Chapter XII: Part 12

Dear Mr. Editor,--My quill is as restless as my wing, and, as I skim about like the swallows, many things fall under my observation that would otherwise not do so, some of which are noteworthy and of interest to the photographic profession, many are not; but harvest time is interesting to everyone, and it is of this I am going to make a few remarks. It is always a subject of grave importance and anxiety to a nation like ours, with a very limited area of cereal land, until it is known whether the harvest has been abundant or otherwise. It is also equally important that the harvest, however plentiful, should be carefully reaped and garnered, so that famine may not fall upon the people before another season of plenty shall come in its course. The cereal harvest is over, and has been wonderfully abundant, in spite of the unusually long, dry, and hot summer. The stack-yards are full, and the granaries are teeming with plenty, and there is bread enough for all that can afford to buy. There, that is the qualification that brings to my mind the most serious part of this subject. Although the season has been wonderfully fine and favourable for a rich harvest of all things, "famine is in our midst." A cry of woe is mingled with our mirth. A glorious summer and autumn have, on the whole, yielded a rich reward to the labourers in the pleasant and profitable fields of photography; yet there is want among some of the workers. In the columns of your contemporary I observe a letter "begging alms" on behalf of a poor widow and her little orphans. It is a case of pure charity, and far be it from me to say to anyone, "Do not help her;" "They have no claim on the sympathies of the photographic public;" "Neither she nor her late husband did anything to forward the progress of the art nor advance the interests of photographers in general." I grant the latter hypothesis, and say, "He that giveth to the poor lendeth to the Lord." Nevertheless, I cannot refrain from expressing my opinion that such painful appeals should not be allowed to appear in the columns of the photographic journals; all such private cases could and should be provided for by any of the provident organisations so common to other trades. The subject has been frequently mooted in your own columns, but no action has been taken. Very recently a lady correspondent called attention to the subject again, and now, in the pages of your contemporary, I notice an elaborate plan is laid down as the ground-work of a Photographers' Provident and Benevolent Society. That plan is open to some objections, but it is certainly desirable that such a society should be formed. It is rather late in the season for photographers to make any provision for cases 1 and 2, as the correspondent in your contemporary suggests--this year, at least; but I think his other plan of making a provision, however small, for widows and orphans is highly to be commended, and, if only carried into effect, would undoubtedly mitigate the anguish and lessen the fear of want in the minds of many deserving women, and might prevent the recurrence of those painful appeals to which I have just alluded. It is just as important and imperative a duty for every man to make some sort of provision for those dependent upon him as it is for the husbandman to reap and carefully house his harvest. Knowing the interest which you, Mr. Editor, personally take in this subject, I trust that you will exert your influence, and see if it be possible to found a society _at once_ that will grow in after years to be a monument to photography and to the goodness and forethought of the photographers of the present generation.

Photography, like the fine arts, is honoured with a title of nobility. A baronetcy has recently fallen to the lot of one who for years has followed photography as a profession, taking cartes-de-visite and other photographs in the usual business-like manner. Of all the styles of distinction that are conferred upon men, I think baronetcies have been subject to the greatest number of vicissitudes, and spiced with the greatest amount of romance, from the romantic succession of Sir Robert Innes to Sir William Don, "a poor player;" and now the photographic profession includes among its members one of the baronets of England.

Your description of the Eburneum process, given recently in your "Visits to Noteworthy Studios," has awakened quite a new interest in that beautiful form of photograph, introduced a few years ago by Mr. Burgess. Several photographers whom I know have set about producing them. The specimens which I have seen are very beautiful as cards, but they are particularly suitable for lockets, brooches, studs, pins, rings, &c., being sharp, clear, and delicate, and easily cut to fit any size or shape.

Next month some of the London photographic societies will commence the session of 1868-9, and it might be asked, What are their prospects? It is to be hoped that the North London will do better than it did last session. There was more than one _nil_ meeting. The South London will doubtless keep up its character, and exhibit its usual vitality. The personal interest taken in the meetings by their kind, genial, and courteous President is almost sure to develop all the latent force of the members. It is also to be hoped that _the_ Society will make as brilliant a start as it did at the commencement of the session last November. Such an exhibition as that in Conduit Street may easily be repeated, though it may not be such a startling one.

The question raised, whether photographic apparatus be or be not considered "personal luggage" by the railway companies, is one of very great importance to photographers, but particularly to amateurs, for if decided against them it will cause no end of inconvenience, vexation, and expense by delays and extra charges. On the other hand, it must be admitted that the view taken by the railway authorities is technically correct. The very word "personal" shows that they mean such articles as are really and absolutely necessary for the personal comfort and convenience of travellers, which can only rightly include wearing apparel, changes of linen, dressing-cases, ladies' work boxes, and writing desks. These are absolutely indispensable for the comfort and convenience of travellers. Photographic apparatus, and particularly chemicals, do not come under that classification, and I think it is of great consequence to the railway companies and their passengers to know what should, or should not, be put into the "luggage van." I know a case where an amateur photographer was travelling by rail with a 12 by 10 bath full of nitrate of silver solution packed among his clothes in a box in the luggage van. The bath leaked, the solution spoiled all his shirts, and he was driven to the shift of papering the fronts. Now, supposing the box containing the leaky bath had stood upon someone else's box--say a lady's--it might have run through and spoiled some valuable dresses; at the least, it would have spoiled the appearance of the box, to the great annoyance of the lady passenger, and the probable claim on the company for compensation. There are always two sides to a question, and though few men have travelled more with photographic apparatus in the luggage van than myself, I think, in this case, the best of the argument may be fairly ceded to the railway companies.

