone1 and true texture can be rendered1 and no translator steps in to add to1 or subtract from1 the originality of the work4 ,the student will soon find as he studies nature and the best art together1 that line engraving is but a sorry method1 its artificiality will soon disgust him1 and no one with any real insight into the mysteries of nature can derive much pleasure from engravings1 except1 perhaps1 from some of the best of the simple line engravings1 such as some of ,durer's works4 ,sidenote3 ,wood engraving4 ,wood engraving4--,in wood cutting the parts left uncut print dark1 and those that are hollowed out or cut away do not print at all2 thus1 the white is cut out from a dark ground4 ,the workman cuts with special graving tools on a block of box-wood1 cut sectionally4 ,durer's woodcuts are simply drawings on wood1 parts of the wood being cut away1 for in this way many could be readily printed4 ,they were simply fac-similes of the lines of ,durer's drawing1 and had no artistic aim of their own4 ,sidenote3 ,bewick4 ,with ,bewick1 however1 the matter was different4 ,he saw the limits of wood engraving1 and kept resolutely within those limits1 like the true artist he was4 ,sidenote3 ,american wood engravers4 ,with ,bewick the flat black and white spaces were the limitations1 as we consider they are and always will be for original work1 notwithstanding the ,american school of wood engraving1 of which we shall have something to say presently4 ,the scale in wood engraving is limited by the ink and paper1 and the suggestion of tone is got by representing the light greys as white1 and the darker darks as blacks4 ,there is no subtle tonality in ,bewick's work1 and though there is much suggestion of nature and truth1 the expression is limited4 ,but here1 as in other arts1 directly the legitimate limit is overstepped the work becomes bad4 ,bewick1 of course1 and a few of his pupils1 did original work1 but the modern wood engraver1 though he expresses greater subtlety of tone1 is1 after all1 only a fac-simile worker4 ,in the ,american magazines the perfection of this fac-simile work is to be seen1 and1 in our opinion1 this school started with the intention of imitating the delicacies of photography4 ,that such work is most useful no one can doubt1 but in our opinion it has outstepped the proper limits of wood engraving1 and therefore no longer interests us4 ,it must not be forgotten1 too1 that the works are fac-simile work and not original4 ,in fact1 a good fac-simile wood engraver may be no artist at all4 ,it serves a certain use certainly1 but1 judged by artistic standards1 an intaglio copper-plate print produced by photography is far more satisfactory4 ,would1 however1 that all the art-craftsmen who work in fac-simile1 kept up to the standard of the ,american engravers1 for the feeble works of this class to be seen in this country in the book and paper illustrations of the day are lamentable4 ,they are travesties of nature2 but what more can be expected when a block is often cut into separate pieces1 and engraved by different workmen8 ,lamentable1 too1 is it that many a good photograph1 brought home by travellers from abroad1 should be botched and ruined by these wood engravers4 ,a great deal of cant has been talked lately about the harm done to engraving by photography4 ,the harm was done long ago1 when artists ceased to practise the art of engraving as an original art1 as was done by ,bewick and some few others1 and when the work of cheap reproduction fell into the hands of craftsmen4 ,if photographic processes do anything1 they will either raise the standard of fac-simile art-craft by competition1 or1 which would be1 perhaps1 as well1 kill it altogether4 ,for artists in wood engraving like ,bewick there is always room2 and among the first to appreciate such work and to foster it1 will be the artist who works in photography2 he will understand the limits of the art1 and appreciate any artist who uses it artistically4 ,sidenote3 ,etching4 ,etching4--,as the public become more educated in art matters1 we find etching rapidly replacing line engraving1 just as we think original photo-etching will in time replace etchings4 ,etching is drawing on zinc or copper with a needle1 the plate being first prepared with a ground1 the nature of which varies with different practitioners4 ,wax1 burgundy pitch1 and asphaltum form a common combination for producing a ground4 ,this ground is often smoked to produce a uniform surface1 and then the artist sketches on it as freely and lightly as he would on paper4 ,the lines are afterwards bitten in by immersing the plate in acid4 ,some etchers assert that they etch whilst the plate is in the bath1 but we cannot imagine such a method being very successful1 for want of proper control over the work4 ,tone is produced by thickness of lines and by cross-hatching1 and also by the printer in the manner of wiping the plate1 and finally touches are often added with a dry point4 ,in addition separate bitings can be given to a plate by 8stopping out0 the portion not requiring further biting1 with some substance which resists the acid1 usually a varnish4 ,another method is to silver the plate and cover it with a white wax ground1 so that the etcher gets a dark line on a white surface4 ,the plate is finally covered with a thin coating of steel by electricity1 this process being called 8acierage40 ,this facing is given to the plate to resist the wear and tear of printing4 ,etching1 it will be seen1 is far more amenable to the artist's will than line engraving and wood-cutting4 ,still it has its limits1 for in it all the subtleties of tone are wanting1 and there is1 therefore1 imperfect modelling4 ,the values cannot be relatively truly rendered1 nor is texture well rendered4 ,all this great artists have recognized and have therefore resolutely confined themselves within the legitimate limits4 ,the masters of etching1 as ,rembrandt in the past and ,whistler in the present day1 never try for delicacies of tone in their plates1 but by line and cross-hatching1 like an artist in pen and ink1 they express themselves1 and their works are beautiful and priceless4 ,but as with all the other arts1 so with etching1 inferior men have tried by this method to rival more complete methods1 and the result has been failure4 ,by complicated line work and by printing flat tones1 etchers are daily striving to express in translation the perfect technique of painting1 and the results are unsatisfactory4 ,here1 again1 we find that the art-craftsmen1 the translators of pictures1 and not original artists1 are the chief sinners1 and this is a fact to be carefully remembered4 ,a good etching by ,rembrandt or ,whistler gives us a satisfaction we cannot well express2 but carefully elaborated etchings from pictures give us no satisfaction2 on the contrary1 they have gone so far that they compel us to compare the work with a more complete technique1 and the result is great disappointment4 ,as mere art-craft for the translation of pictures1 photo-etching will give etching points 7points not of taste but of artistic facts71 and beat it hollow1 as any first-rate judge will allow4 ,the best etchers we have met are unanimous in condemning elaborated work in etching1 and they themselves work within the limits of its technique4 ,equally averse are they to the hybrid process of combining etching with photo-etching1 a hybrid only practised by inferior men and appreciated by the untrained4 ,we must now leave line work1 for though1 as we have shown1 very subtle suggestions of tone can be obtained by the use of cross-hatching1 still true tonality and modelling cannot be obtained by any save more perfect methods4 ,directly an artist has a method by which he can express subtle tonality1 he has a great additional power4 ,sidenote3 ,charcoal4 ,charcoal4--,with this method the scale is limited as the black is not so deep as many other blacks used in the arts1 but by its means delicate tonality can be obtained1 but not the most delicate4 ,the values too in a charcoal drawing are not true for this reason1 because the most delicate light greys are lost2 neither do we like the texture it gives4 ,it is not true2 nevertheless the result is often very fine4 ,we had quite lately the opportunity of comparing the charcoal drawing of a very fine subject with nature1 and also with a very fine painting of the same subject1 and our opinion is that the charcoal drawing suggested the scene better than any line method could have done1 but the suggestion was very far off the suggestion offered by the painting4 ,sidenote3 ,monochrome4 ,monochrome ,painting4--,a monochrome painting may be in any colour1 but since the scale is so limited1 say in red for example1 and the effect1 except for portraits1 is so incongruous that no artist dares use it4 ,indian ink and sepia are the commonest colours used4 ,monochrome painting1 did it portray the different colours1 would follow the same laws as painting1 and would have to be considered from the same stand-point4 ,therein then lies the difference1 a good artist may express much in monochrome1 and give the suggestion of nature to a very great extent1 but he is limited by this method4 ,delicate tonality and modelling can be obtained1 but there is an unnaturalness of the middle tints and an artificial look in the textures4 ,notwithstanding1 very fine work is done in this way1 especially by some of the modern ,french and ,dutch painters4 ,sidenote3 ,aquatint4 ,aquatint1 as its name implies1 is a form of engraving best suited to reproduce water-colours4 ,the plate is prepared in much the same way as it is for photo-etching1 the acid biting between the dots of resin4 ,this method is now rarely used4 ,sidenote3 ,mezzotint4 ,mezzotint4--,in this process the plate is roughened all over by an instrument called a 8cradle0 or berceau4 ,this is really a broad chisel with a cradle-shaped edge1 on which are small rough edges4 ,this is worked by the hand all over the plate until it is rough enough to hold ink4 ,the scale in this method is wide1 the blacks being very deep4 ,the tones are formed by scraping away the ink by the engraver1 the highest light being the deepest4 ,it gives a very good tonality1 and is really the only rival to photo-etching1 but the plate will not last well1 thirty good prints often being all that can be taken from a plate4 ,the engraver1 too1 has not sufficient control over his work4 ,as a rule it is only used for fac-simile work1 and not for original work4 ,it will in our opinion be the last form of engraving to succumb to photo-etching4 ,it is better suited for portraiture than landscape work2 the mezzotints from ,constable's paintings are very feeble and untrue4 ,sidenote3 ,photography4 ,photography4--,now we come to photography1 which possesses a technique more perfect than any of the arts yet treated of4 ,photography1 in fact1 stands at the top of the tone class of methods of expression2 so nearly perfect is its technique that in some respects it may be compared with the colour class4 ,the scale here1 too1 is limited1 but less so than that of any other black and white method4 ,its drawing is all but absolutely correct1 that is if the lenses are properly used1 as has been shown4 ,it renders the values relatively correct if orthochromatic plates are used1 and it renders texture perfectly4 ,its one limitation is that it must always be worked from models2 but from what we have already said1 we consider this no limit of consequence when the end in view is artistic expression4 ,when1 on the other hand1 the end in view is utilitarian1 this is1 in certain cases1 a limitation1 but as we are considering it only as a method for artistic expression1 we do not now consider that side of the question4 ,as a facsimile method1 it is unrivalled1 for some of the art-craftsmen who have worked in this direction have so perfected it that little now remains to be done so far as copperplate work goes1 though much remains to be done in connection with delicate blocks for the printing-press4 ,as a recorder of scientific facts and as an adjunct to the traveller1 it has no equal1 for nothing need be allowed for the personal equation of the individual4 ,its immense value in all the sciences and arts has been touched upon4 ,critics opposed to photography1 and they are now-a-days the old and prejudiced1 are fond of citing ,mr4 ,p4 ,g4 ,hamerton's reasons for not considering photography one of the pictorial arts4 ,some of his arguments were perfectly admissible when he wrote them1 but as he has not taken the trouble to correct them since1 we suppose he still rests in the fancied security of having slain photography for ever4 ,but photography was not killed by ,mr4 ,hamerton4 ,it could not resist him then1 for it was but a little child1 but now that it is well grown and can resist him it will do so through us here4 ,sidenote3 ,mr4 ,hamerton criticised4 ,mr4 ,hamerton says when any new art is under consideration1 we must ask1 8,can it interpret nature8 ,can it express emotions8 ,can it express fact and truth and poetry8 ,within what limit can it do these things8 and finally has any one with it expressed human knowledge and feeling8 ,will it record the results of human observation8 ,has it ever been practised by great men1 or do they pay much regard to it80 ,beginning1 then1 with question ,i43-- ,can it interpret nature8 ,yes1 that at any rate is the opinion of more than one good sculptor1 painter1 and photographer1 and plates can be produced which we challenge any one to prove are not interpretations of nature in the strictest sense of the word4 ,,ii4 ,can it express emotions8 ,yes1 and so faithfully and subtilely that the late ,charles ,darwin used it to illustrate from nature1 his work 8,on the ,expression of ,emotions in ,man and ,animals40 ,of these photographs taken by ,rejlander1 ,mr4 ,darwin writes in the work mentioned1 8,several of the figures in these seven heliotype plates have been reproduced from photographs1 instead of from the original negatives2 and they are in consequence somewhat indistinct2 nevertheless1 they are faithful copies1 and are much superior for my purpose to any drawing1 however carefully executed40 ,,iii4 ,can it express fact and truth8 ,yes1 and there is no need to say any more on this head1 except that it can express fact and truth more perfectly than any other black and white process4 ,it is not absolutely perfect1 but no art is4 ,,iv4 ,within what limits can it do these things8 ,the answer to this we have shown in this work4 ,v4 ,has it ever been practised by great men8 ,yes1 and is practised now by many of our greatest living painters and sculptors1 whose names we could give4 ,sidenote3 ,adam ,salomon's portraits4 ,m4 ,adam ,salomon1 a sculptor of ability1 a ,chevalier of the ,legion of ,honour1 took the photographic world by storm1 by his portraits exhibited at the ,paris ,exhibition of #ahfg1 and he continued to practise it up to within a short time of his death4 ,let the best sculptors and painters be asked how they regard photography--especially when they are at work on posthumous works4 ,finally we will give here an opinion on photography as written by an able landscape painter--namely1 ,t4 ,f4 ,goodall4 8,photography has undoubtedly played an important part in the development of modern art1 both in figure and landscape4 ,in landscapes we are inclined to think that the influence of photography was for a time hurtful1 for this reason1 painters were apt to emulate the detail of the photograph1 and lose the breadth of man's view of ,nature in consequence4 ,they did not take into account the fact that the lens commonly used was a more powerful mechanism than the human eye1 or that it reproduced at once every detail of a scene with more distinctness on the plate than the eye would on the retina1 even if the attention was concentrated on one part only at a time1 and that therefore the resulting picture was not a true representation of ,nature1 as impressed on the mind by human vision4 ,but for artistic purposes this may be remedied1 and it appears to us that photographers must take the point into consideration if they would use the camera as a means of artistic expression4 ,hitherto the chief aim of the photographer seems to have been a biting sharpness of detail in the negative1 which is generally quite fatal to the result from an artistic point of view1 for in breadth lies the beauty and sentiment of landscape4 ,to produce a picture the photographer must select his lens and adjust his focus1 so as to get an expression as nearly identical with the visual one as possible1 and he must print in such good tone as will give the closest approximation to the values in nature4 ,in all these matters the result will depend on the taste and intelligence of the author1 and bear the impress of his mind4 ,if that be commonplace1 his negative will be so also2 if artistic1 so will be his picture4 ,there is no reason why photography1 in capable hands1 may not be made a means of interpreting nature second only in value to painting itself1 destined to supersede all other black and white methods in bringing an extended knowledge of and taste for art to the masses of the people4 ,the prejudice existing against photography arises from the fact that hitherto it has been worked merely as a mechanical process2 but if by results it can show that it is worthy1 it will rank as a fine art4 ,dr4 ,emerson was the first to advocate rationally