1859 JOURNAL OF THE
PHOTOGRAPHIC SOCIETY
“The Photographic Journal”
Vol. V (1858-June 15, 1859);
Vol. VI (July 15, 1859 – Dec. 15, 1859)
ver.: June 21, 2007 July 20, 2021
NOTES:
--Italics have been retained from publications, which use them for both titles as well as emphasis. To more easily locate image titles, I have continued this italicization when titles have been rendered in all capitols or put in quotes, however italics have NOT been used when the general subject of an image is mentioned.
--Image numbers listed in articles can be either an entry number in an exhibition, or the photographer’s own image number as found on labels.
--All names have been bolded for easy location. Numbers frequently refer to the photographer’s image number, but can also refer to a number in a catalog for a show. Decide whether to bold or not if can tell.
--It is not always possible in lists of photographers to know when two separate photographers are partners or not, e.g., in a list, “Smith and Jones” sometimes alludes to two separate photographers and sometimes to one photographic company. Both names will be highlighted and indexed but a partnership may be wrongly assumed. Any information to the contrary would be appreciated.
-- Brackets [ ] are used to indicate supplied comments by the transcriber; parenthesis
( ) are used in the original sources. If the original source has used brackets, they have been transcribed as parenthesis to avoid confusion.
--“illus” means that I have the view mentioned and should be scanned and included.
--Articles by photographers about technical matters – only name and titles have been listed. If other names are associated with the paper they are listed as well.
--Meetings of Societies – Names of officers, members attending or referenced, dates and locations of meetings have been given. If the reports are very short or discuss photographs, then the articles have been copied; if administrative or technical in nature, they have not.
--“[Selection]” = This has been used when not all portions of a feature are copied, such as The Photographic News’ “Talk In The Studio”. If the word does not appear, then the entire feature was transcribed.
-- Some journals, e.g., The Art-Journal, cover both photographer and painting/drawing. As they frequently refer to the production of both the photographer and the painter as “pictures” it is not always possible to tell when photography is indicated. If there is doubt, it will be included but a note will be added stating that the names listed may in fact not be photographers.
--Mostly articles totally discussing technical aspects of photography, products, etc. are not transcribed unless they are part of a larger article covering photographs. When technical descriptions are too lengthy to transcribe that is noted.
--Cultural sensitivity – these are direct transcriptions of texts written in the 19th-century and reflect social comments being made at that time. Allowances must be made when reading some texts, particularly those dealing with other cultures.
1859: JPS Jan. 8, vol. V, #76, p. 142
Answers to Correspondents:
---Messrs. Ogle and Edge have favoured us with some beautiful specimens of stereoscopic slides, to which we hope to give an extended notice in a future Number. They are some of the most pleasing specimens which we have seen. [Did they review?]
Communications Received:
---The Rev. Mr. Ellis; Mr. Traer; Mr. Cruttenden, Lake Price, C.J. Burnett; Roger Fenton; An Amateur; Professor De la Motte; The Rev. C. P. Cleaver; J.W.G. Gutch; Mr. Fuidge; Sir W. J. Newton; Henry Greenwood.
1859: JPS Jan. 21, vol. V, #77, p. 143
[Editorial comments: Liverpool and Manchester Photographic Journal]
We have received complaints from various sources, and among them from the authorities of the General Post Office, as to the confusion caused by the recent assumption by Mr. Greenwood’s “Liverpool and Manchester Photographic Journal,” of the title by which this Journal exclusively has hitherto been familiarly known. Foreseeing the result, we had before-hand deprecated the contemplated adoption by Mr. Greenwood of our title, and we have since endeavoured to induce him to make some modification in the title as at present used by him, but hitherto without success. We can therefore for the present only suggest to our correspondents that they invariably add to the superscription of their letters the address of the Editor, and to our friends that in ordering copies of the Journal from any but the Publishers, they should be careful to specify that they require the Society’s, and not Mr. Green wood’s Journal.
