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diff --git a/33447-0.txt b/33447-0.txt new file mode 100644 index 0000000..c3a67f8 --- /dev/null +++ b/33447-0.txt @@ -0,0 +1,1786 @@ +The Project Gutenberg EBook of The Pencil of Nature by William Henry Fox +Talbot + + + +This eBook is for the use of anyone anywhere at no cost and with almost no +restrictions whatsoever. You may copy it, give it away or re-use it under +the terms of the Project Gutenberg License included with this eBook or +online at http://www.gutenberg.org/license + + + +Title: The Pencil of Nature + + +Author: William Henry Fox Talbot + +Release Date: August 16, 2010 [Ebook #33447] + +Language: English + +Character set encoding: UTF‐8 + + +***START OF THE PROJECT GUTENBERG EBOOK THE PENCIL OF NATURE +*** + + + + + + [1844 Title Page] +The Pencil of Nature + + + + +H. Fox Talbot + + + +Longman, Brown, Green and Longmans, London +1844 + + + + + +CONTENTS + + +Introductory Remarks +Brief Historical Sketch of the Invention of the Art +PLATE I. PART OF QUEEN’S COLLEGE, OXFORD. +PLATE II. VIEW OF THE BOULEVARDS AT PARIS. +PLATE III. ARTICLES OF CHINA. +PLATE IV. ARTICLES OF GLASS. +PLATE V. BUST OF PATROCLUS. +PLATE VI. THE OPEN DOOR. +PLATE VII. LEAF OF A PLANT. +PLATE VIII. A SCENE IN A LIBRARY. +PLATE IX. FAC-SIMILE OF AN OLD PRINTED PAGE. +PLATE X. THE HAYSTACK. +PLATE XI. COPY OF A LITHOGRAPHIC PRINT. +PLATE XII. THE BRIDGE OF ORLEANS. +PLATE XIII. QUEEN’S COLLEGE, OXFORD. +PLATE XIV. THE LADDER. +PLATE XV. LACOCK ABBEY IN WILTSHIRE. +PLATE XVI. CLOISTERS OF LACOCK ABBEY. +PLATE XVII. BUST OF PATROCLUS. +PLATE XVIII. GATE OF CHRISTCHURCH. +PLATE XIX. THE TOWER OF LACOCK ABBEY +PLATE XX. LACE +PLATE XXI. THE MARTYRS’ MONUMENT +PLATE XXII. WESTMINSTER ABBEY +PLATE XXIII. HAGAR IN THE DESERT. +PLATE XXIV. A FRUIT PIECE. + + + + + +ILLUSTRATIONS + + +PLATE I. PART OF QUEEN’S COLLEGE, OXFORD. +PLATE II. VIEW OF THE BOULEVARDS AT PARIS. +PLATE III. ARTICLES OF CHINA. +PLATE IV. ARTICLES OF GLASS. +PLATE V. BUST OF PATROCLUS. +PLATE VI. THE OPEN DOOR. +PLATE VII. LEAF OF A PLANT. +PLATE VIII. A SCENE IN A LIBRARY. +PLATE IX. FAC-SIMILE OF AN OLD PRINTED PAGE. +PLATE X. THE HAYSTACK. +PLATE XI. COPY OF A LITHOGRAPHIC PRINT. +PLATE XII. THE BRIDGE OF ORLEANS. +PLATE XIII. QUEEN’S COLLEGE, OXFORD, Entrance Gateway +PLATE XIV. THE LADDER. +PLATE XV. LACOCK ABBEY IN WILTSHIRE. +PLATE XVI. CLOISTERS OF LACOCK ABBEY. +PLATE XVII. BUST OF PATROCLUS. +PLATE XVIII. GATE OF CHRISTCHURCH. +PLATE XIX. THE TOWER OF LACOCK ABBEY +PLATE XX. LACE +PLATE XXI. THE MARTYRS’ MONUMENT +PLATE XXII. WESTMINSTER ABBEY +PLATE XXIII. HAGAR IN THE DESERT. +PLATE XXIV. A FRUIT PIECE. + + + + + + +INTRODUCTORY REMARKS + + +The little work now presented to the Public is the first attempt to +publish a series of plates or pictures wholly executed by the new art of +Photogenic Drawing, without any aid whatever from the artist’s pencil. + +The term “Photography” is now so well known, that an explanation of it is +perhaps superfluous; yet, as some persons may still be unacquainted with +the art, even by name, its discovery being still of very recent date, a +few words may be looked for of general explanation. + +It may suffice, then, to say, that the plates of this work have been +obtained by the mere action of Light upon sensitive paper. They have been +formed or depicted by optical and chemical means alone, and without the +aid of any one acquainted with the art of drawing. It is needless, +therefore, to say that they differ in all respects, and as widely us +possible, in their origin, from plates of the ordinary kind, which owe +their existence to the united skill of the Artist and the Engraver. + +They are impressed by Nature’s hand; and what they want as yet of delicacy +and finish of execution arises chiefly from our want of sufficient +knowledge of her laws. When we have learnt more, by experience, +respecting the formation of such pictures, they will doubtless be brought +much nearer to perfection; and though we may not be able to conjecture +with any certainty what rank they may hereafter attain to as pictorial +productions, they will surely find their own sphere of utility, both for +completeness of detail and correctness of perspective. + +The Author of the present work having been so fortunate as to discover, +about ten years ago, the principles and practice of Photogenic Drawing, is +desirous that the first specimen of an Art, likely in all probability to +be much employed in future, should be published in the country where it +was first discovered. And he makes no doubt that his countrymen will deem +such an intention sufficiently laudable to induce them to excuse the +imperfections necessarily incident to a first attempt to exhibit an Art of +so great singularity, which employs processes entirely new, and having no +analogy to any thing in use before. That such imperfections will occur in +a first essay, must indeed be expected. At present the Art can hardly be +said to have advanced beyond its infancy—at any rate, it is yet in a very +early stage—and its practice is often impeded by doubts and difficulties, +which, with increasing knowledge, will diminish and disappear. Its +progress will be more rapid when more minds are devoted to its +improvement, and when more of skilful manual assistance is employed in the +manipulation of its delicate processes; the paucity of which skilled +assistance at the present moment the Author finds one of the chief +difficulties in his way. + + + + + +BRIEF HISTORICAL SKETCH OF THE INVENTION OF THE ART + + +It may be proper to preface these specimens of a new Art by a brief +account of the circumstances which preceded and led to the discovery of +it. And these were nearly as follows. + +One of the first days of the month of October 1833, I was amusing myself +on the lovely shores of the Lake of Como, in Italy, taking sketches with +Wollaston’s Camera Lucida, or rather I should say, attempting to take +them: but with the smallest possible amount of success. For when the eye +was removed from the prism—in which all looked beautiful—I found that the +faithless pencil had only left traces on the paper melancholy to behold. + +After various fruitless attempts, I laid aside the instrument and came to +the conclusion, that its use required a previous knowledge of drawing, +which unfortunately I did not possess. + +I then thought of trying again a method which I had tried many years +before. This method was, to take a Camera Obscura, and to throw the image +of the objects on a piece of transparent tracing paper laid on a pane of +glass in the focus of the instrument. On this paper the objects are +distinctly seen, and can be traced on it with a pencil with some degree of +accuracy, though not without much time and trouble. + +I had tried this simple method during former visits to Italy in 1823 and +1824, but found it in practice somewhat difficult to manage, because the +pressure of the hand and pencil upon the paper tends to shake and displace +the instrument (insecurely fixed, in all probability, while taking a hasty +sketch by a roadside, or out of an inn window); and if the instrument is +once deranged, it is