the claims of photography to this distinction1 and1 artists will admit1 has by his subsequent work made good his position so far as his own productions are concerned4 ,there should be a great future for photography if followed on really artistic lines4 ,it should be hailed as a most powerful ally by the modern school of painting1 as by means of it people may be taught to perceive how false are many of the pictures they believe in1 and how much more beautiful and interesting is truth4 ,from an art-educational point of view its value can scarcely be overrated2 much has been done1 by photogravure and other processes of reproduction1 to spread a knowledge of pictures1 and there is no reason why the same methods should not be used for original work4 ,a good photogravure is to be preferred to a bad painting or second rate engraving1 and is incomparably better than the odious chromos and wretched prints with which so many walls are disfigured4 ,if1 instead of being satisfied with mere topographical views or foreground sketches1 the photographer has cultivated artistic feeling1 means are at his command for communicating to others what has impressed himself1 and he may produce work of permanent value4 ,everything depends on what he finds to say and how he tells it4 ,if the operator has artistic insight1 it will show itself in his negative1 just as it would on his canvas1 if he were a painter4 ,the mechanical and chemical processes1 the practical judgment necessary in timing his exposures1 the skill and knowledge necessary in developing his plates2 these are his technique2 but the art value of the result will depend on what he communicates to us by its aid4 ,as long as his ideas of pictorial art are confined in landscape to views of churches and ruins1 rustic bridges and waterfalls1 or topographical views of the haunts of tourists1 taken from the guide-book point of view1 and in figure to artificial compositions1 reminding one of an amateur theatrical performance1 so long will his work be destitute of artistic qualities1 and therefore valueless1 but if he brings to his work a genuine appreciation of the picturesque in landscape and figure1 and a knowledge of how so to place a subject on his plate as to convey his impressions to others1 he may produce most beautiful and meritorious results4 ,he must learn1 as the painter has to do1 to distinguish what in nature is really suitable for pictorial purposes1 on account of beauty of form1 or tone1 from what merely gives him pleasure by some quality which1 however impressive in nature1 it is not possible to transfer to canvas4 ,a picture being a design enclosed by four straight lines1 can only please and impress by certain suitable decorative qualities in the subject4 ,to know what will make a picture is one of the most difficult secrets in landscape art2 knowing just how much of a scene to take in1 where to begin and where to end1 decides whether the result will carry a distinct and complete impression1 or be merely a haphazard study40 ,what great artists elsewhere have thought of photography is shown by the following extract from one of ,j4 ,f4 ,millet's letters to his friend ,feuardent4 ,after asking ,feuardent to bring him some photographs from ,italy1 ,millet continues1 8,in fact1 bring whatever you find1 figures and animals4 ,diaz's son1 the one who died1 brought some very good ones1 sheep among other things4 ,of figures1 take of course those that smack least of the ,academy and the model--in fact all that is good1 ancient or modern40 ,the daily use made of photography by artists is another proof of the good opinion in which it is held by them4 ,you could not get these men to say a word in favour of chromo-lithography1 because that is a hybrid craft with few possibilities4 ,these questions being disposed of1 we will proceed to discuss an assertion of ,mr4 ,hamerton's1 that photography is like a reflection in a mirror4 ,now from what we have shown in this book1 means are at the artist's command to influence the final picture in every stage of its development4 ,if an artist such as ,carolus ,duran1 say1 were thoroughly versed in photography1 and a craftsman1 like one of the numerous operators employed by the large photographic firms1 were to be placed together1 say on one of the ,norfolk ,broads for a week1 according to ,mr4 ,hamerton's reflection theory1 they would both return with work of the same quality1 differing only in points of view2 for ,duran's reflections would be the same as the craftsman's1 point of view always excepted4 ,a theory that allows such an absurd application needs little comment1 one remark only will we put forward4 ,in what ignorance of optics ,mr4 ,hamerton has allowed himself to remain6 when every one knows that a reflection in a mirror is a virtual image1 and does not exist4 ,by pushing this theory to its logical conclusion1 a monkey with a camera could produce as good pictures as ,mr4 ,hamerton could make with the same instrument4 ,in 8,thoughts on ,art0 ,mr4 ,hamerton speciously compares photography with painting4 ,why not compare it with etching8 ,it can never be compared with painting until photography in natural colours is an accomplished fact4 ,mr4 ,hamerton1 after speaking of the limited scale of light in all art1 goes on to say1 8,but look at poor photography's scale compared with the scale in painting40 ,just so1 but it has a much greater scale than any other black and white method1 far greater than the scale of his pet etching4 ,why did he not state this8 ,why did he ignore it8 ,further on ,mr4 ,hamerton enunciates that if we expose for the glitter of the sea1 everything on the bank will be without detail4 ,it is unnecessary to say this is not so1 and any good photographer can easily prove this statement4 ,of course the only excuse for these untrue statements is that such marvellous strides have been made in what is called 8instantaneous photography0 since ,mr4 ,hamerton committed his last criticisms to paper 7in #ahgc71 that probably he does not know that photographs can now be taken at midnight by a flash of light in a fraction of a second1 and with very fair results1 as any one can prove for himself4 ,mr4 ,hamerton finds too that the sum of detail in good topographical drawings is greater than that in a good photograph4 ,well1 ,mr4 ,hamerton may do so1 just as some people see green as red1 but all good photographers will laugh at the statement1 and we challenge ,mr4 ,hamerton that we will produce a greater sum of detail in a photograph of a set subject than he will by any amount of drawing1 and consider it no great feat either4 ,but this has nothing to do with the artistic value of photography1 or with its comparison with painting4 ,mr4 ,hamerton is here comparing it with architectural drawing4 ,mr4 ,hamerton next says the drawing of mountains is false in photography4 ,if that were so in #ahfj1 it was ,mr4 ,hamerton's fault for ignorantly using his lens1 for1 as we have shown1 lenses are true perspective delineators if correctly used4 ,finally ,mr4 ,hamerton1 in #ahgc1 sums up his objections to photography from the purely artistic point1 as follow3-- ,i4 8,it is false in local colour1 putting all the lights and darks of natural colouring out of tone40 ,with the aid of orthochromatic plates it does no such thing1 as any reader can prove for himself by getting a chromograph with yellow1 red1 blue1 or any other bright colours1 photographed by ,mr4 ,dixon1 of #aab1 ,albany ,street1 ,london4 ,,ii4 8,it is false in light1 not being able to make those subdivisions in the scale which are necessary to relative truth40 ,this is not so4 ,it is false in light so far as all art is false in light1 but photography can make more subtle distinctions in the scale than any other known black and white method4 ,,iii4 8,it is false in perspective1 and consequently in the proportions of forms40 ,it is not4 ,this remark convicts ,mr4 ,hamerton of ignorance of optics and the proper use of photographic lenses4 ,vide ,cap4 ,,ii4 ,,iv4 8,its literalness1 incapacity of selection1 and emphasis1 are antagonistic to the artistic spirit40 ,photography is not literal1 as the flexible technique shows2 it is capable of selection almost to any extent1 though1 of course1 it is incapable of leaving out a tree1 and putting in an imaginary man4 ,what an incapacity for emphasis means1 we neither know nor care to know4 ,sidenote3 ,answers to other criticisms4 ,following in ,mr4 ,hamerton's steps other critics have raised their objections to photography1 and these we shall discuss briefly4 8,a photograph10 it has been said1 8shows the art of nature rather than the art of the artist40 ,this is mere nonsense1 as the same remark might be applied equally well to all the fine arts4 ,nature does not jump into the camera1 focus itself1 expose itself1 develop itself1 and print itself4 ,on the contrary1 the artist1 using photography as a medium1 chooses his subject1 selects his details1 generalizes the whole in the way we have shown1 and thus gives his view of nature4 ,this is not copying or imitating nature1 but interpreting her1 and this is all any artist can do1 and how perfectly he does it1 depends on his technique1 and his knowledge of this technique2 and the resulting picture1 by whatever method expressed1 will be beautiful proportionately to the beauty of the original and the ability of the artist4 ,these remarks apply equally to the critics who call pictures 8bits of nature cut out40 ,there is no need to slay the slain1 and give any further answer to the objection that photography is a mechanical process1 if there were1 it would be enough to remind the objectors that if twenty photographers were sent to a district of limited area1 and told to take a given composition1 the result would be twenty different renderings4 ,photographs of any artistic quality have individuality as much as any other works of art1 and of the few photographers who send artistic work to our exhibitions1 we would wager to tell by whom each picture is done4 ,of course1 the ordinary art-craftsman has no individuality1 any more than the reproducer of an architectural or mechanical drawing4 ,but where an artist uses photography to interpret nature1 his work will always have individuality1 and the strength of the individuality will1 of course1 vary in proportion to his capacity4 ,photography has been called an 8irresponsive medium40 ,this is much the same as calling it a mechanical process1 and1 therefore1 disposed of1 we venture to think4 ,a great paradox which has to be combatted1 is the assumption that because photography is not 8hand-work10 as the public say1--though we find there is very much 8hand-work and head-work0 in it--therefore1 it is not an ,art language4 ,this is a fallacy born of thoughtlessness4 ,the painter learns his technique in order to speak1 and as more than one painter has told us1 8painting is a mental process10 and as for the technique they could almost do that with their feet4 ,so with photography1 speaking artistically of it1 it is a very severe mental process1 and taxes all the artist's energies even after he has mastered his technique4 ,the point is1 what you have to say1 and how to say it4 ,it would be as reasonable to object to a poet printing his verse in type instead of writing it in old ,gothic with a quill pen on asses' skin4 ,coupled with this accusation1 goes that of want of originality4 ,the originality of a work of art1 it should be needless to say1 refers to the originality of the thing expressed and the way it is expressed1 whether it be in poetry1 photography1 or painting1 and the original artist is surely he who seizes new and subtle impressions from nature1 8tears them forth from nature10 as ,durer said1 and lays them before the world by means of the technique at his command4 ,that one technique is more difficult than another to learn1 no one will deny1 but the greatest thoughts have been expressed by means of the simplest technique--namely writing4 ,as we have shown1 all arts are limited1 some in one way1 some in another1 two limitations of photography are that it 8cannot express an intention0 and 8it must take whatever is before it40 ,we shall endeavour to answer these objections1 which we frankly allow are the only serious objections to be brought against it4 8,it cannot express an intention40 ,this1 at first sight1 seems an insuperable objection1 but on reflection it is no real objection at all when the object of photography is artistic expression4 ,as we pointed out in ,book ,i41 it is our opinion that all the best art has been done direct from nature1 and that no 8intention0 requires expression4 ,no artist worthy of the name ever drew a picture evolved from his inner consciousness2 if it is a brief note to see how a thing will come2 it is either from nature1 or from his remembrance of nature4 ,the photographer then must compose on his ground glass or in nature1 or if he wants to see how it will come1 he too can draw the lines on his ground glass4 ,but the great point is1 such drawing is perfectly unnecessary for artistic purposes2 only for architectural uses is it necessary1 for the architect must draw a plan of his building before it can be built4 ,this distinction has either been overlooked or speciously suppressed by ,mr4 ,hamerton4 ,but then we have nothing to do with architectural drawing2 and if in this instance photography cannot help the architectural draughtsman1 yet there are hundreds of instances in scientific studies in which nothing can help so well as photography1 for example1 in astronomy1 spectral analysis1 bacteriology1 c41 c4 ,finally1 we are not aware that sculpture can help the architectural draughtsman4 ,the second objection that the camera will take everything before it1 is not of any vital importance4 ,it only makes the field to select from more limited1 and gives the artist greater credit when he does a good thing4 ,and if we are true to one of our principles1 namely1 that the subject should so strike the artist that he wishes only to reproduce it1 it is no objection at all1 for a subject with an eyesore marring it would not1 or should not1 appeal to the artist sufficiently to make him wish to reproduce it4 ,we will also give the opinion of a painter on this point4 ,mr4 ,goodall writes3--8,these two subjects serve well to illustrate how unnecessary it is to alter the natural arrangement of things in order to make a picture4 ,although they are literal transcripts1 it is hard to find a line in them which could be altered with advantage4 ,the designs presented by nature ready made1 always interest us far more than the artificial compositions of painters who pick and choose1 arrange and alter1 the material around them in constructing their pictures4 ,when a picture is patched together1 as it were1 a bit here and a bit there1 whatever the gain in composition1 there is always a more than corresponding loss in those little subtleties which give quality to the work4 ,if the beauty of a subject in nature does not appeal to the painter with sufficient force to make him wish to paint it exactly as it is1 he had better leave it alone altogether1 and seek some other that does4 ,a man must be moved too deeply by something to dream of improving it by alterations1 before he can possibly paint a really good picture40 ,but has not this very limitation its advantages as well as its disadvantages8 ,there can be no scamping or dishonest work1 and the artist must always go to nature4 ,had the ancient ,greeks known and handed down photography--and a sculptor friend of ours is inclined to think they did have something of the kind--there would not have followed the terrible decadence in art which came after them owing to the neglect of nature1 as we have shown4 ,again1 an immense power which photography possesses over any other art is the rapidity with which an effect can be secured4 ,the painter is limited to a portion of the day--his effect is only present at certain times1 or his model tires2 but the artist working with photography1 when he sees his effect is right1 can secure it in the twinkling of an eye4 ,this advantage over all the other arts far outweighs the limitation of the field of selection4 ,it has been said1 8,the camera sees far more than the eye takes in at any given moment1 and sees it with an impartiality for which there is no parallel in the human vision40 ,this objection has been answered in the body of the work2 it only holds true with bad work1 and with that we are in no way concerned4 ,a kindly critic1 who did us the honour of reviewing us in the ,spectator1 said if our 8contention were true1 painting would have said its last word1 and sculpture would no doubt soon be superseded by some mechanical contrivance1 which would be to clay and marble what the camera is to plane surfaces40 ,now we must break a lance with this reviewer and gentleman2 we wish all reviewers deserved the last title4 ,we fail to see why painting should have said its last word--for our contention is true--pace our reviewer4 ,the great fact of colour alone places true painting as a method of expression far above any other method4 ,when photographs can be taken in natural colours1 then will be the time to discuss the probable dying groans of painting4 ,as to sculpture1 it seems to us useless to discuss the merits of 8probable mechanical contrivances20 when they are invented the time will come to discuss them4 ,at present the only comparison that can be made is that between