1859: JPS Jan. 21, vol. V, #77, p. 143-150
[Editorial comments: Review of Suffolk Street Exhibition]
At the moment of our going to press, our President, the Lord Chief Baron, is doing Photographic honours to the world of art and fashion in Suffolk Street. The Society’s rooms are thronged by a brilliant company; our friends and guests appear to enjoy the opportunity of meeting in friendly circles, as well as the splendid and various sp4ecimens of Photographic Art displayed on the walls. The Exhibition, we are glad to report, ahs been more successful up to this date than any Exhibition we have yet had the pleasure to hold.
As there must appear an obvious impropriety in the Council of the Photographic Society reviewing their own productions, those of their associates, and also those of their generous emulators and fellow-students far and near—pronouncing opinions which at once become translatable into market values—it is thought wise to discontinue this form of self-examination.
Yet, as our readers will expect to see some adequate record of the Exhibition in our columns, we propose to call to our aid the chief voices of public thought, and listen, under limitations, to what they may praise or blame of our work. This change we believe will conciliate and gratify our Members; they will obtain in exchange for a single, perhaps a rival or hostile criticism on their productions, the mature verdict of important organs; they will obtain this in a convenient shape, without trouble, and in a form convenient for preservation. For a clearer understanding of our plan we refer to the report prepared as an experiment, and we shall be glad to receive suggestions on the result.
The Exhibition In Suffolk Street.
First Impressions.
“Photography is (there can be no denying it) another wing added to the great palace of Art,--perhaps, in comparison with Raphael chapel and Ostade kitchens, a wing of mere workshops and tool-rooms; but still they make the old house larger and more luxurious, they lengthen the vistas and enrich the whole family: so we are glad to see them, and long every year to walk over the “improvements.” Except in size, we see no particular advance this year in the new Art; the tent-stakes remain in the same holes, water and cloud with all their fugitive beauties are still as unfixed and chameleon-like as ever, and promise for some time at least to be to the hooded men what quicksilver was to the alchemists, the unchainable and truant spirit that tempted them by apparently listening to their spells and yet refusing to own their power. This year, it is true, the photographs in these rooms, almost entirely English, are sharp as if drawn with a knife-point, and yet full of dark cavenous depths and brooding filmy shadows; still it is in size and breadth that their special originality consists. The portraits are mellow, broad; and the genre pictures original and clever as ever, with the usual defects and limitations, arising chiefly from the obstinate fact that while the sun-machine has eyes keen as an angel’s, a hand swift, sure and fluent, it has no soul, no heart, and no intellect. Indeed, after all, it can but copy; create it never can. Set it down before a sunbeam, a breaking wave, or a harlequin of shadows, give it a thatched roof combed down straight like a countryman’s hair, darkness cut in sunder by light as with a golden knife-blade; bind it over like Cinderella to copy the grit and bur of sandstone or the twist and streak of hornblende, and it will do it,--but to shape out an ideal purity, nobleness or bravery, that it will do—never. It is at best an angel copier; a god-like machine of which light and sunshine is the animating Promethean fire. Put it higher, and you degrade Art to the worshipper of a machine.”— Athenæum.
“The Photographic Society have opened their Exhibition for the season at the Suffolk Street Gallery. The collection of works exhibited shows the steady and gradual improvement of this important Art. When in its infancy, we stepped out of our way, and make ‘N. & Q.’ a channel of photographic information; we did so under the feeling that the importance of the Art to the cause of pictorial truth was not sufficiently recognized by any of our contemporaries. We may be permitted to look back with satisfaction when we see, as in the present Exhibition, how our anticipations of its future importance and development have been realized.”—Notes and Queries.
“The Exhibition has its lessons as well as its encouragements. It shows in a very marked way that there is an art in employing the sun to paint for you, just as there is in painting for yourself. You can no more get a tolerable view or an effective group by merely clapping your camera down, focusing your object, slipping in your sensitive plate, uncovering your lens, and opening and shutting your slide, than you can make a pleasing sketch from the first spot on which you plant a random easel.”—Times
The Cartoons.
