Chapter III: Part 3

In the principal cities I found all the Daguerreans quite equal to the best in New York, and all doing good business, and I gave lessons in colouring to most of them. In Newark I met Messrs. Benjamin and Polson; in Philadelphia, Marcus Root and Dr. Bushnell. I encountered a great many _doctors_ and _professors_ in the business in America. In Baltimore, Maryland--then a slave State--many of the Daguerreans owned slaves. In Washington D.C., I renewed my acquaintance with Mr. George Adams, one of the best Daguerreans in the City; and while visiting him a very curious thing occurred. One of the representatives of the South came in to have his portrait taken, and the first thing he did was to lay a revolver and a bowie knife on the table beside him. He had just come from the House of Representatives. His excuse for such a proceeding was that he had bought some slaves at the market at Alexandria, and was going to take them home that night. He was a very tall man, and when he stood up against the background his head was above it. As he wanted to be taken standing, this put Mr. Adams into a dilemma, and he asked what he should do. I thought the only thing that could be done was to move the background up and down during exposure, which we did, and so obviated the appearance of a line crossing the head.

While staying in Washington I attended one of the levees at the White House, and was introduced to President Pearce. There was no fuss or difficulty in gaining admission. I had only to present my card at the door, and the City Marshall at once led me into the room where the President, surrounded by some of his Cabinet, was waiting to receive, and I was introduced. After a cordial shake of his hand, I passed on to another saloon where there was music and promenading in mixed costumes, for most of the men were dressed as they liked, and some of the ladies wore bonnets. It was the weekly _sans ceremonie_ reception. Finding many of the people of Washington very agreeable and hospitable, I stayed there a considerable time. When I started on the southern journey I did intend to go on to New Orleans, but I stayed so long in Philadelphia and Washington the summer was too far advanced, and as a rather severe outbreak of yellow fever had occurred, I returned to New York and took a journey northward, visiting Niagara Falls, and going on to Canada. I sailed up the Hudson River, stopping at Albany and Troy. At the latter place I met an Englishman, named Irvine, a Daguerrean who treated me hospitably, and for whom I coloured several Daguerreotypes. He wanted me to stay with him, but that I declined. Thence I proceeded to Rochester, and there found that one of my New York pupils had been before me, representing himself as Werge the colourist, for when I introduced myself to the principal Daguerrean he told me that Werge--a very different man--had been there two or three weeks ago. I discovered who the fellow was, and that he had practised a piece of Yankee smartness for which I had no redress. From Rochester I proceeded to Buffalo, where I met with another instance of Yankee smartness of a different kind. I had sold some colours to a man there who paid me in dollar bills, the usual currency of the country, but when I tendered one of these bills for payment at the hotel, it was refused. I next offered it on board a steamboat, but there it was also declined. When I had an opportunity I returned it to the man who gave it to me, and requested him to send me a good one instead. He was honest enough to do that, and impudent enough to tell me that he knew it was bad when he gave it to me, but as I was a stranger he thought I might pass it off easily.

I next went to Niagara Falls, where it was my good fortune to encounter two very different specimens of American character in the persons of Mr. Easterly and Mr. Babbitt, the former a visitor and the latter a resident Daguerrean, who held a monopoly from General Porter to Daguerreotype the Falls and visitors. He had a pavilion on the American side of the Falls, under which his camera was in position all day long, and when a group of visitors stood on the shore to survey the Falls from that point, he took the group--without their knowledge--and showed it to the visitors before they left. In almost every instance he sold the picture at a good price; the people were generally delighted to be taken at the Falls. I need hardly say that they were all taken instantaneously, and embraced a good general view, including the American Fall, Goat Island, the Horse Shoe Fall, and the Canadian shore. Many of these views I coloured for Mr. Babbitt, but there was always a beautiful green colour on the brink of the Horse Shoe Fall which I never could match. For many years I possessed one of Mr. Babbitt's Daguerreotype views, as well as others taken by Mr. Easterly and myself, but I had the misfortune to be deprived of them all by fire. Some years after I lent them to an exhibition in Glasgow, which was burnt down, and all the exhibits destroyed. After a delightful sojourn of three weeks at Niagara Falls, I took steamer on the lower Niagara River, sailed down to Lake Ontario, and down the River St. Lawrence, shooting the Lachine Rapids, and on to Montreal.

In the Canadian City I did not find business very lively, so after viewing the fine Cathedral of Notre Dame, the mountain, and other places, I left Montreal and proceeded by rail to Boston. The difference between the two cities was immense. Montreal was dull and sleepy, Boston was all bustle and life, and the people were as unlike as the cities. On my arrival in Boston, I put up at the Quincy Adams Hotel, and spent the first few days in looking about the somewhat quaint and interesting old city, hunting up Franklin Associations, and revolutionary landmarks, Bunker Hill, and other places of interest. Having satisfied my appetite for these things, I began to look about me with an eye to business, and called upon the chief Daguerreans and photographers in Boston. Messrs. Southworth and Hawes possessed the largest Daguerreotype establishment, and did an excellent business. In their "Saloon" I saw the largest and finest revolving stereoscope that was ever exhibited. The pictures were all whole-plate Daguerreotypes, and set vertically on the perpendicular drum on which they revolved. The drum was turned by a handle attached to cog wheels, so that a person sitting before it could see the stereoscopic pictures with the utmost ease. It was an expensive instrument, but it was a splendid advertisement, for it drew crowds to their saloon to see it and to sit, and their enterprise met with its reward.

