History and practice of photogenic drawing : on the true principles of the daguerréotype, with the new method of dioramic painting, published by order of the French government

Front matter

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HISTORY AND PRACTICE

OP

Preface

In presenting this little work to the British public, the translator may perhaps be permitted to observe of his original, that in all its circumstances, it is one of the most interesting works ever given to the world. It is the first Manual of a new science. It is written by the discoverer of that science ; exhibiting a faithful record of the progress — the hopes, disappointments, and success of two men, who, in the term of their successive efforts for twenty-five years, laboured incessantly in search of the invention. That invention constitutes an era in human knowledge. It occupies at this moment the attention of every philosopher throughout Europe, and nations have contended for the honour of priority.

The monarch, the government, the people of a great and enlightened state, contending in generous emulation how best to reward this discovery, offers a moral spectacle, noble and spirit-stirring, the rarity of which, alas ! in the history of genius, forms another, and not the least striking characteristic of the subject.

The disinterested exertions of the greatest names in the scientific annals of his country — men who occupy the highest places in general estimation — to lift the modest artist into the renown which he merits, and to disclose the real value of his labours, is different evidence of the interest belonging to these pages, — a most pleasing, — and to the glory of science be it said, — not a peculiar association.

Photogenic science, of the practice of which this Manual will render any one master, is to be viewed under two

VI

PREFACE.

great relations, — its connexion with science, and its probable influence upon art.

The importance of the fact, that light in its action upon bodies, can be made to pencil, by its own spontaneous and etherial agency, the creations of beautiful nature, cannot be questioned. The science of this new art has indeed not yet been evolved. The principle, we are assured by Arago, is latent among the mysteries yet to be revealed. But no one can peruse the details and operations described in the following pages, without perceiving that by them we gain another step in advance towards that consummation to which modern physics are hastening — namely, the identity of light — electricity

— magnetism — gravity. In this sublime walk, the photogenic discoveries have unfolded a “ new order of possibilities,” and will aid in leading to one mighty cause, ruling the universe of matter in a dominion, second only to the spontaneity of the Creator.

To the beautiful in art, the invention has yet a nearer relation. It will improve, without materializing its processes. It will give to the artist new subjects of study, in the most difficult department of his profession

— the union of grandeur in mass — with exquisite detail ; but it arms him with no mechanical contrivance, as has been feared, which may abate the honours of genius.

As an English translator, it may perhaps have been expected that I should have said something on the subject of priority so often urged in my original. The question is one in the discussion of which it is hardly possible entirely to lay aside preferences and predilections, and time does not permit either the repetition of the experiments or the re-examination of the documents.

J. M.

London, Sept. 13th, 1839.

Chapter I. Page

The Importance of the Photogenic Discovery. — Bill for Rewarding its Authors, proposed by the King of France — Speech of the Minister bringing forward the Motion. — Amount of Rewards granted. — Report of M. Arago to the Chamber of Deputies. — History of Photographic Discovery in England — In France. — Biographical Details. — Utility of the New Invention — To the Arts — To Literature — To Science.

— Astronomical Details. — Report of Baron Gay Lussac to the Chamber of Peers — Principles of Photography. — Its value as national Property to the Arts, Manufactures, and general improvement of a Country i

Chapter II

Practical and Historical Details. — Partnership of the two Discoverers.— Account of Niepce’s Processes. — His own Notes.

— Daguerre’s Remarks. — Asphaltum the substance employed for receiving the Impressions of Light — This the old system.

— The Solvent. — Its application. — Description of some results.— Additional Notices. — Daguerre’s improvements on Niepce’s Processes. — Correspondence. — Experiments. — Disappointments.— Daguerre unquestionably prior to Niepce in the application of Iodine. ...... 33

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Chapter III. Page

Practical Description of the Daguerreotype. — Material to be employed in the Photogenic Process. — Five Steps of the Process explained. — Polishing the White Coating with Iodine. —

The Camera. — Mercurial Process. — Fixing the impression,

■with descriptions of the Apparatus 55

Chapter IV

Dioramic Painting. — Daguerre’s principal Subject. — Selection of the Canvas. — Manner of Painting. — First effect. — Second effect. — Difference between them. — Manner of introducing the Light. — The two effects illuminated by different Lights.' — Remarks on Colouring. — Application.— Influence of the Sky on the Colours in Paintings — Effects of this on artists and Connoisseurs 69

EXPLANATION OF THE PLATES.