“The impressions of the photographs of the Cartoons by Caldesi and Montecchi, and a selection of those by Thurston Thompson, here exhibited, serve to bear out what was said in The Times a few days ago, of the immeasurable superiority of photograph—with all its troublesome colour-conditions—over engraving, at least in the case of works where colour is not of primary importance. Here are hung not merely the impressions of the cartoons (to which we then referred), but the long series of studies from groups and single heads. And nowhere, not even in Wren’s gallery at Hampton Court, can the student gain such an adequate conception as he can here of these great works, in their qualities of composition, expression, and draughtmanship. It would be interesting to compare the work of the private publishers with that of the government photographer, but the materials for the comparison are incomplete. Mr. Thompson exhibits only a selection of his studies of detached parts. In these he has ventured to include more, and has generally worked on a larger scale than Caldesi and Montecchi. His groups have been selected and combined with excellent judgment, and in this way produce a more satisfactory artistic effect, perhaps, than any of his rivals. As pieces of photographic manipulation, too, Mr. Thompson’s works are first-rate, though those of Caledsi and Montecchi leave but very little, if anything, to be desired. After seeing this admirable series of photographs we are confirmed in the opinion which we have already expressed, that this reproduction of the4 cartoons is the most important application yet made of photography to the purposes of the fine arts, and that henceforth these photographs will displace all other versions of their great originals.”--Times
“First and foremost in this exhibition for grand and perfect copies stand Messrs. Caldesi and Montecchi and Thurston Thompson’s studies from Raphael’s Cartoons (No. 233, &c. &c.) They consist of groups and single heads, and at once supersede all future copying of great pictures by hand. Henceforth the cartoons are everybody’s cartoons. These photographs are all but as valuable as the originals. You can see even the pleats in the paper: the great wave lines, the flower-stalk curves of grace, the beauty as of the bent rose or the wind-tossed lily are here; and, come fire or sword to the long corridor at Hampton, the cartoons are now safe and sown over the world for ever. Great works of Art are now, when once photographed, imperishable, and must last while the world lasts. If these could have been done a century ago, we should not have to lament so much the bleaching and erasure of Time, whose delight is to cancel and line out man’s work.”—Athenæum.
“More of the sober grandeur of the marvellous originals is given, and a far closer approximation made to the thought of the painter, than any engraving has ever reached. Happily the authorities have enabled the public, by the simple process of lowering them to within a foot of the floor, to see the original cartoons with a degree of clearness and comfort, such as, owing to the construction of Wren’s unlucky room, had hitherto been impossible. But these photographs (each about 40 inches by 28), allow the student to dwell on all that is great and characteristic in them, with almost as much satisfaction as though the actual works were before him,--and with the advantage that he can examine them as long and recur to them as often as he pleases in his own quiet study. As examples of the photographic art they claim unstinted praise. Every line of the picture is faithfully presented; and though the colour is necessarily rendered by equivalents not always corresponding in depth to the original, the general effect is preserved unimpaired; while those who are curious to see how far photographic imitation will reach—and it is a very proper matter of curiosity—will not fail to notice that every join, and crease, and crack, and wrinkle in the cartoon is copied with its own light and shadow, so exactly as almost to leave the observer uncertain whether it be not a real join or crease in the paper he is examining. We could have wished that Mr. Thompson had submitted his complete cartoons for comparison with those of Messrs. Caldesi and Montecchi. Judging from his ‘Studies of Heads,’ he had no need to shrink from the trial. His studies are certainly not inferior, some of them are decidedly superior, to theirs in clearness and sharpness of definition, though perhaps the tone is hardly so agreeable. Both are first-rate examples of manipulative skill.”—Literary Gazette.
1859: JPS July 15, vol. VI, #87, p. 9:
Photography applied to Musketry.