most difficult to get it back again, so as to point +truly in its former direction. + +Besides which, there is another objection, namely, that it baffles the +skill and patience of the amateur to trace all the minute details visible +on the paper; so that, in fact, he carries away with him little beyond a +mere souvenir of the scene—which, however, certainly has its value when +looked back to, in long after years. + +Such, then, was the method which I proposed to try again, and to +endeavour, as before, to trace with my pencil the outlines of the scenery +depicted on the paper. And this led me to reflect on the inimitable +beauty of the pictures of nature’s painting which the glass lens of the +Camera throws upon the paper in its focus—fairy pictures, creations of a +moment, and destined as rapidly to fade away. + +It was during these thoughts that the idea occurred to me…how charming it +would be if it were possible to cause these natural images to imprint +themselves durably, and remain fixed upon the paper! + +And why should it not be possible? I asked myself. + +The picture, divested of the ideas which accompany it, and considered only +in its ultimate nature, is but a succession or variety of stronger lights +thrown upon one part of the paper, and of deeper shadows on another. Now +Light, where it exists, can exert an action, and, in certain +circumstances, does exert one sufficient to cause changes in material +bodies. Suppose, then, such an action could be exerted on the paper; and +suppose the paper could be visibly changed by it. In that case surely +some effect must result having a general resemblance to the cause which +produced it: so that the variegated scene of light and shade might leave +its image or impression behind, stronger or weaker on different parts of +the paper according to the strength or weakness of the light which had +acted there. + +Such was the idea that came into my mind. Whether it had ever occurred to +me before amid floating philosophic visions, I know not, though I rather +think it must have done so, because on this occasion it struck me so +forcibly. I was then a wanderer in classic Italy, and, of course, unable +to commence an inquiry of so much difficulty: but, lest the thought should +again escape me between that time and my return to England, I made a +careful note of it in writing, and also of such experiments as I thought +would be most likely to realize it, if it were possible. + +And since, according to chemical writers, the nitrate of silver is a +substance peculiarly sensitive to the action of light, I resolved to make +a trial of it, in the first instance, whenever occasion permitted on my +return to England. + +But although I knew the fact from chemical books, that nitrate of silver +was changed or decomposed by Light, still I had never seen the experiment +tried, and therefore I had no idea whether the action was a rapid or a +slow one; a point, however, of the utmost importance, since, if it were a +slow one, my theory might prove but a philosophic dream. + +Such were, as nearly as I can now remember, the reflections which led me +to the invention of this theory, and which first impelled me to explore a +path so deeply hidden among nature’s secrets. And the numerous researches +which were afterwards made—whatever success may be thought to have +attended them—cannot, I think, admit of a comparison with the value of the +first and original idea. + +In January 1834, I returned to England from my continental tour, and soon +afterwards I determined to put my theories and speculations to the test of +experiment, and see whether they had any real foundation. + +Accordingly I began by procuring a solution of nitrate of silver, and with +a brush spread some of it upon a sheet of paper, which was afterwards +dried. When this paper was exposed to the sunshine, I was disappointed to +find that the effect was very slowly produced in comparison with what I +had anticipated. + +I then tried the chloride of silver, freshly precipitated and spread upon +paper while moist. This was found no better than the other, turning +slowly to a darkish violet colour when exposed to the sun. + +Instead of taking the chloride already formed, and spreading it upon +paper, I then proceeded in the following way. The paper was first washed +with a strong solution of salt, and when this was dry, it was washed again +with nitrate of silver. Of course, chloride of silver was thus formed in +the paper, but the result of this experiment was almost the same as +before, the chloride not being apparently rendered more sensitive by being +formed in this way. + +Similar experiments were repeated at various times, in hopes of a better +result, frequently changing the proportions employed, and sometimes using +the nitrate of silver before the salt, &c. &c. + +In the course of these experiments, which were often rapidly performed, it +sometimes happened that the brush did not pass over the whole of the +paper, and of course this produced irregularity in the results. On some +occasions certain portions of the paper were observed to blacken in the +sunshine much more rapidly than the rest. These more sensitive portions +were generally situated near the edges or confines of the part that had +been washed over with the brush. + +After much consideration as to the cause of this appearance, I conjectured +that these bordering portions might have absorbed a lesser quantity of +salt, and that, for some reason or other, this had made them more +sensitive to the light. This idea was easily put to the test of +experiment. A sheet of paper was moistened with a much weaker solution of +salt than usual, and when dry, it was washed with nitrate of silver. This +paper, when exposed to the sunshine, immediately manifested a far greater +degree of sensitiveness than I had witnessed before, the whole of its +surface turning black uniformly and rapidly: establishing at once and +beyond all question the important fact, that a lesser quantity of salt +produced a greater effect. And, as this circumstance was unexpected, it +afforded a simple explanation of the cause why previous inquirers had +missed this important result, in their experiments on chloride of silver, +namely, because they had always operated with wrong proportions of salt +and silver, using plenty of salt in order to produce a perfect chloride, +whereas what was required (it was now manifest) was, to have a deficiency +of salt, in order to produce an imperfect chloride, or (perhaps it should +be called) a _subchloride_ of silver. + +So far was a free use or abundance of salt from promoting the action of +light on the paper, that on the contrary it greatly weakened and almost +destroyed it: so much so, that a bath of salt water was used subsequently +as a fixing process to prevent the further action of light upon sensitive +paper. + +This process, of the formation of a subchloride by the use of a very weak +solution of salt, having been discovered in the spring of 1834, no +difficulty was found in obtaining distinct and very pleasing images of +such things as leaves, lace, and other flat objects of complicated forms +and outlines, by