As might have been expected, the works of M. Salomon, exhibited by Mr. Wharton Simpson, were the chief objects of attraction, and during the whole of the evening an anxious group surrounded the collection; and it was curious to remark with what eagerness these pictures were scrutinized, so as to ascertain whether they were examples of photography "pure and undefiled," or helped by artistic labour afterwards. That they are the very finest specimens of art-photography--both in the broad and masterly treatment of light and shade, pose, manipulation, tone of print, and after finish--that have ever been exhibited, is unquestionable; but to suppose that they are photographs unaided by art-labour afterwards is, I think, a mistake. All of the heads, hands, and portions of the drapery bear unmistakable proofs of after-touching. Some of them give evidence of most elaborate retouching on the hands and faces, on the surface of the print. I examined the pictures by daylight most minutely with the aid of a magnifying gla.s.s, and could detect the difference between the retouching on the negative, and, after printing, on the positive. The faces of nearly all the ladies present that appearance of dapple or "stipple"

which nothing in the texture of natural flesh can give, unless the sitter were in the condition of "goose flesh" at the moment of sitting, which is a condition of things not at all likely. Again, hatching is distinctly visible, which is not the photographic reproduction of the hatch-like line of the cuticle. In support of that I have two forms of evidence: first, _comparison_, as the hatchings visible on the surface of the print are too long to be a reproduction of the hatch-like markings of the skin, even on the hands, which generally show that kind of nature's handiwork the most. Besides, the immense reduction would render that invisible even under a magnifying gla.s.s, no matter how delicate the deposit of silver might be on the negative; or even if it were so, the fibre of the paper would destroy the effect. Again, the hatchings visible are not the form of nature's hatchings, but all partake of that art-technical form called "sectional hatchings." I could name several of the prints that showed most conclusive evidence of what I say, but that is not necessary, because others saw these effects as well as I did. But I wish it to be distinctly understood that I have not been at the pains to make these examinations and observations with the view of lessening the artistic merit of these pictures. I unhesitatingly p.r.o.nounce them the most beautiful achievements of the camera that have ever been obtained by combining artistic knowledge and skill with the mechanical aid of the camera and ability to handle the compounds of photographic chemistry. There is unmistakable evidence of the keenest appreciation of art, and all that is beautiful in it in the production of the negative; and if the artist see or think that he can perfect his work by the aid of the brush, he has a most undoubted right to do it.

This question of pure and simple photography has been mooted all the summer, ever since the opening of the French Exhibition, and I am glad that I, as well as others, have had an opportunity of seeing these wonderful pictures, and judging for myself. Photography is truth embodied, and every question raised about the purity of its productions should be discussed as freely and settled as quickly as possible.

There was another picture in the exhibition very clever in its conception, but not so in its execution, and I am sorry to say I cannot endorse _all_ the good that has been said of it. I allude to Mr.

Robinson's picture of "Sleep." How that clever photographer, with such a keen eye to nature as he generally manifests in his composition pictures, should have committed such a mistake I am at a loss to know.

His picture of "Sleep" is so strangely untrue to nature, that he must have been quite overcome by the "sleep that knits up the ravell'd sleeve of _care_" when he composed it. In the centre of the picture he shows a stream of light entering a window--a ghost of a window, for it is so unsubstantial as not to allow a shadow to be cast from its _seemingly_ ma.s.sive bars. Now, if the moon shone through a window at all, it would cast shadows of everything that stood before it, and the shadows of the bars of the window would be cast upon the coverlet of the bed in broken lines, rising and falling with the undulations of the folds of the covering, and the forms of the figures of the children. In representing moonlight, or sunlight either, there is no departing from this truth. If the direct ray of either stream through a closed window and fall upon the bed, so will the shadows of the intervening bars. Any picture, either painted or photographed, that does not render those shadows is simply untrue to nature; and if the difficulty could not have been overcome, the attempt should have been abandoned. Then the beams are not sharp enough for moonlight, and the shadows on the coverlet and children are not deep enough, and the reflections on the shadow side of the children's faces are much too strong. In short, I do not know when Mr.

Robinson more signally failed to carry out his first intentions. Wanting in truth as the composition is, it proves another truth, and that is, the utter inability of photography to cope with such a subject. Mr.

Robinson exhibited other pictures that would bear a very different kind of criticism; but as they have been noticed at other times I shall not touch upon them here.

Herr Milster's picture bears the stamp of truth upon it, and is a beautiful little gem, convincing enough that the effect is perfectly natural.