N. B. These figures are all drawn to the scale of one French metre, Plate II, which is equal to 39 English inches ; operators may thus have the apparatus constructed with very little trouble. The translator would add, from his own experience, that two requisites are indispensable in these experiments : exquisite polish of the plate, and extreme cleanliness in all the operations; dust and stains on the tablet make large blanks in the drawing.

PLATE I.

Fig. 1 represents the frame of iron wire for the support of the plate, while undergoing the operation of heating. The 1st view is the plane seen from above; the 2nd, is a section and elevation, shewing the manner in which it is fixed. Fig. 6 B is the spirit lamp applied under the plate ; A its stopple.

Fig. 2. The plate of plated silver on which the photographic design is made. The dimensions according to the scale are 8^ inches by 6‘4 inches. To operate upon plates of larger dimensions requires all the apparatus to be enlarged, for the same camera which admits light sufficient for such a plate has its intensity too much diminished, when a greater focal distance with the same aperture, and consequently same number of rays, spread over a larger surface. In polishing the plate, begin at C, and strike circularly outwards to the circumference. Vary the direction, however, and invert the process. Always press lightly and evenly. Fig. 2, second view, is the plate seen edgeways : the lines represent (nearly) its thickness. Fig. 4 muslin bag, with pumice powder.

Fig. 3. The little board or wooden tablet upon which the plate is fixed for the succeeding operations after the first one of polishing. It is attached by means of four fillets, B B B B, exactly the same material as the plate itself. To each of these are soldered two small projecting pieces, which embrace the plate near the corners.

X and the whole apparatus is retained in position by small nails, or better, screws through holes in the fillets, and inserted by the handle or turn-screw, Fig. 5. The purpose of the fillets is not solely to fix the plate, their more important use is to serve as a kind of frame to it, while undergoing the second process ; the application of the iodine: without these, the cooling of iodine would not be equally diffused, for the vapour would condense more rapidly along the edges, and consequently, the coating would be too thin in the centre and too thick round the circumference. It is perhaps not easy to explain so as to satisfy all ; but the experimental part is not the less certain. Fig. 3, second view, thickness of the board.

PLATE II.

Fig. 1. Section of the box for iodine, used in the second operation. The section is supposed to pass down the middle of the apparatus by the line A B, Fig. 2, which represents the same seen from above. C is a small lid, which fits accurately the interior, dividing the whole into two chambers. It is used at all times, except when the operator is actually employed in coating the tablet. Its use is to concentrate the vapour of the iodine, and preserve the whole in a state for equally and rapidly diffusing the vapour, when the plate has been introduced. D is the capsule or little cup in which the iodine is placed. E the small board with the plate attached, face downwards. Four small projecting supports, F receive the four angles and retain the plate in the most favourable position for receiving the vaporization of the iodine as it rises upwards. Of course the cover C is withdrawn. G is the lid of the box, always shut except when the plate is to be withdrawn for examination. H, supports for C. K, tapering sides all round, forming a»funnel-shaped box within the other ; the funnel-shaped interior diffuses the vapours of iodine, which thus spread as they rise. J, circle of gauze, stretched over a ring, and placed upon the cup with the iodine. The vapour of which rising through this light covering flows up equally, and not in clouds, also the gauze prevents the particles of this substance from dying about, and probably injuring the plate.

Fig. 3. Case for preserving the plates from injury, either before or after they have been impressed with images. They slip into grooves formed in two opposite sides of the case, and at some little distance apart, so that the plates cannot touch in any part of their surfaces. If filled with plates, that have designs, the case should

XI be wrapped in paper, or better, cloth, to preserve them from dust and light. In travelling, this precaution is always necessary.

PLATE III.

Plate III. represents four different positions of the frame into which the plate with its wooden tablet is put, on removal from the iodine process. The object of the apparatus is twofold, — to adapt the plate to the camera obscura, and to protect the iodine coating from the action of light till the moment in which it receives the focal image.