exposing them to the light of the sun. + +The paper being well dried, the leaves, &c. were spread upon it, and +covered with a glass pressed down tightly, and then placed in the +sunshine; and when the paper grew dark, the whole was carried into the +shade, and the objects being removed from off the paper, were found to +have left their images very perfectly and beautifully impressed or +delineated upon it. + +But when the sensitive paper was placed in the focus of a Camera Obscura +and directed to any object, as a building for instance, during a moderate +space of time, as an hour or two, the effect produced upon the paper was +not strong enough to exhibit such a satisfactory picture of the building +as had been hoped for. The outline of the roof and of the chimneys, &c. +against the sky was marked enough; but the details of the architecture +were feeble, and the parts in shade were left either blank or nearly so. +The sensitiveness of the paper to light, considerable as it seemed in some +respects, was therefore, as yet, evidently insufficient for the purpose of +obtaining pictures with the Camera Obscura; and the course of experiments +had to be again renewed in hopes of attaining to some more important +result. + +The next interval of sufficient leisure which I found for the prosecution +of this inquiry, was during a residence at Geneva in the autumn of 1834. +The experiments of the previous spring were then repeated and varied in +many ways; and having been struck with a remark of Sir H. Davy’s which I +had casually met with—that the _iodide_ of silver was more sensitive to +light than the _chloride,_ I resolved to make trial of the iodide. Great +was my surprise on making the experiment to find just the contrary of the +fact alleged, and to see that the iodide was not only less sensitive than +the chloride, but that it was not sensitive at all to light; indeed that +it was absolutely insensible to the strongest sunshine: retaining its +original tint (a pale straw colour) for any length of time unaltered in +the sun. This fact showed me how little dependance was to be placed on +the statements of chemical writers in regard to this particular subject, +and how necessary it was to trust to nothing but actual experiment: for +although there could be no doubt that Davy had observed what he described +under certain circumstances—yet it was clear also, that what he had +observed was some exception to the rule, and not the rule itself. In +fact, further inquiry showed me that Davy must have observed a sort of +subiodide in which the iodine was deficient as compared with the silver: +for, as in the case of the chloride and subchloride the former is much +less sensitive, so between the iodide and subiodide there is a similar +contrast, but it is a much more marked and complete one. + +However, the fact now discovered, proved of immediate utility; for, the +iodide of silver being found to be insensible to light, and the chloride +being easily converted into the iodide by immersion in iodide of +potassium, it followed that a picture made with the chloride could be +_fixed_ by dipping it into a bath of the alkaline iodide. + +This process of fixation was a simple one, and it was sometimes very +successful. The disadvantages to which it was liable did not manifest +themselves until a later period, and arose from a new and unexpected +cause, namely, that when a picture is so treated, although it is +permanently secured against the _darkening_ effect of the solar rays, yet +it is exposed to a contrary or _whitening_ effect from them; so that after +the lapse of some days the dark parts of the picture begin to fade, and +gradually the whole picture becomes obliterated, and is reduced to the +appearance of a uniform pale yellow sheet of paper. + +A good many pictures, no doubt, escape this fate, but as they all seem +liable to it, the fixing process by iodine must be considered as not +sufficiently certain to be retained in use as a photographic process, +except when employed with several careful precautions which it would be +too long to speak of in this place. + +During the brilliant summer of 1835 in England I made new attempts to +obtain pictures of buildings with the Camera Obscura; and having devised a +process which gave additional sensibility to the paper, viz. by giving it +repeated alternate washes of salt and silver, and using it in a moist +state, I succeeded in reducing the time necessary for obtaining an image +with the Camera Obscura on a bright day to ten minutes. But these +pictures, though very pretty, were very small, being quite miniatures. +Some were obtained of a larger size, but they required much patience, nor +did they seem so perfect as the smaller ones, for it was difficult to keep +the instrument steady for a great length of time pointing at the same +object, and the paper being used moist was often acted on irregularly. + +During the three following years not much was added to previous knowledge. +Want of sufficient leisure for experiments was a great obstacle and +hindrance, and I almost resolved to publish some account of the Art in the +imperfect state in which it then was. + +However curious the results which I had met with, yet I felt convinced +that much more important things must remain behind, and that the clue was +still wanting to this labyrinth of facts. But as there seemed no +immediate prospect of further success, I thought of drawing up a short +account of what had been done, and presenting it to the Royal Society. + +However, at the close of the year 1838, I discovered a remarkable fact of +quite a new kind. Having spread a piece of silver leaf on a pane of glass, +and thrown a particle of iodine upon it, I observed that coloured rings +formed themselves around the central particle, especially if the glass was +slightly warmed. The coloured rings I had no difficulty in attributing to +the formation of infinitely thin layers or strata of iodide of silver; but +a most unexpected phenomenon occurred when the silver plate was brought +into the light by placing it near a window. For then the coloured rings +shortly began to change their colours, and assumed other and quite unusual +tints, such as are never seen in the “colours of thin plates.” For +instance, the part of the silver plate which at first shone with a pale +yellow colour, was changed to a dark olive green when brought into the +daylight. This change was not very rapid: it was much less rapid than the +changes of some of the sensitive papers which I had been in the habit of +employing, and therefore, after having admired the beauty of this new +phenomenon, I laid the specimens by, for a time, to see whether they would +preserve the same appearance, or would undergo any further alteration. + +Such was the progress which I had made in this inquiry at the close of the +year 1838, when an event occurred in the scientific world, which in some +degree frustrated the hope with which I had pursued, during nearly five +years, this long and complicated, but interesting series of +experiments—the hope, namely, of being the first to announce to the world +the existence of the New Art—which has been since