[Class X.
which is expressed the greater amount of detail andmiuutia?. They are not so entirely free from glare asthose of America .
Thierry (France , No. 1038, p. 1228), has exhibitedeight daguerreotype views of Lyons; they have a sunnylook, and are very brilliant, but are wanting in artisticeffects of light and shade. A portrait of M. Thierryhimself deserves particular commendation, and is farsuperior to the above-mentioned pictures. The Juryconsidered this exhibitor as deserving Honourable Men-tion.
Maucomblk (France , No. 620, p. 1207) has exhibiteda case of very highly-coloured daguerreotype portraits.These are excellent, but possibly belong more to the finearts than to photographic science. It is dilhcult to saywhether the harmonious and rich colouring of the French school, as applied to these portraits, or the masterlyblending of the colour and daguerreotype, deserve themost commendation. Art is here engrafted on science,the latter being merged in the former, and the impressionleft on the mind is that naturally produced by the viewof a beautiful artistic production. They are charming,but we repeat belong more to art than to science. TheJury have awarded these works Honourable Mention.
Sabatier (France , No. 1467, p. 1246) exhibits a singledaguerreotype portrait of large size (8 in. by 6 in.),which is every way excellent. It is entirely free fromglare (to which its low position contributes not a little,the light coming from above), and in expression, freedomfrom constraint, and perfect representation of texture,may rank with any single piece in the Exhibition.
Plaignol (France , No. 1679, p. 1257) exhibits daguer-reotypes rather as specimens of the production of his largecamera (though not of the full size which that instrumentis capable of producing), than as claiming especial dis-tinction in this particular department of art.
Goujn (France , No. 241, p. 1188) exhibits a series ofcoloured daguerreotypes, which, however, want brilliancyand purity of colour; the hack grounds are also out offocus. An uncoloured portrait, 7^ in. by 6 in., doesbetter justice to the powers of this exhibitor.
Kohnke (Hamburgh, No. 103, p. 1140), and VoxMjnutoli (Prussia, No. 191, p. 1058), have exhibiteddaguerreotypes.
Vogel (Austria, No. 739, p. 1044) exhibits daguer-reotypes, to which Honourable Mention was awarded bythe Jury.
Talbotypes—Calo types — Sun-pictures.
Buckle (Class XXX., No. 301, p. 840), of Peter-borough, has exhibited a great many ealotype pictures,all of which are characterized by great delicacy of tintand exquisite cleanness of execution, and deserve to beranked among the finest specimens of photography in theExhibition. The process adopted by Mr. Buckle, he hasdescribed at some length ; it is not subjoined here, frontwant of sufficient space, but the beauty of Mr. Buckle’scalotypes sufficiently testifies to the superiority of hismethod. lie observes that, with regard to the adjust-ment of the focus, no rule can be laid down ; but, havinghimself a knowledge of art, practical as well as theo-retical, he applies it to the arrangement of the subjectand to deciding on that point of the picture best cal-culated to be put into focus. The size of the aperture of(he lens, as also the time of exposure, are so muchmatters to be decided on at the time of taking the pic-ture, as to render the laying down any fixed rule next toimpossible. The paper employed, Air. Buckle observes,is made by Mr. Turner, of Chafford Mills, and is, heconsiders, unequalled. Mr. Buckle’s negative originals,it should also be observed, are on paper. He does notemploy the albuminous process. A Council Medal wasawarded to Mr. Buckle.
Boss and Thomson (Class XXX., No. 299, p. 839) haveexhibited several beautiful Talbotype pictures, consistingof views from nature, interiors, groups, &c., and theyare the only exhibitors, in the British section, of photo-graphs by the albuminous process; which, in practice,they appear to have carried to a high state of perfection,having not only substituted it for the old method of
taking the negative proofs on paper, but having, in morethan one instance, exhibited the positive proof upon thealbumenized glass itself. In addition to the extremeclearness observable in the details of their landscapescenery, and the great delicacy of their delineation ofobjects in general, we may take notice of the excessivebeauty of the tints which their works exhibit. Not onlyare the shadows deep and Kembrandt-looking, wheresuitable to the effect required, but the middle distancesdisplay a beauty of colour nowhere equalled, exceptingin the very superior works by M. Martens, in the FrenchDepartment.
As an illustration of the variation of tints which theseworks present, in contradistinction to the fine Vandykebrown and deep shadows, wc may mention a small pic-ture (a group of statuary), the peculiarity of which con-sists in the colour, which is blue, an effect produced bytaking the negative proof on albumenized glass, and ren-dering it positive by repeated washing in hyposulphate ofsoda, the proof being originally laid upon a black ground.By this process the whites become black, and vice versa.The hyposulphate of soda is a most useful agent in thecolouring of both negative and positive proofs, and affordsa vast range of beautiful tints of inexhaustible richness;but it is difficult of application, and is available only inthe hands of a skilful operator.
The coating of the glass with albumen is a difficultoperation ; the method adopted by Boss and Thomsondiffers from the French process (which is due to M.Niepsce,and is usually called the “albuminous process”);and consists in pouring a quantity of albumen on theplate and revolving it over a slow heat, for the purpose ofensuring its even distribution. As shown in the practiceof these exhibitors, this method would seem to be per-fectly successful; and indeed the beautiful and extremedelicacy and variety of tint, the aerial perspective bywhich the background is made to recede by imperceptiblegradations into the horizon, all amply attest the powersof Messrs. Boss and Thomson.
A number of Talbotypes , also exhibited, display equalvariety of tint, and a depth and richness of tone withoutany straining for effect.
A Council Medal was awarded to Messrs. Boss andThomson.
Hill and Adamson (Class XXX,, No. 300, p. 839)have exhibited very many Talbotype groups, remarkablefor easy and graceful arrangement. They are, in effect,after Bembrandt, being made out in broad and deep-toned masses of light and shade. As a whole, they arevery sketchy and spirited. The tints are rich and variedboth in depth and colour, and are of a rich sepia. Theyhave received Honourable Mention from the Jury.
Henneman and Malone (No. 297, pp. 441, 442) haveexhibited Talbotypes on paper, consisting of copies ofsmall intaglios, portraits, both plain and coloured, andvarious small groups, &c. These are all natural andpleasing, and great delicacy is observable in the lightsand shades, the tone of which is a fine warm sepia brown.The greater part of these pictures arc small portraits;one, however, which is 8 in. by 6-J in., is very good, andevenly illuminated. The coloured portraits in this col-lection are very good, and no little credit is due to theartistic skill which they display.
Messrs. Henneman and Malone also exhibit specimensof the cyanotvpe and chrysotype processes of Sir J.Herschel, the chromotype of Mr. Hunt, and Talbotypes tinted by the application of caustic potash and a leadsalt. A Prize Medal was awarded by the Jury to Messrs.Henneman and Malone.
Colls, B. and L. (No. 303, p. 442), have exhibitedseveral sun-pictures on paper. They are rather blotty inappearance, but are good in colour. Views of WindsorCastle and Stoke Church deserve high commendation.
Hasher (Class XXX., No. 298, p. 839) has exhibitedtwo ealotype pictures, one a landscape; the reflections asshown in the water are excellent. The fluctuation of thereflections caused by the ripple of the water is verybeautiful, and true to nature. The execution of the pic-ture is good, and the tints are clear and delicate.
Owen (No. 670, p. 4G7*), of Bristol, has exhibited a