At Mr. Whipple's gallery, in Washington Street, a dual photography was carried on, for he made both Daguerreotypes and what he called "crystallotypes," which were simply plain silver prints obtained from collodion negatives. Mr. Whipple was the first American photographer who saw the great commercial advantages of the collodion process over the Daguerreotype, and he grafted it on the elder branch of photography almost as soon as it was introduced. Indeed, Mr. Whipple's establishment may be considered the very cradle of American photography as far as collodion negatives and silver prints are concerned, for he was the very first to take hold of it with spirit, and as early as 1853 he was doing a large business in photographs, and teaching the art to others. Although I had taken collodion negatives in England with Mawson's collodion in 1852, I paid Mr. Whipple fifty dollars to be shown how he made his collodion, silver bath, developer, printing, &c., &c., for which purpose he handed me over to his active and intelligent assistant and newly-made partner, Mr. Black. This gave me the run of the establishment, and I was somewhat surprised to find how vast and varied were his mechanical appliances for reducing labour and expediting work. The successful practice of the Daguerreotype art greatly depended on the cleanness and highly polished surface of the silvered plates, and to secure these necessary conditions, Mr. Whipple had, with characteristic and Yankee-like ingenuity, obtained the assistance of a steam engine which not only "drove" all the circular cleaning and buffing wheels, but an immense circular fan which kept the studio and sitters delightfully cool. Machinery and ingenuity did a great many things in Mr. Whipple's establishment in the early days of photography. Long before the Ambrotype days, pictures were taken on glass and thrown upon canvas by means of the oxyhydrogen light for the use of artists. At that early period of the history of photography, Messrs. Whipple and Black did an immense "printing and publishing" trade, and their facilities were "something considerable." Their toning, fixing, and washing baths were almost worthy the name of vats.

Messrs. Masury and Silsby were also early producers of photographs in Boston, and in 1854 employed a very clever operator, Mr. Turner, who obtained beautiful and brilliant negatives by iron development. On the whole, I think Boston was ahead of New York for enterprise and the use of mechanical appliances in connection with photography. I sold my colours to most of the Daguerreotypists, and entered into business relations with two of the dealers, Messrs. French and Cramer, to stock them, and then started for New York to make arrangements for my return to England.

When I returned to New York the season was over, and everyone was supposed to be away at Saratoga Springs, Niagara Falls, Rockaway, and other fashionable resorts; but I found the Daguerreotype galleries all open and doing a considerable stroke of business among the cotton planters and slave holders, who had left the sultry south for the cooler atmosphere of the more northern States. The Daguerreotype process was then in the zenith of its perfection and popularity, and largely patronised by gentlemen from the south, especially for large or double whole-plates, about 16 by 12 inches, for which they paid fifty dollars each. It was only the best houses that made a feature of these large pictures, for it was not many of the Daguerreans that possessed a "mammoth tube and box"--_i.e._, lens and camera--or the necessary machinery to "get up" such large surfaces, but all employed the best mechanical means for cleaning and polishing their plates, and it was this that enabled the Americans to produce more brilliant pictures than we did. Many people used to say it was the climate, but it was nothing of the kind. The superiority of the American Daguerreotype was entirely due to mechanical appliances. Having completed my business arrangements and left my colours on sale with the principal stock dealers, including the Scovill Manufacturing Company, Messrs. Anthony, and Levi Chapman.