named Photography. + +I allude, of course, to the publication in the mouth of January 1839, of +the great discovery of M. Daguerre, of the photographic process which he +has called the Daguerreotype. I need not speak of the sensation created +in all parts of the world by the first announcement of this splendid +discovery, or rather, of the fact of its having been made, (for the actual +method made use of was kept secret for many months longer). This great +and sudden celebrity was due to two causes: first, to the beauty of the +discovery itself: secondly, to the zeal and enthusiasm of Arago, whose +eloquence, animated by private friendship, delighted in extolling the +inventor of this new art, sometimes to the assembled science of the French +Academy, at other times to the less scientific judgment, but not less +eager patriotism, of the Chamber of Deputies. + +But, having brought this brief notice of the early days of the +Photographic Art to the important epoch of the announcement of the +Daguerreotype, I shall defer the subsequent history of the Art to a future +number of this work. + + ‐‐‐‐‐‐‐‐‐‐‐‐‐‐ + +Some time previously to the period of which I have now been speaking, I +met with an account of some researches on the action of Light, by Wedgwood +and Sir H. Davy, which, until then, I had never heard of. Their short +memoir on this subject was published in 1802 in the first volume of the +Journal of the Royal Institution. It is curious and interesting, and +certainly establishes their claim as the first inventors of the +Photographic Art, though the actual progress they made in it was small. +They succeeded, indeed, in obtaining impressions from solar light of flat +objects laid upon a sheet of prepared paper, but they say that they found +it impossible to fix or preserve those pictures: all their numerous +attempts to do so having failed. + +And with respect to the principal branch of the Art, viz. the taking +pictures of distant objects with a Camera Obscura, they attempted to do +so, but obtained no result at all, however long the experiment lasted. +While therefore due praise should be awarded to them for making the +attempt, they have no claim to the actual discovery of any process by +which such a picture can really be obtained. + +It is remarkable that the failure in this respect appeared so complete, +that the subject was soon after abandoned both by themselves and others, +and as far as we can find, it was never resumed again. The thing fell +into entire oblivion for more than thirty years: and therefore, though the +Daguerreotype was not so entirely new a conception as M. Daguerre and the +French Institute imagined, and though my own labours had been still more +directly anticipated by Wedgwood, yet the improvements were so great in +all respects, that I think the year 1839 may fairly be considered as the +real date of birth of the Photographic Art, that is to say, its first +public disclosure to the world. + + ‐‐‐‐‐‐‐‐‐‐‐‐‐‐ + +There is a point to which I wish to advert, which respects the execution +of the following specimens. As far as respects the design, the copies are +almost facsimiles of each other, but there is some variety in the tint +which they present. This arises from a twofold cause. In the first place, +each picture is separately formed by the light of the sun, and in our +climate the strength of the sun’s rays is exceedingly variable even in +serene weather. When clouds intervene, a longer time is of course allowed +for the impression of a picture, but it is not possible to reduce this to +a matter of strict and accurate calculation. + +The other cause is the variable quality of the paper employed, even when +furnished by the same manufacturers—some differences in the fabrication +and in the _sizing_ of the paper, known only to themselves, and perhaps +secrets of the trade, have a considerable influence on the tone of colour +which the picture ultimately assumes. + +These tints, however, might undoubtedly be brought nearer to uniformity, +if any great advantage appeared likely to result: but, several persons of +taste having been consulted on the point, viz. which tint on the whole +deserved a preference, it was found that their opinions offered nothing +approaching to unanimity, and therefore, as the process presents us +spontaneously with a variety of shades of colour, it was thought best to +admit whichever appeared pleasing to the eye, without aiming at an +uniformity which is hardly attainable. And with these brief observations +I commend the pictures to the indulgence of the Gentle Reader. + + + + + + [PLATE I. PART OF QUEEN’S COLLEGE, OXFORD.] + + PLATE I. PART OF QUEEN’S COLLEGE, OXFORD. + + +PLATE I. PART OF QUEEN’S COLLEGE, OXFORD. + + +This building presents on its surface the most evident marks of the +injuries of time and weather, in the abraded state of the stone, which +probably was of a bad quality originally. + +The view is taken from the other side of the High Street—looking North. +The time is morning. + +In the distance is seen at the end of a narrow street the Church of St. +Peter’s in the East, said to be the most ancient church in Oxford, and +built during the Saxon era. This street, shortly after passing the +church, turns to the left, and leads to New College. + + + + + + [PLATE II. VIEW OF THE BOULEVARDS AT PARIS.] + + PLATE II. VIEW OF THE BOULEVARDS AT PARIS. + + +PLATE II. VIEW OF THE BOULEVARDS AT PARIS. + + +This view was taken from one of the upper windows of the Hotel de Douvres, +situated at the corner of the Rue de la Paix. The spectator is looking to +the North-east. The time is the afternoon. The sun is just quitting the +range of buildings adorned with columns: its façade is already in the +shade, but a single shutter standing open projects far enough forward to +catch a gleam of sunshine. The weather is hot and dusty, and they have +just been watering the road, which has produced two broad bands of shade +upon it, which unite in the foreground, because, the road being partially +under repair (as is seen from the two wheelbarrows, &c. &c.), the watering +machines have been compelled to cross to the other side. + +By the roadside a row of _cittadines_ and cabriolets are waiting, and a +single carriage stands in the distance a long way to the right. + +A whole forest of chimneys borders the horizon: for, the instrument +chronicles whatever it sees, and certainly would delineate a chimney-pot +or a chimney-sweeper with the same impartiality as it would the Apollo of +Belvedere. + +The view is taken from a considerable height, as appears easily by +observing the house on the right hand; the eye being necessarily on a +level with that part of the building on which the horizontal lines or +courses of stone appear parallel to the margin of the picture. + + + + + + [PLATE III. ARTICLES OF CHINA.] + + PLATE III. ARTICLES OF CHINA. + + +PLATE III. ARTICLES OF CHINA. + + +From the specimen here given it is sufficiently manifest, that the whole +cabinet of a Virtuoso and collector of old China might be depicted on +paper in little more time than it would take him to make a written +inventory describing it in the usual way. The