a cast of1 say1 a hand from life1 and a modelled hand4 ,when this comparison is made1 the 8cast from life0 will be found poor and mean--it is not a true impression4 ,the modelled hand may be so1 if the sculptor is good4 ,it is of course needless to point out that the principle of tone holds in sculpture as in painting1 but the cast from life cannot have subtleties of tone for a very obvious physiological reason1 namely1 reflex action4 ,if you touch a hand with a foreign substance1 reflex action is set up1 and there is an alteration in the heights and depths of the modelling1 and the play of light gives a different impression4 ,now1 when a living hand is covered with plaster a rough model is obtained--a model of its structure merely1 and all the subtleties of tone are lost4 ,those subtleties would1 however1 all be given in a photograph1 for nothing is touched1 and a true impression is rendered of the hand4 ,what more hideous travesty of nature is there than a cast taken from a dead subject--the cast being merely an exaggeration of the faults in a cast taken from life8 ,here1 then1 we must leave photography at the head of the methods for interpreting nature in monochrome1 and we feel sure that any one who comes to the study of photography with a rational and an unbiassed mind will admit there is no case to be made out against it as a means of artistic expression4 ,this much has been allowed by very many of our friends1 who are at the same time accomplished artists--etchers1 painters1 and sculptors4 ,the student must remember1 then1 that a first-rate photograph1 like a first-rate pencil drawing1 pen-and-ink drawing1 etching1 or mezzotint1 is far and away superior to a second-rate painting4 ,the greatest geniuses in art will admire the one and will not tolerate the other2 but the student must also remember that a false 8picture0 is worse than nothing4 ,sidenote3 ,some masters of the minor arts4 ,the student should acquaint himself with the best specimens of the various pictorial arts mentioned in this chapter1 and he can do this with little difficulty by obtaining a ticket for the print-room at the ,british ,museum2 while in the provinces there are no doubt good specimens at the local galleries4 ,cambridge1 we know1 is very rich in ,rembrandt's work4 ,the masters in each department whose work we recommend for study are-- ,in ,lead ,pencil4--,harding and ,bonington in ,england1 and ,ingres in ,france4 ,pen and ,ink4--,titian1 ,albert ,durer1 ,rembrandt1 ,fortuny1 ,rousseau1 abroad2 and among ,englishmen--,leech1 ,caldecott1 ,de ,maurier4 ,chalk4--,da ,vinci1 ,andrea del ,sarto1 ,rembrandt1 ,raphael1 ,titian1 ,constable and ,millet4 ,lithography4--,harding4 ,chromo-lithography4--,greg4 ,line ,engraving4--,albert ,durer1 and ,cousins4 ,wood ,engraving4--,bewick1 ,thompson1 and ,linton4 ,facsimile ,wood ,engraving4--8,the ,century10 ,scribner's1 and ,harper's ,magazines4 ,etching4--,rembrandt1 ,millet1 ,meryon1 ,rajon1 and ,whistler4 ,facsimile ,etching4--,brunet-,debaines4 ,charcoal4--,lhermitte4 ,monochrome ,painting4--,mauve and ,rossi4 ,mezzotint4--,turner's and ,lupton's reproductions of some of the plates of ,turner's 8,liber ,studiorum10 ,smith's reproductions of ,sir ,joshua ,reynolds' pictures1 and ,lucas' plates after ,constable4 ,photography4--,adam ,salomon1 ,rejlander1 and ,mrs4 ,cameron4 ,photogravure in facsimile4--,a4 ,dawson1 ,w4 ,colls1 and ,scamoni4 ,sidenote3 ,final4 ,it must not be forgotten that water-colour drawing and etching have both been despised in their time by artists1 dealers1 and the public1 but they have lived to conquer for themselves places of honour4 ,the promising young goddess1 photography1 is but fifty years old4 ,what prophet will venture to cast her horoscope for the year #bjjj8 ,,appendix4 8,very few poets get their inspiration from nature4 ,the majority of them have read other poets1 and they use the same ideas1 clothed in different language4 ,the painter has to go directly to nature1 or he is a mere copyist4 ,he cannot paint his picture like somebody else4 ,he must tell his own story if he has any to tell4 ,please to look out of the window6 ,you'll get something different from what you get out of books1 for it never has been seen before60 ,w4 ,,hunt4 ,,appendix ,i4 ,sidenote3 ,books on art4 ,we are continually receiving letters from correspondents asking us to recommend them some books on art4 ,now we can deeply sympathize with these earnest fellow-workers1 for at one period we wasted much time in vexation of mind in reading the works of 8self-appointed preachers1 who knew many things save their subject40 ,when we endeavoured to learn something of art we put the very same question to our teachers1 and the answer came1 8,there is nothing worth reading2 some good things have been written by painters but they are old now1 for art has developed greatly of late years1 one thing only we can advise you1 don't read anything not written by a practical man40 ,when we came to consider the writings of artists1 we found that but very little had been written by them1 and we can only repeat to the student1 with the full conviction of experience1 that he must read nothing save that written by practical artists4 ,sidenote3 ,technique and ,practice of art4 ,the technique and practice of art can be taught in studios1 and its principles can be scientifically recorded1 but the poetry of art cannot be taught1 only hints can be thrown out4 ,the poetic qualities which make an artist as distinguished from the craftsman are born in a man and cannot be acquired by any amount of training4 ,it is for this reason we must suppose that artists have1 as a rule1 thrown out suggestions and hints rather than enunciated any laws3 these hints and suggestions1 then1 coupled often with the rhapsodies of literary men1 form the body of all writings on art4 ,the only books we know of from which the student will derive some benefit are ,leslie's 8,life of ,john ,constable40 ,sidenote3 ,books recommended4 ,william ,hunt's 8,talks about ,art40--,this excellent little book is often contradictory and illogical1 but nevertheless we heartily recommend it4 ,sidenote3 ,photographic libraries4 ,in the body of this work we spoke of recommending a few books which every photographer should have in his library1 and if he has no library he should at once make a modest beginning4 ,the library is1 to the intellectual man1 the armoury wherein are kept the arms which he must wield in the battle for truth4 ,every photographic society in the world1 worthy of the name1 should collect all journals1 pamphlets1 and books bearing on photography1 as well as all books illustrated by photography and photographic processes4 ,scrap-books should be kept in which are pasted all newspaper and magazine articles on photographic subjects4 ,photography is but young1 and there is plenty of time to make such a collection complete4 ,if all the numerous societies subscribed1 it might be worth while to reprint whole volumes of rare journals4 ,the numerous photographic societies in this country could easily get library subscriptions1 or even organize entertainments amongst their members and friends to procure the necessary funds for a library4 ,sidenote3 ,books recommended4 ,the ,camera ,club has set an admirable example in this direction which will no doubt be followed4 ,among the books we should recommend the student to begin with are-- ,captain ,abney's ,treatise on ,photography1 ,longman and ,co4 ,professor ,tyndall's ,lectures on ,light1 ,longman and ,co4 ,dr4 ,lmmer's ,optics and ,light ,international ,dr4 ,vogel's ,chemistry of ,light and ,science ,photography ,series4 ,the late ,mr4 ,sawyer's ,,abc of ,carbon ,printing4 ,the ,autotype ,company4 ,dr4 ,eder's ,modern ,dry ,plates1 ,piper1 ,carter1 and ,co4 ,dr4 ,ganot's ,physics1 ,longman and ,co4 ,professor ,roscoe's ,lessons in ,elementary ,chemistry1 ,macmillan4 ,the late ,professor ,bloxham's ,laboratory ,teaching1 ,macmillan4 ,messrs4 ,hardwich and ,taylor's ,photographic ,chemistry1 ,churchill4 ,mr4 ,jerome ,harrison's ,history of ,photography1 ,trbner and ,co4 ,dr4 ,wilson's edition of ,burnet's ,treatise on ,painting4 ,this book can be obtained of ,messrs4 ,lund and ,co41 ,st4 ,john ,street1 ,bradford4 ,the late ,mr4 ,baden ,pritchard's ,photographic ,studios of ,europe1 ,piper1 ,carter1 and ,co4 ,mr4 ,bolas' ,cantor ,lectures on ,photo-mechanical ,processes1 ,piper1 ,carter1 and ,co4 ,mr4 ,hodgson's ,modern ,methods of ,book ,illustration4--,mr4 ,hodgson's was the first book on photo-mechanical processes1 and it still remains one of the best4 ,dr4 ,liesgang's ,manual of ,carbon ,printing1 ,sampson ,low and ,co4 ,messrs4 ,welford and ,sturmey's ,photographer's ,indispensable ,handbook4 ,iliffe and ,son4 ,mr4 ,chapman ,jones' ,science and ,practice of ,photography4 ,iliffe and ,son4 ,trait ,encyclopdique de ,photographie1 par ,dr4 ,charles ,fabre4 ,paris1 ,gauthier-,villars4 --------------------- ,,appendix ,,ii4 -------------- ,,science ,,and ,,art4 7,a ,paper read at the ,camera ,club ,conference1 held in the rooms of the ,society of ,arts1 ,london1 on ,march #bfth1 #ahhi47 ,,mr4 ,,president1 ,,ladies1 ,,and ,,fellow-,,photographers1--,before beginning this paper ,i would fain ask of you two things1--your attention and your charity1 but especially your charity4 ,the reception which you accord me1 ladies and gentlemen1 assures me you will give both1 and ,i thank you beforehand4 ,since all mental progress consists1 as ,mr4 ,herbert ,spencer has shown1 for the most part in differentiation1--that is in the analysis of an unknown complex into known components1--surely it were a folly to confuse any longer the aims of ,science and ,art4 ,rather should we endeavour to draw an indelible line of demarcation between them1 for in this way we make mental progress1 and ,science and ,art at the same time begin to gather together their scattered forces1 each one taking under its standard those powers that belong to it1 and thus becoming integrated1 and necessarily stronger and more permanent2 for evolution is integration and differentiation passing into a coherent heterogeneity4 ,now1 ,i do not mean to premise that this confusion between ,science and ,art exists everywhere1--it does not4 ,but ,i feel sure that it exists largely in the ever-increasing body of persons who practise photography4 ,the majority of them have not thoroughly1 nay1 not even adequately1 thought the matter out4 ,it is obvious then1 according to the teachings of evolution1 that1 if we are to make progress1 this differentiation must be made1 thoroughly understood1 and rigidly adhered to by every practitioner of photography4 ,each one must have his aim clearly stamped upon his mind1 whether it be the advancement of ,science or the creation of works whose aim and end is to give sthetic pleasure4 ,proceed we now to analyze the difference between the aims and ends of ,science and ,art4 ,let us first approach the subject from the scientific standpoint4 ,assuming that we have before us a living man1 let us proceed together to study him scientifically1 for the nonce imagining our minds to be virginal tablets1 without score or scratch4 ,let us proceed first to record the colour of his skin1 his hair and eyes1 the texture of his skin1 the relative positions of the various orifices in his face1 the number of his limbs1 the various measurements of all these members4 ,so we go on integrating and differentiating until we find that we have actually built up a science1--ethnology4 ,if we pursue the study1 and begin to compare different races of men with each other1 we find our ethnology extends to a more complex anthropology4 ,we next observe that the eyelids open and close1 the lips open1 sounds issue from the mouth1 and our curiosity leads us to dissect a dead subject1 and we find that beneath the skin1 fat1 and superficial fasci there are muscles1 each supplied with vessels and nerves4 ,we trace these vessels and nerves to their common origins1 and are led to the heart and brain4 ,in short1 we find the science of anatomy grows up under our hands1 and if we go on with our studies we are led into microscopy4 ,then we begin to ponder on the reasons why the blood flows1 on the reasons why the corrugator supercilii and depressores anguli oris act in weeping1 the musculus superbus in practical arrogance1 and the levator anguli oris in snarling or sneering4 ,so we go on studying the functions of all the organs we find in our man1 and lo6 we are deep in physiology2 and if we go deeply enough we find the thread lost in the most complex problems of organic chemistry and molecular physics4 ,and so we might go on studying this man2 and if our lives were long enough1 and if we had capacity enough1 we should be led through a study of this man to a knowledge of all physical phenomena1 so wonderful and beautiful is the all-pervading principle of the conservation of energy1 and so indestructible is matter4 ,as we proceeded with our studies we should have been observing1 recording1 positing hypotheses1 and either proving or disproving them4 ,in all these ways we should have been adding to the sum of knowledge4 ,and in the greatest steps we made in our advancement we should have made use of our constructive imagination1--the highest intellectual power1 according to recent psychologists4 ,the results of these investigations1 if we were wise1 would have been recorded in the simplest and tersest language possible1 for such is the language of ,science4 ,it is needless to point out that in these records of our studies1 as in the records of all scientific studies1 too many facts could not possibly be registered4 ,every little fact is welcome in scientific study1 so long as it is true4 ,and thus the humblest scientific worker may help in the great work2 his mite is always acceptable4 ,such is1 alas6 not the case with that jealous goddess1 ,art3 she will have nothing to do with mediocrity4 ,a bad work of art has no raison-d'tre2 it is worse than useless1--it is harmful4 ,to sum up1 then1 8,science10 as ,professor ,huxley says1 8is the knowledge of the laws of ,nature obtained by observation1 experiment1 and reasoning4 ,no line can be drawn between common knowledge of things and scientific knowledge2 nor between common reasoning and scientific reasoning4 ,in strictness1 all accurate knowledge is ,science1 and all exact reasoning is scientific reasoning4 ,the method of observation and experiment by which such great results are obtained in ,science is identically the same as that which is employed by every one1 every day of his life1 but refined and rendered precise40 ,now let us turn to ,art1 and look at our imaginary man from the artistic standpoint4 ,assuming that we have learned the technique of some method of artistic expression1 and that is part of the science we require1 we will proceed with our work4 ,let us look at the figure before us from the sculptor's point of view4 ,now what is our mental attitude8 ,we no longer care for many of the facts that vitally interested us when we were studying the man scientifically2 we care little about his anatomy1 less about his physiology1 and nothing at all about organic chemistry and molecular physics4 ,we care nothing for his morality1 his thoughts1 his habits and customs1--his sociological history1 in fact2 neither do we care about his ethnological characters4 ,if he be a good model1 it matters little whether he be ,greek1 ,italian1 or ,circassian4 ,but we do care1 above all1 for his type1 his build1 and the grace with which he comports himself2 for our aim is to make a statue like him1 a statue possessing qualities that shall give sthetic pleasure4 ,for the raison-d'tre of a work of art ends with itself2 there should be no ulterior motive beyond the giving of sthetic pleasure to the most cultivated and sensitively refined natures4 ,the first thing1 then1 we must do is to sit in judgment on our model4 ,will he do for the purpose8 ,are his features suitable8 ,is he well modelled in all parts8 ,does he move easily and with grace8 ,if he fulfils all these conditions we take him4 ,then we watch his movements and seize on a beautiful pose4 ,now with our clay we begin to model him4 ,as we go on with our work we begin to see that it is utterly impossible to record all the facts about him with our material1 and we soon find it is undesirable to do so1--nay1 pernicious4 ,we cannot model those hundreds of fine wrinkles1 those thousands of hairs1 those myriads of pores in the skin that we see before us4 ,what1 then1 must we do8 ,we obviously select some1--the most salient1 if we are wise1--and leave out the rest4 ,all at once the fundamental distinction between ,science and ,art dawns upon us4 ,we cannot record too many facts in ,science2 the fewer facts we record in ,art1 and yet express the subject so that it cannot be better expressed1 the better4 ,all the greatest artists have left out as much as possible4 ,they have endeavoured to give a fine analysis of the model1 and the ,greeks succeeded4 ,it is beside the question to show how ,science has exercised an injurious influence upon certain schools in art2 but that would be very easy to do4 ,at the same time1 the best ,art has been founded on scientific principles1--that is1 the physical facts have been true to nature4 ,to sum up1 then1 ,art is the selection1 arrangement1 and recording of certain facts1 with the aim of giving sthetic pleasure2 and it differs from ,science fundamentally1 