I sailed from New York in October 1854, and arrived in England in due time without any mishap, and visiting London again as soon as I could, I called at Mr. Mayall's gallery in Regent Street to see Dr. Bushnell, whom I knew in Philadelphia, and who was then operating for Mr. Mayall. While there Mr. Mayall came in from the Guildhall, and announced the result of the famous trial, "Talbot _versus_ Laroche," a verbatim report of which is given in the Journal of the Photographic Society for December 21st, 1854. Mr. Mayall was quite jubilant, and well he might be, for the verdict for the defendant removed the trammels which Mr. Fox Talbot attempted to impose upon the practice of the collodion process, which was Frederick Scott Archer's gift to photographers. That was the first time that I had met Mr. Mayall, though I had heard of him and followed him both at Philadelphia and New York, and even at Niagara Falls. At that time Mr. Mayall was relinquishing the Daguerreotype process, though one of the earliest practitioners, for he was in business as a Daguerreotypist in Philadelphia from 1842 to 1846, and I know that he made a Daguerreotype portrait of James Anderson, the tragedian, in Philadelphia, on Sunday, May 18th, 1845. During part of the time that he was in Philadelphia he was in partnership with Marcus Root, and the name of the firm was "Highschool and Root," and about the end of 1846 Mr. Mayall opened a Daguerreotype studio in the Adelaide Gallery, King William Street, Strand, London, under the name of Professor Highschool, and soon after that he opened a Daguerreotype gallery in his own name in the Strand, which establishment he sold to Mr. Jabez Hughes in 1855. The best Daguerreotypists in London in 1854 were Mr. Beard, King William Street, London Bridge; Messrs. Kilburn, T. R. Williams and Claudet, in Regent Street; and W. H. Kent, in Oxford Street. The latter had just returned from America, and brought all the latest improvements with him. Messrs. Henneman and Malone were in Regent Street doing calotype portraits. Henneman had been a servant to Fox Talbot, and worked his process under favourable conditions. Mr. Lock was also in Regent Street, doing coloured photographs. He offered me a situation at once, if I could colour photographs as well as I could colour Daguerreotypes, but I could not, for the processes were totally different. M. Manson, an old Frenchman, was the chief Daguerreotype colourist in London, and worked for all the principal Daguerreotypists. I met the old gentleman first in 1851, and knew him for many years afterwards. He also made colours for sale. Not meeting with anything to suit me in London, I returned to the North, calling at Birmingham on my way, where I met Mr. Whitlock, the chief Daguerreotypist there, and a Mr. Monson, who professed to make Daguerreotypes and all other types. Paying a visit to Mr. Elisha Mander, the well-known photographic case maker, I learnt that Mr. Jabez Hughes, then in business in Glasgow, was in want of an assistant, a colourist especially. Having met Mr. Hughes in Glasgow in 1852, and knowing what kind of man he was, I wrote to him, and was engaged in a few days. I went to Glasgow in January, 1855, and then commenced business relations and friendship with Mr. Hughes that lasted unbroken until his death in 1884. My chief occupation was to colour the Daguerreotypes taken by Mr. Hughes, and occasionally take sitters, when Mr. Hughes was busy, in another studio. I had not, however, been long in Glasgow, when Mr. Hughes determined to return to London. At first he wished me to accompany him, but it was ultimately arranged that I should purchase the business, and remain in Glasgow, which I did, and took possession in June, Mr. Hughes going to Mr. Mayall's old place in the Strand, London. Mr. Hughes had been in Glasgow for nearly seven years, and had done a very good business, going first as operator to Mr. Bernard, and succeeding to the business just as I was doing. While Mr. Hughes was in Glasgow he was very popular, not only as a Daguerreotypist, but as a lecturer. He delivered a lecture on photography at the Literary and Philosophical Society, became an active member of the Glasgow Photographic Society, and an enthusiastic member of the St. Mark's Lodge of Freemasons. Only a day or two before he left Glasgow, he occupied the chair at a meeting of photographers, comprising Daguerreotypists and collodion workers, to consider what means could be adopted to check the downward tendency of prices even in those early days. I was present, and remember seeing a lady Daguerreotypist among the company, and she expressed her opinion quite decidedly. Efforts were made to enter into a compact to maintain good prices, but nothing came of it. Like all such bandings together, the band was quickly and easily broken.

I had the good fortune to retain the best of Mr. Hughes's customers, and make new ones of my own, as well as many staunch and valuable friends, both among what I may term laymen and brother Masons, while I resided in Glasgow. Most of my sitters were of the professional classes, and the _elite_ of the city, among whom were Sir Archibald Alison, the historian, Col. (now General) Sir Archibald Alison, Dr. Arnott, Professor Ramsey, and many of the princely merchants and manufacturers. Some of my other patrons--for I did all kinds of photographic work--were the late Norman Macbeth, Daniel McNee (afterwards Sir Daniel), and President of the Scottish Academy of Art, and also Her Majesty the Queen, for she bought two of my photographs of Glasgow Cathedral, and a copy of my illustration of Hood's "Song of the Shirt," copies of which I possess now, and doubtless so does Her Majesty. One of the most interesting portraits I remember taking while I was in Glasgow was that of John Robertson, who constructed the first marine steam engine. He was associated with Henry Bell, and fitted the "Comet" with her engine. Mr. Napier senr., the celebrated engineer on the Clyde, brought Robertson to sit to me, and ordered a great many copies. I also took a portrait of Harry Clasper, of rowing and boat-building notoriety, which was engraved and published in the _Illustrated London News_. Several of my portraits were engraved both on wood and steel, and published. At the photographic exhibition in connection with the meeting of the British Association held in Glasgow, in 1855, I saw the largest collodion positive on glass that ever was made to my knowledge. The picture was thirty-six inches long, a view of Gourock, or some such place down the Clyde, taken by Mr. Kibble. The glass was British plate, and cost about L1. I thought it a great evidence of British pluck to attempt such a size. When I saw Mr. Kibble I told him so, and expressed an opinion that I thought it a waste of time, labour, and money not to have made a negative when he was at such work. He took the hint, and at the next photographic exhibition he showed a silver print the same size. Mr. Kibble was an undoubted enthusiast, and kept a donkey to drag his huge camera from place to place. My pictures frequently appeared at the Glasgow exhibition, but at one, which was burnt down, I lost all my Daguerreotype views of Niagara Falls, Whipple's views of the moon, and many other valuable pictures, portraits, and views, which could never be replaced.

COLLODION.

FREDERICK SCOTT ARCHER.
_From Glass Positive by R. Cade, Ipswich. 1855._

HEVER CASTLE, KENT.
_Copy of Glass Positive taken by F. Scott Archer in 1849._]

THIRD PERIOD.

COLLODION TRIUMPHANT.

In 1857 I abandoned the Daguerreotype process entirely, and took to collodion solely; and, strangely enough, that was the year that Frederick Scott Archer, the inventor, died. Like Daguerre, he did not long survive the publication and popularity of his invention, nor did he live long enough to see his process superseded by another. In years, honours, and emoluments, he fell far short of Daguerre, but his process had a much longer existence, was of far more commercial value, benefitting private individuals and public bodies, and creating an industry that expanded rapidly, and gave employment to thousands all over the world; yet he profited little by his invention, and when he died, a widow and three children were left destitute. Fortunately a few influential friends bestirred themselves in their interest, and when the appeal was made to photographers and the public to the Archer Testimonial, the following is what appeared in the pages of _Punch_, June 13th, 1857:--

"To the Sons of the Sun.