A series of interesting and valuable experiments have been made during the last few days by Lieutenant Walker, 79th Highlanders, of the School of Musketry Staff, Hythe, on the application of the photographic art to the science—for such it has become—of musketry, with the view of obtaining, by means of the former, a true and exact copy of the target-practice of a section or any other number of men at one or more targets. We are glad to learn that these experiments have been attended with a most satisfactory result,--Lieutenant Walker having established by them the important fact that, by means of the chemical influences of light, every “hit” or impingement of a bullet, however slight, can be transferred from the target to paper with an infallible accuracy and a celerity which at once renders obsolete the former tedious and oftentimes inaccurate method of copying by the hand the impression made by each shot on the target’s surface, on to a diagram which had previously to be prepared for the purpose. This novel adaptation of photography will be found peculiarly useful in testing the comparative merits of different firearms; and in these days of volunteer rifle corps it would prove highly useful and interesting if each company had a photograph taken of its target-practice; and, as any falsification of returns would by this plan be rendered impossible, on a general comparison being made of them throughout the country, it would be once be seen to which corps belonged the palm for the best shooting.
1859: JPS July 15, vol. VI, #87, p. 9:
Maps reproduced by Photography.
To the Editor of the Photographic Journal.
Sir,--In your last Number I observe a notice of the beautiful reduction of the Government Austrian map of the Lombardo-Venetian Kingdom, through the means of photography, by MM. Bisson (brothers), which concludes with the observation that MM. Bison “have thus opened a new field to the photographer.” The general reader would have the impression that MM. Bisson have been the first to apply photography to the reduction of maps; but this is by no means the case, as since 1855-1856, Colonel James, R. E., who is at the head of the Trigonometrical Survey of the United Kingdom, and with whom originated the idea, has applied photography with the most perfect success in the reduction of the Ordnance Survey Maps, all those on the large scale being now reduced by that method. The glass building where the photographic reductions are made forms a very handsome addition to the Government establishment at Southampton.—An Old Subscriber, Athenæum Club.
1859: JPS July 15, vol. VI, #87, p. 10:
Answers to Correspondents. [selection]
July 5, 1859.
--Sir,--Can you give me any information on the following points:--1st. Is the Photographic Exchange Club, of which the Rev. J. Major was formerly, and Julius Pollock, Esq., was subsequently the Secretary, still in existence? and has there been an exchange of photographs within the last twelve months? (the Rules state that there shall be an exchange twice in the year). 2ndly. Is there any other Society for the exchange of photographs? A reply to the above queries will greatly oblige. –An Amateur.
[Reply] Mr. Pollock has lately made a distribution of his collection for the members for the past year. Several of the old members have retired, and newer and more active hands supplied their places. There is also the “Photographic Exchange Club,” who publish annually the ‘Photographic Album,’ a handsome folio volume. It is, we believe, limited to fifty members; and the photographs contained in it cannot be bought. Professor De la Motte, of King’s College, kindly acts as Honorary Sectary. Exchange Clubs should be promoted in various parts of the country; they produce much good feeling amongst their members, and are more agreeably conducted amongst a few friends than on a large scale. Many amateurs will not object to printing a limited number of their pictures, which becomes very tedious when extended.
--A.A.B.—The coast views were taken by Mr. Downes, of the Photographic Institution, New Bond Street. One was exhibited in Suffolk Street, and was much admired as an instantaneous picture.
--A Collector.—1. Probably Mr. Fry can answer your inquiries, as he has formed a very valuable library relating to the heliographic art. Mr. Fox Talbot published a quarto volume called “Sun Pictures in Scotland,” and it contains a notice that the pictures are truly photographs, and not prints taken from them, as has been supposed. 2. There is a copy of the “Pencil of Nature,” also published by Mr. Fox Talbot, in the possession of the Photographic Society, having lately been given by Mr. B. B. Turner.
