Class X.j

MARTENS, BAYARD, EVRARD, MAYER, PRETSCII, Ac.

279

series of calotype pictures, most of them landscapes andwood scenery. They want clearness of definition, beingsomewhat black and heavy. Mr. Owen states himself tohave been able to execute in a single day, in a journeyof *300 miles, ten large-sized Talbotypes of local scenery,each paper being prepared on the spot. The preparationis greatly facilitated by a glass spreader, of his owninvention, by which the solutions are evenly applied.

Collie (No. 22, pp. 941, 942), of Jersey, has exhibiteda frame, containing several calotype pictures, chieflyportraits and domestic scenes. These are not all equallygood ; many of them are blotty and wanting in depth.

Kippingham (Class X., No. 304, p. 442) has exhibitedseveral Talbotypes , being a series of untouched positives,from collodion negatives, on plate glass. He also exhibitsother photographs from paper negatives, but they areblotty and want more light.

Bingiia^i (Class X., No. 302, p. 442) is an exhibitorof Talbotype pictures, landscapes chiefly. Being nearobjects, such as cottages, trees, &c., there is no room foraerial perspective. They are very cleanly executed.

Field and Son (No. 250, p. 435) have exhibited calo-types.

Martens (France , No. 610, p. 1207) has contributedseveral large and beautiful photographic proofs, on glassand paper, obtained by an apparatus made by Lereboursand Secretan; also several large photographs from nega-tives on glass, five of which (views of “ Notre Dame,” the“ Louvre,” and “St. Germain-de-rAuxerrois”), measure12 in. by 9^ in., and are pre-eminently beautiful. Twopieces of sculpture, from the “ Arche de Triomphe, Bar-rifcre de l’Etoile,” call forth the highest admiration. Oneof these groups contains seven full-length figures, toge-ther with their accoutrements, in a space of 3£ in. by3 in.; the great finish and beauty of execution here dis-played have never been excelled. Space does not permitus to individualize all M. Martens’ works, most of whichare equally good, such as the “ Ceiling of the Louvre,”the “ Chateau de Vincennes,” &c.; but we may say that,for richness of effect and perfection of definition, theyare the finest specimens which it seems possible to pro-duce, exhibiting as they do a most successful combinationof careful execution, delicacy of colour, and great artisticmerit. No trace of the brush is visible. A daguerreo-type view of Paris , by the same exhibitor, is good, andevidently not retouched. A Council Medal was awardedto M. Martens.

Bayard (France , No. 414, p. 1198) has exhibitedseveral sun-pictures, the subjects of which are chiefly-selected portions from the public buildings of Paris .One of the cases exhibited by M. Bayard contains fivepictures, all excellent; though to the “ Biblioth&que deLouvre” we may give the preference for its judiciousarrangement of light and shade and elaborate represen-tation of detail. The interior of a church is deserving ofseparate mention; the figures, which are numerous, areadmirable, and their perfect delineation, even whenremote from the eye and in deep shadow, is worthy ofcommendation. Also a calotype of “ Venus and Cupid,”from a bas-relief, is worthy of mention, owing to thebeautiful tint which pervades the picture. In M. Bay-ard’s representations of sculpture, the difference of surfaceand texture between the plaster cast and marble statuteis marked with perfect distinctness. A Prize Medal wasawarded to M. Bayard.

Flacheron-Hayard (France , No. 836, p. 1220) hasexhibited several sun-pictures of ruins in Spain , Rome ,and Paris . These are all excellent: the colour is good,and the artistic effect admirable. They appear to be pos-sessed of nearly equal merit. The “Arch of Titus ”deserves especial mention for the perfectly artistic ex-pression of the whole, combined with a singularlyaccurate representation of the superficial texture of thematerial. A Prize Medal was awarded to M. Flaeheron.

Le Gray (France , No. 585, p. 1206) has exhibitedseveral sun-pictures. Some of these are good, but manyare heavy and wanting in detail. These pictures vary, intint, from sepia to olive citrine.

Henri Le Secq (France , No. 592, p. 1206) has exhi-bited several calotypes; the subjects are architectural.

These pictures may be mentioned with great commenda-tion as regards their photographic finish; but nearly allof them exhibit a degree of negligence in adjusting thevisual axis of the camera to the true horizontal direction,which, by making all the vertical lines of the buildingsvisibly convergent in the picture, contravenes the rulesof perspective, and produces an effect highly unpleasing.This is the most common fault of photographic representa-tion by the aid of a camera, and it is right to notice it toput artists on their guard. Every photographic cameraought to be provided with a small spirit-level to securethis adjustment in the field, independent of trial.

Eyrard, Blanquart (France , No. 1551, p. 1251) hasexhibited several Talbotype pictures, the positive proofsbeing obtained by a process which admits of 200 or 300impressions being taken from the same negative proof;the price varying from five to fifteen centimes, accordingto the size. These are not wholly successful; several ofthe pictures are dark and blotty, and somewhat resembleengravings taken from a worn-out plate.

Cousin (France , No. 1572, p. 1252) exhibits a series ofpositive Talbotypes , from negatives on paper, in all sevensubjects, six of which are of exquisite beauty.

Albert (Frankfort-on-the-Maine , No. 7, p. 1121) hasexhibited sun-pictures of large size, but they are “fuzzy,”being ill-defined and void of effect. Two specimens ofsmaller size, one of them coloured, are good.

Chevalier (France , No. 1729, p. 1259) exhibits somephotographic proofs.

Mayer (France , No. 622, p. 1207) has a series ofminiatures, coloured on Talbotype grounds. They are ofexquisite beauty, and give the idea of perfect likenesses;but the use of the brush being obvious, they are ratherto be regarded as works of art than of science.

Pretsch (Austria , No. 362, p. 1027) has exhibitedseveral large photographic pictures from nature. Thesubjects are various, comprising groups of statuary, archi-tectural buildings, landscapes, &c. The subjects are wellchosen, and show good execution and artistic manage-ment. Mr. Pretsch was awarded the Prize Medal by theJury.

In closing our remarks on tins department of the Exhi-bition, we may be permitted to record some degree ofdisappointment at the absence of specimens of the applica-tion of photography to any departments of representation,other than such as please the eye or administer to personalfeelings. As regards its application to an infinity of usefuland instructive purposes, we have literally nothing! Wefind, for instance, no specimens of copies of ancient in-scriptions (a few incidentally occurring on the Romanruins, perfectly familiar to every one, only excepted)—nodelineations of tropical or remote scenery—no specimens(for the single exception of Claudel’s spectrum is hardlyto be cited) of the actinic spectrum on chemical prepara-tions, or on natural vegetables or animal colours,—noimpressions of the lines in the photographic correspondingto those in the luminous spectrum,—no magnified repre-sentations of the microscopic products of nature, or of thedissected parts of plants or animals,—no copies of pagesof ancient manuscripts,—no miniatures of printed books(holding out the promise of future publications in minia-ture), or that of condensing in volume for preservation inMuseums,* &c., the enormous mass of documentary matterwhich daily more and more defies collection from themere impossibility of stowage, but which will one daybecome matter of history,—and a thousand other applica-tions that it would be tedious here to mention.

Connected with photograph}-, we may also notice theabsence of any specimens of scotography, or the art ofcopying engravings by simple juxtaposition in the darkby obscure inter-radiation, invented by Moser.

Magnets.

Exhibitors of magnets are few in number; among themLogeman (Netherlands , No. 87, p. 1147) and Henley

* We are informed that a catalogue of the NationalLibrary of Paris, in which the photographic fac-simile ofthe title-page of each work, in miniature, is registered, isactually in progress.