"The inventor of collodion has died, leaving his invention unpatented, to enrich thousands, and his family unportioned to the battle of life. Now, one expects a photographer to be almost as sensitive as the collodion to which Mr. Scott Archer helped him. A deposit of silver is wanted (gold will do), and certain faces, now in the dark chamber, will light up wonderfully, with an effect never before equalled by photography. A respectable ancient writes that the statue of Fortitude was the only one admitted to the Temple of the Sun. Instead whereof, do you, photographers, set up Gratitude in your little glass temples of the sun, and sacrifice, according to your means, in memory of the benefactor who gave you the deity for a household god. Now, answers must not be negatives."

The result of that appeal, and the labours of the gentlemen who so generously interested themselves on behalf of the widow and orphans, was highly creditable to photographers, the Photographic Society, Her Majesty's Ministers, and Her Majesty the Queen. What those labours were, few now can have any conception; but I think the very best way to convey an idea of those labours and their successful results will be to reprint a copy of the final report of the committee.

The Report of the Committee of the Archer Testimonial.

"The Committee of the Archer Testimonial, considering it necessary to furnish a statement of the course pursued towards the attainment of their object, desire to lay before the subscribers and the public generally a full report of their proceedings.

"Shortly after the death of Mr. F. Scott Archer, a preliminary meeting of a few friends was held, and it was determined that a printed address should be issued to the photographic world.

"Sir William Newton, cordially co-operating in the movement, at once made application to Her Most Gracious Majesty. The Queen, with her usual promptitude and kindness of heart, forwarded a donation of L20 towards the Testimonial. The Photographic Society of London, at the same time, proposed a grant of L50, and this liberality on the part of the Society was followed by an announcement of a list of donations from individual members, which induced your Committee to believe that if an appeal were made to the public, and those practising the photographic art, a sum might be raised sufficiently large, not only to relieve the immediate wants of the widow and children, but to purchase a small annuity, and thus in a slight degree compensate for the heavy loss they had sustained by the premature death of one to whom the photographic art had already become deeply indebted.

"To aid in the accomplishment of this design, Mr. Mayall placed the use of his rooms at the service of a committee then about to be formed. Sir William Newton and Mr. Roger Fenton consented to act as treasurers to the fund, and the Union, and London and Westminster Banks kindly undertook to receive subscriptions.

"Your Committee first met on the 8th day of June, 1857, Mr. Digby Wyatt being called to the chair, when it was resolved to ask the consent of Professors Delamotte and Goodeve to become joint secretaries. These duties were willingly accepted, and subscription lists opened in various localities in furtherance of the Testimonial.

"Your Committee met on the 8th day of July, and again on the 4th day of September, when, on each occasion, receipts were announced and paid into the bankers.

"The Society of Arts having kindly offered, through their Secretary, the use of apartments in the house of the Society for any further meetings, your Committee deemed it expedient to accept the same, and passed a vote of thanks to Mr. Mayall for the accommodation previously afforded by that gentleman.

"Your Committee, believing that the interests of the fund would be better served by a short delay in their proceedings, resolved on deferring their next meeting until the month of November, or until the Photographic Society should resume its meetings, when a full attendance of members might be anticipated; it being apparent that individually and collectively persons in the provinces had withheld their subscriptions until the grant of the Photographic Society of London had been formally sanctioned at a special meeting convened for the purpose, and that their object--the purchase of an annuity for Mrs. Archer and her children--could only be effected by the most active co-operation among all classes.

"Your Committee again met on the 26th of November, when it was resolved to report progress to the general body of subscribers, and that a public meeting be called for the purpose, at which the Lord Chief Baron Pollock should be requested to preside. To this request the Lord Chief Baron most kindly and promptly acceded; and your Committee determined to seek the co-operation of their photographic friends and the public to enable them to carry out in its fullest integrity the immediate object of securing some small acknowledgment for the eminent services rendered to photography by the late Mr. Archer.

"At this meeting it was stated that an impression existed, which to some extent still exists, that Mr. Archer was not the originator of the Collodion Process; your Committee, therefore, think it their duty to state emphatically that they are fully satisfied of the great importance of the services rendered by him, as an original inventor, to the art of photography.

"Professor Hunt, having studied during twenty years the beautiful art of photography in all its details, submitted to the Committee the following explanation of Mr. Archer's just right:--

"'As there appears to be some misconception of the real claim of Mr. Archer to be considered as a _discoverer_, it is thought desirable to state briefly and distinctly what we owe to him. There can be no doubt that much of the uncertainty which has been thought by some persons to surround the introduction of collodion, has arisen from the unobtrusive character of Mr. Archer himself, who deferred for a considerable period _the publication of the process of which he was the discoverer_.

"'When Professor Schoenbein, of Basle, introduced gun-cotton at the meeting of the British Association at Southampton in 1846, the solubility of this curious substance in ether was alluded to. Within a short time collodion was employed in our hospitals for the purposes of covering with a film impervious to air abraded surfaces on the body; its peculiar electrical condition was also known and exhibited by Mr. Hall, of Dartford, and others.