--W. Sparks.—We believe that the Crystal Palace Company have most liberally sent a free admission to every one who has contributed to their Photographic Exhibition: this is liberal on their part, and at the same time beneficial to the Company; for we feel confident that it brings many other visitors with those receiving the privilege. If you have any complaint, write to Professor De la Motte, at the Palace.
1859: JPS Aug. 16, vol. VI, #88, p. 9:
To The Editor of the Photographic Journal.
168 New Bond Street, August 6, 1859.
Sir,--It has been asserted several times in print that Col. James originated the process of reducing maps by photography. This, I think, can be proved to be an error, as the firm of which I am a member copied several maps of the Crimea for Prince Albert in the year 1854.
I mention this because I have lately been employed to enlarge the Austrian Government map of the Lombardo-Venetian Kingdom, a copy of which I enclose; and, as I have not heard of this having been done before for publication, I wish to place the fact on record, lest this small honour may also be claimed for some other photographer.
I send you moreover a reduction of the same map, similar in size to that produced by Messrs. Bisson. Both were executed for Mr. Stanford of Charing Cross.
You would confer a benefit on photography if you would draw the attention of engravers and lithographers to the great accuracy and expedition with which the enlargement or reduction of any drawing can be accomplished.
--George Downes.
(On reference to the beauty of Mr. Downes’s productions, the ‘Athenæum’ says, “While speaking of maps, we should announce that we have before us some specimens of photographic reproductions of maps. Executed by Mr. George Downes. These show yet another application of this most wonderful and beautiful art. The sheets reproduce for us an Austrian official survey of Lombardy, enlarged or diminished to any size at the will of the operator, yet with a perfect fidelity of lines, names, surfaces, mountains shades, and the like. We have never seen a more beautiful map.”—Ed.)
1859: JPS Aug. 16, vol. VI, #88, p. 10:
[reprint from the Athenæum]
“Mr. Rejlander, the well-known photographer, perhaps the most successful deviser of original figure-groups in the new art, has just brought out an admirable study, that he entitles ‘The Wayfarer.’ It is admirable in light and shade, in broad daylight effect, and in exquisite detail. It is, in fact, an Italian picture perfected with Dutch truth. It represents an old English labourer in the smock-frock of the period. He is on his way, we suppose, to fulfil that cheerful task of the latter days of an old labourer, to claim his parish; and seated beside a heap of wayside stones, from which a clump of nettles springs, he is calmly, with stolid meditation, eating his humble meal. The light and dark blocking out of the stones, the dark-netted veins of the leaves that shadow the old man’s bundle, are both admirably given; so are his buttoned (rather too trim)
gaiters, his knotty stick, and broad, smooth hat. The purply tone of the photograph is very soft and soothing to the eye, and the lucid sunny transparency of the middle tint is a study for a painter. There is exquisite finish and work, too, about the plaited breastplate of John Anderson’s smock-frock, as well as about the little quilled plaits and foldings that run like armlets round the wrists. The veined hands are beautifully given; and, indeed, the whole thing is a triumph of photographic arrangement and manipulation.”—Athenæum.
1859: JPS Aug. 16, vol. VI, #88, p. 28:
Answers to correspondents. [selection]
--Mr. Fry informs us that he purchased Mr. Fox Talbot’s
‘Pencil of Nature’ on its coming out, but that he never had the pleasure of
seeing the ‘Sun Pictures in Scotland,’ and was in ignorance that such a work had
been published.
--Dear Sir, 60 Bridge Street, Birkenhead, July 27, 1859
--I observe in your Notices to Correspondents that you were ignorant of the existence of the Exchange Club as per within memoranda. We have exchanged upwards of 600 pictures, but, I must confess, members have not sent me any for a twelve-month; so the principle of periodical exchanges has been abandoned, and I exchange whenever any fresh ones come in, as I have a good many on hand, and some very fine ones. I am not particular about the 2s 6d. as long as stamps are sent to cover the return-postage; and, for my trouble in the matter, the best producers must be content to be satisfied with my own exchanges for some of their productions, though I think on an average, even in this way, there has not been injustice. –Christopher Bell.