Mr. Ayling's pictures of the Victoria Tower and a portion of Westminster Abbey are really wonderful, and the bit of aerial perspective "Across the Water" in the former picture is truly beautiful.

Mrs. Cameron persists in sticking to the out-of-the-way path she has chosen, but where it will lead her to at last is very difficult to determine. One of the heads of Henry Taylor which she exhibited was undoubtedly the best of her contributions.

The pictures of yachts and interiors exhibited by Mr. Jabez Hughes were quite equal to all that could be expected from the camera of that clever, earnest, and indefatigable photographer. The portrait enlargements exhibited by that gentleman were exquisite, and of a totally different character from any other exhibitor's.

Mr. England's dry plate pictures, by his modified alb.u.men process, are undoubtedly the best of the kind that have been taken. They lack that appearance of the representation of _petrified_ scenes that most, if not all, previous dry processes exhibited, and look as "juicy" as "humid nature" can well be rendered with the wet process.

Mr. Frank Howard exhibited four little gems that would be perfect but for the unnatural effect of the artificial skies he has introduced. The "Stranded Vessels" is nicely chosen, and one of the wood scenes is like a bit of Creswick uncoloured.

Messrs. Locke and Whitfield exhibited some very finely and sketchily coloured photographs, quite up to their usual standard of artistic excellence, with the new feature of being painted on a ground of carbon printed from the negative by the patent carbon process of Mr. J. W.

Swan.

Mr. Adolphus Wing's cabinet pictures were very excellent specimens, and I think it a great pity that more of that very admirable style of portraiture was not exhibited.

Mr. Henry Dixon's copy of Landseer's dog "Pixie," from the original painting, was very carefully and beautifully rendered.

Mr. Faulkner's portraits, though of a very different character, were quite equal in artistic excellence to M. Salomon's.

Mr. Bedford's landscapes presented their usual charm, and the tone of his prints seemed to surpa.s.s the general beauty of his every-day work.

Mr. Blanchard also exhibited some excellent landscapes, and displayed his usual happy choice of subject and point of sight.

An immense number of photographs by amateurs, Mr. Brownrigg, Mr.

Beasley, and others, were exhibited in folios and distributed about the walls, but it is impossible for me to describe or criticise more.

I have already drawn my yarn a good length, and shall conclude by repeating what I said at starting, that a pleasanter evening, or more useful and instructive exhibition, has never been got up by the Photographic Society of London, and it is to be hoped that the success and _eclat_ attending it will encourage them to go and do likewise next year, and every succeeding one of its natural life, which I doubt not will be long and prosperous, for the exhibition just closed has given unmistakable evidence of there being "life in the old dog yet."

_Photographic News, Nov. 22nd, 1867._

THE USE OF CLOUDS IN LANDSCAPES.

The subject of printing skies and cloud effects from separate negatives having been again revived by the reading of papers on that subject at the South London Photographic Society, I think it will not be out of place now to call attention to some points that have not been commented upon--or, at any rate, very imperfectly--by either the readers of the papers or by the speakers at the meetings, when the subject was under discussion.

The introduction of clouds in a landscape by an artist is not so much to fill up the blank s.p.a.ce above the object represented on the lower part of the canvas or paper, as to a.s.sist in the composition of the picture, both as regards linear and aerial perspective, and in the arrangement of light and shade, so as to secure a just balance and harmony of the whole, according to artistic principles.

Clouds are sometimes employed to repeat certain lines in the landscape composition, so as to increase their strength and beauty, and to unite the terrestrial part of the picture with the celestial. At other times they are used to balance a composition, both in form and effect, to prevent the picture being divided into two distinct and diagonal portions, as evidenced in many of the pictures by Cuyp; on other occasions they are introduced solely for chiaroscuro effects, so as to enable the artist to place ma.s.ses of dark upon light, and _vice versa_.

Of that use I think the works of Turner will afford the most familiar and beautiful examples.

In the instances cited, I make no allusion to the employment of clouds as repeaters of colour, but merely confine my remarks to their use in a.s.sisting to carry out form and effect, either in linear composition, or in the arrangement of light and shade in simple monochrome, as evidenced in the engraved translations of the works of Rembrandt, Turner, Birket Foster, and others, the study of those works being most applicable to the practice of photography, and, therefore, offering the most valuable hints to both amateur and professional photographers in the management of their skies.