"'The beautiful character of the collodion film speedily led to the idea of using it as a medium for receiving photographic agents, and experiments were made by spreading the collodion on paper and on glass, to form with it sensitive tablets. These experiments were all failures, owing to the circumstance that the collodion was regarded merely as a sheet upon which the photographic materials were to be spread; the dry collodion film being in all cases employed.

"'To Mr. Archer, who spent freely both time and money in experimental research, it first occurred to dissolve in the collodion itself the iodide of potassium. By this means he removed every difficulty, and became the inventor of the collodion process. The pictures thus obtained were exhibited, and some of the details of the process communicated by Mr. Scott Archer in confidence to friends before he published his process. This led, very unfortunately, to experiments by others in the same direction, and hence there have arisen claims in opposition to those of this lamented photographer. Everyone, however, acquainted with the early history of the collodion process freely admits that Mr. Archer was the _sole inventor of iodized collodion_, and of those manipulatory details which still, with very slight modifications, constitute the collodion process, and he was the first person who published any account of the application of this remarkable accelerating agent, by which the most important movement has been given to the art of photography.'

"Your committee, in May last, heard with deep regret of the sudden death of the widow, Mrs. Archer, which melancholy event caused a postponement of the general meeting resolved upon in November last. Sir Wm. Newton thereupon resolved to make another effort to obtain a pension for the three orphan children, now more destitute than ever, and so earnestly did he urge their claim upon the Minister, Lord Derby, that a reply came the same day from his lordship's private secretary, saying, 'The Queen has been pleased to approve of a pension of fifty pounds per annum being paid from the Civil List to the children of the late Mr. Frederick Scott Archer, in consideration of the scientific discoveries of their father,' his lordship adding his regrets 'that the means at his disposal have not enabled him to do more in this case.' Your committee, to mark their sense of the value of the services rendered to the cause by Sir William Newton, thereupon passed a vote of thanks to him. In conclusion, your committee have to state that a trust deed has been prepared, free of charge, by Henry White, Esq., of 7, Southampton Street, which conveys the fund collected to trustees, to be by them invested in the public securities for the sole benefit of the orphan children. The sum in the Union Bank now amounts to L549 11s. 4d., exclusive of interest, and the various sums--in all about L68--paid over to Mrs. Archer last year. Thus far, the result is a subject for congratulation to the subscribers and your committee, whose labours have hitherto not been in vain. Your committee are, nevertheless, of opinion that an appeal to Parliament might be productive of a larger recognition of the claim of these orphan children--a claim not undeserving the recognition of the Legislature, when the inestimable boon bestowed upon the country is duly considered. Since March 1851, when Mr. Archer described his process in the pages of the _Chemist_, how many thousands must in some way or other have been made acquainted with the immense advantages it offers over all other processes in the arts, and how many instances could be adduced in testimony of its usefulness? For instance, its value to the Government during the last war, in the engineering department, the construction of field works, and in recording observations of historical and scientific interest. Your committee noticed that an attractive feature of the Photographic Society's last exhibition was a series of drawings and plans, executed by the Royal Engineers, in reduction of various ordnance maps, at a saving estimated at L30,000 to the country. The non-commissioned officers of this corps are now trained in this art, and sent to different foreign stations, so that in a few years there will be a network of photographic stations spread over the world, and having their results recorded in the War Department, and, in a short time, all the world will be brought under the subjugation of art.

"Mr. Warren De la Rue exhibited to the Astronomical Society, November, 1857, photographs of the moon and Jupiter, taken by the collodion process in five seconds, of which the Astronomer-Royal said, 'that a step of very great importance had been made, and that, either as regards the self-delineation of clusters of stars, nebulae, and planets, or the self-registration of observations, it is impossible at present to estimate the value.' When admiring the magnificent photographic prints which are now to be seen in almost every part of the civilized world, an involuntary sense of gratitude towards the discoverer of the collodion process must be experienced, and it cannot but be felt how much the world is indebted to Mr. Archer for having placed at its command the means by which such beautiful objects are presented. How many thousands amongst those who owe their means of subsistence to this process must have experienced such a feeling of gratitude? It is upon such considerations that the public have been, and still are, invited to assist in securing for the orphan children of the late Mr. Archer some fitting appreciation of the service which he rendered to science, art, his country--nay, to the whole world.

"M. Digby Wyatt, _Chairman_,

"Jabez Hogg, _Secretary to Committee_.

"_Society of Arts, July, 1858._"

After reading that report, and especially Mr. Hunt's remarks, it will appear evident to all that even that act of charity, gratitude, and justice could not be carried through without someone raising objections and questioning the claims of Frederick Scott Archer as the original inventor of the Collodion process. Nearly all the biographers and historians of photography have coupled other names with Archer's, either as assistants or co-inventors, but I have evidence in my possession that will prove that neither Fry nor Diamond afforded Archer any assistance whatever, and that Archer preceded all the other claimants in his application of collodion. In support of the first part of this statement, I shall give extracts from Mrs. Archer's letter, now in my possession, which, I think, will set that matter at rest for ever. Mrs. Archer, writing from Bishop Stortford on December 7th, 1857, says, "When Mr. A. prepared pupils for India he always taught the paper process as well as the Collodion, for fear the chemicals should cause disappointment in a hot climate, as I believe that the negative paper he prepared differed from that in general use. I enclosed a specimen made in our glass house.

"In Mr. Hunt's book, as well as Mr. Horne's, Mr. Fry's name is joined with Mr. Archer's as the originators of the Collodion process.