in that as few facts are compatible with complete expression are chosen1 and these are arranged so as to appeal to the emotional side of man's nature1 whereas the scientific facts appeal to his intellectual side4 ,but1 as in many erroneous ideas that have had currency for long1 there lurks a germ of truth1 so there lurks still a leaven of ,art in ,science and a leaven of ,science in ,art2 but in each these leavenings are subordinate1 and not at the first blush appreciable4 ,for example1 in ,science the facts can be recorded or demonstrated with selection1 arrangement1 and lucidity2 that is1 the leaven of ,art in ,science4 ,whilst in ,art the physical facts of nature must be truthfully rendered2 that is1 the leaven of ,science in ,art4 ,and so we see there is a relationship between ,science and ,art1 and yet they are as the poles asunder4 ,,ii4 ,we shall now endeavour to discuss briefly how our remarks apply to photography4 ,any student of photographic literature is well aware that numerous papers are constantly being published by persons who evidently are not aware of this radical distinction between ,science and ,art4 ,the student will see it constantly advocated that every detail of a picture should be impartially rendered with a biting accuracy1 and this in all cases4 ,this biting sharpness being1 as ,mr4 ,t4 ,f4 ,goodall1 the landscape-painter1 says1 8,quite fatal from the artistic standpoint40 ,if the rendering were always given sharply1 the work would belong to the category of topography or the knowledge of places1 that is ,science4 ,to continue1 the student will find directions for producing an unvarying quality in his negatives4 ,he will be told how negatives of low-toned effects may be made to give prints like negatives taken in bright sunshine2 in short1 he will find that these writers have a scientific ideal1 a sort of standard negative by which to gauge all others4 ,and if these writers are questioned1 the student will find the standard negative is one in which all detail is rendered with microscopic sharpness1 and one taken evidently in the brightest sunshine4 ,we once heard it seriously proposed that there should be some sort of standard lantern-slide4 ,my allotted time is too brief to give further examples4 ,suffice it to say1 that this unvarying standard negative would be admirable if ,nature were unvarying in her moods2 until that comes to pass there must be as much variety in negatives as there are in different moods in ,nature4 ,it is1 we think1 because of the confusion of the aims of ,science and ,art that the majority of photographs fail either as scientific records or works of art4 ,it would be easy to point out how the majority are false scientifically1 and easier still to show how they are simply devoid of all artistic qualities4 ,they serve1 however1 as many have served1 as topographical records of faces1 buildings1 and landscapes1 but often incorrect records at that4 ,it is curious and interesting to observe that such work always requires a name4 ,it is a photograph of ,mr4 ,jones1 of ,mont ,blanc1 or of the ,houses of ,parliament4 ,on the other hand1 a work of ,art really requires no name1--it speaks for itself4 ,it has no burning desire to be christened1 for its aim is to give the beholder sthetic pleasure1 and not to add to his knowledge or the ,science of places1 i4e4 geography4 ,the work of ,art1 it cannot too often be repeated1 appeals to man's emotional side2 it has no wish to add to his knowledge--to his ,science4 ,on the other hand1 topographical works appeal to his intellectual side2 they refresh his memory of absent persons or landscapes1 or they add to his knowledge4 ,to anticipate criticism1 ,i should like to say that of course in all mental processes the intellectual and emotional factors are inseparable1 yet the one is always subordinated to the other4 ,the emotional is subordinate when we are solving a mathematical problem1 the intellectual is decidedly subordinate when we are making love4 ,psychologists have analyzed to a remarkable extent the intellectual phenomena1 but the knowledge of the components of the sentiments or the emotional phenomena is1 as ,mr4 ,herbert ,spencer says1 8altogether vague in its outlines1 and has a structure which continues indistinct even under the most patient introspection4 ,dim traces of different components may be discerned2 but the limitations both of the whole and of its parts are so faintly marked1 and at the same time so entangled1 that none but very general results can be reached40 ,the chief thing1 then1 that ,i would impress upon all beginners is the necessity for beginning work with a clear distinction between the aims and ends of ,science and ,art4 ,when the art-student has acquired enough knowledge--that is1 ,science--to express what he wishes1 let him1 with jealous care1 keep the scientific mental attitude1 if ,i may so express it1 far away4 ,on the other hand1 if the student's aim is scientific1 let him cultivate rigidly scientific methods1 and not weaken himself by attempting a compromise with ,art4 ,we in the photographic world should be either scientists or artists2 we should be aiming either to increase knowledge1--that is1 science1--or to produce works whose aim and end is to give sthetic pleasure4 ,i do not imply any comparison between ,science and ,art to the advantage of either one4 ,they are both of the highest worth1 and ,i admire all sincere1 honest1 and capable workers in either branch with impartiality4 ,but ,i do not wish to see the aims and ends of the two confused1 the workers weakened thereby1 and1 above all1 the progress of both ,science and ,art hindered and delayed4 ,,iii4 ,next ,i shall discuss briefly the ill-effects of a too sedulous study of ,science upon an ,art student4 ,the first and1 perhaps1 the greatest of these ill-effects is the positive mental attitude that ,science fosters4 ,a scientist is only concerned with stating a fact clearly and simply2 he must tell the truth1 and the whole truth4 ,now1 a scientific study of photography1 if pushed too far1 leads1 as a rule1 to that state of mind which delights in a wealth of clearly-cut detail4 ,the scientific photographer wishes to see the veins in a lily-leaf and the scales on a butterfly's wing4 ,he looks1 in fact1 so closely1 so microscopically1 at the butterfly's wing1 that he never sees the poetry of the life of the butterfly itself1 as with buoyant wheelings it disappears in marriage flight over the lush grass and pink cuckoo-flowers of ,may4 ,i feel sure that this general delight in detail1 brilliant sun-shiny effect1 glossy prints1 c41 is chiefly due to the evolution of photography3 these tastes have been developed with the art1 from the silver plate of ,daguerre to the double-albumenized paper of to-day4 ,but1 as the art develops1 we find the love for gloss and detail giving way before platinotype prints and photo-etchings4 ,the second great artistic evil engendered by ,science1 is the careless manner in which things are expressed4 ,the scientist seeks for truth1 and is often indifferent to its method of expression4 ,to him1 8,can you not wait upon the lunatic80 is as the late ,matthew ,arnold said1 as good as1 8,canst thou not minister to a mind diseased80 ,to the literary artist1 on the other hand1 these sentences are as the poles asunder1--the one in bald truth1 the other literature4 ,they both mean the same thing2 yet what sthetic pleasure we get from the one1 and what a dull fact is1 8,can you not wait upon the lunatic80 ,there are photographs and photographs2 the one giving as much pleasure as the literary sentence1 the other being as dull as the matter-of-fact question4 ,the student with understanding will see the fundamental and vital distinction between ,science and ,art as shown even in these two short sentences4 ,and now1 ladies and gentlemen1 ,i do not think ,i can do better than finish this section by quoting another passage from the writings of the late ,matthew ,arnold4 8,deficit una mihi symmetria prisca4--#8,the antique symmetry was the one thing wanting to me1' said ,leonardo da ,vinci1 and he was an ,italian4 ,i will not presume to speak for the ,american1 but ,i am sure that1 in the ,englishman1 the want of this admirable symmetry of the ,greeks is a thousand times more great and crying in' any ,italian4 ,the results of the want show themselves most glaringly1 perhaps1 in our architecture1 but they show themselves also in our art4 ,fit details strictly combined1 in view of a large general result nobly conceived3 that is just the beautiful symmetria prisca of the ,greeks1 and it is just where we ,english fail1 where all our art fails4 ,striking ideas we have1 and well-executed details we have2 but that high symmetry which1 with satisfying delightful effect1 contains them1 we seldom or never have4 ,the glorious beauty of the ,acropolis at ,athens did not arise from single fine things stuck about on that hill1 a statue here1 a gateway there4 ,no1 it arose from all things being perfectly combined for a supreme total effect40 ,,conclusion4 ,and now ,i must finish my remarks4 ,i have not perhaps told you very much1 but if ,i have succeeded in impressing upon beginners and some others the vital and fundamental distinction between ,science and ,art1 something will have been achieved4 ,and if those students who find anything suggestive in my paper are by it led to look upon photography in future from a new mental attitude1 something more important still will have been attained4 ,for1 in my humble opinion1 though it is apparently but a little thing ,i have to tell1 still its effect may be vital and far-reaching for many an honest worker1 and if ,i have helped a few such1 my labour will have been richly rewarded indeed4 ,,index4 ,abney1 ,captain1 ,f4,r4,s41 #ac1 #afj1 #ahb4 ----'s fog-clearing solution1 #agf4 ---- hyposulphite of soda eliminator1 #age4 ---- on exposure1 tables1 #afj4 ---- 8,photography with ,emulsions10 #afb4 ---- 8,treatise on ,photography10 #bid4 ,abolition of medals1 #bbf4 ,accidents and faults in dry plates1 #agd4 ---- to the camera1 #acb4 ,adam ,salomon1 #adg1 #beb4 ---- ---- on retouching1 #ahg4 ---- ----'s portraits1 #bgi4 olus1 #bed4 ,arial perspective1 #bdh4 ,after-treatment of plates1 #agc4 ,agatharchos1 #cd4 ,aim of 8,naturalistic ,photography10 #h1 #bi4 ,albums1 #bbj4 ,alkaline developer1 #agj4 8,amateur0 and 8,professional0 photographers1 #ab4 ,american art1 #gh4 ---- wood engraving1 #bgc4 ,amount of landscape to be included in a picture1 #bee4 ,analysis1 #ag4 ,ancient ,greek and ,italian art1 #cc4 ,anderson's 8,pictorial ,arts of ,japan10 #ed4 ,angelo1 ,michael1 #fd1 #ic4 ,angle of view1 #aci4 8,antiques0 for tourists1 #ci4 ,apelles1 #cf4 ,apollodoros1 #ce4 ,apotheosis of ,homer1 #da4 ,apparatus1 #ada1 #beg4 ,appendix1 ,i41 #bic4 ---- ,,ii41 #bie4 ,aquatint1 #bgg4 ,aristotle1 #bc4 ,art1 #ag4 ---- among the ,philistines1 #eb4 ---- and culture1 #beh4 ---- and legerdemain1 #bee4 ---- and photography1 #e4 ---- at home1 #beh4 ---- blocks1 #bjd4 ---- criticism1 #ci4 ---- division1 #aj4 ---- principles1 #aad4 ---- of feeling nature1 #bej4 8,artist photographer10 #bed1 #beg4 ,artistic1 #ah4 8,artistic opals10 #beg4 8,art-,science10 #ah4 ,artificial light1 #adg4 ,assyrian art1 #cb4 ---- bas-reliefs1 #cc4 ---- lion hunt1 #cc4 ,astigmatism1 #ajj4 ,astronomical photography1 #b4 ,atkinson1 ,dr41 #bb4 ,atmosphere1 #aae4 ,bad wood engraving1 #bee4 ,backgrounds1 #adf1 #bdc4 ,bags1 #abi4 ,balance1 #bdh4 ,barometer of ,naturalism1 #ie4 ,baseboard of ,camera1 #abf4 ,bastien-,lepage1 #ij4 ,beautiful poses1 #bef4 ,bewick1 #gj1 #bgc4 ,binocular vision1 #aaa4 ,biting process1 ,a second1 #baf4 ,bitten plates1 #bab1 #bad1 #baf4 ,blind spot1 #ajj4 ,blisters1 #agf4 ,bloxham's 8,laboratory teaching10 #afb4 ,bolas' 8,cantor ,lectures10 #bie4 ,books on art1 #bic4 ---- recommended1 #bid4 ,boucher1 #he4 ,bouquet1 #aeg4 ,boy and thorn1 #da4 ,branches of ,photography1 #h4 ,breadth1 #ah1 #bdj1 #bee4 ,breton1 ,jules1 #ia4 ,british ,museum1 #dj4 ,brown fog1 #agf4 ,bruciani's plaster casts1 #ic4 ,brunn1 #ce4 ,buddhism1 #ed4 ,bunsen1 ,professor1 #aeh4 ,burnet's 8,treatise on ,painting10 #bch4 ---- 8,laws of ,composition10 #bch4 ,burns1 ,robert1 #bd4 ,busy ,insanity1 #beh4 ,byzantine art1 #df4 ,cadett's studio-shutter1 #adf4 ,callcott1 #gg4 ,camera1 #abe4 ----1 choice of1 #abe1 #abf4 ---- clamp1 #abi4 ----1 hand1 #acb4 ----1 length of1 #abg4 ----1 register test for1 #acb4 ----1 size of1 #abf4 ----1 square1 #abg4 ----1 studio1 #abh1 #adf4 ,camera obscura1 #ff1 #adi4 ,cameron1 ,mrs41 #aeb1 #afd1 #ahi4 ,canova1 #id4 ,caracalla's bust1 #dj4 ,carbon printing1 #aia4 ,catacombs1 #de4 ,cellini-,benvenuto1 #ic4 ,chalk drawing1 #bgj4 8,character0 in portraiture1 #beb4 ,charcoal drawing1 #bgf4 ,charlemagne1 #dg4 ,chemicals1 #afi4 ,chemical solutions1 #adb4 ,chemistry and ,photography1 #b4 ,chiaro-oscuro1 #ce1 #bci4 ,chinese ,art1 #ed1 #eh4 ---- renascence1 #ee4 ,choice of district to work in1 #bdf4 ---- ---- lens1 #acf4 ,christmas ,cards1 #beg4 ,cimabue1 #di4 ,classification of ,exposures1 #aed4 ,clays1 #ge4 8,clearness10 #bei4 ,cloud negatives1 #aig4 ,cold process in platinum printing1 #aid4 ,college of ,photography1 #ac4 ,collotypes1 c41 #bje4 ,colls1 ,w4 ,l41 #bji4 ---- ---- on ,photogravure1 #baa4 ,colour1 #ah1 #ajh4 ----1 differences of1 #ajh4 ---- of ,platinotype prints1 #aif4 ---- of landscape in sunshine1 #beg4 ,combination printing1 #aig1 #aii4 ,commercial groups1 #bdd4 ,commodus' bust1 #da4 ,composite1 photography1 #acg4 ,composition1 #bcg1 #bch1 #bdj1 #bdh4 ,constable1 #ge1 #bbg1 #bfh4 ,constable's dicta on art1 #ge4 ,contents of 8,naturalistic ,photography10 #h4 ,cooke1 #gg4 ,copper-plate printing1 #baj4 ,copy of schedule for copyrighting1 #bbb4 ,copyright1 #bba4 ,cordianus' bust1 #dj4 ,corot1 #he4 ,correggio1 #fe4 ,cover for developing dish1 #adb4 ,cox1 ,david1 #gc4 ,creative artist1 #ai4 ,creswell1 #gg4 ,criticism1 #bi1 #bei4 ,critics1 #bei4 ,crome1 ,old1 #ge1 #gf4 ,cuyp1 #hc4 ,daguerre and the ,french ,academy1 #a4 ,dallmeyer's new long-focus lenses1 #ace4 ,damages for infringement of copyright1 #bbd4 ,dark room and apparatus1 #ada4 ---- ----1 ventilation of1 #ada4 ,darwin1 ,charles1 on photographs1 #bgh4 ,daubigny1 #hf4 ,da ,vinci1 #bg1 #fd4 ,dawson1 ,a41 #bji4 ,decoration1 ,d',oyleys1 #bfd4 ----1 of hangings1 #bfd4 ----1 wall papers1 #bfd4 ----1 windows1 #bfb4 ,decorative art1 #bfj4 ---- ----1 enamels1 #bfb4 ---- ----1 panels and friezes1 #bfa1 #bfb4 ---- ----1 tiles1 #bfb4 ,defects in gelatine plates due to damp1 #agh4 ,de ,hooghe1 #ge1 #hc4 ,de la ,croix1 #he4 ,de la ,roche1 #he4 ,del ,sarto1 ,andrea1 #fe4 ,della ,robia1 #ic4 ,dense negatives1 #agg4 ,deposits on the film1 #agh4 8,depth of focus10 #aci4 ,descamps1 #he4 ,desideratum1 ,a great1 #bjf4 ,developing rule1 ,a1 #ada1 #afh4 ,development1 #afb4 ---- by artificial light1 #agb4 ----1 meteorological conditions in1 #afg4 ----1 method of1 #afg4 ----1 slow1 #afg4 ,de ,wint1 #gc4 ,diagrammatic blocks and plates1 #bjd4 ,diaphragm1 #ach4 ,direct and indirect vision1 #ajb4 ,direction of light1 ,law of1 #ajb4 ,dirty backs of negatives1 #agh4 ,dishes1 #adb4 ,dispersion of light1 #ii4 ,dixon and ,gray's ,orthochromatic ,photography1 #bhd4 ,doctoring negatives1 #ahi4 ,donatello1 #ib4 ,double-backs1 #abi4 ,drainage rack1 #adb4 ,drawing of photographic lenses1 #aah1 #acf4 ,dull spots and pits on negatives1 #agi4 ,dulwich ,gallery1 #fh1 #fi1 #gj4 ,duplicate plates1 #agc4 ,durer1 ,albert1 #bc1 #fa4 ,dutch ,art1 #hj4 ,early ,christian ,art1 #dd ,easel pictures1 #ce4 ,eastern ,art1 #eb4 ,eder's1 ,dr41 ,intensifier1 #age4 ---- ----1 8,modern dry plates10 #bid4 ---- potash developer1 #aga4 ---- reducer1 #agg4 ,educated sight1 #bcc1 #bch4 ,edwards's1 ,b4 ,j41 clearing solution1 #agg4 ---- ---- orthochromatic plates1 #ahb4 ---- ---- yellow screens1 #ahb4 ,egypt1 ,ancient1 works to be studied1 #ca4 ,egyptian art1 #cj4 ---- artists1 #cb4 ---- lions1 #ca4 ,emerson on 8,ventilation of the dark room10 #ada4 ----'s 8,ammonia poisoning10 #ada4 ---- 8,an ideal photographic exhibition10 #bbg4 ---- 8,photography2 a pictorial art10 #i4 ---- 8,pharyngitis and ,photography10 #ada4 ,emperors' ,school1 #df4 ,engineering and ,photography1 #c4 ,english ,art1 #fi4 ---- sculpture1 #id4 ---- v4 ,french photogravure1 #bji4 ,enlargements1 #bjj4 ,enlarging and tonality1 #bja4 ,enquiry into ,naturalism in ,art1 #bh4 ,etching1 #ha1 #bgd4 ,eupompos1 #cf4 ,evolution in ,art1 #fa4 ,exhibitions1 #bbe4 ,experiment for forming a rough rule for use of lenses1 #acf4 ,exposure1 #aed4 ----1 method of1 #aed4 ----1 variation of1 #aeg4 ,exposures1 classification of1 #aed4 ----1 lens and stop in1 #aeg4 ----1 meteorological conditions in1 #aeg4 ----1 no rule for1 #aei4 ----1 quick1 #aed1 #aee1 #aef4 ,exposures1 time1 #aee4 ----1 shutter1 #aef4 ----1 tables of1 #afj4 ,expression1 #beb4 ,fabius1 #ch4 ,fading of prints1 #aib4 ,failure1 #beg4 ,falsity of photographic portraits1 #bee4 ,fantin's flowers1 #aeb4 ,fechner's ,law1 #ajg4 ,ferro-prussiate printing paper1 #aid4 ,ferrous-oxalate developer1 #afi4 ,fiddle-brown trees1 #beh4 ,figure and landscape1 #bea4 ,fine ,art1 #ai4 ,finish1 #beg4 ,flare-spot1 #aci4 8,flat and weak0 negatives1 #bee4 ,flemish ,art1 #fi4 ,fluorescence1 #ajj4 ,focussing1 #aja1 #adh4 ----1 example of1 #aej4 ----1 mental attitude in1 #adh4 ----1 rule for1 #aai1 #aej4 ---- the eye1 #aja4 ,fog1 #age4 ,forensic medicine and photography1 #d4 ,forfeiture of pirated works1 #bbd4 ,fortuny1 #fh4 ,foster's1 ,w4 ,michael1 ,physiology1 #ig4 ,fovea ,centralis1 #aja4 ,frames1 #bai4 ,framing1 #bah4 ,french 7,modern7 ,art1 #hd4 ,frilling1 #agf4 ,fuseli1 #gj4 ,fuzziness1 #abj4 ,gainsborough1 #gj4 ,gambling for medals1 #bbg4 ,ganot's 8,physics10 #acd4 ,gelatino-bromide paper1 #aib4 ,gelatino-chloride paper1 #aib4 ,geography and photography1 #c4 ,german 7,modern7 ,art1 #fa1 #fh4 ,ghiberti1 #ib4 ,gibson ,gallery1 #dc4 ,giotto1 #di4 ,girtin1 #gc4 ,glass slabs1 #adc4 ,glazing a studio1 #ade4 8,good ,art10 #bef4 ,goodall1 ,t4 ,f41 on colour1 #ah4 ---- ----1 on composition1 #bhg4 ---- ----1 8,mere transcripts of ,nature10 #bf4 ---- ----1 on photography1 #big4 ,good work1 #beg4 ,gothic ,art1 #dh4 ,greek and ,grco-,roman sculpture1 #ci4 ---- and ,italian ,art1 #cc4 ---- chiaroscuro1 #ce4 ---- coins1 #db4 ---- landscape art1 #ch4 ---- painting1 #cd4 ---- perspective1 #ce4 ---- scene-painting1 #ce4 ---- vases1 mosaics1 and stone paintings1 #ch4 ,green fog1 #agf ,green plates1 #beb4 ,greuze1 #he4 ,ground-glass pictures1 #adi4 ,groups1 #bdd4 ,grown plates1 #bab4 ,guilds1 ,the1 #dh1 #ej4 ,halation1 #agg4 ,hamerton on ,photography1 #bgh4 ,hand cameras1 #acb4 ,hardwich and ,taylor's 8,photographic ,chemistry10 #bid4 ,harrison1 #gh1 #gi4 ----'s1 ,j41 8,history of ,photography10 #bid4 ,head-rests1 #adf4 ,heffner1 #fh4 ,helmholtz1 ,professor1 #ajc1 #ajh1 #aji1 #aaj1 #aaa4 ,henderson's enamels1 #bfb4 ,hering's theory1 #ajh4 ,hick's opaque measuring-glasses1 #adb4 8,high ,art10 #bj1 #ahe4 ,hints on copper-plate printing1 #baj4 ,hints on development1 #afd1 #afe4 ---- -- lenses1 #adj4 ---- -- photo-etching1 #baj4 ---- -- pictorial art1 #bed4 ---- -- platinotype printing1 #aie4 ,historical value of ,assyrian bas-reliefs1 #cc4 ,history of ,greek painting1 #cd4 ,hobbema1 #hc4 ,hodgson's 8,modern methods of book illustration10 #bid4 ,hogarth1 #fi4 ,hokusai1 #eh4 ,holbein1 ,hans1 #fc4 ,homer's bust1 #da4 ,hood for camera1 #abh4 ,horizon line1 #dd4 ,horse of ,selene1 #db4 ,hunt's1 ,w41 8,talks on ,art10 #gi1 #abd1 #bib4 ,hydrokinone developer1 #aga4 ,ideal1 #bj4 ,idealism1 #bi4 ,imaginative1 #bb4 ,impression1 #aah1 #bdi4 ,impressionism1 #bb4 ,impressionists1 ,modern1 #abj4 ,impressions v4 absolute fact1 #aca4 ,index1 #cjc4 ,individuality1 #beh4 ,indoor work1 #bdc4 ,industrial arts and photography1 #d4 ,industrial division1 #aa4 ,ingres1 #he4 ,intensification1 #age4 ,intensity of lenses1 #ach4 ---- ---- light1 #ajc4 ,interiors1 #beg4 ,interpreting nature1 #bb4 ,introduction1 #a4 ,israels1 ,josef1 #hc4 ,ivan the ,terrible1 #dg4 ,japanese ,art1 #ed1 #eh4 ---- ----1 #ast ,period1 #ed4 ---- ----1 #bnd ,period1 #ed4 ---- ----1 #crd ,period1 #ee4 ---- ----1 #dth ,period1 #eg4 ---- ---- at ,british ,museum1 #eh4 ---- ---- ,commissioners1 #eh4 ,japers at photography1 #bei4 ,jewellery1 #bdd4 ,justinian1 #df4 ,kano ,school1 #ef4 ,kauffman1 #gj4 ,kaulbach1 #fh4 ,krin1 #eg4 ,lamp for developing-room1 #aie4 ----1 travelling1 #adb4 ,landscape1 #bde4 ,landseer1 #gg4 ---- ----'s lions1 #ca4 ,lantern slides1 #bjb1 #bjc4 ,law of projection1 #ajb4 ---- ---- corresponding points1 #ajb4 ---- ---- visible direction1 #ajc4 ,laws of composition1 #bcg4 ,lawrence1 ,sir ,thos41 #abj4 ,lea1 ,carey1 ,dr41 #ahj4 ,lead-pencil drawing1 #bgj4 ,le ,brun1 #hd4 ,le ,conte's1 ,prof41 ,division1 #ih4 ,lenses1 #acd4 ---- for special purposes1 #acg4 ---- recommended1 #ace4 ,l',envoi1 #bff-bfi4 ,leslie1 #gg4 ----'s 8,life of ,constable10 #bic4 ,lewes1 ,g4 ,h41 #bj4 ,lhermitte1 #ia4 ,libraries and ,photography1 #d4 ,liesgang's 8,manual of ,carbon ,printing10 #bie4 8,life0 of the model1 #bef4 ,light1 #ih4 ,lighting of picture1 #aah4 ,limits of art1 #bef4 ,limpet-shell markings1 #agh4 8,lines10 #bdg4 ,line ,engraving1 #bga4 ,linnell1 #gg4 ,lithography1 #bga4 ,little ,masters1 #bga4 ,local colour1 #bb4 ---- development1 #aga4 ,lmmer's1 ,dr41 8,optics and ,light10 #bid4 ,lorraine1 ,claude1 #hd4 ,low-,art1 #bb4 ,ludius1 #ch4 ,maclise1 #gg4 ,macula lutea1 #aja4 ,makart1 #fh4 ,man and vulgarity1 #bed4 ,marblings in negatives1 #agh4 ,masks1 #aii4 ,mason1 #gg4 ,massys1 ,quintin1 #fj4 ,masters1 #if4 ,masters of the minor arts1 #bhi4 ,matahei1 #ef4 ,material for dresses1 #bdd4 ,measuring-glasses1 #adb4 ,medals1 ,art1 #bbf4 ,medival ,art1 #dg4 ---- ----1 glass paintings1 #dh4 ---- ----1 guilds1 #dh1 #ej4 ---- ----1 miniaturists1 #dg4 ,medical and ,biological ,photography1 #c4 ,meich1 #ee4 ,melanthios1 #cf4 ,merit of photographs1 #bed4 ,metallic patches on negatives1 #agi4 ,meteorology and ,photography1 #c1 #aeg4 ,meteorological conditions and development1 #afg4 ,method of copyrighting1 #bba4 ---- ---- reproducing negatives from nature for copperplate process1 #bab4 ,mezzotint engraving1 #bgg4 ,microscopy and ,photography1 #b4 ,military and ,naval ,photography1 #d4 ,millet1 ,jean ,franois1 #dd1 #hf1 #bcb4 ----'s dicta on art1 #hf4 ,miniatures1 #df4 ,modern ,french ,school of ,painting1 #dc1 #ia4 ---- ---- ---- ---- ,sculptors1 #id4 ,modified stops1 #ach4 ,mohammedan ,art1 #eb4 ,monarchies of ,western ,asia1 #cb4 ,monochrome ,painting1 #bgf4 ,morland1 #gj4 ,mosaics1 #de1 #df4 ,mouldings1 #bai4 ,mountants1 #bah4 ,mounting1 #bah4 ,mounts1 #bai4 ,mller1 #gg4 ,mller's ,law1 #ajb4 ,mulready1 #gg4 ,munkacsy1 #fh4 ,murillo1 #fh4 ,muybridge's cantering horse1 #db4 ---- ---- photographs1 #afa4 ,mystery of ,nature1 #beg4 ,nasmyth1 #gg4 ,national ,gallery1 #fj1 #fc1 #fe1 #ff1 #fg1 #fi1 #gc1 #gg1 #hj1 #hc4 ,naturalism1 #bb4 ---- in ,art1 #bh4 ---- in decorative ,art1 #bfj4 ,naturalistic photography1 #bei4 ---- work1 #beh4 ,nature and photography1 #bei4 ---- ---- pictures1 #beh4 ,nature and sanity1 #beh4 ,nature of a copyright1 #bbc4 ,negative finishing1 #agi4 ,negatives for decorative work1 #bfb4 ,nero's bust1 #dj4 ,newton1 ,sir ,w4 ,j41 #aeb4 ,nicol1 ,dr41 on sensitometer1 #afj4 ,ni 1 ,the1 #ed4 ,nobuzan1 #ee4 ,nude1 #ed4 ki1 #eg4 ,on breadth and simplicity1 #bee4 ---- copyright agreement1 #bba4 ---- 8form10 #bef4 ---- 8going in for photography10 #bee4 ---- impression and fact1 #aah4 ---- opinions on art1 #beh4 ---- publishing1 #beg4 ---- reproduction1 #bef4 ---- studying photography1 #bef4 ---- success1 #beg4 ,optic nerves1 #ig4 ,optics1 #acd4 ,original ,artist1 #bd4 ,origin of retouching1 #ahf4 ,ortho-chromatic ,photography1 #aha4 ,out-door portraiture1 #bdc4 ---- work1 #bdc4 8,outings10 #bdf4 ,outline drawing1 #bfi4 ,over-exposure1 #agd4 ,over-production1 #afi4 ,palolithic stone scratchings1 #bfi4 ,pamphilos1 #cf4 ,paper negatives1 #ahj4 ,paris ,salon1 #ia4 ,parrhasios1 #ce4 ,parthenon ,frieze1 #db4 ,pausias1 #cf4 ,pecuniary ,penalties for infringing copyright1 #bbd4 ,pen and ,ink drawing1 #bgj4 ,perspective1 #ce1 #aab1 #bci4 ,perspective1 four kinds of1 #aab4 ,pertinax's bust1 #dj4 ,phenomena of sight and art principles deducted therefrom1 #ig4 ,photographs as historical records1 #beg4 8,photographic10 #bd4 ---- ---- haunts1 #bdg4 ---- ---- ,libraries1 #bid4 ---- ---- ,society of ,great ,britain1 #ahe1 #bbg4 8,photographics10 ,dr4 ,wilson's1 #add4 ,photographing ,clouds1 #aih4 ,photography1 #bgg4 ---- ---- and ,art1 #bei4 ---- ---- a pictorial art1 #bfi4 ---- ---- applied to decorative art1 #bfa4 ,photo-etching1 #bjg4 ,photo-mechanical printing processes1 #bjd4 ---- ---- classification of1 #bjd4 ,pictorial ,art1 #bcj4 ,picture-buyers1 #ec4 ,pin-hole photography1 #aca4 8,pisanello10 #ic4 ,pisano1 ,andrea1 #ib4 ----1 ,niccola1 #di1 #ib4 ----1 ,nino1 #ib4 ----1 ,vittore1 #ic4 ,plate-making1 #afc4 ,plates1 #afc4 ,plate-washer1 #adb4 ,platinotypes1 #bje4 ---- ---- for book illustration1 #bje4 ---- ----1 framing of1 #bai4 ---- ----1 8sinking in0 of1 #bje4 ---- ----1 spotting1 #aie4 ---- ----1 texture of1 #aie4 ,platinotype ,company1 #aie4 ---- ----1 new cold process1 #aid4 ,poetry in works of art1 #bej4 ,point of sight1 #bed4 ,poitevin's method of enamelling1 #bfc4 ,polygnotos1 #cd4 ,portraits taken with rapid rectilinear lens1 #acg4 ,portraiture1 #bdc1 #beb4 ---- in studio1 #beb4 ,posthumous portraits and busts1#ahe4 ,poussin1 #hd4 ,practical ,hints1 #bed4 ,preface1 ,v4 ,pre-,raphaelites 7modern71 #be4 ,prettiness1 #bef4 ,principles of studio lighting1 #beb4 ---- of ,decorative art1 #bfa4 ,printing1 #aia4 ---- frames1 #adc4 ---- clouds1 #aih4 ---- papers1 #aia4 ,prints1 #aia4 ----1 carbon1 #aia4 ----1 gelatino-chloride1 #aib4 ----1 gelatino-bromide1 #aib4 ----1 permanency of1 #aib4 ----1 platinotype1 #aia4 ----1 silver1 #aia4 ----1 tonality of1 #aib4 ,print-sellers1 #g1 #ha4 ,pritchard's1 ,baden1 8,studios of ,europe10 #bfb4 ,prizes for 8set subjects10 #bed4 ,procrastination1 #bee4 ,prolonged and patchy fixings1 #agh4 ,protogenes1 #cg4 ,pseudo-scientific photographers and art1 #bed4 ,psychological data of sight1 #aaa4 ,quality1 #bd1 #bef4 ---- of greatness1 #beg4 ,qualities of a picture1 #bea4 ---- of good lenses1 #adj4 ,queer judges1 #bbg4 ,raphael1 #fe4 ,realism1 #bd4 ,red-carbon process for decorative work1 #bfb4 ,red fog1 #agf4 ,reflections and shadows1 #bef4 ,reflectors1 #adf4 ,reform in exhibitions1 #bbg4 ,registration of photographs1 #bbc4 ,rejlander1 ,o41 #aii4 ----1 on combination printing1 #aii4 ----1 on retouching1 #ahh4 ,relative tone or value1 #be4 8,rembrandt pictures10 #bed4 ,rembrandt's etchings1 #ha4 ---- paintings1 #hj4 ,remedies for infringement of copyright1 #bbd4 ,removal of varnish from negatives1 #agh4 ,renascence1 ,european1 #ei4 ,replicas1 #bbd4 ,resolution1 #bed4 ,retouching negatives1 #ahd4 ---- ----1 ,adam ,salomon on1 #ahg4 ---- ----1 ,cameron1 ,mrs41 on1 #ahi4 ---- ----1 ,definition of1 #ahd4 ---- ----1 ,rejlander on1 #ahh4 ,retrospect of ,photography1 #b4 ,reubens1 #fi4 ,reynolds1 ,sir ,j41 #fi4 ---- on rules1 #bda4 ,rhetoricians1 ,roman1 #ci4 ,rhyparographi1 ,the1 #cg4 ,ribera1 #ff4 ,rising front of camera1 #abi4 ,roller slides1 #ahj4 ,roman ,art1 #ch4 ,roscoe's 8,lessons in ,elementary ,chemistry10 #afb4 ,rousseau1 #he4 ,ruby glass1 #ada4 ,sable-hair brush1 #adb4 ,sargent1 #gh1 #gi4 ,sawyer's1 ,j4 ,r41 8,,abc of ,carbon ,printing10 #bid4 ,scales1 #adc4 ,scene-painting1 #cd4 ,science and ,art1 #bie4 ---- division1 #aa4 ,scientific diagrams1 #aeb4 ---- photographic work to be reconsidered1 #acf4 ,scratches on plates1 #agi4 ,sculpture1 #ib4 ,sea-air and dry plates1 #agh4 ,sensational in nature1 #bef4 ,sensitometer1 ,warneke's1 #aei4 ----1 ,dr4 ,vogel on1 #aei4 ,sentiment1 #be1 #bef4 ---- and poetry1 #bef4 ,sentimentality1 #be4 ,sesshi1 #ef4 ,setting up the ,camera1 #abi4 8,sharpness10 #beg4 ,shijo ,school1 #eg4 ,shibun1 #ee4 ,sight1 #g4 ,size of plate1 #abg4 ,slabs of glass1 #adc4 ,slow development1 #afg4 ,soga chokman1 #ef4 ---- ,jasoku1 #ee4 ,soul1 #be4 ,south ,kensington ,museum1 #gd1 #gg1 #gi1 #ic4 ,spanish 7modern7 ,art1 #fg4 ,spherical aberration1 #ii4 ,spiller1 ,a41 8on permanency of gelatine-bromide prints10 #aib4 ,spirit-,levels1 #abf4 ,spontaneity1 #beg4 ,spotting negatives1 #ahi4 ---- prints1 #aie4 ,spurious pictures1 #bbd4 ,standard developer1 #agj4 ,stansfield1 #gg4 ,stereoscopic ,slides1 #bjb4 ,stolen bits1 #beh4 8,stopping down10 #adi4 8,stops10 #ach4 ,st4 ,peter's ,statue at ,rome1 #de4 ,studio1 #add4 ----1 building1 #add4 ----1 camera1 #abh1 #adf4 ----1 ,dr4 ,wilson's specifications for1 #add4 ---- effects1 #adg4 ---- furniture1 #ade4 ---- glazing1 #ade4 ---- lighting1 #adg4 ----1 objets d'art1 #ade4 ----1 principles of lighting1 #add1 #beb4 ----1 rule for lighting1 #adg4 ----1 top and side light1 #add4 ---- walls1 #ade4 ,study of ,chemistry1 #afb4 ---- ,tone1 #agc4 ,subject of a picture1 #bej4 ,sun and shadows1 #bei4 ,supplementary poles1 #abi4 ,surveying and ,photography1 #c4 ,swing-backs1 #acj4 ----1 use of1 #acj4 ,swiss ,art1 #fc4 ,table of contents1 ix4 ,taine's 8,la philosophe de l'art ,grec10 #dc4 ,teaching of ,art1 #bid4 ,technical criticism1 #dc4 ,technique1 #bf1 #abc1 #bic4 ---- and practice1 #abc4 ,teniers1 #fi4 ,terminology1 #ag4 ,textures of printing papers1 #aie4 ,theban-,attic ,school1 #cf4 ,theon of ,samos1 #cg4 ,thirteenth ,century ,sketchbook1 #di4 ,thorwaldsen1 #id4 ,thumb-screws1 #abf4 ,timanthes1 #ce4 ,timomachos1 #ch4 ,titian1 #ff4 ,tonality and development1 #afd4 ,tone1 #bf1 #aae1 #bdh4 ,topography1 #beh4 ,torso at ,british ,museum1 #da4 ,trajan's bust1 #dj4 8,transcript of ,nature10 #bf4 ,transparencies1 #bjb4 ,transparent spots in negatives1 #agg4 ,travelling lamps1 #adb4 8,treatise on ,painting10 #bcg1 #bch4 ,treatment of model1 #bdd4 ,tripod head1 #abh4 ,tripods1 #abh4 ,troyon1 #hf4 ,turbidity of media of the eye1 #ajj4 ,turner1 #gc4 ----'s 8,frosty ,morning10 #gd4 ,tyndall1 ,prof41 #aeh4 ,tyndall's 8,lectures on ,light10 #ab1 #bid4 ,typographic blocks1 #bje4 ---- ,etching ,company1 #bjh4 ,under exposure1 #agd4 ,undeveloped ,islands1 #agi4 ,value of a picture1 #bef4 ,van der ,velde1 #hc4 ,vandyck1 #fi4 ,van ,eyck1 ,the brothers1 #ei4 ----'s portrait1 #fj4 ,vanity1 #beg4 ,van ,ostade1 #fi1 #hb4 ,varnish1 ,dr4 ,carey ,lea's1 #ahj4 ----1 removal of1 #agh4 ,varnishing a negative1 #agi4 ,velasquez1 #fg4 ,verestchagin1 #fh4 ,view-finder1 #ach4 ---- -maker1 #ajj4 ,vigilance committees for plates1 #afc4 ,vignetting1 #aif4 ,vogel1 ,dr41 #agg4 ----1 on chemical action of sky1 #aeh4 ----1 exposure tables1 #afj4 ---- ,warneke's sensitometer1 #aei4 ---- altochromatic plates1 #ahb4 ,vulgarity1 #bee4 ,walker1 ,f41 #gg4 ,walker and ,eastman films1 #ahj4 ,water-colours1 #ec1 #ga4 ,watteau1 #hd4 ,welford and ,sturmey's 8,photographer's ,indispensable ,handbook10 #bie4 ,wet-plate process1 #afc4 ,whistler1 ,j4 ,m41 #af1 #gh4 ----1 on mounts1 #bah4 ----1 8,art and ,art critics10 #gh4 ----1 8,ten o'clock10 #gh4 ,wilkie1 #gg4 ,wilkinson's 8,ancient ,egyptians10 #cb4 ,willis1 ,w41 ,jun41 #aic4 ,wilson1 #fi4 ,wilson's1 ,dr4 ,e41 8,burnet's ,treatise on ,painting10 #bcg1 #bid4 ,wilson's1 ,dr4 ,e41 8,photographics10 #add4 ,woermann1 ,dr41 #bh4 ,woltmann1 ,dr41 #bh4 ,wood-engraving1 #ga1 #bgb4 ,work and faith1 #bee4 8,working up0 in oils1 c41 #ahd4 ,wu-,tao-,tsz1 #ei4 8,year's ,art for #ahhg10 #bbc4 ,year-book of ,photography and ,photo ,news ,almanac1 #ahhe-hg1 #ada4 ---- ---- and ,british ,journal ,almanac1 #ahhg1 #ada4 ,yellow fog1 #agf4 ,yellow stains on negative1 #agg4 ,young ,satyr at ,british ,museum1 #da4 ,zeuxis1 #ce4 ,,the ,,end4 ,,london3 ,,printed ,,by ,,gilbert ,,and ,,rivington1 ,,limited1 ,,st4 ,,john',s ,,house1 ,,clerkenwell ,,road4 8,if any one wants to convert an artist to photography1 he should present him with some of ,emerson's pictures2 but1 whether with this object or otherwise1 we earnestly recommend every photographer to obtain1 and to study1 ,emerson's books40--,mr4 ,w4 ,j4 ,harrison in 8,the ,international ,annual of ,anthony's ,photographic ,bulletin0 for #ahhh4 ------------------------------------ ,,dr4 ,,emerson',s ,,works4 ,life and ,landscape ,series4 ,collectors and ,librarians should take notice that all ,dr4 ,emerson's previously published ,works are strictly limited to the numbers herein advertised4 ,after the completion of the advertised editions all plates and blocks will be at once destroyed4 ,intending purchasers should therefore complete their sets as soon as possible1 before the works become scarce and advance in price4 ,these works can be obtained through any bookseller or from the publishers direct4 ------------------------------------ ,separate ,plate4 8,,gathering ,,water-,,lilies40 7,copyright47 ,,autogravure4 ,size of ,plate1 #ad #aa inches4 ,india ,proofs1 mounted on plate paper1 size #bc #ag1 limited to #aej copies4 ,price #ajs4 #f;d4 each4 ,prints on plate paper1 size #bc #ag inches1 #gs4 #f;d4 each4 ,limited to #ajjj copies4 ,to be obtained of the ,,autotype ,,company1 #gd1 ,new ,oxford ,street1 ,london4 ------------------------- ,,life ,,and ,,landscape ,,on ,,the ,,norfolk ,,broads4 ,by ,p4 ,h4 ,,emerson1 ,b4,a41 ,m4,b4 7,cantab471 and ,t4 ,f4 ,,goodall4 ,illustrated with ,forty ,plates from ,nature1 mounted on plate paper1 size #ag #ab inches4 ,edition de luxe1 limited to #ajj copies1 bound in vellum1 with black and gold decorations1 plates mounted on ,india paper1 and text printed on finest white paper4 ,price #aj #ajs4 ,ordinary ,edition1 handsomely bound in cloth1 plates mounted on finest plate paper1 and text printed on fine white paper1 limited to #gej copies4 ,price #f #fs4 ,this ,work contains a valuable ,essay on 8,landscape10 including ,photography1 by the landscape painter ,t4 ,f4 ,goodall1 and should be studied by all ,photographers4 7,,sampson ,,low ,,co41 ,ld41 ,st4 ,dunstan's ,house1 ,fetter ,lane1 ,e4,c47 ,opinions of the ,press4 8,we feel grateful to ,dr4 ,emerson and ,mr4 ,goodall for a most fascinating volume4 ,there is something singularly characteristic and attractive in the scenery of the ,norfolk ,broads1 as there is much that is peculiar and picturesque in the manners of the primitive population4444 ,the series of illustrations seem to embrace and exhaust the whole range of local subjects4 ,we are taken through wildernesses of wood and water1 through sedgy solitudes1 haunted by shy waterfowl1 along winding river-reaches with wherries under sail4 ,we are landed in quaint nooks of that watery world1 where the tumble-down cottage of the fisherman or the fowler hangs over the rushy creek2 we see the lonely farmhouse1 with its sedge-thatched and straggling outbuildings1 standing somewhat apart between marsh and cloudland2 or the sequestered hamlet huddled round the little church1 with the rude spire which is a landmark for leagues along the water-ways4 ,we are shown the amphibious people following their multifarious occupations1 with their farming1 and their fishing1 and their strange fashions of fishing4444 ,the set of