A, Half circles which open and shut the doors, B B.

C, Fig. 4. The plate with its wooden tablet fitted into the frame : back view of the plate fronting inwards, the door shut upon it.

D, Screws to fix the tablet and plate, and to stop the doors.

E, Thickness of the frame.

E, Fig. 3. Plate : the whole represents the arrangement for receiving the photogenic impressions on the plate, the doors being open, the focal image falls upon the prepared plate, and leaves its impress pencilled there by the rays of light proceeding from the natural objects.

PLATE IV.

The camera obscura, as adapted to photogenic delineation.

Fig. 1. Perpendicular section lengthways.

A, a ground glass by which the focus is adjusted. It is then removed, and the photographic plate substituted, as in C, Fig. 2. B, a mirror for observing the effect of objects, and selecting points of view. For these purposes it is inclined at an angle of 45°, by means of the support L. To adjust the focus, the mirror is put down altogether, and the ground glass A used. The focus is easily adjusted by means of the sliding frame, as represented in the plate. — placing the screws on the double box D, and the projection E: when the focus is adjusted, it is fixed in position by the screw H. The mirror is retained in its place by hooks at F, which catch the eyes at G.

The object glass is achromatic and periscopic. Its diameter is 21 millimetres, and its focal distance 38 centimetres. In English measure inches, and inches; which can easily be reduced.

XU

This instrument has the disadvantage of reversing the objects. This can indeed be easily obviated by substituting another mirror outside, as K I, Fig. 2. This arrangement, however, injures the effect on the photographic plate from the loss of light. It is therefore not to be employed unless when the operator has time to spare. It increases the time of the operation by one-third of the whole.

PLATE V.

Plate V. represents three views of the same apparatus, — that used for the fourth operation ; submitting the plate to the vapour of mercury.

Fig. 1. Section of the apparatus.

Fig. 2. Front view of the same.

Fig. 3. Right side in which the thermometer is placed.

A, Lid of the apparatus.

B, Black board with grooves to receive the small board and plate.

C, Cup containing mercury.

D, Lamp with spirit of wine.

E, Small cock inserted at an angle, through which the mercury is withdrawn after the operation.

F, Thermometer.

G, Glass through which to inspect the operation.

H, Tablet with the plate as removed from the camera.

I, Stand for the spirit lamp which is placed within the ring N, so as to be under the centre of the cup.

All the interior of this apparatus should be black and varnished.

PLATE VI.

This plate, fronting the title, represents various apparatus for the last operation of washing the plate.

Fig. 1. Funnel, with plate of paper for purifying the saline wash of salt or hyposulphite of soda.

Fig. 2. Trough of tinned copper, in the bottom of which is represented one of the plates in the act of being washed. Two such troughs must be prepared, one for salt — the other for distilled water.

Fig. 3. Little hook for shaking the plate while in the wash.

Fig. 4. Apparatus in japanned white iron for washing the designs. E, well for receiving the water that flows through the tube C.

Fig. 5. Bottle with wide 'mouth serving to warm the distilled water and to pour it upon the plate when placed as at B, Fig. 4.

HISTORY AND DESCRIPTION

OF THE

DAGUERREOTYPE,

&C. Sj-c.

CHAPTER I. Bill for Rewarding the Inventors of the Daguerreotype

Louis Philippe, King of the French,

To all present and to come, greeting.

We have ordered and do order, that the Bill preparatory to a law, the tenor of which follows, shall be presented, in our name to the Chamber of Deputies by our Minister the Secretary of State for the Home Department, whom we charge to explain the principles of the Bill and to support them in debate.

A rticle First. — The provisional agreement concluded on the 14th June, 1839, between the Secretary for the Home Department and MM. Daguerre and Niepce, jun. is ap^ proved.

B

Article Second. — There is granted to M. Daguerre, an annual pension for life of 6,000* francs : to M. Niepce, jun. an annual pension for life of 4,000 f francs.