_September 18th, 1868._

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"LUX GRAPHICUS" ON THE WING.

His Flight to and from the Exhibition of the Photographic Society.

Dear Mr. Editor,--On Tuesday night last I took the liberty of looking into the rooms of the Architectural Society, to see the photographs, and listen to the gossip of the visitors at the _conversazione_ of the Photographic Society. To hear the complimentary remarks and the exclamations of pleasure was as delightful to my ear as the first song of the lark in spring.

The assemblage--not brilliant, but genial, pleasant, and happy--was as refreshing to the eye as the first glimpse of the vernal flowers; and the pictures hung upon the walls and screens, and laid upon the tables, were, in more senses than one, a feast to the mind almost without alloy. For my own part, I felt so joyful, I could not help fluttering my wings, shaking my feathers, and flitting about from one place to another, chirping, chatting, and pecking lovingly about this pretty thing, and at that old friend, till long after my usual time of going to roost. And when I did at last tear myself away and fly home, I could not help exclaiming, Well, there never was a pleasanter evening nor a nicer exhibition in the whole history of the Society! But I could not sleep; I put my head under my wing, shook my feathers, and tried to settle into the most comfortable and cosy positions, but it was no use. The pretty landscapes and pleasing portraits I had seen shone brighter and brighter before me; I was compelled to mentally review them; and here follows the result of my incubations. My first thoughts were to work the pleasures of the evening by a kind of rule-of-three process, by considering the value of the landscapes and portraits exhibited, to arrive at the worth of the exhibition; but not so much in a money point of view, as in the merits of the works, and their probable influences on the workers.

Taking the landscape portion of the exhibition as first in the order into which I had mentally catalogued the pictures, it was an easy and delightful thing to skim over such a vast extent of this world's surface that evening. To journey to and from the glens of Scotland, the dales of England and Wales, the lakes of Ireland, the mountains of the Tyrol, to Abyssinia and the famous heights of Magdala, was but the work of a few minutes, thanks to the purveyors of that mental banquet. But to do full justice to the exhibitors I must endeavour to enumerate their principal works, and comment thereon with the utmost impartiality. Most unquestionably the gems of the landscape portion of the exhibition were eight exquisite little pictures by Mr. Russell Manners Gordon, affording unmistakable proof of what the gum-gallico dry process is capable of yielding in his hands. It is almost, if not quite, equal to the wet process for detail and delicacy. This is particularly noticeable in the view of Carnarvon Castle. Indeed, Mr. Bedford's picture of the same subject--which, I presume, is by the wet process--on the other side of the screen, contrasts rather unfavourably with it. Mr. Gordon's selection of his point of sight, and general treatment of that subject alone, are unmistakable proofs of his refined taste and feeling for the art capabilities of landscape photography. The wet collodion pictures by Mr. Gordon are also beautiful examples of the art. His cottages with sheep browsing in the foreground, which is an instantaneous picture, is remarkable for its beauty and arrangement. These pictures are beautifully printed, and possess a tone which harmonizes charmingly with the subjects. Amongst the other landscape photographers Mr. England and Mr. Bedford stand unrivalled in their peculiar branches. The views in the Tyrol, lately taken by Mr. England, are so excellent that they cannot but add to that gentleman's high reputation.

Mr. Bedford's views are also quite equal, if not superior, to his previously-exhibited works. Some pretty views of the Lakes of Killarney by Mr. Archibald Irvine were well worthy of notice. Mr. F. Beasley, Junr., exhibited some very excellent examples of the Fothergill process; some printed in silver, and others in carbon, from the same negatives. I think the carbon prints were superior in colour, but the silver prints possess most detail and depth. Views of Wimbledon and other places by Mr. Vernon Heath were also good examples of that gentleman's photography. Some beautiful cloud effects by Messrs. Robinson and Cherrill, of Tunbridge Wells, and Mr. Fox, of Brighton, attracted considerable attention, and elicited great praise. The large composition picture, "Returning Home," by Mr. Robinson, was greatly admired by nearly everyone that looked at it. One or two ill-natured or ignorant remarks were made about that picture, but I candidly think it is the very best picture that Mr. Robinson has produced. The sunshine on the one side, and the rain storm sweeping over the other, are both cleverly and artistically managed. I am sorry I cannot say the same of the group of children which hung near the latter. The group, though perfect in its photographic details and tone, is too suggestive of scissors and paste to be a good picture, in my estimation.

Mr. Wardley's large Taupenot pictures were very excellent. The very interesting pictures of Abyssinia by the 10th Company of Engineers were very attractive. Groups of the captives--political, religious, and artisan, with their families--and the officers of the Expedition, formed interesting pictures. The views of Magdala, Theodore's house, the mushroom fortifications, and other flimsy defences, as revealed by the truth-telling camera, seemed to lessen considerably the glory of the capture of Magdala.