Before pursuing this part of my subject further, it may be as well, perhaps, to state my general opinions of the effects of so-called "natural skies," obtained by one exposure and one printing. Admitting that they are a vast improvement on the white-sky style of the early ages of photography, they fall far short of what they should be in artistic effect and arrangement. In nearly all the "natural skies" that I have seen, their office appears to be no other than to use up the white paper above the terrestrial portion of the picture. The ma.s.ses of clouds, if there, seem always in the wrong place, and never made use of for breadth of chiaroscuro.

No better ill.u.s.trations of this can be adduced than those large photographs of Swiss and Alpine scenery by Braun of Dornach, which nearly all contain "natural clouds;" but, on looking them over, it will be seen that few (if any) really exhibit that artistic use of clouds in the composition of the pictures which evidence artistic knowledge. The clouds are taken just as they happen to be, without reference to their employment to enhance the effects of any of the objects in the lower portion of the view, or as aids to the composition and general effect.

For the most part, the clouds are small and spotty, ill-a.s.sorting with the grandeur of the landscapes, and never a.s.sisting the chiaroscuro in an artistic sense. The most noticeable example of the latter defect may be seen in the picture ent.i.tled "Le Mont Pilate," wherein a bald and almost white mountain is placed against a light sky, much to the injury of its form, effect, and grandeur; indeed, the mountain is barely saved from being lost in the sky, although it is the princ.i.p.al object in the picture. Had an artist attempted to paint such a subject, he would have relieved such a large ma.s.s of light against a dark cloud. An example of a different character is observable in another photograph, wherein a dark conical mount would have been much more artistically rendered had it been placed against a large ma.s.s of light clouds. There are two or three fleecy white clouds about the summit of the mountain, but, as far as pictorial effect goes, they would have been better away, for the mind is left in doubt whether they are really clouds, or the sulphurous puffs that float about the crater of a slumbering volcano. That photographs possessing all the effects required by the rules of art are difficult, and almost impossible to obtain at one exposure in the camera, I readily allow. I know full well that a man might wait for days and weeks before the clouds would arrange themselves so as to relieve his princ.i.p.al object most advantageously; and, even if the desirable effects of light and shade were obtained, the chances are that the forms would not harmonize with the leading lines of the landscape.

This being the case, then, it must be self-evident that the best mode of procedure will be to _print in skies_ from separate negatives, either taken from nature or from drawings made for the purpose by an artist that thoroughly understands art in all its principles. By these means, especially the latter, skies may be introduced into the photographic picture that will not only be adapted to each individual scene, but will, in every instance where they are employed, increase the artistic merit and value of the composition. But to return to the subject chiefly under consideration.

Clouds in landscape pictures, like "man in his time," play many parts--"they have their exits and their entrances." And it is almost impossible to say enough in a short paper on a subject so important to all landscape photographers. I will, however, as briefly and lucidly as I can, endeavour to point out the chief uses of clouds in landscapes.

Referring to their use for effects in light and shade, I wrote, at the commencement of this paper, that the engraved translations of Turner afford the most familiar and beautiful examples, which they undoubtedly do. But when I consider that Turner's skies are nearly all sunsets, the study of them will not be so readily turned to practical account by the photographer as the works of others,--Birket Foster, for instance. His works are almost equal to Turner's in light and shade; he has been largely employed in the ill.u.s.tration of books, and five shillings will procure more of his beautiful examples of sky effects than a guinea will of Turner's. Take, for example, Sampson Low and Son's five shilling edition of Bloomfield's "Farmer's Boy," or Gray's "Elegy in a Churchyard," profusely ill.u.s.trated almost entirely by Birket Foster; and in them will be seen such a varied and marvellous collection of beautiful sky effects as seem almost impossible to be the work of one man, and all of them profitable studies for both artist and photographer in the varied uses made of clouds in landscapes. In those works it will be observed that where the lower part of the picture is rich in variety of subject the sky is either quiet or void of form, partaking of one tint only slightly broken up. Where the terrestrial part of the composition is tame, flat, and dest.i.tute of beautiful objects, the sky is full of beauty and grandeur, rich in form and ma.s.ses of light and shade, and generally shedding a light on the insignificant object below, so as to invest it with interest in the picture, and connect it with the story being told.