landscapes which close the volume are excellent as works of art1 and they give an admirable idea of the somewhat melancholy charms of the scenery1 when it does not happen to be lighted up by brilliant sunshine40--,the ,times4 8,good wine needs no bush1 and the ,norfolk scenery needs no praise2 but one may blamelessly sing in praise of good wine and the singing be but good1 and write of or photograph ,norfolk meritoriously4 ,this ,messrs4 ,emerson and ,goodall have done1 and done well1 for which they deserve much thanks40--,saturday ,review4 8,the life depicted in this charming series of photographs is still redolent of the past4 ,the wide expanse of flowery pasture-land1 the smooth and pellucid waters1 the picturesque craft1 and the hardy good-humoured ,broadsmen with their nets and meaks1 are admirably represented1 while the descriptive letterpress will recall many of his own experiences to the reader familiar with ,east ,anglian waters40--,morning ,post4 8,dr4 ,emerson has in this work applied the art of photography in so triumphant a manner1 that the fitful breezes are clearly caught on the water1 and seen playing amongst the heads of the reeds4444 ,we can vouch for their wonderful fidelity to ,nature4 ,nothing like it has ever been published40--,the ,field4 8#8,life and ,landscape on the ,norfolk ,broads' is a book of unique artistic interest4444 ,the prevailing tone of the pictures is restful and subdued4 ,there is much of quiet cloudy sky and long evening light4 ,and the general impression left by the illustrations1 even when representing the characteristic industries of the ,norfolk work-a-day world1 is singularly free from anything approaching to hurry and turmoil4 ,the claims of photography to rank among the true means of artistic production were never better exhibited than in this series of studies4444 ,they leave no possible doubt of ,dr4 ,emerson's manipulatory skill1 or of the tasteful discrimination of the fellow art-workers40--,the ,globe4 8#8,life and ,landscape on the ,norfolk ,broads' is the name of a really beautiful book4444 ,the text is descriptive1 and pleasantly descriptive1 of the scenes reproduced from nature4444 ,we have seldom1 perhaps never1 seen such successful studies of landscape made by any mechanical process44440--,daily ,news4 8,it is enough to know that they are exquisitely beautiful4 ,it has sometimes been contended that photography is not art4 ,that view has had to be modified4 ,it has been shown that in the hands of artists photography can be used with admirable effect4 ,if proof of this be required1 it will be found in this volume4 ,there is nothing of the wooden stiffness of the old photographs about the pictures4444 ,some of them might be reproductions in monochrome of ,corot's pictures4 ,light and shade are exquisitely managed4 ,every picture is arranged with the truest taste4444 ,then all the plates are redolent of the spirit of the scene40--,scotsman4 8,the volume of #8,plates from ,nature' which ,messrs4 ,emerson and ,goodall have just published to illustrate #8,life and ,landscape on the ,norfolk ,broads' is an extraordinary achievement in photography4444 ,messrs4 ,emerson and ,goodall have now taken them up1 and mirrored their river highways and their shy retreats alike with a uniform success1 which must have been the result of extraordinary skill and patience4444 ,the peasants and watermen gave1 it is clear1 much information about life on the ,broads1 which the authors have occasionally worked up into very interesting letterpress40--,pall ,mall ,gazette4 8,that beautiful series of forty plates1 with their accompanying letterpress1 illustrating #8,life and ,landscape on the ,norfolk ,broads1' are an unanswerable refutation of those who say there is no art in photography4 ,mr4 ,p4 ,h4 ,emerson1 ,b4,a41 and ,t4 ,f4 ,goodall have been round the fens with camera and note-book to some purpose4444 ,there is every quality in many of them of thoroughly good pictures4444 ,no episode or incident seems to be inaccessible to these skilful artists40--,daily ,telegraph4 8,they have studied the ,broads in all seasons and in all aspects1 in the full light of the cloudless summer mornings1 and in the autumn evenings when the light grows dim1 and the result is forty plates in platinotype1 of great variety1 of singular interest1 and of remarkable beauty4444 ,both the authors of the illustrative text are accomplished writers1 and their articles are of unusual merit40--,the ,school ,board ,chronicle4 8#8,life and ,landscape on the ,norfolk ,broads' is an epoch-making book because such perfection of photography1 such perfection of reproductive processes1 and such perfection of artistic feeling have never before been brought together40--,amateur ,photographer4 8,now and then in the past we have seen occasional photographs such as ,dr4 ,emerson now presents1 but to him is due the credit of endeavouring to form a real and truthful school of photographic representation40--,photographic ,news4 8,thus we have fishermen and women engaged in all the phases of labour which the water-wastes of ,norfolk afford1 and all happily unconscious that they are standing for their portraits--none of them staring into the camera in ordinary photographic fashion1 but all pursuing their avocations in an unaffected and natural manner4 ,this is a rare excellence1 which is deserving of all praise1 and the value of the plates as truthful illustrations of the ordinary work and demeanour of the people is greatly enhanced by the judgment and skill manifested in this particular4444 ,the letterpress which accompanies the plates is not the least entertaining part of the book40--,manchester ,guardian4 ,,pictures ,,from ,,life ,,in ,,field ,,and ,,fen4 ,by ,p4 ,h4 ,,emerson1 ,b4,a41 ,m4,b4 7,cantab474 ,being ,twenty ,plates in ,photogravure reproduced from ,dr4 ,emerson's ,original ,negatives by ,messrs4 ,dawson ,co41 ,boussod1 ,valadon ,co41 ,walker ,boutall1 and the ,autotype ,co41 together with an ,introductory ,essay on ,photography and ,pictorial ,art4 ,the ,plates are enclosed in a handsome ,portfolio4 ,edition de luxe1 limited to #ej numbered copies1 ,plates on ,india paper1 size #bj #af inches4 ,price #e #es4 ,ordinary ,edition1 limited to #eej copies1 with ,plates on fine plate paper1 same size4 ,price #c #cs4 ,n4,b4--,the ,author reserves the right of publishing separately1 on plain paper1 any one of these ,plates until the edition is completed1 after that all plates will be destroyed4 7,,geo4 ,,bell ,,son1 ,york ,street1 ,covent ,garden1 ,w4,c47 ,opinions of the ,press4 8,his compositions remind us more of paintings than of any mechanical reproductions of ,nature4 #8,sunrise at ,sea1' ',the ,barley ,sele1#8 ',the ,faggot-,cutters1' ',at ,plough1#8 ',a ,winter's ,morning1' and #8,the ,mangold ,harvest1' are all well chosen and cleverly arranged compositions1 and they show us that it is by no means so impossible to combine in photography the human figure and natural landscape1 and to tell a simple pictorial story1 as is commonly believed4 ,we congratulate ,mr4 ,emerson on this achievement2 his work1 at all events1 deserves that praise which is due to those who try to raise the art to which they are devoted1 and to carry it a step farther than is usually considered necessary4 ,it is something to have carried photography a step farther in the direction of art1 and ,mr4 ,emerson is fairly entitled to claim this praise40--,spectator4 8,he has spoken1 as well as taken1 twenty original negatives1 and has done both to good purpose4 ,a man must have penetrated into the inner circle of the lives of our ,east ,anglian peasantry before he could have the chance of witnessing some of the scenes which he so sympathetically represents4444 ,many will look at the beautiful series of plates in photogravure1 and be charmed with the skill with which they have been manipulated4 ,we find our highest pleasure in approving the carefulness with which the real types have been selected and the #8environment' made appropriate40--,the ,field4 8,dr4 ,emerson's very handsome folio of twenty plates of varied subjects1 mostly found in the above county1 is useful as showing what care in grouping1 and tact and judgment in selecting points of view1 will do towards producing effective pictures when the photographer combines the qualities referred to40--,artist's ,record4 8,dr4 ,emerson 444 has been the teacher of a new school of art photography and he has now a large following1 many of whom are endeavouring to do work as good and true to the #8school' as the examples that are before us4444 ,as a source of study for amateur photographers and as a drawing-room book we highly recommend #8,life in ,field and ,fen' to all our readers4 ,as specimens of reproductions of photographs the plates are beyond praise1 and the book is beautifully printed and got up in a most artistic manner40--,amateur ,photographer4 8,how far photography can go is well shown in this carefully prepared defence of it as an art40--,athenum4 8,when we say that ,dr4 ,emerson has so used his camera as to truly represent ,nature1 we say the highest4444 ,having with rare judgment steered clear of doubtful and1 to the camera1 impossible subjects1 ,dr4 ,emerson has given us some delightful photographic pictures1 which not only represent1 but also interpret ,nature4444 ,dr4 ,emerson evidently intends to form a school in photography1 and has resolved to show photography at its best40--,photographic ,news4 8,dr4 ,emerson1 the producer of this fine portfolio of photogravures1 represents to some extent a new effort to get home once more to ,nature1 and he enters into the battle as a photographer4444 ,his seascapes are exquisite4444 #8,a ,suffolk ,dyke' 7a charming study of river and ,suffolk fen7 and #8,breydon ,water1' sea-fog coming up 7a sweet picture1 full of all the feeling of the place74444 ,the work is of a very choice character40--,school ,board ,chronicle4 8,exquisite photographs exquisitely reproduced40--,pall ,mall ,gazette4 8,they are in themselves of artistic merit as regards grouping and selection4 ,some of them1 such as #8,the ,poacher' and the #8,dame's ,school1' are distinctly dramatic1 and they are produced with much care and nicety by the automatic etching process40--,daily ,telegraph4 8,it is marvellous how completely ,dr4 ,emerson appears to have mastered the difficulties which have attended the use of the camera4 ,no painter could have produced anything more charmingly true to ,nature1 more suggestive of real life and interest1 than many of the pictures in this volume4 ,they are admirably taken1 with a carefulness in regard to light and shade that has rarely been approached40--,the ,scotsman4 ---------------------------------------- -------------------------------- ,separate ,plate4 ,,the ,,haysel4 7,copyright47 ,,photogravure4 ,size of ,plate1 #bb #ag inches1 taken direct4 ,india ,prints on paper1 #cd #bf inches1 limited to #ajj copies4 ,price #aes4 a copy4 ,prints on fine plate paper1 size #cd #bf1 limited to #djj copies4 ,price #ajs4 a copy4 ,after the advertised number has been pulled1 the plate will be destroyed4 ,copies to be obtained of the ,,typographic ,,etching ,,company1 #c1 ,ludgate ,circus ,buildings1 ,e4 ,c4 ,opinions of the ,press4 8,we have received 444 a very beautiful reproduction of a picture by ,p4 ,h4 ,emerson1 which is a triumph both for photographer and process4444 ,there is much poetical feeling in the grouping4444 ,the general tone of the picture is a subdued red1 and gives one the idea of summer twilight40--,the ,camera4 8,we have here a magnificent plate40--,photographic ,news4 8,from the ,typographic ,etching ,company we have a reproduction of a landscape by ,p4 ,h4 ,emerson 444 by a process 444 possessing decided individuality and capable of effect of light and atmosphere which the present example shows may be suggestive and pleasing4 ,here the figures of the labourers and the laden wain are realized with considerable fidelity to the conditions of light and air that constitute a vague glimmering environment4 ,the charm of tranquillity that belongs to mild diffused light and spacious windless atmosphere can scarcely have suffered by translation in this instance40--,saturday ,review4 8,whether in composition or general treatment it is a picture of which the artist may justly feel proud40--,british ,journal of ,photography4 8,we have received a large plate of a beautiful meadow scene also photographed by ,mr4 ,emerson4 ,it is indeed a ,june idyl of the marshes1 with the women in picturesque attire piling upon a hay waggon the sweet-scented grasses for transport to the neighbouring stackyard40--,scotsman4 8,it is most certainly a splendid production1 though its beauties do not dawn upon one at the first glance1 yet after a little contemplation we must confess that it is one of the best examples of photogravure we have ever seen40--,photographers' ,world4 ------------------------------------ ,,idyls ,,of ,,the ,,norfolk ,,broads1 ,a ,series of ,twelve ,plates1 depicting ,pastoral ,life in ,east ,anglia1 reproduced in ,autogravure from ,original ,negatives1 with accompanying descriptive ,notes1 by the ,author1 ,p4 ,h4 ,,emerson1 ,b4,a41 ,m4,b4 7,cantab474 ,numbered ,proofs printed on ,india and ,plate paper1 outside size #ag #ac inches1 in gold-lettered portfolio4 ,price #a #aas4 #f;d4 ,the issue of these proofs is limited to #aej4 ,prints on ,plate paper1 outside size #ag #ac inches1 in lettered portfolio4 ,price #a #as4 ,the issue of these ,prints is limited to #fjj copies4 7,,autotype ,,co41 #gd1 ,new ,oxford ,street1 ,london1 ,w47 ,press ,notices4 8,it contains a dozen exquisite studies of the ,broads and their borders1 reproduced by their well-known delicate process of autogravure4 ,these pictures are selected with true artistic feeling1 and in almost every case they have #8composed' as perfectly as though they were arranged at will and not by ,nature4 ,there is but one word which fitly indicates their merit1 and that is one borrowed from their title--idyllic40--,land and ,water4 8,in a handsome1 delicate portfolio1 in white and gold1 in choice and luxurious form1 are presented a dozen deeply mounted autogravure plates1 on ,india paper1 from photographic negatives4 ,they are loving studies of beloved aspects and incidents in the land of the famous ,broads1 in every season of the year and in various phases of the quiet life of that country4 ,mr4 ,emerson's text1 printed on fine old ,english rough quarto paper1 poetically descriptive of the country and of the scenes of the pictures1 makes beautiful bits of writing40--,school ,board ,chronicle4 8,in #8,idyls of the ,norfolk ,broads' ,mr4 ,p4 ,h4 ,emerson still further adds to our knowledge of the pastoral life and landscape of the ,english ,fens4 ,he is in love with the country--he calls it an earthly paradise2 and never did lover sing the praises of his mistress with more enthusiasm than does ,mr4 ,emerson the distinctive beauties of this land of mists and marshes and sweet-scented meadows1 with its industrious and homely people4444 ,the scenes have been selected with an artist's eye1 and are reproduced in really a delightful manner--two especially are very pleasing--#8,flowers of the ,mere1' in which we have the head of a charming little village maiden1 and #8,a ,grey ,day ,pastoral1' the silvery tones of which have at least been suggested in black and white4 ,accompanying each plate is a concise1 well-written description of the scenery depicted40--,scotsman4 8,the present volume of proofs on ,india paper1 reproducing original negatives by the autotype process1 presents some of the most charming and characteristic types of ,east ,anglian life and scenery40--,daily ,telegraph4 8,that ,mr4 ,emerson is an enthusiastic lover of the ,norfolk ,broads is very evident4 ,to him ,east ,norfolk is an earthly paradise1 replete with all the elements that conduce to poetry and art4 ,of these the former finds an outcome in the descriptive letterpress1 and the latter in twelve photographs1 which illustrate one or other phases of life or nature in these broads4444 8,these pictures are1 in most cases1 full of feeling4 ,in technical merit #8,the ,windmill' excels4 ,it is a very charming little picture1 about four inches square1 representing a windmill standing close by a stream1 boats lying at repose alongside4 ,the engraving1 printing1 and general get-up are of a high order of merit40--,british ,journal of ,photography4 8,mr4 ,emerson gives a poetic account1 almost with the loving fervour of ,virgil1 of the beauties that he so much feels4444 ,altogether ,mr4 ,emerson has in this last series done an excellent thing1 and should the time come when photographers in general do similarly1 artists will not speak of photography as they very often do at present40--,photographic ,news4 8,on the whole1 the series is representative of the district of which ,mr4 ,emerson writes with the knowledge that comes of enthusiastic study4 #8,the ,mill1' #8,the ,haysel' and the marshy pasture4 ,no4 #c1 are charming pictures4 #8,a ,grey ,day ,pastoral' is a pleasing example of the cool1 moist1 and luminous effect of mild diffused light under a thin veiled sky4 ,mr4 ,emerson's text is pleasant reading40--,saturday ,review4 8,mr4 ,emerson is well known as the producer of some of our most artistic photographs and these #8,idyls' cannot fail to increase his reputation4444 ,each one is a delightful study4444 ,the composition in each case is