Having dismissed the landscape portion of the exhibition without mentioning all the many excellent contributions thereto, I next turn my thoughts again to the contributions of portraits. The examples of that branch of photography were nearly all of first-rate excellence, a large number of them being _a la Salomon_, M. Adam-Salomon himself contributing no less than fifteen. With one or two remarkable exceptions, these pictures were not equal to those exhibited last year, and a general feeling prevailed that they were neither his later works, nor the best of his former; still, they were a very effective display, and attracted great and deserved attention. As I have, on a former occasion, expressed my opinion on the great excellence of M. Salomon's works, I shall not comment further thereon at present, but proceed to notice those which most nearly approached them in photographic and artistic essentials. Undoubtedly Mr. Valentine Blanchard's contributions, both in number and quality, come nearer to M. Salomon's works than any other contributor's. Mr. Blanchard exhibited ten portraits _a la Salomon_, some of which are quite equal to the French artist's best works, without the elaborate working-up which the latter exhibit. Mr. Blanchard has not been at all times fortunate in his sitters, which is very much to be regretted, for we all know how much a beautiful subject helps a good photograph. Hitherto, Mr. Blanchard has been an exhibitor chiefly as a landscape and figure-study photographer. Now that he has taken more kindly to portraiture, and exhibits such capabilities for its successful practice, I hope he will find it sufficiently remunerative to induce him to be a steady and persevering disciple of M. Salomon. Messrs. Robinson and Cherrill also exhibited two beautiful and Salomon-like portraits: one of M. Salomon himself, and one of Mr. Hain Friswell; the latter, I think, is decidedly the best. Mr. Mayland, of Cambridge, sent six very excellent portraits in Salomon's style, all very good but one; a gentleman in a velvet coat was particularly successful.

The pictures exhibited by Mr. Briggs, of Leamington, though extremely forcible and beautiful, were not exactly an imitation of the style of M. Salomon.

Mr. Leake, of Cornhill, had a frame containing six very capital portraits in the style of the eminent French photographer, but a little overdone in after-touching--too much elaborated. In this respect he far outdid his great prototype. Messrs. Fradelle and Leach also exhibited a number of whole-plate pictures _a la Salomon_, which were very good indeed. Messrs. Slingsby, Burgess, Ashdown, Dunmore, and S. Fry, were also exhibitors of the same style of portraits, 10 by 8 size; but it is a pity the latter did himself the injustice of exhibiting so many, for there was only one--an old gentleman with a grey beard--that was really worthy of him. Never did any man's joke recoil more forcibly on himself than that of Mr. Fry's. The faces of some of his female portraits--one in particular--were, in my estimation, as flat, white, and shadowless as a piece or knob of sal-ammoniac itself; but I must say that the portrait of the gentleman above referred to was all that could be desired as an artistic photograph.

Amongst the cabinet pictures exhibited by English photographers, I think those by Mr. Hubbard were decidedly the finest. One entitled "The Toilet," and another of a lady seated at a window, which might be named "A Sultry Day in Town," are charmingly artistic photographs. A composition picture by the same artist was also very skilfully treated; indeed, it was mistaken by many to be a copy of a picture, and might easily have been taken for a copy of a painting by T. Faed. Mr. Briggs, Mr. Godbold (of Hastings), Mr. Gillo, Messrs. Lucas and Box, also exhibited some beautiful cabinet pictures.

Cartes-de-visite in their ordinary form were somewhat scarce, but Dr. Wallich, Mr. Charles Heath, Mr. Bateman, and others, made a good show of vignettes.

Mrs. Cameron exhibited some large pictures in her peculiar style; but my own opinion and that of others was, that she is improving.

Mr. Ernest Edwards exhibited a large collection of carbon pictures, in black and other colours; some mounted on chromo-tinted paper, and some excellent enlargements in carbon. The Autotype Company exhibited a fine copy of Lord Belhaven, which I noticed some time ago; also a very valuable and beautiful collection of copies from drawings by old masters, all bound together, making a handsome and very interesting collection.

Mr. Rejlander had a large collection of his art photographs on view, all of which were clever, some facetious, and many very beautiful conceptions.

A frame of coloured enamels by Mr. Bailey, and some in black-and-white by Mr. Henderson and Mr. Barnes, also attracted considerable notice.

The eburneumtypes by Mr. Burgess, a coloured collodio-chloride portrait on ivory by Mr. J. Edwards, and other collodio-chloride and opalotype pictures, were very much admired. The cabinet vignettes by Reutlinger, and the cabinet pictures by Wenderoth, were both in request at the table, on account of their beauty and interest.

I must not forget to mention a very interesting series of twenty-four stereoscopic pictures by Mr. Alfieri, illustrative of "The Potter's Art."

Mr. Jabez Hughes and Mr. Meagher were both exhibitors of very excellent and useful apparatus--cameras, camera-stands, and rolling-presses.

Now I think such an exhibition as I have but partially described cannot fail to have produced a pleasing and beneficial effect on the minds of all who saw it, and ought, on the whole, to have given infinite pleasure and satisfaction to both exhibitors and visitors. Yet I think I heard one or two growls of discontent about the hanging from someone whose pictures or whose friend's pictures were not on the line; but I think I may safely say there never was a case of hanging yet that was not objected to by one individual at least. Even the hangers of the Royal Academy do not escape censure, and they are supposed to have far more skill, taste, and experience in hanging than the volunteer hangers of the late photographic exhibition. I think, however, that the hangers performed their duties both conscientiously and creditably, especially when it is considered in how very short a time the work had to be done. Anyone who felt aggrieved, and expressed himself churlishly on that point, must surely have been in that unenviable state which the French very adroitly designate _Etre marque au B_.

After these reflections I felt too drowsy to reflect any more, and was barely awake enough to subscribe myself--Yours very truly.

_November 10th, 1868._

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The Refunding of the Balance of the Goddard Fund--The Photographers' Provident Society--A Ferocious Doorsman--The South London Dinner--A Christmas Carol.