more strange and fantastic +the forms of his old teapots, the more advantage in having their pictures +given instead of their descriptions. + +And should a thief afterwards purloin the treasures—if the mute testimony +of the picture were to be produced against him in court—it would certainly +be evidence of a novel kind; but what the judge and jury might say to it, +is a matter which I leave to the speculation of those who possess legal +acumen. + +The articles represented on this plate are numerous: but, however numerous +the objects—however complicated the arrangement—the Camera depicts them +all at once. It may be said to make a picture of whatever _it sees._ The +object glass is the _eye_ of the instrument—the sensitive paper may be +compared to the _retina._ And, the eye should not have too large a +_pupil:_ that is to say, the glass should be diminished by placing a +screen or diaphragm before it, having a small circular hole, through which +alone the rays of light may pass. When the eye of the instrument is made +to look at the objects through this contracted aperture, the resulting +image is much more sharp and correct. But it takes a longer time to +impress itself upon the paper, because, in proportion as the aperture is +contracted, fewer rays enter the instrument from the surrounding objects, +and consequently fewer fall upon each part of the paper. + + + + + + [PLATE IV. ARTICLES OF GLASS.] + + PLATE IV. ARTICLES OF GLASS. + + +PLATE IV. ARTICLES OF GLASS. + + +The photogenic images of glass articles impress the sensitive paper with a +very peculiar touch, which is quite different from that of the China in +Plate III. And it may be remarked that white china and glass do not +succeed well when represented together, because the picture of the china, +from its superior brightness, is completed before that of the glass is +well begun. But coloured china may be introduced along with glass in the +same picture, provided the colour is not a pure blue: since blue objects +affect the sensitive paper almost as rapidly as white ones do. On the +contrary, green rays act very feebly—an inconvenient circumstance, +whenever green trees are to be represented in the same picture with +buildings of a light hue, or with any other light coloured objects. + + + + + + [PLATE V. BUST OF PATROCLUS.] + + PLATE V. BUST OF PATROCLUS. + + +PLATE V. BUST OF PATROCLUS. + + +Statues, busts, and other specimens of sculpture, are generally well +represented by the Photographic Art; and also very rapidly, in consequence +of their whiteness. + +These delineations are susceptible of an almost unlimited variety: since +in the first place, a statue may be placed in any position with regard to +the sun, either directly opposite to it, or at any angle: the directness +or obliquity of the illumination causing of course an immense difference +in the effect. And when a choice has been made of the direction in which +the sun’s rays shall fall, the statue may be then turned round on its +pedestal, which produces a second set of variations no less considerable +than the first. And when to this is added the change of size which is +produced in the image by bringing the Camera Obscura nearer to the statue +or removing it further off, it becomes evident how very great a number of +different effects may be obtained from a single specimen of sculpture. + +With regard to many statues, however, a better effect is obtained by +delineating them in cloudy weather than in sunshine. For, the sunshine +causes such strong shadows as sometimes to confuse the subject. To +prevent this, it is a good plan to hold a white cloth on one side of the +statue at a little distance to reflect back the sun’s rays and cause a +faint illumination of the parts which would otherwise be lost in shadow. + + + + + + [PLATE VI. THE OPEN DOOR.] + + PLATE VI. THE OPEN DOOR. + + +PLATE VI. THE OPEN DOOR. + + +The chief object of the present work is to place on record some of the +early beginnings of a new art, before the period, which we trust is +approaching, of its being brought to maturity by the aid of British +talent. + +This is one of the trifling efforts of its infancy, which some partial +friends have been kind enough to commend. + +We have sufficient authority in the Dutch school of art, for taking as +subjects of representation scenes of daily and familiar occurrence. A +painter’s eye will often be arrested where ordinary people see nothing +remarkable. A casual gleam of sunshine, or a shadow thrown across his +path, a time-withered oak, or a moss-covered stone may awaken a train of +thoughts and feelings, and picturesque imaginings. + + + + + + [PLATE VII. LEAF OF A PLANT.] + + PLATE VII. LEAF OF A PLANT. + + +PLATE VII. LEAF OF A PLANT. + + +Hitherto we have presented to the reader the representations of distant +objects, obtained by the use of a Camera Obscura. But the present plate +represents an object of its natural size. And this is effected by quite a +different and much simpler process, as follows. + +A leaf of a plant, or any similar object which is thin and delicate, is +laid flat upon a sheet of prepared paper which is moderately sensitive. +It is then covered with a glass, which is pressed down tight upon it by +means of screws. + +This done, it is placed in the sunshine for a few minutes, until the +exposed parts of the paper have turned dark brown or nearly black. It is +then removed into a shady place, and when the leaf is taken up, it is +found to have left its impression or picture on the paper. This image is +of a pale brown tint if the leaf is semi-transparent, or it is quite white +if the leaf is opaque. + +The leaves of plants thus represented in white upon a dark background, +make very pleasing pictures, and I shall probably introduce a few +specimens of them in the sequel of this work: but the present plate shews +one pictured in the contrary manner, viz. dark upon a white ground: or, +speaking in the language of photography, it is a _positive_ and not a +_negative_ image of it. The change is accomplished by simply repeating +the first process. For, that process, as above described, gives a white +image on a darkened sheet of paper: this sheet is then taken and washed +with a fixing liquid to destroy the sensibility of the paper and fix the +image on it. + +This done, the paper is dried, and then it is laid upon a second sheet of +sensitive paper, being pressed into close contact with it, and placed in +the sunshine: this second process is evidently only a repetition of the +first. When, finished, the second paper is found to have received an +image of a contrary kind to the first; the ground being white, and the +image upon it dark. + + + + + + [PLATE VIII. A SCENE IN A LIBRARY.] + + PLATE VIII. A SCENE IN A LIBRARY. + + +PLATE VIII. A SCENE IN A LIBRARY. + + +Among the many novel ideas which the discovery of Photography has +suggested, is the following rather curious experiment or speculation. I +have never tried it, indeed, nor am I aware that any one else has either +tried or proposed it, yet I think it is one which, if properly managed, +must inevitably succeed. + +When a ray of solar light is refracted by a prism