Article Third. — These pensions shall be inscribed in the list of civil pensions on the Public Treasury, to be engaged from and after the passing of the present Act. They shall not be subject to any deductions. They shall be one-half in reversion to the widows of MM. Daguerre and Niepce.

Given at the Tuileries this 15th June, 1839.

(Signed) By the King, LOUIS PHILIPPE.

(Signed) Minister Secretary of State, DUCHATEL.

CHAMBER OF DEPUTIES, SECOND SESSION, 1839. BILL PRESENTED BY THE MINISTER OF THE INTERIOR.!

TO TIIE MEMBERS OF THE CHAMBER.

Gentlemen,

We believe that we only anticipate the wishes of the Chamber in proposing to you to purchase, in name of the State, the right to a discovery as useful as unhoped for, and the publication of which is of vast importance to the arts and sciences.

You ail know, and some among you have had opportunities of convincing themselves, that after fifteen years of persevering and expensive researches, M. Daguerre has succeeded in fixing the images obtained in the camera obscura, and thus producing, by the action of light, designs in which the objects preserve their forms with mathematical precision, even

* 250/. sterling. f 166/. 13s. 4 d. X M. Duchatel.

to the most minute details; in which, also, the effects of linear perspective, and the gradations of tone, depending upon aerial perspective, are brought out with a delicacy hitherto unknown.

We need not insist upon the utility of an invention like this. It is obvious that resources and facilities altogether new, will thus be afforded for the study of the sciences ; and as to the arts, the services yet to be rendered, cannot be calculated.

Even the most accomplished draughtsmen and painters, will find subjects of inexhaustible observation and study in these, so perfect reproductions of nature. On the other hand, this process will furnish them with a speedy and easy means of forming collections of studies, not otherwise to be obtained, save at the expense of much time and trouble, and yet in a style infinitely less perfect.

The art of engraving, when employed to multiply by reproducing these images, etched by nature herself, will assume a new degree of importance and interest.

In short, for the traveller, the antiquary — as well as for the naturalist — the apparatus of M. Daguerre will come into continual and indispensable use. It will enable them to give permanency to their several thoughts, without having recourse to the hand of a stranger. Henceforth every author will compose the chorographic portion of his own works : by stopping but for a few minutes beside the most complicated monument, or before the most extended landscape, he will instantly obtain a true fac-simile of his subject.

Unfortunately, for the authors of this beautiful discovery, it is impossible for them to bring their labour into the market, and thus indemnify themselves for the sacrifices incurred by so many attempts, so long fruitless. Their invention does not admit of being secured by patent. So soon as it becomes known, every one may avail himself of its advantages. The most unskilful will produce designs, with the same exact-

B 2 ness, as the most accomplished artist. Of necessity, then, this process must belong to all, or remain unknown. How just would be the regrets expressed by every friend of art and science if such a secret were left impenetrable to the public, — if it were to perish and die with its discoverers ?

In circumstances like these, it is the duty of the State to come forward. Government ought to put society in possession of an invention which its general interests demand should be known, provided the price, or rather reward of the discovery be secured to its authors.

Such are the motives that have induced us to conclude with Messrs. Daguerre and Niepce, a provisional arrangement, as explained in the Bill, which we have now the honour to submit for your sanction. But before we can explain the basis of this agreement, some details are necessary.

The possibility of arresting for a space the images of the Camera has been known since the last century ; but this discovery produced no result of utility, because the substance upon which the solar rays painted these images, did not possess the property of preserving them, turning it completely black when 'exposed to the day-light.

M. Niepce, sen., discovered a method of rendering these images permanent; but, though he resolved this difficult problem, his invention, nevertheless, remained very imperfect. He obtained only a silhouette, or black profile of objects, and twelve hours, at least, were required to produce even the smallest design.

It was by following out views entirely different, putting aside altogether the processes of M. Niepce, that M. Daguerre arrived at those admirable results which we now behold, — namely, extreme promptitude of operation, and reproduction of the aerial perspective, with all the play of light and shadow. The method of M. Daguerre is his own ; it belongs exclusively to him, and is distinguished from that of his predecessor, both in its cause and by its effects. At the same time, as there had passed between M. Daguerre and the late M. Niepce, certain agreements, mutually to divide whatever advantages might accrue from their discoveries ; and as this stipulation had been continued with M. Niepce, jun., on the death of his father, it would be impossible to treat now with M. Daguerre alone, even concerning a process which he has not merely brought to perfection, but which he invented.