My Dear Sir,--Now that the balance of the Goddard Fund is returned to the contributors, and all the trials and vexations the administration of the fund brought upon the chief promoters are known, I think the very best thanks of the whole body of subscribers to that fund are due to the committee for their firm and sensible determination to provide for the wants of the poor imbecile recipient in the manner they did, and for their withstanding the attempt made by a person who was not in the least related to the late Mr. Goddard to obtain possession of the balance in hand. I, for one, a subscriber to the fund, return them my most hearty acknowledgments, not for the money returned to me, but for the straightforwardness of their report, and the wise and judicious manner in which they dispensed the funds. While congratulating myself and confreres on seeing the money not required for the relief of the late Mr. Goddard returned to the subscribers instead of going into the possession of a person for whom it never was intended, I think it is to be regretted that no responsible party had foreseen that much of this returned money would have been gladly placed to the credit of some benevolent or provident institution connected with photography. The whole amount, or even the half of it, would have made a very handsome nucleus for the commencement of such a fund. I have heard several wishes to that effect expressed during the last few days. Doubtless the committee did the very best thing they could have done for their own credit and the entire satisfaction of the whole of the subscribers; but I am afraid an opportunity has been lost in the interest of the incipient relief fund by not having had a receiver for these stray and unexpected sums appointed. The praiseworthy act of Messrs. Ross and Pringle, as noticed in another journal, confirms this impression.

While the subject of a photographers' provident or relief fund is before me, I may mention that in the Report of the Friendly Societies recently issued by Mr. Tidd Pratt, he speaks in the highest terms of those societies which are managed by the members themselves without salaries, and condemns the extravagance exhibited by the societies of a similar nature which are conducted by salaried officials. Now, as it is a friendly society pure and simple that sick or needy photographers ought to look to for future help, in my opinion the former is the kind of society that should be established. The movement is not to be started as a business speculation, and there should be no salaries attached to any of the offices. Each member joining the provident society should be prepared to submit to the tax on his time and energies, if elected to office, as part and parcel of the amount he subscribes for the general welfare of the body and relief of individual members. For my part, I object to the contemplated society taking the form of a relief fund depending upon donations, collections at dinners, &c., for its support. Such means for raising the necessary funds to start the society may be allowable; but after it is commenced, every individual connected with it should be a subscribing member, and not allowed to receive any benefit, except under the most urgent necessities, until he has paid a certain number of subscriptions.

During one of my peregrinations about town lately I stumbled upon a very ferocious doorsman. My attention was suddenly arrested, while passing one of those photographic establishments which keep a kind of two-legged hyena prowling up and down before their doors, by hearing the somewhat startling and cannibalistic exclamation of "I'll eat yer!" Looking round, I saw that one of those prowling bipeds had fastened upon two quiet-looking young gentlemen, evidently strangers in town and to town ways, and had so importuned them to sit for "a correct likeness," until they turned upon him, and threatened to give him in charge if he did not desist; when he retaliated by threatening to eat them, and used a great deal of sanguinary and abusive language as a substitute for more palatable suavity. Is such an "outsider" or hanger-on a fit and proper person to join a photographers' provident society, or be the recipient of a benevolent relief fund?

The South London Photographic Society's annual dinner came off on Saturday evening last at the "Salutation Tavern," Newgate Street. Twenty-three members and friends, all told, sat down to dinner, and enjoyed a thoroughly English repast. After the cloth was removed, the pleasantest part of the evening commenced. The worthy and honoured president, the Rev. F. F. Statham, M.A., who occupied the chair, was all geniality, and gave the toast of the evening--"The South London Photographic Society"--in his usually felicitous style. To Mr. Jabez Hughes was allotted the task of proposing the next important toast--"Photography"--which he did in the most glowing and eloquent terms, dwelling on the rise and progress of the art in England, its position in a competitive point of view at the Paris Exhibition, interspersed with some racy and facetious remarks on the different modes and kinds of rewards, from the bronze, silver, and gold medals, to the paper certificates, which he considered the most honourable mentions that could be given by a discerning public. From that he soared into the higher aspirations of photographers and sublime regions of photography, giving, with thrilling effect, a description of the social joys, scientific pursuits, and human ameliorations to which photography administers. Mr. Baynham Jones, being the oldest photographer present, had the honour of replying on behalf of the art. Mr. G. Wharton Simpson, in very appropriate terms, gave the toast, "Art Photography," which was responded to by Mr. O. G. Rejlander. Mr. Johnson, of the Autotype Company, had the honour of proposing the toast "Professional Photography," which was responded to by Mr. Valentine Blanchard, who occupied the vice-chair. Other toasts of a professional and semi-professional character were given and responded to. The intervals were filled up with part and instrumental music by members of the Society. Mr. Cooper contributed greatly to the evening's enjoyment by giving two charming performances on the cornet-a-piston, which were admirably accompanied by Mr. Henry Cooper on the piano. Taking it all in all, it was one of the pleasantest and merriest evenings I have ever enjoyed at the convivial meetings of the South London Photographic Society, and formed a delightful introduction to the season of universal festivity which is close at hand.

Christmas, all over the civilized world, is not only a period of festive reunion, but, according to the only rational interpretation of the word, a time of good will towards men, and peace upon earth. Photographers, like other men, have had their little differences of opinion, which have produced partial estrangements during a portion of the year which will so soon expire; but let the approaching season, which is held in commemoration of the birth of the greatest Peacemaker that ever came among men, be looked upon by all as the fittest time to forget and forgive all slights, injuries, or insults, real or imaginary; and let not the great festival of our common faith be clouded or eclipsed by an angry thought, nor the immeasurable charity of true Christianity be dimmed by one unforgiving feeling. The light of the Christian faith is a light that should penetrate to the dark cells of our hearts, and dispel all the gloomy and corrosive accumulations of controversy that may have lodged there, and unconsciously eaten away any part of our better nature. Few of us--none but the most presumptuous--can lay his hand upon his heart and say, "Mine is immaculate!" None of us are without sin, and charity and forgiveness are the greatest of the Christian virtues; and they should be the more carefully studied and practised by all who live in and by the Light of the world.