and thrown upon a +screen, it forms there the very beautiful coloured band known by the name +of the solar spectrum. + +Experimenters have found that if this spectrum is thrown upon a sheet of +sensitive paper, the violet end of it produces the principal effect: and, +what is truly remarkable, a similar effect is produced by certain +_invisible rays_ which lie beyond the violet, and beyond the limits of the +spectrum, and whose existence is only revealed to us by this action which +they exert. + +Now, I would propose to separate these invisible rays from the rest, by +suffering them to pass into an adjoining apartment through an aperture in +a wall or screen of partition. This apartment would thus become filled +(we must not call it _illuminated)_ with invisible rays, which might be +scattered in all directions by a convex lens placed behind the aperture. +If there were a number of persons in the room, no one would see the other: +and yet nevertheless if a _camera_ were so placed as to point in the +direction in which any one were standing, it would take his portrait, and +reveal his actions. + +For, to use a metaphor we have already employed, the eye of the camera +would see plainly where the human eye would find nothing but darkness. + +Alas! that this speculation is somewhat too refined to be introduced with +effect into a modern novel or romance; for what a _dénouement_ we should +have, if we could suppose the secrets of the darkened chamber to be +revealed by the testimony of the imprinted paper. + + + + + + [PLATE IX. FAC-SIMILE OF AN OLD PRINTED PAGE.] + + PLATE IX. FAC-SIMILE OF AN OLD PRINTED PAGE. + + +PLATE IX. FAC-SIMILE OF AN OLD PRINTED PAGE. + + +Taken from a black-letter volume in the Author’s library, containing the +statutes of Richard the Second, written in Norman French. To the +Antiquarian this application of the photographic art seems destined to be +of great advantage. + +Copied of the size of the original, by the method of superposition. + + + + + + [PLATE X. THE HAYSTACK.] + + PLATE X. THE HAYSTACK. + + +PLATE X. THE HAYSTACK. + + +One advantage of the discovery of the Photographic Art will be, that it +will enable us to introduce into our pictures a multitude of minute +details which add to the truth and reality of the representation, but +which no artist would take the trouble to copy faithfully from nature. + +Contenting himself with a general effect, he would probably deem it +beneath his genius to copy every accident of light and shade; nor could he +do so indeed, without a disproportionate expenditure of time and trouble, +which might be otherwise much better employed. + +Nevertheless, it is well to have the means at our disposal of introducing +these minutiæ without any additional trouble, for they will sometimes be +found to give an air of variety beyond expectation to the scene +represented. + + + + + + [PLATE XI. COPY OF A LITHOGRAPHIC PRINT.] + + PLATE XI. COPY OF A LITHOGRAPHIC PRINT. + + +PLATE XI. COPY OF A LITHOGRAPHIC PRINT. + + +We have here the copy of a Parisian caricature, which is probably well +known to many of my readers. All kinds of engravings may be copied by +photographic means; and this application of the art is a very important +one, not only as producing in general nearly fac-simile copies, but +because it enables us at pleasure to alter the scale, and to make the +copies as much larger or smaller than the originals as we may desire. + +The old method of altering the size of a design by means of a pantagraph +or some similar contrivance, was very tedious, and must have required the +instrument to be well constructed and kept in very excellent order: +whereas the photographic copies become larger or smaller, merely by +placing the originals nearer to or farther from the Camera. + +The present plate is an example of this useful application of the art, +being a copy greatly diminished in size, yet preserving all the +proportions of the original. + + + + + + [PLATE XII. THE BRIDGE OF ORLEANS.] + + PLATE XII. THE BRIDGE OF ORLEANS. + + +PLATE XII. THE BRIDGE OF ORLEANS. + + +This view is taken from the southern bank of the river Loire, which passes +Orleans in a noble stream. + +A city rich in historical recollections, but at present chiefly +interesting from its fine Cathedral; of which I hope to give a +representation in a subsequent plate of this work. + + + + + + [PLATE XIII. QUEEN’S COLLEGE, OXFORD, Entrance Gateway] + + PLATE XIII. QUEEN’S COLLEGE, OXFORD, Entrance Gateway + + +PLATE XIII. QUEEN’S COLLEGE, OXFORD. + + + ENTRANCE GATEWAY. + + +In the first plate of this work I have represented an angle of this +building. Here we have a view of the Gateway and central portion of the +College. It was taken from a window on the opposite side of the High +Street. In examining photographic pictures of a certain degree of +perfection, the use of a large lens is recommended, such as elderly +persons frequently employ in reading. This magnifies the objects two or +three times, and often discloses a multitude of minute details, which were +previously unobserved and unsuspected. It frequently happens, +moreover—and this is one of the charms of photography—that the operator +himself discovers on examination, perhaps long afterwards, that he has +depicted many things he had no notion of at the time. Sometimes +inscriptions and dates are found upon the buildings, or printed placards +most irrelevant, are discovered upon their walls: sometimes a distant +dial-plate is seen, and upon it—unconsciously recorded—the hour of the day +at which the view was taken. + + + + + + [PLATE XIV. THE LADDER.] + + PLATE XIV. THE LADDER. + + +PLATE XIV. THE LADDER. + + +Portraits of living persons and groups of figures form one of the most +attractive subjects of photography, and I hope to present some of them to +the Reader in the progress of the present work. + +When the sun shines, small portraits can be obtained by my process in one +or two seconds, but large portraits require a somewhat longer time. When +the weather is dark and cloudy, a corresponding allowance is necessary, +and a greater demand is made upon the patience of the sitter. Groups of +figures take no longer time to obtain than single figures would require, +since the Camera depicts them all at once, however numerous they may be: +but at present we cannot well succeed in this branch of the art without +some previous concert and arrangement. If we proceed to the City, and +attempt to take a picture of the moving multitude, we fail, for in a small +fraction of a second they change their positions so much, as to destroy +the distinctness of the representation. But when a group of persons has +been artistically arranged, and trained by a little practice to maintain +an absolute immobility for a few seconds of time, very delightful pictures +are easily obtained. I have observed that family groups are especial +favourites: and the same five or six individuals may be combined in so +many varying attitudes, as to give much interest and a great air of +reality to a series of such pictures. What would not be the value to our +English Nobility of such a record of their ancestors who lived a century +ago? On how small a portion of their family picture galleries can they +really rely with confidence! + + + + + + [PLATE XV. LACOCK ABBEY IN WILTSHIRE.] + + PLATE XV. LACOCK ABBEY IN WILTSHIRE. + + +PLATE XV. LACOCK ABBEY IN WILTSHIRE. + + +One of a series of views representing the Author’s country seat in +Wiltshire. It is a religious structure of great antiquity, erected early +in the thirteenth century, many parts of which are still remaining in +excellent preservation. This plate gives a distant view of the Abbey, +which is seen reflected in the waters of the river Avon. The spectator is +looking to the North West. + +The tower which occupies the South-eastern comer of the huilding is +believed to be of Queen Elizabeth’s time, but the lower portion of it is +much older, and coeval with the first foundation of the abbey. + + ‐‐‐‐‐‐‐‐‐‐‐‐‐‐ + +In my first account of “The Art of Photogenic Drawing,” read to the Royal +Society in January, 1839, I mentioned this building as being the first +“that was ever yet known to have drawn its own picture.” + +It was in the summer of 1835 that these curious self-representations were +first obtained. Their size was very small: indeed, they were but +miniatures, though very distinct: and the shortest time of making them was +nine or ten minutes. + + + + + + [PLATE XVI. CLOISTERS OF LACOCK ABBEY.] + + PLATE XVI. CLOISTERS OF LACOCK ABBEY. + + +PLATE XVI. CLOISTERS OF LACOCK ABBEY. + + +The Abbey was founded by Ela, Countess of Salisbury, widow of William +Longspee, son of King Henry II. and Fair Rosamond. + +This event took place in the year of our Lord 1229, in the reign of Henry +III. She was elected to be the first abbess, and ruled for many years +with prudence and piety. She lies buried in the cloisters, and this +inscription is read upon her tomb: + +Infrà sunt defossa Elæ venerabilis ossa, +Quæ dedit has sedes sacras monialibus ædes, +Abbatissa quidem quæ sanctè vixit ibidem, +Et comitissa Sarum virtutum plena bonarum: + +The cloisters, however, in their present state, are believed to be of the +time of Henry VI. They range round three sides of a quadrangle, and are +the most perfect which remain in any private residence in England. By +moonlight, especially, their effect is very picturesque and solemn. + +Here, I presume, the holy sisterhood often paced in silent meditation; +though, in truth, they have left but few records to posterity to tell us +how they lived and died. The “liber de Lacock” is supposed to have +perished in the fire of the Cottonian library. What it contained I know +not—perhaps their private memoirs. Some things, however, have been +preserved by tradition, or discovered by the zeal of antiquaries, and from +these materials the poet Bowles has composed an interesting work, the +History of Lacock Abbey, which he published in 1835. + + + + + + [PLATE XVII. BUST OF PATROCLUS.] + + PLATE XVII. BUST OF PATROCLUS. + + +PLATE XVII. BUST OF PATROCLUS. + + +Another view of the bust which figures in the fifth plate of this work. + +Is has often been said, and has grown into a proverb, that there is no +royal road to learning of any kind. But the proverb is fallacious: for +there is, assuredly, a royal road to _Drawing_, and one of these days, +when more known and better explored, it will probably be much frequented. +Already sundry _amateurs_ have laid down the pencil and armed themselves +with chemical solutions and with _camera obscuræ._ Those amateurs +especially, and they are not few, who find the rules of _perspective_ +difficult to learn and to apply—and who moreover have the misfortune to be +lazy—prefer to use a method which dispenses with all that trouble. And +even accomplished artists now avail themselves of an invention which +delineates in a few moments the almost endless details of Gothic +architecture which a whole day would hardly suffice to draw correctly in +the ordinary manner. + + + + + + [PLATE XVIII. GATE OF CHRISTCHURCH.] + + PLATE XVIII. GATE OF CHRISTCHURCH. + + +PLATE XVIII. GATE OF CHRISTCHURCH. + + +The principal gate of Christchurch College in the University of Oxford. + +On the right of the picture are seen the buildings of Pembroke College in +shade. + +Those who have visited Oxford and Cambridge in vacation time in the summer +must have been struck with the silence and tranquillity which pervade +those venerable abodes of learning. + +Those ancient courts and quadrangles and cloisters look so beautiful so +tranquil and so solemn at the close of a summer’s evening, that the +spectator almost thinks he gazes upon a city of former ages, deserted, but +not in ruins: abandoned by man, but spared by Time. No other cities in +Great Britain awake feelings at all similar. In other towns you hear at +all times the busy hum of passing crowds, intent on traffic or on +pleasure—but Oxford in the summer season seems the dwelling of the Genius +of Repose. + + + + + + [PLATE XIX. THE TOWER OF LACOCK ABBEY] + + PLATE XIX. THE TOWER OF LACOCK ABBEY + + +PLATE XIX. THE TOWER OF LACOCK ABBEY + + +The upper part of the tower is believed to be of Queen Elizabeth’s time, +but the lower part is probably coeval with the first foundation of the +abbey, in the reign of Henry III. + +The tower contains three apartments, one in each story. In the central +one, which is used as a muniment room, there is preserved an invaluable +curiosity, an original copy of the Magna Charta of King Henry III. It +appears that a copy of this Great Charter was sent to the sheriffs of all +the counties in England. The illustrious Ela, Countess of Salisbury, was +at that time sheriff of Wiltshire (at least so tradition confidently +avers), and this was the copy transmitted to her, and carefully preserved +ever since her days in the abbey which she founded about four years after +the date of this Great Charter. + +Of the Magna Charta of King John several copies are still extant; but only +two copies are known to exist of the Charter of his successor Henry III, +which bears date only ten years after that of Runnymede. One of these +copies, which is preserved in the north of England, is defaced and wholly +illegible; but the copy preserved at Lacock Abbey is perfectly clear and +legible throughout, and has a seal of green wax appended to it, inclosed +in a small bag of coloured silk, which six centuries have faded. + +The Lacock copy is therefore the only authority from which the text of +this Great Charter can be correctly known; and from this copy it was +printed by Blackstone, as he himself informs us. + +From the top of the tower there is an extensive view, especially towards +the South, where the eye ranges as far as Alfred’s Tower, in the park of +Stour-head, about twenty-three miles distant. + +From the parapet wall of this building, three centuries ago, Olive +Sherington, the heiress of Lacock, threw herself into the arms of her +lover, a gallant gentleman of Worcestershire, John Talbot, a kinsman of +the Earl of Shrewsbury. He was felled to the earth by the blow, and for a +time lay lifeless, while the lady only wounded or broke her finger. Upon +this, Sir Henry Sherington, her father, relented, and shortly after +consented to their marriage, giving