Committee.
Christopher Bell, Esq., 60 Bridge Street, Birkenhead.
Charles Corey, Esq., 5 Slater Street, Liverpool.
G. R. Berry, Birkenhead.
Rules and Regulations of the Liverpool and National Photographic Exchange Club. Associated for the purpose of receiving and exchanging Photographs between its Members.
Those only to be considered members who shall intimate their intention in writing to the Secretary, and at the same time transmit a subscription of 2s 6d. in postage stamps, to cover the expense of printing and transmission of rules, &c.
The photographs for exchange to be transmitted per post prepaid to the Secretary, not mounted on cardboard, but rolled round a thin, light, (if possible) hollow rod, and an amount of stamps enclosed to prepay return postage. The Committee would suggest that each member have his or her name and address legibly written on the rod, so that trouble may be saved to the Committee when they make up the exchanges.
The Committee will endeavour to allot to each member photographs of an equal quality to those transmitted, and a register will be kept in which will be entered the number, subjects, name and address of each sender, and the name of subjects exchanged. Therefore it is requested that the name of the photographer and the subject of the picture be attached firmly to each picture.
The exchange will be effected once a month, or according to the number of pictures in the hands of the Committee.
If any extraordinarily fine or large proofs be sent, for which no equivalents may be found, notice will be given and attention called to the subject through the medium of the London and Liverpool Photographic Journals. C. Bell.
1859: JPS Sept. 15, vol. VI, #89, p. 45-47:
Photographic Copyright (quoted from the Athenaeum, June 25, 1859)
An important and interesting trial of copyright in the rolls Court, Dublin, came to a second hearing on Wednesday, last week, in which Mr. Wallis’s picture of “The Death of Chatterton” played the principal part. The facts, as stated in the petition and by the counsel, were these:--
The original painting was first exhibited at the Royal Exhibition of Arts in London in the year 1856. It was purchased by Mr. Augustus Leopold Egg from the artist. There was an agreement whereby Mr. Egg sold to Mr. Turner the right to engrave the picture, with liberty to exhibit it for the purpose of obtaining subscribers. The only permitted publication of the engraving of the picture was in the “National Magazine.” In the month of April the picture was carried over to Dublin to be exhibited. The picture was known as “The Death of Chatterton,” and so entitled by Mr. Turner. Now, this title was assumed by Mr. [James] Robinson, a dealer in photographs; and an advertisement published by him stated that he would have “the beautiful stereoscopic figure of the last moments of Chatterton” ready for sale on the following Monday. Mr. Turner, believing that such an advertisement would injure his property, applied to Mr. Robinson to discontinue the sale. Mr. Robinson refused to stop his publication, on the ground that his stereograph was not copied from Mr. Wallis’s picture, but was an independent study from the biography of Chatterton. Hence the application to the Rolls Court for an injunction to restrain. At the first hearing, which took place in May, the injunction was granted, Mr. Robinson submitting until an affidavit could be framed. He came before the Court with an affidavit stating that it is impossible to take pictures for stereoscopic slides from a plane surface such as a picture. Last week he also affirmed that in March of the present year he made arrangements for a series of stereoscopic pictures illustrating the life of Chatterton, such as his Meditations in the Muniment-room of St. Mary’s Radcliffe, Writing his last Letter to Walpole, &c. The series was completed, with the exception of Chatterton in the Muniment-room. Having seen the painting and studied the works which gave an account of the poet, he made arrangements to produce these illustrations. He constructed, in his establishment in Grafton Street, a background scene of London from a painting upon canvas, by a clever artist, and so disposed a figure as to represent the dead poet. His advertisement intimated that the stereograph of the death of Chatterton was from the “living model.” An affidavit was put in by Mr. Wallis, in which he stated that his picture was original, and that he had not copied from any one. An engraving was produced and handed up to the Court, from which it was alleged the artist had derived his idea of the death of Chatterton. It purported to have been engraved by Edward Orme, of No. 14 Old Bond Street, painted by H. Singleton, and dedicated to the Marquess of Lansdowne. The date of publication is given as 1st of May 1794. Beneath the engraving are the words from Cowley—
“Behold him, Muses, see your favourite son
The prey to want ere manhood has begun,
The bosom ye have fill’d with anguish torn,
The mind ye cherish’d dropping and forlorn.”