"Should Mr. Hunt seem to require any corroboration of what I have stated respecting Mr. Fry, I can send you many of Mr. Fry's notes of invitation, when Mr. A. merely gave him lessons in the application of collodion, and Mr. Brown gave me the correspondence which passed between him and Mr. Fry on the subject at the time Mr. Home's book was published. I did not send up those papers, for, unless required, it is useless to dwell on old grievances, but I should like such a man as Mr. Hunt to understand _how_ the association of the two names originated."

As to priority of application, the following letter ought to settle that point:--

"_Alma Cottage, Bishop Stortford._

"_9th December, 1857._

"Sir,--My hunting has at length proved successful. In the enclosed book you will find notes respecting the paper pulp, albumen, tanno-gelatine, and collodion. You will therein see Mr. Archer's notes of iod-collodion in 1849. You may wonder that I could not find this note-book before, but the numbers of papers that there are, and the extreme disorder, defy description. My head was in such a deplorable state before I left that I could arrange nothing. Those around me were most anxious to destroy _all the papers_, and I had great trouble to keep all with Mr. Archer's handwriting upon them, however dirty and rubbishing they might appear, so they were huddled together, a complete chaos. I look back with the greatest thankfulness that my brain did not completely lose its balance, for I had not a single relative who entered into Mr. Archer's pursuits, so that they could not possibly assist me.

"Mr. Archer being of so reserved a character, I had to _find out_ where everything was, and my search has been amongst different things. I need not tell you that I hope this dirty enclosure will be taken care of.

"The paper pulp occupied much time; in fact, notes were only made of articles which had been much tried, which might probably be brought into use.--I am, sir, yours faithfully,

"_J. Hogg, Esq._ F. G. Archer."

If the foregoing is not evidence sufficient, I have by me a very good _glass positive_ of Hever Castle, Kent, which was taken in the spring of 1849, and two collodion negatives made by Mr. Archer in the autumn of 1848; and these dates are all vouched for by Mr. Jabez Hogg, who was Mr. Archer's medical attendant and friend, and knew him long before he began his experiments with collodion--whereas I cannot find a trace even of the _suggestion_ of the application of collodion in the practice of photography either by Gustave Le Gray or J. R. Bingham prior to 1849; while Mr. Archer's note-book proves that he was not only iodizing collodion at that date, but making experiments with paper pulp and _gelatine_; so that Mr. Archer was not only the inventor of the collodion process, but was on the track of its destroyer even at that early date. He also published his method of bleaching positives and intensifying negatives with bichloride of mercury.

Frederick Scott Archer was born at Bishop Stortford in 1813, but there is little known of his early life, and what little there is I will allow Mrs. Archer to tell in her own way.

"Dear Sir,--I do not know whether the enclosed is what you require; if not, be kind enough to let me know, and I must try to supply you with something better. I thought you merely required particulars relating to photography. Otherwise Mr. Archer's career was a singular one: Losing his parents in childhood, he lived in a world of his own; I think you know he was apprenticed to a bullion dealer in the city, where the most beautiful antique gems and coins of all nations being constantly before him, gave him the desire to model the figures, and led him to the study of numismatics. He worked so hard at nights at these pursuits that his master gave up the last two years of his time to save his life. He only requested him to be on the premises, on account of his extreme confidence in him.

"Many other peculiarities I could mention, but I dare say you know them already.

"I will send a small case to you, containing some early specimens and gutta-percha negatives, with a copy of Mr. A.'s portrait, which I found on leaving Great Russell Street, and have had several printed from it. It is not a good photograph, but I think you will consider it a likeness. I am, yours faithfully,

"_J. Hogg, Esq._ F. G. Archer."

Frederick Scott Archer pursued the double occupation of sculptor and photographer at 105, Great Russell Street. It was there he so persistently persevered in his photographic experiments, and there he died in May, 1857, and was interred in Kensal Green Cemetery. A reference to the report of the Committee will show what was done for his bereaved family--a widow and three children. Mrs. Archer followed her husband in March, 1858, and two of the children died early; but one, Alice (unmarried), is still alive and in receipt of the Crown pension of fifty pounds per annum.

While the collodion episode in the history of photography is before my readers, and especially as the process is rapidly becoming extinct, I think this will be a suitable place to insert Archer's instructions for making a _soluble_ gun-cotton, iodizing collodion, developing, and fixing the photographic image.

_Gun-Cotton_ (_or Pyroxaline, as it was afterwards named_).

Take of dry nitre in powder 40 parts
Sulphuric acid 60 "
Cotton 2 "

The sulphuric acid and the nitre were mixed together, and immediately the latter was all dissolved, the gun-cotton was added and well stirred with a glass rod for about two minutes; then the cotton was plunged into a large bowl of water and well washed with repeated changes of water until the acid and nitre were washed away. The cotton was then pressed and dried, and converted into collodion by dissolving 30 grains of gun-cotton in 18 fluid ounces of ether and 2 ounces of alcohol--putting the cotton into the ether first, and then adding the alcohol; the collodion allowed to settle and decanted prior to iodizing. The latter operation was performed by adding a sufficient quantity of iodide of silver to each ounce of the plain collodion. Mr. Archer tells how to make the iodide of silver, but the quantity is regulated by the quantity of alcohol in the collodion. When the iodized collodion was ready for use, a glass plate was cleaned and coated with it, and then sensitised by immersion in a bath of nitrate of silver solution--30 grains of nitrate of silver to each ounce of distilled water. From three to five minutes' immersion in the silver bath was generally sufficient to sensitise the plate. This, of course, had to be done in what is commonly called a _dark room_. After exposure in the camera, the picture was developed by pouring over the surface of the plate a solution of pyrogallic acid of the following proportions:--