From both of these examples the photographer may obtain a suggestion, and slightly tint the sky of his picture, rich in objects of interest, so as to resemble the tint produced by the "ruled lines" representing a clear blue sky in an engraving. Hitherto that kind of tinting has generally been overdone, giving it more the appearance of a heavy fog lifting than a calm blue sky. The darkest part of the tint should just be a little lower than the highest light on the princ.i.p.al object. This tint may either be obtained in the negative itself at the time of exposure, or produced by "masking" during the process of printing. On the other hand, when the subject has little to recommend it in itself, it may be greatly increased in pictorial power and interest by a judicious introduction of beautiful cloud effects, either obtained from nature, or furnished by the skill of an artist. If the aid of an artist be resorted to, I would not recommend painting on the negative, but let the artist be furnished with a plain white-sky print; let him wash in a sky, in sepia or india ink, that will most harmonise, both in form and effect, with the subject represented, take a negative from that sky alone, and put it into each of the pictures by double printing. This may seem a great deal of trouble and expense, and not appear to the minds of some as altogether legitimate, but I strenuously maintain that any means employed to increase the artistic merit and value of a photograph is strictly legitimate; and that wherever and however art can be resorted to, without doing violence to the truthfulness of nature, the status of our art-science will be elevated, and its professional disciples will cease to be the scorn of men who take pleasure in deriding the, sometimes--may I say too often?--lame and inartistic productions of the camera.

THE USE OF CLOUDS AS BACKGROUNDS IN PORTRAITURE.

There has long been in the world an aphorism that everything in Nature is beautiful. Collectively this is true, and so it is individually, so far as the adaptability and fitness of the object to its proper use are concerned; but there are many things which are truly beautiful in themselves, and in their natural uses, which cease to be so when they are pressed into services for which they are not intended by the great Creator of the universe. For example, what can be more beautiful than that compound modification of cloud forms commonly called a "mackerel sky," which is sometimes seen on a summer evening? What can be more lovely, or more admirably adapted to the purposes of reflecting and conducting the last flickering rays of the setting sun into the very zenith, filling half the visible heavens with a fretwork of gorgeous crimson, reflecting a warm, mysterious light on everything below, and filling the mind with wonder and admiration at the marvellous beauties which the heavens are showing? Yet, can anything be more unsuitable for forming the background to a portrait, where everything should be subdued, secondary, and subservient to the features of the individual represented--where everything should be lower in tone than the light on the face, where neither colour nor light should be introduced that would tend to distract the attention of the observer--where neither accessory nor effect should appear that does not help to concentrate the mind on the grand object of the picture--the likeness? Still, how often do we see a photographic portrait stuck against a sky as spotty, flickering, and unsuitable as the one just described! How seriously are the importance and brilliancy of the head interfered with by the introduction of such an unsuitable background! How often is the interest of the spectator divided between the portrait and the "overdone" sky, so elaborately got up by the injudicious background painter! Such backgrounds are all out of place, and ought to be abandoned--expelled from every studio.

As the photographer does not possess the advantages of the painter, to produce his effects by contrast of colour, it behoves him to be much more particular in his treatment of light and shade; but most particularly in his choice of a background that will most harmonise with the dress, spirit, style, and condition in life of his sitter. It is always possible for a member of any cla.s.s of the community to be surrounded or relieved by a plain, quiet background; but it is not possible, in nine cases out of ten, for some individuals who sit for their portraits ever to be dwellers in marble halls, loungers in the most gorgeous conservatories, or strollers in such delightful gardens.

In addition to the unfitness of such scenes to the character and every-day life of the sitter, they are the most unsuitable for pictorial effect that can possibly be employed. For, instead of directing attention to the princ.i.p.al object, they disturb the mind, and set it wandering all over the picture, and interfere most seriously with that quiet contemplation of the features which is so necessary to enable the beholder to discover all the characteristic points in the portrait. When the likeness is a very bad one, this may be advantageous, on the principle of putting an ornamental border round a bad picture with the view of distracting the attention of the observer, and preventing the eye from resting long enough on any one spot to discover the defects.

When clouds are introduced as backgrounds to portraits, they should not be of that small, flickering character previously alluded to, but broad, dark, and "ma.s.sy," so as to impart by contrast more strength of light to the head; and the lighter parts of the clouds should be judiciously placed either above or below the head, so as to carry the light into other parts of the picture, and prevent the strongly-lighted head appearing a spot. The best examples of that character will be found in the engraved portraits by Reynolds, Lawrence, Gainsborough, and others, many of which are easily obtained at the old print shops; some have appeared in the _Art Journal_.

As guides for introducing cloud effects, accessories, and landscape bits into the backgrounds of carte-de-visite and cabinet pictures, no better examples can be cited than those exquisite little figure subjects by R.