_December 15th, 1868._

PHOTOGRAPHY AND THE IMMURED POMPEIIANS.

Everyone must be sensible of the many and varied applications of photography. Even photographers themselves, familiar as they are with the capabilities of the art they practise, must necessarily have their wonder excited occasionally at the scope of their art-science, especially when they consider that the process, as practised at the present day, is not more than seventeen years old. That it should be the historian of the life and manners of the present period more fully and faithfully than any written account, is not so much a matter of surprise. Appealing, as it does, to the vanity and affections of the people, it is at once a recorder of the changes of fashion, a registrar of marriages, births, and deaths, and a truthful illustrator of the times in which we live; but that it should be brought to bear upon the past, and make the inhabitants of the world in the nineteenth century familiar with the forms, fashions, manners, life, and death of the people of the first century of the Christian Era, is something to be marvelled at, and at first seems an impossibility. Yet such is the fact; and photography has been made the cheap and easy means of informing the present generation of the manner in which the ancients behaved, suffered, and died in the midst of one of the most appalling catastrophes that ever overtook the inhabitants of any part of the world, ancient or modern, as vividly and undeniably as if the calamity had occurred but yesterday.

The foregoing reflections were excited by seeing very recently some photographs from plaster casts of the forms of human beings as they had fallen and died when Pompeii and Herculaneum were destroyed by the first known and terrible eruption of Mount Vesuvius. The photographs alluded to reveal with a fearful fidelity the dreadful agonies of some of those who perished at Pompeii, and, while looking at the pictures, it is very difficult to divest the mind of the idea that they are not the works of some ancient photographer who plied his lens and camera immediately after the eruption had ceased, so forcibly do they carry the mind back to the time and place of the awful immurement of both a town and its people.

That these photographs were not obtained from the lifeless forms of the Pompeiians the reader will readily understand, for their bodies have not been preserved entire from that day to this. The question then naturally arises, "How could plaster casts be obtained from which the photographs were produced?" To answer that question I must briefly explain that Pompeii was not, as is generally understood, destroyed by an overflow of red hot lava, which would have burnt up every particle of human flesh with which it came in contact almost instantly, without leaving a mould or impress of the form which it surrounded. The _black mud_ which flowed from Vesuvius into the doomed town of Pompeii entombed the houses and inhabitants--covered them up and formed a thick crust over them, which gradually hardened, and as the bodies crumbled away to dust a mould or matrix was left, from which plaster casts of great beauty and finish might have been obtained of almost everything that was destroyed. Unfortunately, this was not discovered until very recently, after many of the beautiful moulds had been destroyed by the process of hurried, thoughtless, and unsystematic excavation. It was only a short time ago, since Naples was united to Italy, that careful and intelligent excavation secured to future generations impressions from those matrices made by the most terrible process of natural mould making.

Sig. Fiorelli, who was appointed superintendent of excavations at Pompeii, happily thought of obtaining casts from these natural moulds by pouring in soft plaster of Paris, and thus secure more useful mementos than by preserving the moulds themselves. Amongst the first casts thus obtained were the forms of four human beings, described as follows in the _Quarterly Review_ for 1864:--

"These four persons had perished in the streets. Driven from their homes, they sought to flee when it was too late. These victims of the eruption were not found together, and they do not appear to have belonged to the same family or household. The most interesting of the casts is that of two women, probably mother and daughter, lying feet to feet; they appear from their garb to have been people of poor condition. The elder seems to lie tranquilly on her side, overcome by the noxious gases. She probably fell and died without a struggle. Her limbs are extended, and her left arm drops loosely. On one finger is still seen her coarse iron ring. Her child was a girl of fifteen; she seems, poor thing, to have struggled hard for life. Her legs are drawn up convulsively. Her little hands are clenched in agony. In one she holds her veil, or part of her dress with which she had covered her head, burying her face in her arms to shield herself from the falling ashes and from the foul, sulphurous smoke. The form of her head is perfectly preserved. The texture of her coarse linen garments may be traced, and even the fashion of her dress, with its long sleeves reaching to her wrists. Here and there it is torn, and the smooth young skin appears in the plaster like polished marble. On her tiny feet may still be seen her embroidered sandals. At some distance from this group lay a third woman, apparently about the age of twenty-five, and belonging to a better class. Silver rings were on her fingers. She lay on her side, and had died in great agony. Her garments had been gathered up on one side, leaving exposed a limb of the most beautiful form. She had fled with her little treasure, two silver cups, a few jewels, and some silver coins, and her keys, like a careful matron. The fourth cast is that of a man of the people, perhaps a common soldier. He is almost of colossal size. He lies on his back, his arms extended by his side, and his feet stretched out, as if, finding escape impossible, he had laid himself down to meet death like a brave man. His dress consists of a short coat or jerkin, and tight-fitting breeches of some coarse stuff, perhaps leather; heavy sandals, with soles studded with nails, are laced tightly round his ankles. On one finger is seen his iron ring. His features are strongly marked, his mouth open, as in death. Some of his teeth still remain, and even part of the moustache adheres to the plaster."

Such is the description of the plaster casts; and the photographs which I possess of those casts convey to the mind at one glance all that is there written. Wonderful photography! How eloquent in their silence are thy pictures! To what more dignified and sublime uses could any art be put? Only a few can look upon those casts of the dead Pompeiians in the Museum of Naples, but the whole world may view the photographs taken from them, and look upon the Pompeiians in their forms and habits as they died, and read a page from the unwritten histories of those terrible death-struggles, when the strong man, the tender, placid mother, and the young and delicate maiden were all entombed in that fearful sea of mud, amidst darkness and horrors that can never be adequately described.