admirable1 and they are printed in a manner which shows advance in photographic art40--,artist4 8,this is truly a book for the drawing-room table4 ,the introductory matter1 as well as the descriptive text1 give proof that ,mr4 ,emerson is as successful a worker with pen as with sun-pencil1 for the matter is full of poetic touches which only a true lover of ,nature would be capable of1 and which few could express in such a charming manner40--,the ,camera4 ------------------------------------ ,,pictures ,,of ,,east ,,anglian ,,life4 ,illustrated with ,thirty-two ,photogravures and ,fifteen smaller ,illustrations4 ,the text1 divided into twenty-six chapters1 treats of the ,east ,anglian peasantry1 and is full of interesting information of the habits and customs of the peasantry and fisherfolk1 of their ghost stories1 witchcraft1 and of natural history1 poaching1 c4 ,the ,edition de luxe1 size #bj #af inches1 is handsomely bound in vellum1 with green morocco back1 and black and gold decorations4 ,the text is printed on best ,english hand-made paper2 the small ,illustrations1 as well as the larger ones1 are printed on ,india4 ,this sumptuous ,edition is limited to #ge numbered copies4 ,price #g #gs4 a copy4 ,the ,ordinary ,edition is strongly bound in cloth and leather4 ,the ,plates are printed on best plate paper1 and the text is printed on best white paper4 ,this ,edition is strictly limited to #ejj copies4 ,price #e #es4 a copy4 7,,sampson ,,low ,,co41 ,ld41 ,st4 ,dunstan's ,house1 ,fetter ,lane1 ,e4,c47 ,press ,opinions4 8,it is a monograph1 pictorial and literary1 on the ,suffolk peasantry and fisherfolk--a natural history of one of the most interesting of ,english race-types4444 ,hedger and ploughman1 fisher and boor1 as they are pictured in these exquisite engravings1 they have a not too remote resemblance to the melancholy peasant of ,millet4444 ,the author has something of his eye for the bovine-human type1 for the fine artistic gloom of life and mind of the fields40--,daily ,news 7,leader74 8,after a hasty glance at ,mr4 ,p4 ,h4 ,emerson's handsome large quarto volume 444 one is disposed to characterize it as the prose of ,dr4 ,jessop's #8,arcady4' ,on better acquaintance1 we see that there is in ,mr4 ,emerson's book also a great deal of the poetry of real life4 ,we 444 claim that in ordinary village ways as sketched by ,mr4 ,emerson1 and in village character1 hard and uninviting as it seems to the outsider1 there is poetry' enough4444 ,he has plenty of quiet humour4444 ,of some of the plates1 which form such a feature in this volume1 it is impossible to speak too highly40--,the ,graphic4 8,it might almost be said to be descriptive by anecdote1 of which the author seems to have a rare store1 on every aspect of the subject with which he deals4 ,his book is undoubtedly 444 #8a contribution to a natural history of the ,english peasantry and fisherfolk4'444 ,in this series of ,east ,anglian books ,mr4 ,emerson has distinctly elevated landscape photography4 ,his scenes are selected with the eye of a true artist4444 ,to a certain extent ,mr4 ,emerson may be said in these pictures to have done for the peasantry of ,east ,anglia what ,jean ,franois ,millet did for those of his own country40--,scotsman4 8,in #8,a ,stiff ,pull' and #8,in the ,barley ,harvest1' both capital subjects1 capitally treated1 he has been successful enough to make us wish that ,millet had painted in ,suffolk instead of at and about ,chailly-en-,bire4 ,in another plate1 #8,the ,farm by the ,broad1' he contrives to give us something of the effect of 444 a ,corot4 ,in 444 #8,going ,out' and 444 #8,coming ,ashore' he reminds us a little of ,mesdag2 in other plates 444 of the followers of ,bastien ,le ,page40--,saturday ,review4 8,the volume may be taken1 therefore1 as representing pretty completely the present state of the art of photo-engraving in ,england4444 ,mr4 ,emerson is to be congratulated on having brought distant ,east ,anglia and its people before us with a completeness that has not been attempted with any other considerable portion of the ,british ,islands40--,manchester ,guardian4 8,the tales and interesting folk-lore are simply and pleasantly told4 ,the philologist will find in these pages many fresh words and expressions2 the artist and naturalist many curious and novel observations4444 ,the book is a valuable addition to the natural history of the ,english peasantry and fisherfolk40--,daily ,telegraph4 8,dr4 ,emerson's new book is one which no county family's library in ,suffolk should be without4444 ,dr4 ,emerson has studied the ,suffolk peasantry with conscientious thoroughness and approached his subject with sincere sympathy for the hardness of their life40--,pall ,mall ,gazette4 8,all who have felt the peculiar attraction of ,east ,anglian scenery are grateful to ,dr4 ,p4 ,h4 ,emerson for his splendid photogravures4444 ,this splendidly got-up folio is an important work1 reflecting high credit on all concerned in its production4 ,we hope ,dr4 ,emerson will not allow his camera to lie idle4444 ,dr4 ,emerson has been a close observer of their character and intelligence1 and has much that is curious to say40--,westminster ,review4 8,we have1 in short1 a delightful history of the inner life of the ,norfolk and ,suffolk peasant1 and of the things dear to him1 illustrated by such a series of truthful nature-pictures as is approximated to in no other work of which we know1 unless in ,dr4 ,emerson's earlier series40--,photographic ,news4 8,mr4 ,p4 ,h4 ,emerson has produced a really valuable book4 ,his text1 descriptive of the life1 superstitions1 and character of ,suffolk peasantry and fisherfolk1 their stories of the land and stories of the sea1 are all of the greatest interest1 and in many cases have the merit due to original inquiry and research4444 ,mr4 ,emerson1 one of the foremost1 and in some respects one of the most successful1 of living photographers1 has illustrated his large work with thirty-two photogravures 444 the full page plates are often of the highest merit4 #8,the ,clay ,mill1' and especially #8,the ,haymaker with ,rake1' are so good in tone that they almost suggest the work of ,millet4 #8,where winds the ,dike1' reminds the spectator of ,corot40--,magazine of ,art4 8,this book is handsomely got up1 well-bound1 finely printed1 and copiously illustrated4444 ,his text is thoroughly well worth reading on account of 444 its sardonic sense of humour1 keen zest for the grotesque provincialisms of the people of out-of-the-way districts1 quick ear for laughable oddities of pronunciation1 quick eyes for old-world customs and whimsicalities1 and deep sympathy with the sufferings of the poor and helpless4444 ,there are1 too1 many quaint anecdotes40--,athenum4 8,dr4 ,emerson gives us not only a mass of valuable and interesting letterpress1 but a collection of very remarkable photo-engravings4 ,by no one has photography been more diligently and more successfully applied to illustrate not country scenes only1 but country life4444 ,his pictures never look like compositions--indeed1 he is as successful with some of his groups as with mere landscapes4444 ,the letterpress 444 proving on every page that he has not only lived among the people whom he describes1 but that he is quite in touch with them4444 ,dr4 ,emerson is a keen observer of men as well as of nature4444 ,he is for the most part thoroughly reasonable4444 ,i am grateful to him1 for ,i have learnt much from his book1 and have been put in the way of 7,i hope7 learning much more40--,academy4 8,nothing could well be better selected or executed than are the photogravures1 and even the small illustrations of the book4 ,in these he has caught #8the very form and spirit of the times' in ,east ,anglia4444 ,his landscapes 444 recall ,constable's pictures40--,field4 8,this is a delightful book 444 indeed1 no one can study the illustrations and read the accompanying text without becoming imbued with the author's enthusiasm1 and without feeling that he has gained an entirely new insight into the character and surroundings of the ,english peasant4 ,so artistic are the illustrations1 with their ,corot-like softness of outline1 that in future no book that deals with an unfamiliar country will seem complete without such aids4444 ,there should be1 and no doubt there will be1 books such as this about every corner of the globe1 and ,mr4 ,emerson is to be thanked for setting the example40--,new ,york 8,nation40 ---------------------------------------- -------------------------------- ,,naturalistic ,,photography ,,for ,,students ,,of ,,the ,,art4 ,by ,dr4 ,p4 ,h4 ,,emerson4 ,crown #hvo4 ,cloth1 #es4 ,second ,edition1 revised4 ,opinions of the ,photographic ,press4 8,in the work just issued1 that the author endeavours himself to look directly at his subject without feeling himself bound by what others have said1 constitutes the chief charm1 and the reader soon finds he is not in contact with an author who is either an echo of others1 or wishes to make his readers mere echoes of himself2 indeed1 the reader soon finds that his teacher is not one who expects and strives to mould his readers to his own image1 but one who hopes to rather read them to think and act for themselves4 ,if our author's spirit was more current among the technical teachers of our day1 we would probably be in a more hopeful condition as regards future progress in the arts and crafts4 ,the literary style of the work is excellent1 and it contains a fund of useful information conveyed in a pleasant manner4444 ,the mass of the book is composed of valuable and thoughtful essays on the various branches of photographic work--both from the technical and the artistic aspects--embodying the author's own experience4 ,altogether #8,naturalistic ,photography' is a work which should be possessed and read by every one interested in the practice of ,photography40--,photographic ,news4 8,suffice it to say that the book is distinctive from any other book on photography1 and there is reading worth study on every page4 ,we have been so fascinated by the freshness of language and the forcible way in which the author endeavours to bowl over old ideas and institute new ones1 that we have had a difficulty at times in laying aside the admirably printed and got-up volume4 ,we can only say that we heartily commend it to all who are interested in artistic photography1 and who are not above learning from a master in the subject40--,photographic ,journal4 8,when he comes to the part that really concerns photographers he is simply admirable 444 his boldness and originality of treatment1 the ability with which he analyzes1 arranges1 and treats his subject1 and his practical conclusions1 are as charming as they are valuable1 as pleasant to read as they will be useful to practise4444 ,the latter part of the book on technique and practice is capital1 and ought to meet with acceptance1 and must be valuable to the photographic world4444 ,carefully thought out1 ably written1 boldly expressed1 original in treatment1 #8,naturalistic ,photography' is a valuable contribution to our literature40--,photography4 8,dr4 ,emerson's book has come at last4 ,it was well worth waiting for1 and fully justifies expectations4444 ,it has evidently already helped a considerable number of photographers to ideas4444 ,the general acceptance of evolution principles1 thought freed from trammels1 and the adoption of scientific methods1 tend to give us treatises in which a rational and natural basis for all phenomena is sought4 ,dr4 ,emerson's book is distinctly of this class4444 ,it is brimful of interest1 and will furnish texts for art argument for some time to come1 as well as afford solid instruction for the earnest student40--,camera ,club ,journal4 8,c'est un volume lire1 je dirai mme relire1 car le ,dr4 ,p4 ,h4 ,emerson met des ides qui lui sont tellement personnelles1 qui souvent contredisent si fort les ides gnralement reues1 qu'il faut s'y reprendre deux fois pour bien se rendre compte de sa manire toute nouvelle d'apprcier l'art photographique4444 ,il se compose d'une introduction1 dans laquelle nous trouvons tout d'abord la preuve de l'originalit des ides de l'auteur1 c4444 ,on le voit1 le sujet est trait dans tous ses dtails1 et ajoutons qu'il est trait d'une faon trs intressante4444 ,il taut reconnatre que la lecture de ce volume s'impose non seulement ceux qui s'occupent de photographie1 mais tous ceux qui s'occupent de l'tude des beaux-arts40--,journal de l',industrie ,photographique4 8,it is enough to say that we have read this beautifully got-up book with interest1 and consider the opinions and many doctrines of the author very remarkable2 and finally we can in good faith recommend the book40--7,translation of part of review in the7 ,deutsche ,photographen-,zeitung4 8,a most enjoyable book to every true lover of nature4444 ,erudite1 embracing a very large field 444 this work must claim the careful attention of an earnest student 444 the ordinary textbook of photography is superseded1 and technique and practice is dealt with in a thorough and somewhat original manner 444 the reader will find much which will be well worth careful study40--,photographic ,art ,journal4 8#8,naturalistic ,photography' is a splendid contribution to photographic literature40 ,wilson's ,photographic ,magazine4 8,this book is highly to be recommended to those acquainted with the ,english language40 7,translated from7 ,photographische ,mittheilungen4 8,cet ouvrage si bien tudi sera lu avec grand fruit par les photographes amateurs1 surtout auxquels il est destin1 car ils y trouveront les conseils pratiques dont ils tireront profit1 soit dans 'atelier1 soit dans les tudes en plein air40--,l',amateur ,photographe4 8,the practical part of ,dr4 ,emerson's book is most admirable4444 ,dr4 ,emerson has produced some of the most superb work ever achieved by photography1 and all who have admired his beautiful compositions are anxious to know his methods4 ,he treats the subject in a clear and forcible way1 and with much originality4444 ,one reads and reads again with pleasure from page to page1 and is often delighted with the novelty of presentation4 ,the great virtue of ,dr4 ,emerson's book is its freshness4 ,the reader is not wearied with reiteration of old hackneyed ideas and misapplication of stereotyped rules4 ,it is a record of the author's own opinions40 ,american ,journal of ,photography4 8,this book contains a greater amount of information on the artistic elements to be considered in photography than any that we know of4 ,the author 444 has elucidated very concisely1 yet also very fully1 the principles which should be kept in view in making artistic and attractive photographs4444 ,in these days of amateur photography1 when the mechanical and chemical manipulations necessary to obtain a good photograph are so easily acquired1 a book like this1 calling attention in simple language to the elementary conditions that should be observed in making artistic photographs1 will be greatly appreciated40--,scientific ,american4 8,da ,londra1 coi tipi ,sampson ,low ,co41 ci giunge una recentissima pubblicazione del ,sig4 ,emerson1 col tito #8,naturalistic ,photography1' essolutamente originale ed interessante4 ,l'autore si rivela per un artista intelligentissimo della fotografia e facendone la critica con sicurezza di giudizio e con esempii tratti1 nella parte estetica1 dai gran di maestri40 ,bollettino dell' ,associazione degli ,amatori di ,fotografia da ,roma4 ---------------------------------------- -------------------------------- ,advertisements4 ---------------------------------------- -------------------------------- ,w4 ,,watson ,,sons1 #cac1 ,,high ,,holborn1 ,,london1 ,,manufacturers ,,of ,,highest ,,class ,optical and ,photographic ,instruments4 ------------------------------------ ,,watson',s ,,light ,,premier ,,cameras4 ,exceedingly ,light and ,compact4 ,exceedingly ,strong and ,rigid4 ,long ,range of ,focus4 ,reversing ,back4 ,illustration ,very ,highest ,quality and ,workmanship1 ,and made on the interchangeable system4 ,the ,dark ,slides1 ,fronts and ,screw ,nuts being fitted to standard sizes1 extra ones can be supplied at any time1 or the slides of any one ,camera will interchange with any other for same size plates4 ,each includes #c ,double ,slides1 fitted with ,watson's ,patent ,stops and ,spring ,catches to the ,shutters4 ,size of #dc4 #ed4 #fd4 #ge4 #hf4 #ajh4 #abaj4 #aeab4 ,camera s4d4 s4d4 s4d4 s4d4 s4d4 s4d4 s4d4 s4d4 ,prices #g #ae #j #h #aj #j #i #ab #jaj #j #jab #e #jad #j #jaf #ab #fba #j #j ,extra1 if #a #aj #j #a #aj #j #a #aj #j #a #aj #j #a #ae #j #b #j #j #b #aj #j #c #j #j brass bound ,rapid #b #e #j #b #aj #j #c #aj #j #d #j #j #d #aj #j #f #j #j #g #ae #jaj #j #j ,rectilinear ,lens ,solid ,leather #a #a #j #a #e #j #a #ae #j #a #ae #j #b #b #j #b #ae #j #c #aj #j #e #e #j ,travelling ,case ,folding #a #a #j #a #a #j #a #e #j #a #e #j #a #e #j #a #aj #j #b #b #j #b #aj #j ,tripod ,stand ,instantaneous #j #ab #f #j #ab #f #j #ab #f #j #ab #f #j #ae #j #j #ae #j #a #j #j #a #e #j ,shutter ,totals for #ad #d #fae #h #fah #d #fai #b #fbb #ab #jbg #j #jcc #i #jdc #j #j ,sets ,the above ,prices are subject to #aj per cent4 discount for ,cash with order4 ,,watson',s 8,,detective0 ,,cameras4 ,the most perfect and convenient form of ,instantaneous ,apparatus extant4 ------------------------------------ ,,studio ,,cameras1 ,,backgrounds1 ,,exposure ,,shutters1 ,,dishes1 ,,dry ,,plates1 ,,chemicals1 c4 ------------------------------------ ,an ,illustrated and ,descriptive ,catalogue1 of every instrument and accessory required in ,photography1 sent free to any address on application4 ,ask for ,photo ,list4 ------------------------------------ ,awarded in #ahhi--,the only ,medal for ,cameras1 ,richmond ,photographic ,exhibition4 ,in #ahhh--,the only ,medal for ,cameras1 and the only ,medal for ,stands1 at the ,crystal ,palace ,great ,photographic ,exhibition2 ,the ,gold ,medal for ,photo4 ,instrument1 ,melbourne ,international ,exhibition4 ,in #ahhg--,the only ,medal for ,photo4 ,apparatus1 ,adelaide ,international ,exhibition4 ,in #ahhf--,the only ,gold ,medal for ,photo4 ,apparatus1 ,liverpool ,international ,exhibition4 ------------------------------------ ,w4 ,,watson ,,sons1 #cac1 ,,high ,,holborn1 ,,london4 ,steam ,factory--#i1 #aj1 #aa1 ,fulwoods ,rents1 ,w4,c4 ,,established #ahcg4 ---------------------------------------- -------------------------------- ,,sands ,,hunter1 ,photographic ,apparatus ,manufacturers1 ,o1 ,,cranbourn ,,street1 ,,london1 ,w4,c4 ------------------------------------ ,illustration ,,sands ,,hunter',s ,,new ,,light ,,camera1 8,,the ,,imperial10 ,is specially constructed for ,tourists1 combining both strength and lightness1 is portable and perfectly rigid1 has long extending focus1 reversing holder1 double swing back with independent motions1 rack and pinion focusing adjustment1 best quality leather bellows1 c4 ,the back and front can be fixed at any part of the baseboard1 and are firmly fixed by clamping rods4 ,the ground glass focusing screen is protected by the baseboard when closed for travelling4 ,n4,b4--,the above camera is now fitted with ,sands and ,hunter's ,new ,patent ,swing ,back4 ,price1 including #c double backs with spring fastenings3-- #dc or #ed #fd #ge or #he #hf #ajh #abaj #aeab #f #fs4 #h #ajs4 #i #es4 #aj #ab #ae #ah #aes4 ,brass ,binding ,camera and #c double backs3--#h #e and under1 #a #ajs42 #h #f to #aj #h1 #b2 #ab #aj1 #b #es42 #ae #ab1 #c4 ,russia leather bellows1 extra3--#d #c or #e #d1 #ags42 #f #d to #h #e1 #a #bs42 #h #f1 #a #ds42 #aj #h1 #a #fs42 #ab #aj1 #a #aes42 #ae #ab1 #b #ajs4 ,illustrated ,catalogue post free4 ,,sands ,,hunter1 ,,london4 ---------------------------------------- -------------------------------- ,the ,amateur ,,price #b;d4 ,,published ,,weekly4 ,photographer4 ------------------------------------ ,,important ,,advertising ,,medium4 ------------------------------------ ,,being ,,the ,,only ,,journal ,,for ,,amateur ,,photographers ,in ,field1 ,studio1 ,camp2 ,afloat1 ,ashore2 in ,town or ,country2 at ,home and ,abroad4 ------------------------------------ ,n4,b4--,all communications respecting ,advertisements to be addressed to ,,parry ,,crawford1 #eb1 ,long ,acre1 ,,london1 ,w4,c4 ,,the ,,tourist',s ,,companion4 ------------------------------------ ,,shew',s ,,eclipse ,,pocket ,,camera1 or ,fixed ,focus ,hand ,apparatus 7,patent74 ,illustration3 ,,camera ,,open ready for use4 ,illustration3 ,folded for the ,pocket1 ,weight #ab ounces1 for ,pictures #d #c4 ,illustration3 ,enclosed in ,detective ,case with ,roller ,slide for #dh ,pictures or three ,double ,backs4 ,we would call special attention to the superiority of the results obtained with this little instrument over those of the many others introduced since we first made the ,eclipse4 ,as a first-class working instrument it still has no rival4 ,street ,views1 ,groups1 ,architectural subjects1 ,landscapes1 ,panorama1 c41 are obtained with marvellous detail1 particularly suitable for ,lantern ,transparencies and for enlarging to an extraordinary extent4 ,detective ,case ,apparatus ,fitted with ,three ,double for ,roller ,slide1 ,size4 ,complete1 one ,roller ,slide ,backs fitted and ,camera open1 ,double ,back4 for #dh for or three ,double ,pictures4 ,backs4 #c #c #d #d #j -- #a #ac #j -- #d #c #d #i #j #f #e #j #a #ac #j #a #a #j #e #d #e #j #j #g #aj #j #a #ah #f #a #e #j #f #d #f #j #j #h #ae #j #b #e #j #a #e #j #ab #i centimeters1 #e #e #j #g #e #j #a #af #j #a #e #j #af #ab 0 #f #j #j #h #ae #j #b #e #j #a #g #f #ah #ac 0 #f #aj #j #i #g #f #b #h #j #a #aj #j ,screw and fitting plates to ,camera for use on ,stand1 ,clip1 or ,camera ,rest1 for ,landscape or ,portrait1 either size1 #b_/-4 ,illustration ,,shew',s ,,patent ,,pocket ,,camera ,,rest1 or ,support for ,hand ,cameras4 ,an ,ingenious ,substitute for a stand where it is impossible1 through want of light or other causes1 to obtain an instantaneous exposure4 ,instantly attaching the ,camera to any wooden projection4 ,no tourist should be without it4 ,weight4 ,size4 ,price1 post free4 ,for -,plate ,cameras #b oz4 #d #b in4 #c_/c ,for -,plate 0 #f 0 #g #b #a 0 #d_/c ,,shew',s ,,eclipse ,,enlarging ,,or ,,reducing ,,apparatus1 ,see special circular1 free on application to ,j4 ,f4 ,,shew ,,co41 #hh1 ,,newman ,,st41 ,four doors off ,oxford ,st41 ,,london1 ,w4 ---------------------------------------- -------------------------------- ,,george ,,hare1 ,,photographic ,,apparatus ,,manufacturer1 #bf1 ,calthorpe ,street1 ,gray's ,inn ,road1 ,,london4 ,,fourteen ,,prize ,,medals have been awarded to ,g4 ,,hare',s ,cameras and ,changing-,box for ,excellence of ,design and ,workmanship4 ,,silver ,,medal awarded at the ,international ,inventions ,exhibition for ,excellence in the manufacture of ,cameras4 ------------------------------------ ,g4 ,,hare',s ,,new ,,camera4 ,,invented ,,and ,,introduced1 ,,june1 #ahhb4 ,the ,best and most compact ,camera ever ,invented4 ,illustration ,since its introduction1 this ,camera has received several important modifications in construction4 ,it stands unrivalled for elegance1 lightness1 and general utility4 ,it is specially adapted for use with the ,eastman-,walker ,roll ,holder4 ,a #f #d ,camera measures when closed #h #h #b in41 weighs only #d lbs41 and extends to #ag in4 ,the steady and increasing demand for this ,camera is the best proof of its popularity4 8,little need be said of ,mr4 ,george ,hare's well-known ,patent ,camera1 except that it forms the model upon which nearly all the others in the market are based40--,vide ,british ,journal of ,photography1 ,august #bh1 #ahhe4 ,size of ,square1 with ,brass,size of ,square1 with ,brass ,plate4 ,reversible ,holder4 ,binding4,plate4 ,reversible ,holder4 ,binding4 #e #d #f #j #j #j #af #jaj #h #i #af #j #a #d #j #f #d #g #b #f #a #j #jab #aj #aa #j #j #a #f #j #g #e #g #aj #j #a #j #jae #ab #ac #e #j #a #aj #j #h #f #h #ae #j #a #j #j,these prices include one ,double ,slide4 ,since this ,camera has been introduced1 it has been awarded ,,three ,,silver ,,medals3 at ,brussels ,international ,photographic ,exhibition1 #ahhc2 at the ,royal ,cornwall ,polytechnic ,society1 ,falmouth2 and at the ,,international ,,inventions ,,exhibition1 #ahhe4 ,also ,bronze ,medal1 ,bristol ,international ,exhibition1 #ahhc--;,,highest ,,award4 ,g4 ,,hare',s ,improved ,portable ,bellows ,camera4 ,,invented ,,and ,,introduced #ahgh4 ,illustration ,this ,camera offers many advantages where a little extra weight and bulk is not objected to4 ,it is very solid and firm in construction1 and especially suited for ,india and other trying climates4 ,,prices1 with one ,double ,slide and ,hinged ,focussing ,screen3-- ,horizontal and ,square1 with ,brass ,for ,plates4 ,vertical4 ,reversible ,holder4 ,binding4 #f #d #f #g #f #g #ab #f #a #j #j #h #f #g #ah #j #i #e #j #a #j #j #aj #h #i #d #j #aj #af #j #a #e #j #ab #aj #aj #ac #j #ab #e #j #a #aj #j #ae #ab #ac #e #j #ae #aj #j #b #j #j #ah #af #bj #ae #j #bd #j #j #b #aj #j ,for ,prices of ,extra ,dark ,slides and ,inner ,frames1 ,see ,catalogue4 ,,hinton ,c,o4 #ch ,,bedford ,,street ,,strand1 ,w4,c4 ,,pharmaceutical1 ,,operative ,,photographic ,,chemists4 ,,hinton',s ,,folding ,,plate ,,racks1 #djjj sold in one year4 ,,hinton',s ,,magnesium ,,flash ,,lamps1 the most practical made4 ,,hinton',s ,,pure ,,chemicals1 always reliable4 ,,hinton',s ,,standard ,,ready-,,made ,,solutions4 ,,hinton',s 8,,college0 ,,dark ,,room ,,lamps1 #aj_/f4 ,,hinton',s ,,selected ,,lenses ,,at ,,moderate ,,prices4 ,,hinton',s ,,cameras ,,of ,,seasoned ,,wood ,,and ,,best ,,workmanship4 ,,hinton ,,co4 ,,stock ,,plates1 ,,films1 and ,,papers by all the best makers4 ,,dep,t for ,,wray',s ,,magnificent ,,lenses1 ,,liesegang',s ,,aristotype ,,paper1 and ,,newman',s ,,accurate ,,time ,,shutter4 ,,send ,,for ,,hinton',s ,,price ,,list4 ------- ,registered ,g4,w4,w4 ,trade ,mark4 ,g4 ,w4 ,,wilson ,co41 #b1 ,,st4 ,,swithin ,,street1 ,,aberdeen1 ,wholesale ,landscape ,photographers and ,photographic ,publishers1 ,,lantern ,,slide ,,makers ,,and ,,enlargers ,,and ,,process ,,printers4 ---------------------------- ,catalogues and ,price ,lists ,post ,free on application4 --------------------- ,,correspondence ,,invited4 ---------------------------------------- -------------------------------- ,,platinotype ,,printing ,from ,photographers' own ,negatives carefully executed1 by ,richard ,keene1 so as to secure the ,,best ,,results4 --------------------- ,,retouching1 ,,natural ,,skies1 c41 ,,at ,,moderate ,,cost4 --------------------- ,price ,list ,post ,free on application to ,,richard ,,keene1 ,,derby4 ---------------------------------------- -------------------------------- ,,the ,,amateur ,,photographer4 ,,published ,,weekly4 ,price #b;d4 ------------------ ,,important ,,advertising ,,medium4 ------------------ ,being the ,,only ,,journal for ,,amateur ,,photographers in ,field1 ,studio1 ,camp2 ,afloat1 ,ashore2 in ,town or ,country2 at ,home and ,abroad4 ,n4,b4--,all communications respecting ,advertisements to be addressed to ,,parry ,,crawford1 #eb1 ,,long ,,acre1 ,,london1 ,w4,c4 ---------------------------------------- -------------------------------- ,,published ,,every ,,friday4 ,,price #b;d4 ,illustration3 ,illustration3 ,,the ,,amateur ,,photographer ,a ,popular ,illustrated ,journal ,devoted to ,photography and the kindred ,arts4 ,edited by ,,charles ,w4 ,,hastings4 ,london3 ,,hazell1 ,,watson ,,viney1 ,ld41 #eb1 ,long ,acre1 ,w4,c4 ,and through all ,newsagents and ,photographic ,dealers4 ,,specimen ,,copy ,,free ,,on ,,application4 #aj_/aj per year1 #e_/f for ,six ,months4 ---------------------------------------- -------------------------------- ,polytechnic ,school ,,of ,photography1 #cji1 #caa1 ,,regent ,,street1 ,,london1 ,w4 ,,the ,,school is open daily for ,practical ,instruction in all branches of ,,photography4 ,the ,,studio and ,,dark ,,rooms are lit by ,electricity1 and the appliances are complete in every respect4 --------------------- ,,terms ,,for ,,private ,,instruction3-- s4 d4 ,in ,dry ,plate ,photography and ,silver ,printing1 until #e #e #j proficient 0 ,retouching #e #e #j 0 ,developing 7special course7 #b #ab #f 0 ,carbon ,printing #b #b #j 0 ,enlarging #b #b #j 0 ,platinum ,printing #a #a #j --------------------- ,,forty-,,eight ,,prize ,,medals ,have been awarded to ,students of the ,school at ,exhibitions4 --------------------- ,a year's practical ,training at the ,school is the best ,photographic ,education obtainable in the ,world4 --------------------- ,,full ,,particulars ,,on ,,application4 ---------------------------------------- -------------------------------- ,p4 ,,meagher',s ,,field ,,and ,,studio ,,cameras ,,and ,,studio ,,stands ,have received the ,highest ,awards wherever ,exhibited4 ,illustration3 ,fig4 #a4 ,illustration3 ,fig4 #b4 8,the ,cameras of ,,meagher deserve special ,examination1 as well for the perfection of their workmanship as for their perfect adaptation to the purpose for which they are designed40--,vide ,report of ,jurors1 ,class ,,ix41 ,international ,exhibition1 ,paris4 ,this ,camera is ,light1 ,portable1 and quickly set up ready for use1 and is perfectly rigid when extended4 ,fig4 #a4 shows the ,camera packed up4 ,fig4 #b shows the ,camera with ,reversing ,frame and ,front extended4 ,each ,camera is supplied with two ,fronts which can be raised or lowered as required4 ------------------------------------ ,,meagher',s ,,improved ,,portable ,,bellows ,,camera4 ,specially constructed for use with ,dry ,plates4 ,it is fitted with ,single or ,double ,action ,swing ,back1 and the focussing is effected by ,screw or ,rack ,adjustment4 ,prices1 with ,single ,swing ,back and three ,double ,backs1 each carrying two ,prepared ,plates3-- ,for #e #d #e #ae #j ,ditto1 with ,double ,swing ,back1 ,reversing ,frame1 and #h #e #j ,extending ,front for ,long ,focus ,for #f #d #g #a #j ,ditto1 with ,double ,swing ,back1 ,reversing ,frame1 and #i #aa #j ,extending ,front for ,long ,focus ,for #g #e #g #e #j ,ditto1 with ,double ,swing ,back1 ,reversing ,frame1 and #i #ae #j ,extending ,front for ,long ,focus ,for #h #f #h #aj #j ,ditto1 with ,double ,swing ,back1 ,reversing ,frame1 and #aa #ae #j ,extending ,front for ,long ,focus ,for #aj #h #aj #e #j ,ditto1 with ,double ,swing ,back1 ,reversing ,frame1 and #ad #e #j ,extending ,front for ,long ,focus ,,brass-,,binding ,,camera1 and ,three ,double ,backs up to #h #f1 #a #hs42 #aj #h1 #a #acs4 ,,for ,,prices ,,of ,,larger ,,sizes ,,see ,,illustrated ,,catalogue4 ,illustrated ,catalogues ,post ,free4 ,ten ,per ,cent4 ,discount for ,cash with ,order4 ,,lenses ,,by ,,ross1 ,,dallmeyer1 ,,and ,,all ,,other ,,makers4 ,,agent ,,for ,,the ,,abney ,,and ,,derby ,,dry ,,plates1 ,and ,,blanchard',s ,,sensitized ,,papers4 ------------------------------------ ,,manufactory3--#ba1 ,southampton ,row1 ,high ,holborn1 ,,london1 ,w4,c4 ---------------------------------------- -------------------------------- ,,beck',s #8,,autograph' ,,lenses ,,with ,,iris ,,diaphragm4 ,illustration ,,blake ,,edgar1 ,artists in ,photography1 #gd1 ,midland ,road1 ,bedford4 ,messrs4 ,r4 ,j4 ,,beck4 ,dear ,sirs1 ,the ,no4 #e ,lens1 after severe testing1 has proved to be a ,splendid and ,reliable ,instrument1 and candidly we expected a good thing2 but with this ,lens1 for all the purposes we have tried it1 the results are far above our expectations4 ,during ,twenty-five ,years' experience in ,photography1 only ,lenses of the two ,best ,makers have been used4 ,we can confidently say we prefer your ,lens to any of the others we have4 ,we are1 ,dear ,sirs1 yours respectively1 ,,blake ,,edgar4 ,illustration ,,full ,,catalogues ,,on ,,application ,,to ,r4 ,j4 ,,beck1 #fh1 ,cornhill1 ,,london4 ---------------------------------------- -------------------------------- ,,special ,,notice ,,to ,,lovers ,,of ,,art ,,photography4 ---------------------------------------- ----------------- ,it is a recognized fact by all the leading ,art ,photographers of the day that a single ,landscape ,lens is absolutely the best for correct rendering of distances in ,landscape ,pictures1 and that1 providing the ,lens is carefully corrected1 a beautiful softness and truthfulness of atmospheric distance is the natural result4 ,the ,stereoscopic ,company claim for their 8,,black ,,band0 single ,landscape ,lenses absolute perfection in this respect4 ------------------------------------ ,extract from the ,,amateur ,,photographer of ,june #h1 #ahhh4 8,the space at our command forbids us to more than mention the conical-shape single landscape lens1 a useful addition to every photographer's kit1 where views of mountain scenery are to be taken1 the distances being rendered with truer perspective than is the case with the rectilinear40 ------------------------------------ ,illustration ,,prices4 ,no4 #a4 ,size #e #d #a #aa #f 0 #b4 0 #ge #b #ab #f 0 #c4 0 #hf #c #ac #f 0 #d4 0 #aj #h #d #ad #f 0 #e4 #e #e #j 0 #ab #aj ,the ,london ,stereoscopic and ,photographic ,co41 ,ltd4 #aaj #ajh1 ,,regent ,,street1 ,w41 #ed1 ,,cheapside1 ,e4,c4 ---------------------------- ,,new ,,illustrated ,,price ,,list1 #bjj pp41 post free1 #g ,stamps4 ---------------------------------------- -------------------------------- ,transcriber's ,note ,on p4 #ajb1 the start of an apparent quotation from ,helmholtz is not marked1 but most likely begins with 8we see this in combination44404 ,beginning on p4 #aje1 an extended quotation from ,helmholtz seems to extend through p4 #ajg1 where the ending quotation mark appears4 ,the conventional practice of punctuation across paragraphs was not observed4 ,this occurs again on pp4 #bgi-bha with a quotation for ,t4,f4 ,woodall4 ,errors deemed most likely to be the printer's have been corrected1 and are noted here4 ,the references are to the page and line in the original4 ,the following issues should be noted1 along with the resolutions4 #eg4bc ,o_/kio4 ,replaced4 #fd4bh ,woermann ,added4 #gi4h and sometimes 8impresssions0 in oil ,removed4 #he4bf ,then we have first ,descamps ,inserted4 #hh4a principal featn_/ures are already beautiful ,inverted4 #ajh4ab we distinguish them from the intermediate sic waves40 #adj4cc supplied in telo_/escopic form ,replaced4 #ahb4cj on ,dr4 ,v_/ogel's plates ,replaced4 #bjh4bh negatives had been reproduced here ,inserted4 #bbb4b ,copyright 7,works of ,art7 ,ac4 ,act4 ,restored4 #bdb4ae composition1 that _/is selection ,restored4 #bga4ba ,considerable pressure must be exerted ,restored4 #bhi4cd ,harding and ,bonington in ,england ,inserted4 #cje4de 8,modern dry plates10 ,added4 #cjg4ae 8,mere transscripts of ,nature10 ,removed4 #cjb4i and crying than in any ,italian ,restored4 a#b4f t _/hrough sedgy solitudes ,restored4 a#b4ad ,the set of landscapes which c _/lose the ,restored4 volume a#d4aa may justly fee _/l proud4 ,restored4 a#g4ab to rather read them to think and act sic3 lead8