Westall, R.A., ill.u.s.trating Sharpe's Editions of the Old Poets. The engravings are about the size of cartes-de-visite, and are in themselves beautiful examples of composition, light, and shade, and appropriateness of accessory to the condition and situation of the figures, affording invaluable suggestions to the photographer in the arrangement of his sitter, or groups, and in the choice of suitable accessories and backgrounds. Such examples are easily obtained. Almost any old bookstall in London possesses one or more of those works, and each little volume contains at least half-a-dozen of these exquisite little gems of art.

Looking at those beautiful photographic cartes-de-visite by Mr. Edge, I am very strongly impressed with the idea that they were suggested by some such artistic little pictures as Westall's Ill.u.s.trations of the Poets. They are really charming little photographs, and show most admirably how much the interest and artistic merit of a photograph can be enhanced by the skilful and judicious introduction of a suitable background. I may as well observe, _en pa.s.sant_, that I have examined these pictures very carefully, and have come to the conclusion that the effects are not produced by means of any of the ingeniously contrived appliances for poly-printing recently invented and suggested, but that the effects are produced simply by double printing, manipulated with consummate care and judgment, the figure or figures being produced on a plain or graduated middle tint background in one negative, and the landscape effect printed on from another negative after the first print has been taken out of the printing-frame; the figures protected by a mask nicely adjusted. My impressions on this subject are strengthened almost to conviction when I look at one of Mr. Edge's photographs, in particular a group of two ladies, the sitting figure sketching. In this picture, the lower part of the added landscape--trees--being darker than the normal tint of the ground, shows a _line_ round the black dress of the lady, as if the mask had overlapped it just a hair's breadth during the process of secondary printing. Be that as it may, they are lovely little pictures, and afford ample evidence of what may be done by skill and taste to vary the modes of treating photography more artistically, by introducing natural scenery sufficiently subdued to harmonise with the portrait or group; and, by similar means, backgrounds of clouds and interiors may be added to a plain photograph, which would enrich its pictorial effect, and enable the photographer to impart to his work a greater interest and beauty, and, at the same time, be made the means of giving apparent occupation to his sitter. This mode of treatment would enable him, in a great measure, to carry out the practice of nearly all the most celebrated portrait painters, viz., that of considering the form, light, shade, and character of the background _after_ the portrait was finished, by adapting the light, shade, and composition of his background to the pose and condition of life of his sitter.

I shall now conclude my remarks with a quotation from Du Fresnoy's "Art of Painting," bearing directly on my subject and that of light and shade:--

"Permit not two conspicuous lights to shine With rival radiance in the same design; But yield to one alone the power to blaze, And spread th' extensive vigour of its rays; There where the n.o.blest figures are displayed, Thence gild the distant parts and lessening fade; As fade the beams which Phoebus from the east Flings vivid forth to light the distant West, Gradual those vivid beams forget to shine, So gradual let thy pictured lights decline."

"LUX GRAPHICUS" ON THE WING.

Dear Mr. Editor,--I have often troubled you with some of my ideas and opinions concerning the progress and status of photography, and you have pretty often transferred the same to the columns of the _Photographic News_, and troubled your readers in much the same manner. This time, however, I am going to tell you a secret--a family secret. They are always more curious, interesting, and important than other secrets, state secrets and Mr. McLachlan's photographic secret not excepted. But to my subject: "_The_ Secret." Well, dear Mr. Editor, you know that my vocations have been rather arduous for some time past, and I feel that a little relaxation from pressing cares and anxieties would be a great boon to me. You know, also, that I am a great lover of nature, almost a stickler for it, to the exclusion of _prejudicial art_. And now that the spring has come and winter has fled on the wings of the fieldfares and woodc.o.c.ks--that's Thomas Hood's sentiment made seasonable--I fain would leave the pent-up city, where the colour of the sky can seldom be seen for the veil of yellow smoke which so constantly obscures it, and betake myself to the country, and inhale the fresh breezes of early spring; gladden my heart and eyes with a sight of the bright blue sky, the glistening snowdrops and glowing yellow crocuses, and regale my ears and soul with the rich notes of the thrush and blackbird, and the earliest song of the lark at the gates of heaven.