Such an awful catastrophe will never cease to interest the student of ancient history, and photography will now be the means of deepening his interest, and revealing to his mind with greater force and lucidity many scenes that actually occurred at the very moment of the appalling destruction of Pompeii, on the 24th of August, A.D. 79.

A SIMPLE MODE OF INTENSIFYING NEGATIVES.

Undoubtedly the best possible practice of photography is that which requires no after intensification in the production of a first-class negative. This, however, though a "consummation devoutly to be wished," is not always attained, even by the most experienced photographer. Every operator knows that there is sometimes a condition of things that renders a simple and efficient process of intensifying afterwards indispensable.

Of all the modes of intensifying--and their name is legion--I think the readiest and most generally useful has been much neglected. The persulphate of uranium and ferridcyanide of potassium process gave wonderfully charming results. But what of that? It was completely impracticable, and a failure, in consequence of its tendency to go on increasing in intensity in the hands of the printer.

The bichloride of mercury and iodine processes, unlimited in number, also went on increasing in an unlimited degree, and no amount of "roasting" could reduce the negatives so treated to the desirable degree of transparency that would enable any printer to obtain good impressions. There is, however, one of the bichloride of mercury processes, published some years ago, which I modified so as to give the most satisfactory results. It rendered the negative sufficiently intense, and preserved the most exquisite modelling, without changing afterwards; but the process was very troublesome, and not very agreeable.

The simplest, cheapest, and most reliable process of intensifying negatives that I know of is with sulphuret of potassium (liver of sulphur) used in the following manner:--

Make a very dilute solution of sulphuret of potassium, put it into any old gutta-percha or porcelain bath; and, after the negative is developed as far as is desirable with the ordinary iron developer, fixed, and washed in the usual way, immerse the plate in that state at once into the solution of sulphuret of potassium, in the same manner as in sensitising the plate in the nitrate bath, by using a dipper, and leave it there until sufficiently intense, which is generally in about the time required for coating and sensitising another plate, so that, if the operator be working single-handed, very little, if any, time is lost in the process of intensifying.

The solution may also be flooded over the plate in the same manner as the developer, after fixing and washing as before.

When sufficiently intense, rinse the plate with water, dry, and varnish in the ordinary way. But it is best to use the intensifier in the manner first described, which is by far the most cleanly and economical plan, both in the saving of time and solution. By using it with the "bath and dipper," it is not offensive, on account of its extreme dilution, and not being disturbed so much, or immediately under the olfactory nerves of the operator, it may be worked in the ordinary dark room with the greatest safety and convenience.

A STRING OF OLD BEADS.

He is a rash man who announces "something new" in these days. I believe there is nothing new under the sun, and in photography especially. If any man be rash enough to rush into print with what he considers a new idea, some other man rushes into print also and says the idea is old, exploded, useless, worthless, or worse.

I lay no claim to originality. I have lived so long in the atmosphere of photography, I don't know where or how I picked up my knowledge--such as it is. Some of it I may have stumbled on, some of it I may have found, and some of it I may have stolen. If the latter, I forget from whom, when, or where, and in all such cases a bad memory is a good and convenient thing. But I will endeavour to atone for such sins by publicly restoring all I may have filched from other men's brains for the benefit of all whom it may concern. I shall not count the beads; that would be like running over a rosary, and I object to sub rosa revelations; neither shall I attend to the order of stringing the beads, but will put them on record just as they come to hand; and the first is--

_How to Make Vignette Papers._--Take a piece of sensitised paper, lay it under a piece of glass and let it blacken. Then take a camels'-hair pencil dipped in a weak solution of cyanide of potassium, and paint the extreme size and shape of the desired aperture. Let it dry, and with a little stronger solution of cyanide paint _within_ the size and shape, and then with a stronger solution paint the centre, which will be perfectly white and semi-transparent. The object of using the three strengths of solution and painting three separate times is to obtain gradation, and the edges will be yellow and softened like a vignette glass. These vignette papers can be attached to the back of the negative or to the outside of the printing-press, and can be used either in shade or sunshine without materially prolonging the time of printing. The cost of production is trifling, as any waste piece of paper and spare time can be employed in making them, and they do not occupy much time in making; in fact, one can be made in less time than will be spent in reading this description. I need not expatiate on the advantages of being able to make a special vignette quickly. Every photographer must have experienced the difficulty of purchasing a special size and shape to suit a particular subject.

_How to Point a Pencil._--Rub the pencil to a point in the groove of a corundum file. This is a better and cheaper pointer than a Yankee pencil-sharpener, and it puts a finer point to a blacklead pencil than anything else I know. Retouchers, try it.

_How to Ease a Tight Stopper._--There is nothing more annoying in the practice of photography than to take up a bottle and find the stopper _fixed_. In many instances the bottle is broken and time wasted in trying to remove the fixed stopper. When such an obstinate stopper gets into your hands, run a little glycerine round the top of the bottle. Set the bottle down, and in a few minutes the stopper will be free. Prevention is better than cure. Keep a little glycerine on all your stoppers. Glycerine agrees with every chemical in photographic use, and prevents stoppers and bottles coming to grief. In a thousand and one ways a little glycerine is beyond all price.

_How to Prepare Albumenized Prints for Colouring._--Pour over them a little matt varnish. This removes the greasiness, and gives a fine tooth and ivory-like surface for the artist to work upon.

_How to Remove Silver Stains from the White Ground of a Vignette._--Touch it with a solution of cyanide of potassium, and wash off immediately. The other parts of the picture will not be injured.