Pyrogallic acid 5 grains
Distilled water 10 ounces
Glacial acetic acid 40 minims

After the development of the picture it was washed and fixed in a solution of hyposulphite of soda, 4 ounces to 1 pint of water. The plate was then washed and dried. This is an epitome of the whole of Archer's process for making either negatives or positives on glass, the difference being effected by varying the time of exposure and development. Of course the process was somewhat modified and simplified by experience and commercial enterprise. Later on bromides were added to the collodion, an iron developer employed, and cyanide of potassium as a fixing agent; but the principle remained the same from first to last.

When pyrogallic acid was first employed in photography, it was quoted at 21s. per oz., and, if I remember rightly, I paid 3s. for the first _drachm_ that I purchased. On referring to an old price list I find Daguerreotype plates, 2-1/2 by 2 inches, quoted at 12s. per dozen; nitrate of silver, 5s. 6d. per oz.; chloride of gold, 5s. 6d. for 15 grains; hyposulphite of soda at 5s. per lb.; and a half-plate rapid portrait lens by Voightlander, of Vienna, at L60. Those were the days when photography might well be considered expensive, and none but the wealthy could indulge in its pleasures and fascinations.

While I lived in Glasgow, competition was tolerably keen, even then, and amongst the best "glass positive men" were Messrs. Bibo, Bowman, J. Urie, and Young and Sun, as the latter styled himself; and in photographic portraiture, plain and coloured, by the collodion process, were Messrs. Macnab and J. Stuart. From the time that I relinquished the Daguerreotype process, in 1857, I devoted my attention to the production of high-class collodion negatives. I never took kindly to _glass positives_, though I had done some as early as 1852. They were never equal in beauty and delicacy to a good Daguerreotype, and their low tone was to me very objectionable. I considered the Ferrotype the best form of collodion positive, and did several of them, but my chief work was plain and coloured prints from collodion negatives, also small portraits on visiting cards.

Early in January, 1860, my home and business were destroyed by fire, and I lost all my old and new specimens of Daguerreotypes and photographs, all my Daguerreotype and other apparatus, and nearly everything I possessed. As I was only partially insured, I suffered considerable loss. After settling my affairs I decided on going to America again and trying my luck in New York. Family ties influenced this decision considerably, or I should not have left Glasgow, where I was both prosperous and respected. To obtain an idea of the latest and best aspects of photography, I visited London and Paris.

The carte-de-visite form of photography had not exhibited much vitality at that period in London, but in Paris it was beginning to be popular. While in London I accompanied Mr. Jabez Hughes to the meeting of the Photographic Society, Feb. 7th, 1860, the Right Honorable the Lord Chief Baron Pollock in the chair, when the report of the Collodion Committee was delivered. The committee, consisting of F. Bedford, P. Delamotte, Dr. Diamond, Roger Fenton, Jabez Hughes, T. A. Malone, J. H. Morgan, H. P. Robinson, Alfred Rosling, W. Russell Sedgefield, J. Spencer, and T. R. Williams, strongly recommended Mr. Hardwich's formula. That was my first visit to the Society, and I certainly did not think then that I should ever see it again, or become and be a member for twenty-two years.

I sailed from Liverpool in the ss. _City of Baltimore_ in March, and reached New York safely in April, 1860. I took time to look about me, and visited all the "galleries" on Broadway, and other places, before deciding where I should locate myself. Many changes had taken place during the six years I had been absent. Nearly all the old Daguerreotypists were still in existence, but all of them, with the exception of Mr. Brady, had abandoned the Daguerreotype process, and Mr. Brady only retained it for small work. Most of the chief galleries had been moved higher up Broadway, and a mania of magnificence had taken possession of most of the photographers. Mr. Anson was the first to make a move in that direction by opening a "superb gallery" on the ground floor in Broadway right opposite the Metropolitan Hotel, filling his windows with life-sized photographs coloured in oil at the back, which he called Diaphanotypes. He did a large business in that class of work, especially among visitors from the Southern States; but that was soon to end, for already there were rumours of war, but few then gave it any serious consideration.

Messrs. Gurney and Sons' gallery was also a very fine one, but not on the ground floor. Their "saloon" was upstairs, This house was one of the oldest in New York in connection with photography. In the very early days, Mr. Gurney, senr., was one of the most eminent "professors" of the Daguerreotype process, and was one of the committee appointed to wait upon the Rev. Wm. Hill, a preacher in the Catskills, to negotiate with the reverend gentlemen (?) for his vaunted secret of photography in natural colours. As the art progressed, or the necessity for change arose, Mr. Gurney was ready to introduce every novelty, and, in later years, in conjunction with Mr. Fredericks, then in partnership with Mr. Gurney, he introduced the "Hallotype," not Hillotype, and the "Ivorytype." Both these processes had their day. The former was photography spoiled by the application of Canada balsam and very little art; the latter was the application of a great deal of art to spoil a photograph. The largest of all the large galleries on Broadway was that of Messrs. Fredericks and Co. The whole of the ground and first floor were thrown into one "crystal front," and made a very attractive appearance. The windows were filled with life-sized portraits painted in oil, crayons, and other styles, and the walls of the interior were covered with life-sized portraits of eminent men and beautiful women. The floor was richly carpeted, and the furnishing superb. A gallery ran round the walls to enable the visitors to view the upper pictures, and obtain a general view of the "saloon," the _tout ensemble_ of which was magnificent. From the ground floor an elegant staircase led to the galleries, toilet and waiting rooms, and thence to the operating rooms or studios. Some of the Parisian galleries were fine, but nothing to be compared with Fredericks', and the finest establishment in London did not bear the slightest comparison.