It is a pleasant thing to be able to shake off the mud and gloom of a winter's sojourn in a town, in the bright, fresh fields of the country, and bathe your fevered and enfeebled body in the cool airs of spring, as they come gushing down from the hills, or across the rippling lake, or dancing sea. I always had such a keen relish for the country at all seasons of the year, it is often a matter of wonder to me that I ever could bring my mind to the necessity of living in a town. But bread and b.u.t.ter do not grow in hedgerows, though "bread and cheese" do; still the latter will not support animal life of a higher order than grub or caterpillars. "There's the rub." The mind is, after all, the slave of the body, for the mind must bend to the requirements of the body; and, as a man cannot live by gazing at a "colt's foot," and if he have no appet.i.te for horseflesh, he is obliged to succ.u.mb to his fate, and abide in a dingy, foggy, slushy, and bewildering world of mud, bricks, and mortar, instead of revelling in the bright fields, fresh air, and gushing melodies which G.o.d created for man, and gave man senses to enjoy his glorious works.

But, Mr. Editor, I am mentally wandering among "cowslips," daises, b.u.t.tercups, and wild strawberry blossoms, and forgetting the stern necessity of confining my observations to a subject coming reasonably within the range of a cla.s.s journal which you so ably conduct; but it is pardonable and advantageous to allow mind to run before matter sometimes, for the latter is more frequently inert than the former, and when the mind has gone _ahead_, the body is sure to follow. Melancholy instances of that present themselves to our notice too frequently. For example, when a poor lady's or gentleman's wits are gone, _lettres des cachets_, and some kind or _un_kind friends, send the witless body to some retreat where the wits of all the inmates are gone. I must, however, in all sober earnestness, return to my subject, or I fear you will say: "He is going to Hanwell." Well, perhaps I am, for I know that photography is practised at that admirable inst.i.tution; and now that I have struck a professional chord, I may as well play on it.

Lenses and cameras, like birds and flowers, reappear in spring, and, as the season advances and the sun attains a higher alt.i.tude, amateurs and professionals are quickened into a surprising activity. Renewed life is imparted to them, and the gregarious habits of man are developed in another form, and somewhat in the manner that the swallows return to their old haunts. At first, a solitary scout or reconnoitering party makes his appearance, then another, and another, until a complete flock of amateur and professional photographers are abroad, seeking what food they can devour: some preferring the first green "bits of foliage" that begin to gem the woods with emeralds, others waiting till the leaf is fully out, and the trees are thickly clothed in their early summer loveliness: while others prefer a more advanced state of beauty, and like to depict nature in her russet hues, when the trees "are in their yellow leaf." Some are contented with the old-fashioned homesteads and sweet green lanes of England for their subjects; others prefer the ruined abbeys and castles of the feudal ages, with their deeply interesting a.s.sociations; others choose the more mythical monuments of superst.i.tion and the dark ages, such as King Arthur's round tables, druidical circles, and remains of their rude temples of stone. Some delight in pictorializing the lakes and mountains of the north, while others are not satisfied with anything short of the sublime beauty and terrific grandeur of the Alps and Pyrenees. Truly, sir, I think it may be safely stated that photographers are lovers of nature, and, I think, they are also lovers of art. If some of them do not possess that art knowledge which is so necessary for them to pursue advantageously either branch of their profession, it is much to be regretted; but there is now no reason why they should continue in darkness any longer. I know that it requires years of study and practice to become an artist, but it does not require a very great amount of mental labour or sacrifice of time to become an artistic photographer. A little hard study of the subject as it appears in the columns of your journal and those of your contemporaries--for I notice that they have _all_ suddenly become alive to the necessity of imparting to photographers a knowledge of art principles--will soon take the scales off the eyes of a man that is blind in art, and enable him to comprehend the mysteries of lines, unity, and light and shade, and give him the power to compose his subject as readily as he could give a composing draught to an infant, and teach him to determine at a glance the light, shade, and atmospheric effects that would most harmonize with the scene to be represented.

Supposing that he is master of the mechanical manipulations of photography, he has acquired half the skill of the artist; and by studying and applying the rules of composition and light and shade to his mechanical skill, he is then equal to the artist in the treatment of his subject, so far as the means he employs will or can enable him to give an art rendering of nature, fixed and immovable.

I do not profess to be a teacher, but I do think it is much more genial in spirit, and becoming the dignity of a man, to impart what little knowledge he has to others, than to scoff at those who do not know so much. If, therefore, Mr. Editor, in the course of my peregrinations, I see an opportunity of calling your attention, and, through you, the attention of others, to any glaring defects or absurdities in the practice of our dearly beloved art, I shall not hesitate to do so; not, however, with any desire to carp and cavil at them for cavilling's sake, but with the more laudable desire of pointing them out, that they may be avoided. During the coming summer I shall have, or hope to have, many opportunities of seeing and judging, and will endeavour to keep you duly advised of what is pa.s.sing before me.