_How to Stipple a Window White or Yellow._--For white, mix a little dextrine and kaolin in water. Dab the mixture on the glass with a piece of cotton. For the purpose of obscuration that is quite enough; but if sightliness be essential, finish by stippling with the ends of a hog's-hair brush. For yellow, mix a little dextrine and deep orange chrome in powder together in water, and apply it to the window in the same manner. Dabbing once or twice with a piece of cotton will exclude white light and make a luminous dark room. The same mixture makes an excellent backing for dry plates to prevent halation.

LIGHTS AND LIGHTING.

A great deal has been written and said about lights and lighting--a great deal too much; yet more must be said and written.

Light is to the photographer what the sickle is to the shearer--a good reaper can cut well with an indifferent sickle, but an indifferent reaper never gets a good sickle in his hand. A good photographer, who also understands light and shade, can produce good pictures in an ordinary studio. It is the indifferent photographer who runs after "fancy lights," and is, like a benighted traveller in pursuit of a will-o'-the-wisp, eventually left floundering in a bog. It is folly to construct powerful concentrators if powerful reflectors have to be employed to counteract their defects. If a limited amount of diffused light be absolutely necessary it is best to retain it and use it in its simplest and least expensive form.

When I commenced photography glass houses were scarcer in England than comets in the heavens, and the few that were in existence were all constructed on false principles. It was not until I visited America that I saw a _properly_-constructed studio. The Americans were, and are, prone to give stupid names to sensible things; and the names they gave to their studios were no exceptions. This, that, and the other photographer advertised his "mammoth skylight." I went to sit, see, and be satisfied that their mode of lighting was very superior to ours. I was convinced _instanter_ that the perpendicular sides and sloping roofs of our miserable little hothouses were mistakes and things to be abhorred, while their spacious rooms and "mammoth skylights" were things to be admired and adopted.

In one of these rooms, and almost without blinds or reflectors, the sitter could be "worked" on a semi-circle or half oval, and "lighted" either in front or on either side at pleasure, and with the greatest facility. I determined, there and then, to build my next studio on similar principles; but until recently I have had no opportunity of carrying out my intentions. To get what I required and to make the best of my situation I had to "fence and fiddle" the district surveyor: but I gained my point, and the victory was worth the foils and the fiddlestick.

My studio can be lighted from either side; but the "light of lights" is the north one, and that is a large fixed window 11 by 9 feet with a single slope of two and a half feet in the height; that is, two and a half feet out of the perpendicular at the top, with no other top light and no perpendicular side light. With this light I do all ordinary work. I can work round the light from one side of the room to the other, as under a mammoth skylight, without using either blind or reflector. If I want Rembrandt effects I have only to open a shutter on the south side, and let in subdued sunlight. That at once becomes the dominant light, and the north light illumines the shadows. The bottom of the north light is three feet from the floor.

The advantages of this form of studio are these. It is cool, because no more light is admitted than is absolutely necessary. It is neat, because no rag-like curtains are hanging about. It is clean, because there is nothing to collect dirt. It is dry, because the pitch of the roof renders leakage impossible. It is pleasant to the sitter, because of these desirabilities, and that the light is not distressing. It is agreeable to the operator, because the work is easy and everything is comfortable.

Printed by Piper & Carter, 5, Furnival Street, Holborn, London, E.C.

SEVEN NEW SIZES,

ALL WITH

TRANSPARENT

FILM.

No apparatus connected with Photography has ever excited so much interest as

THE KODAK.

The No. 1, making a round picture, was only the entering wedge, and served its purpose admirably, in introducing to the public the vast advantages of a Camera using films over any form of Camera using glass.

This year we beg to call your attention to SEVEN NEW SIZES, viz.:--

No. 2, 3-1/2 inch Circular Picture, one finder.
No. 3, Regular, 3-1/4 x 4-1/4, Square Picture, two finders.
No. 3, Junior, "
No, 4, Regular, 4 x 5,
No. 4, Junior, "
No. 4, Folding, "
No. 5, " 5 x 7, " " "

_Send for the New KODAK PRIMER, fully describing all sizes and styles._

THE EASTMAN PHOTOGRAPHIC MATERIALS COMPANY, Limited,
115, Oxford Street, London, W.

IT IS ADMITTED by Every Competent Authority THAT WRATTEN'S 'LONDON' PLATES ARE THE UNIVERSAL STANDARD OF EXCELLENCE AND COMPARISON.

This high reputation has been sustained against a host of competitors for twelve years:--a fact without parallel in the annals of the Gelatine process.

Messrs. Wratten & Wainwright's Complete Illustrated Catalogue contains full Particulars and Prices of a large and varied Stock of Photographic Requirements, together with specially-written Instructions for developing the "London" Plates, Printing, Toning, and other operations, and will be forwarded free upon application to

WRATTEN & WAINWRIGHT,
PHOTOGRAPHIC CHEMISTS AND APPARATUS MAKERS,
AND
Sole Proprietors and Manufacturers of the
"London" Dry Plates,
38, GREAT QUEEN STREET, LONG ACRE,
LONDON, W.C.

THE AUTOTYPE COMPANY

MANUFACTURES

AUTOTYPE TISSUES, TRANSFER PAPERS, & MATERIALS FOR PERMANENT PHOTOGRAPHIC PRINTING.

=AUTOTYPE ENLARGEMENTS.=--Portraits and Views produced of any
dimensions up to 5 ft. by 3 ft. 6 in.; their grandeur, beauty,
and unalterability secure public favour.