It must not be forgotten, besides, that the method of M. Niepce, even although it has continued imperfect, may perhaps be susceptible of receiving some improvements, of being usefully applied in certain circumstances, and, consequently, for the history of science it is important that it be published along with M. Daguerre’s system of photographic delineation.

These explanations, gentlemen, will enable you to comprehend from what cause, and under what relations Messrs. Daguerre and Niepce come before you as parties interested in the bill to be brought before the house.

A sum of 200,000 francs* was at first asked of us as the price of the inventions of MM. Niepce and Daguerre; and it ought to be stated that offers coming from foreign sovereigns justified this demand. We have, however, arranged that in place of the capital stipulated, a life interest shall be granted, namely, a pension of 10,000 francs, f with only the half in reversion to the widows. The assignment of this pension to be as follows : —

To M. Daguerre . . 6000 francs

To M. Niepce . . . 4000 francs

Independent of the considerations mentioned above, there is one circumstance, which of itself justifies this division. M. Daguerre has consented to give up for publication the pictorial

* Nearly eight thousand guineas.

and philosophical processes by which he produces the effects of Dioramic art, an invention of which he alone possesses the secret, and one most desirable to be known.

Before signing the agreement, M. Daguerre placed in our hands, under seal, the description of M. Niepce’s process, an account of his own, and lastly the secret of the Diorama.

We can assure the Chamber that these descriptions are complete and faithful ; for a member of this assembly, whose name is incontestible authority,* who received from M. Daguerre the confidential communication of all his processes, and who has himself tested them, has had the kindness to examine these papers and to guarantee their accuracy.

We hope, gentlemen, that you will approve both the motive which has dictated these arrangements, and the conditions upon which they have been concluded. You will concur in a sentiment which has already awakened universal sympathy, you will never suffer us to leave to foreign nations the glory of endowing the world of science and of art with one of the most wonderful discoveries that honour our native land.

CHAMBER OF DEPUTIES, SECOND SESSION, 1839.

Report made in name of the Commission charged with the examination of the Bill proposing to grant — 1st, to M. Daguerre an annual pension for life of 6000 francs (250Z.) ; 2nd, to M. Niepce, jun. an annual pension of 4000 francs (166/. 13s. 4 d.), for the renouncement made by them of a process for fixing the images of the Camera Obscura.f * M. Arago.

f This commission was composed of the following members of the Chamber : — MM. Arago, Etienne, Carl, Vatout, de Beaumont, Tournouer Delessert (Francois), Combarel de Leyval, and Vitet, all names distinguished in science.

By M. Arago, Deputy for the Eastern Pyrenees, presented to the Chamber at its Sitting 3rd July, 1839. Gentlemen,

The interest manifested both within these walls and throughout Europe in those labours, the result of which M. Daguerre recently submitted to the public, has been lively, striking, and unanimous. The Chamber, therefore, in all probability expects of its commission only a simple and entire approbation of the Bill presented on this subject by the Minister for the Home Department. After mature reflection, however, it appeared to us that the office with which you had invested us imposed other duties. We have deemed that while applauding the happy ideaof instituting national recompenses in favour of those inventors whose interests the ordinary legislation by patent could not protect, it was requisite, in the very first steps of this new career, to shew with what reserve, with what hesitation the Chamber would proceed. To subject to a minute and rigid examination the work of genius upon which we are this day called to legislate, will be to discourage ambitious mediocrity ; for minds of this character also would otherwise aspire to intrude on your notice their ordinary and inconsequent attempts ; it will prove that you intend to place in a most elevated region the recompenses which shall be demanded of you in the name of national glory, — that you will never consent to bring them down from this elevation, — or by lavishing them to tarnish their splendour.

These few remarks will enable the House to understand why we have been led to examine, —

If the process of M. Daguerre be incontestibly an invention,—

If this invention will render to archeology and the fine arts services of value, —

If it can become generally applicable, —

And finally, if we may hope that by it the sciences will be benefited.