Mr. Brady was another of the early workers of the Daguerreotype process, and probably the last of his _confreres_ to abandon it. He commenced business in the early forties in Fulton Street, a long way down Broadway, but as the sea of commerce pressed on and rolled over the strand of fashion, he was obliged to move higher and higher up Broadway, until he reached the corner of Tenth Street, nearly opposite Grace Church. Mr. Brady appeared to set the Franklin maxim, "Three removes as bad as a fire," at defiance, for he had made three or four moves to my knowledge--each one higher and higher to more elegant and expensive premises, each remove entailing the cost of more and more expensive furnishing, until his latest effort in upholstery culminated in a superb suite of black walnut and green silk velvet; in short, Longfellow's "Excelsior" appeared to be the motto of Mr. Brady.

Messrs. Mead Brothers, Samuel Root, James Cady, and George Adams ought to receive "honourable mention" in connection with the art in New York, for they were excellent operators in the Daguerreotype days, and all were equally good manipulators of the collodion process and silver printing.

After casting and sounding about, like a mariner seeking a haven on a strange coast, I finally decided on buying a half interest in the gallery of Mead Brothers, 805, Broadway; Harry Mead retaining his, or his wife's share of the business, but leaving me to manage the "uptown" branch. This turned out to be an unfortunate speculation, which involved me in a lawsuit with one of Mead's creditors, and compelled me to get rid of a very unsatisfactory partner in the best way and at any cost that I could. Mead's creditor, by some process of law that I could never understand, stripped the gallery of all that belonged to my partner, and even put in a claim for half of the fixtures. Over this I lost my temper, and had to pay, not the piper, but the lawyer. I also found that Mrs. Henry Mead had a bill of sale on her husband's interest in the business, which I ended by buying her out. Husband and wife are very seldom one in America. Soon after getting the gallery into my own hands, refurnishing and rearranging, the Prince of Wales's visit to New York was arranged, and as the windows of my gallery commanded a good view of Broadway, I let most of them very advantageously, retaining the use of one only for myself and family. There were so many delays, however, at the City Hall and other places on the day of the procession, that it was almost dark when the Prince reached 805, Broadway, and all my guests were both weary of waiting so long, and disappointed at seeing so little of England's future King.

When I recommenced business on Broadway on my own account there was only one firm taking cartes-de-visite, and I introduced that form of portrait to my customers, but they did not take very kindly to it, though a house not far from me was doing a very good business in that style at three dollars a dozen, and Messrs. Rockwood and Co. appeared to be monopolising all the carte-de-visite business that was being done in New York; but eventually I got in the thin edge of the wedge by exhibiting _four_ for one dollar. This ruse brought in sitters, and I began to do very well until Abraham Lincoln issued his proclamation calling for one hundred thousand men to stamp out the Southern rebellion. I remember that morning most distinctly. It was a miserably wet morning in April, 1861, and all kinds of business received a shock. People looked bewildered, and thought of nothing but saving their money and reducing their expenses. It had a blighting effect on my business, and I, not knowing, like others, where it might land me, determined to get rid of my responsibilities at any cost, so I sold my business for a great deal less than it was worth, and at a very serious loss. The outbreak of that gigantic civil war and a severe family bereavement combined, induced me to return to England as soon as possible. Before leaving America, in all probability for ever, I went to Washington to bid some friends farewell, and while there I went into Virginia with a friend on Sunday morning, July 21st, and in the afternoon saw the smoke and heard the cannonading of the first battle of Bull Run, and witnessed, next morning, the rout and rush into Washington of the demoralised fragments of the Federal army. I wrote and sent a description of the stampede to a friend in Glasgow, which he handed over to the _Glasgow Herald_ for publication, and I have reason to believe that my description of that memorable rout was the first that was published in Great Britain.

As soon as I could settle my affairs I left New York with my family, and arrived in London on the 15th of September, 1861. It was a beautiful sunny day when I landed, and, after all the trouble and excitement I had so recently seen and experienced, London, despite its business and bustle, appeared like a heaven of peace.

Mr. Jabez Hughes was about the last to wish me "God speed" when I left England, so he was the first I went to see when I returned. I found, to my disappointment, that he was in Paris, but Mrs. Hughes gave me a hearty welcome. After a few days' sojourn in London I went to Glasgow with the view of recommencing in that city, where I had many friends; but while there, and on the very day that I was about to sign for the lease of a house, Mr. Hughes wrote to offer me the management of his business in Oxford Street. It did not take me long to decide, and by return post that same night I wrote accepting the offer. I concluded all other arrangements as quickly as possible, returned to London, and entered upon my managerial duties on the 1st November, 1861. I had long wished and looked out for an opportunity to settle in London and enlarge my circle of photographic acquaintance and experience, so I put on my new harness with alacrity and pleasure.