=AUTOTYPE DRY PLATES=, manufactured with Burton's Coating Machine,
are rich in silver, very rapid, yielding clear vigorous negatives,
of uniform quality. The plates are of superior glass, and packed
in strong metal-grooved boxes up to 15 by 12 inches. To be
obtained only of the Autotype Company.

=BOOK ILLUSTRATIONS=, by Sawyer's =Collotype Process=, employed by
the Trustees of the British Museum, by the Royal, Palaeographical,
Hellenic, Numismatical, and other learned Societies, and by the
leading publishers. Prints direct on the paper with suitable
margins.

=AUTO-GRAVURE.=--The Autotype process as applied to Photographic
Engraving on Copper is of wide application in the reproduction of
Works of Art, and is highly appreciated by the disciples of
Naturalistic Photography as efficiently rendering the qualities of
negatives direct from nature. Examples of Auto-gravure, in the
reproduction of paintings by Holman Hunt, the late Frank Holl,
R.A., W. Ouless, R.A., Val. Prinsep, A.R.A., of drawings by Hy.
Rylands, of a frieze, "Spring," by Herbert Draper, of a Group from
the frieze of the Parthenon, &c., &c., can be seen at 74, New
Oxford Street.

* * * * *

The AUTOTYPE FINE ART GALLERY,

_74, New Oxford Street, London_,

is remarkable for its display of Copies of celebrated Works by

"THE GREAT MASTERS"

from the Louvre, Vatican, Hermitage, and the National Galleries of Italy, Spain, Holland, and London, including H.M. Collections at Buckingham Palace and Windsor Castle.

Albums of reference to the various Galleries are provided, are easily looked over, and of great interest to lovers of Art. Send for the new Pamphlet, "AUTOTYPE: a Decorative and Educational Art," per post to any address.

The AUTOTYPE FINE ART CATALOGUE, 186 pp., free per post for 6d.

THE AUTOTYPE COMPANY, LONDON.

Offices: 74, New Oxford Street, w. c. -- Works: Ealing Dene, Middlesex.

=Grand Prix & Gold Medal, Paris Exhibition, 1889.=
Council Medal and Highest Award, Great Exhibition, London, 1851.
Gold Medal, Paris Exposition, 1867. Medal and Highest Award,
Exhibition, London, 1862.
Medal and Diploma, Antwerp. 1878.
Medal and Diploma, Centennial Exhibition, Philadelphia, 1875.
Two Gold Medals, Paris Exposition, 1878. Medal and Diploma,
Sydney, 1879.
Gold Medal, Highest Award, Inventions Exhibition, 1885.

ROSS' LENSES AND APPARATUS.

IMPORTANT ANNOUNCEMENT.

In consequence of the greatly increased demand for their Photographic Cameras and Apparatus, Ross & Co. have fitted up the first floor of 112, New Bond Street, as

SPECIAL SHOW ROOMS

for exhibiting the newest and most improved forms of

CAMERAS AND ACCESSORIES OF ALL DESCRIPTIONS.

For the convenience of purchasers, they have also constructed

_A FULLY EQUIPPED DARK ROOM,_

where the Apparatus may be practically tested, and

USEFUL INSTRUCTIONS GIVEN TO BEGINNERS.

Amateurs are invited to inspect ROSS' COMPLETE OUTFITS.

ROSS' IMPROVED CAMERAS.

Extra Light and Portable; Double Extension.

New Form DOUBLE SLIDE,

=Less Costly than the Ordinary Form of Dark Slide.=

Absolutely Light-proof. Smaller than Ordinary. No Superfluous Openings.
No risk of Plates being broken by pressure. Certainty of Register.
Lighter than Ordinary. No Hinges or Clips to get out of order.
No chance of Warping.

SPECIAL SMALL & LIGHT CAMERAS,

=For use with the New Form Double Slide.=

_Catalogues and Full Particulars, with Estimates, on application to_

ROSS & CO., 112, NEW BOND STREET, LONDON.

Works: Clapham Common, S.W.

H. MOORSE,
Photographic Apparatus Manufacturer
TO THE GOVERNMENT (Established over 25 years),
154, High Holborn, London, W.C.
(Near New Oxford Street and Museum Street.)

SQUARE CAMERA.

LIGHT CAMERA.

Both one price. Cash with Order, 10 per cent. off.

4-1/4 x 3-1/2 6-1/2 x 4-3/4 8-1/2 x 6-1/2
L s. d. L s. d. L s. d.

Camera and Three 6 0 0 7 10 0 9 8 0
Double Backs.

Rectilinear Lens 3 0 0 3 10 0 5 0 0
with Iris Diaphragm
Travelling Bag.

Brown Canvas with 0 18 0 1 0 0 1 2 0
Spring Lock.

Solid Leather Spring 1 5 0 1 8 0 1 12 0
Lock.

Rotating Turn Table 1 7 0 1 12 0 1 12 0
with Tripod Stand.

Brass Binding Camera 1 5 0 1 5 0 1 10 0
and Slide.

10 x 8 12 x 10 15 x 12 18 x 16 24 x 18
L s. d. L s. d. L s. d. L s. d. L s. d.

Camera and three 11 15 0 14 14 0 18 18 0 24 0 0 26 0 0
Double Backs.

Rectilinear Lens 6 10 0 8 10 0 10 10 0 16 15 0 25 0 0
with Iris Diaphragm (2 cases)
Travelling Bag.

Brown Canvas with 1 15 0 2 10 0 3 12 0 4 14 0 6 0 0
Spring Lock.

Solid Leather Spring 2 5 0 3 5 0 4 15 0 6 5 0 8 0 0
Lock.

Rotating Turn Table 2 0 0 2 5 0 2 10 0 2 15 0 3 5 0
with Tripod Stand.