Two centuries ago, a philosopher of Naples, Giovanni Battista Porta, discovered that if a very small hole be pierced in the window-shutter of a room completely darkened in other respects ; or better still, if the aperture be perforated in a thin metallic plate applied to the shutter ; all the exterior objects from which rays can enter through this opening will be represented on the opposite wall ; in dimensions enlarged or diminished according to the distance. He found also that even with this imperfect apparatus, throughout a large extent of the picture, objects were painted in their natural colours, and with considerable truth of linear perspective. A short time afterwards Porta found that it was not necessary to have the opening very small, thus limiting the view, but that if the perforation were covered with a lentiscus or convex glass, it might be of any dimension. He remarked also the great improvement thus produced in the delineation. The images passing through the simple medium of the hole were without distinctness of position, intensity of colour, or neatness of outline. On the contrary, with the lentiscus, the mimic forms rivalled the vivacity and strength of nature herself, the focal distances being properly adjusted. It is well known that all these discoveries of Porta have become truly astonishing in precision of detail and strength of colouring since the art of constructing achromatic glasses has been brought to its present perfection. Formerly a simple lentiscus composed of one kind of glass only, and consequently acting with as many separate focuses as there are colours in the undecomposed white ray, transmitted a comparatively indistinct image of objects. Now that we employ achromatic glasses which combine all the incident rays in one focus, and that a periscopic construction of the apparatus likewise has been adopted, great perfection has been given of its effects.

Porta constructed also portable dark chambers ; these were composed of a tube, longer or shorter, armed with a lentiscus as its optic instrument. A screen of white paper, or some prepared substance, occupied the focus, and upon it the images of external objects were received. The Neapolitan philosopher proposed his simple arrangements for the benefit of those who had not been taught drawing. According to him, nothing else was required in order to obtain the most perfect transcripts of nature than merely to trace carefully the outline of the focal image.

These anticipations of Porta have not been completely realized. Painters and draughtsmen, those particularly who execute large views for panoramas, dioramas, and theatres, have indeed still recourse to the camera. They, however, employ it merely to groupe objects en masse, to trace their contours, and to fix them in their proper position and magnitude, according to the principles of linear perspective. As to those effects proceeding from the imperfect transparency of our atmosphere, whence arise all the charms of tone and colouring, which by a sufficiently erroneous appellation are designated by the term aerial perspective, — the most experienced artists are aware that in reproducing these the camera affords them no assistance.* No person, however, has ever witnessed the neatness of outline, precision of form, the truth of colouring, and the sweet gradations of tint, without regretting that an imagery so exquisite and so faithful to nature could not be made to fix itself permanently on the tablet of the machine — who has not put up his aspiration that some means might be discovered by which to give reality to shadows so exquisitely lovely ? Yet, in the estimation of all, such a wish seemed destined to take its

* This is not altogether correct : although the camera can by no direct application give permanently the aerial perspective, it is well known that for the gradation of colour — the comparative strength of near and distant lines — few studies are more advantageous to the artist than to view his object in a camera, and paint from its representations. This perhaps is all that M. Arago meant to be implied. — Translator.

place among other dreams of beautiful things, — among the glorious but impractical conceptions in which men of science and ardent temperament have sometimes indulged. This dream, notwithstanding, has just been realized. Let us take, then, the invention in its germ, and mark carefully its gradual unfolding.

Long ago the Alchemists had succeeded in forming a solution of silver in muriatic acid. This compound, which assumes the appearance of a white salt, they called lunar or caustic silver .* This salt possessed the remarkable property of becoming black by light, and of blackening more or less rapidly in proportion to the intensity of the incident rays. Cover a sheet of paper with a wash of lunar caustic, or, as we say at present, with a wash of chloride of silver ; form upon this by means of a lens the image of an object ; the shaded parts of the image — the parts, that is to say, upon which no light falls — will remain white ; the portions, on the other hand, strongly illuminated, will become completely black ; the demi-tints will be represented by grays more or less dark. This monochrome, in short, will be the reverse of the real object as respects the lights and shadows.