as a reason “the step which his +daughter had taken.” + +Unwritten tradition in many families has preserved ancient stories which +border on the marvellous, and it may have embellished the tale of this +lover’s leap by an incident belonging to another age. For I doubt the +story of the broken finger, or at least that Olive was its rightful owner. +Who can tell what tragic scenes may not have passed within these walls +during the thirteenth and fourteenth centuries? The spectre of a nun with +a bleeding finger long haunted the precincts of the abbey, and has been +seen by many in former times, though I believe that her unquiet spirit is +at length at rest. And I think the tale of Olive has borrowed this +incident from that of a frail sister of earlier days. + + + + + + [PLATE XX. LACE] + + PLATE XX. LACE + + +PLATE XX. LACE + + +As this is the first example of a _negative_ image that has been +introduced into this work, it may be necessary to explain, in a few words, +what is meant by that expression, and wherein the difference consists. + +The ordinary effect of light upon white sensitive paper is to _blacken_ +it. If therefore any object, as a leaf for instance, be laid upon the +paper, this, by intercepting the action of the light, preserves the +whiteness of the paper beneath it, and accordingly when it is removed +there appears the form or shadow of the leaf marked out in white upon the +blackened paper; and since shadows are usually dark, and this is the +reverse, it is called in the language of photography a _negative_ image. + +This is exemplified by the lace depicted in this plate; each copy of it +being an original or negative image: that is to say, directly taken from +the lace itself. Now, if instead of copying the lace we were to copy one +of these negative images of it, the result would be a _positive_ image of +the lace: that is to say, the lace would be represented _black_ upon a +_white_ ground. But in this secondary or positive image the +representation of the small delicate threads which compose the lace would +not be quite so sharp and distinct, owing to its not being taken directly +from the original. In taking views of buildings, statues, portraits, &c. +it is necessary to obtain a _positive_ image, because the negative images +of such objects are hardly intelligible, substituting light for shade, and +_vice versa._ + +But in copying such things as lace or leaves of plants, a negative image +is perfectly allowable, black lace being as familiar to the eye as white +lace, and the object being only to exhibit the pattern with accuracy. + +In the commencement of the photographic art, it was a matter of great +difficulty to obtain good _positive_ images, because the original or +negative pictures, when exposed to the sunshine, speedily grew opaque in +their interior, and consequently would not yield any positive copies, or +only a very few of them. But, happily, this difficulty has been long +since surmounted, and the negative or original pictures now always remain +transparent during the process of copying them. + + + + + + [PLATE XXI. THE MARTYRS’ MONUMENT] + + PLATE XXI. THE MARTYRS’ MONUMENT + + +PLATE XXI. THE MARTYRS’ MONUMENT + + +Oxford has at length, after the lapse of three centuries, raised a worthy +monument to her martyred bishops, who died for the Protestant cause in +Queen Mary’s reign. + +And we have endeavoured in this plate to represent it worthily. How far +we have succeeded must be left to the judgment of the gentle Reader. + +The statue seen in the picture is that of Bishop Latimer. + + + + + + [PLATE XXII. WESTMINSTER ABBEY] + + PLATE XXII. WESTMINSTER ABBEY + + +PLATE XXII. WESTMINSTER ABBEY + + +The stately edifices of the British Metropolis too frequently assume from +the influence of our smoky atmosphere such a swarthy hue as wholly to +obliterate the natural appearance of the stone of which they are +constructed. This sooty covering destroys all harmony of colour, and +leaves only the grandeur of form and proportions. + +This picture of Westminster Abbey is an instance of it; the faqade of the +building being strongly and somewhat capriciously darkened by the +atmospheric influence. + + + + + + [PLATE XXIII. HAGAR IN THE DESERT.] + + PLATE XXIII. HAGAR IN THE DESERT. + + +PLATE XXIII. HAGAR IN THE DESERT. + + +This Plate is intended to show another important application of the +photographic art. Fac-similes can be made from original sketches of the +old masters, and thus they may be preserved from loss, and multiplied to +any extent. + +This sketch of Hagar, by Francesco Mola, has been selected as a specimen. +It is taken from a fac-simile executed at Munich. + +The photographic copying process here offers no difficulty, being done of +the natural size, by the method of superposition. + + + + + + [PLATE XXIV. A FRUIT PIECE.] + + PLATE XXIV. A FRUIT PIECE. + + +PLATE XXIV. A FRUIT PIECE. + + +The number of copies which can be taken from a single original +photographic picture, appears to be almost unlimited, provided that every +portion of iodine has been removed from the picture before the copies are +made. For if any of it is left, the picture will not bear repeated +copying, but gradually fades away. This arises from the chemical fact, +that solar light and a minute portion of iodine, acting together (though +neither of them separately), are able to decompose the oxide of silver, +and to form a colourless iodide of the metal. But supposing this accident +to have been guarded against, a very great number of copies can be +obtained in succession, so long as great care is taken of the original +picture. But being only on paper, it is exposed to various accidents; and +should it be casually torn or defaced, of course no more copies can be +made. A mischance of this kind having occurred to two plates in our +earliest number after many copies had been taken from them, it became +necessary to replace them by others; and accordingly the Camera was once +more directed to the original objects themselves, and new photographic +pictures obtained from them, as a source of supply for future copies. But +the circumstances of light and shade and time of day, &c. not altogether +corresponding to what they were on a former occasion, a slightly different +but not a worse result attended the experiment. From these remarks, +however, the difference which exists will be easily accounted for. + + + + + + +***END OF THE PROJECT GUTENBERG EBOOK THE PENCIL OF NATURE +*** + + + +CREDITS + + +August 16, 2010 + + Project Gutenberg Edition + Martin Schub + + + +A WORD FROM PROJECT GUTENBERG + + +This file should be named 33447‐0.txt or 33447‐0.zip. + +This and all associated files of various formats will be found in: + + + http://www.gutenberg.org/dirs/3/3/4/4/33447/ + + +Updated editions will replace the previous one — the old editions will be +renamed. + +Creating the works from public domain print editions means that no one +owns a United States copyright in these works, so the Foundation (and +you!) can copy and distribute it in the United States without permission +and without paying copyright royalties. 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