The engraving represents a garret and miserable bed—Chatterton reclines upon the pallet in a dying state; his head lies at the right side of the picture, the shoe is on the right foot, the other shoe is off, a phial lies on the ground, manuscripts are scattered about—a chest containing paper lies open; on a small table, books are seen, and also a candlestick, the extinguisher being on the candle; three pens have been carelessly thrust into an old ink bottle; upon the wall a caricature or grotesque face has been drawn with chalk or cork. At the door stand a woman and child, the former being the landlady of the house in which Chatterton died. Her face exhibits surprise and terror. It wa not contended that Mr. Wallis had copied Singleton’s picture, but that Mr. Robinson had. Counsel contended that Mr. Turner’s title in the work was incomplete, Mr. Wallis not being at present a party to the suit. After a long argument on each side, the master of the Rolls said that, whatever the ultimate difficulties of the case might be, there was no question as to what he was bound to do at present. With respect to the alleged failure of Mr. Turner to prove his title, the documents which had been laid before the Court showed that he had a title—that was, if he stated it correctly; and the objection at present was, that the petition most certainly did not state it correctly. It was clear to him that there ought to be an amendment in the petition—that the facts should be accurately stated, and that Mr. Wallis should be made a party to the suit. It was quite plain, from the importance of the question at issue, that the injunction should be continued until the hearing of the cause. Suppose that Mr. Wallis had never sold the picture, but exhibited it at Mr. Cranfield’s for the purpose of engraving, would he in that state of facts have a right to sue? He had a very strong opinion (though he admitted the question had never been the subject of decision) that the painter had, by common law, the very same protection which the author of any work enjoyed previous to publication. Surely nothing could be more unjust than to say that if a painter gave the public the privilege—and a very great privilege it was in some cases—of allowing them to see a work of art in his studio, a person who had thus inspected the picture, having a good memory, and being an artist himself, would have a right to endeavour by some contrivance to make a copy of that work—for instance, by getting his apprentice, as was done in the present case, to dress himself up in a peculiar manner, so as to represent the principal figure in the painting, and then taking a photographic representation of the subject composed in imitation of the picture, and representing it in terms by advertisement as a copy of the picture. This had been done in the present case, the photographic pictures sold by the respondent having been advertised in the newspapers as “The Death of Chatterton.” He looked upon this as nothing short of a fraud, a deliberate fraud; and he had not the slightest difficulty in holding—on the principle laid down in the case of Prince Albert v. Strange, which was the principle of common sense, and in the admirable judgment of Mr. Justice Erle in the case of Jeffrey v. Boosey—one of the ablest judgments that had ever been delivered—that it would be the bounden duty of a court of equity to interfere in such a case, quite irrespective of the common law right of the painter to sue for damages, which right he would have as long as he had not published the picture. The question then arose whether there had been a publication of the picture; because, if there had, then, considering the principle laid down in the case of Jeffrey v. Boosey, it would be very questionable what the law might be. He had no hesitation in saying that the exhibition of the painting at the Royal academy was not such a publication as would deprive the artist of his right. It was a qualified publication—it was a privilege allowed to the public to see works of art. Did any one suppose that if Sir Walter Scott read out one of his productions to a number of his friends, and if one of them had such an accurate memory that he could reproduce every word of it, or if some person was in a corner taking notes in shorthand—did any one suppose that in such a case the reading of the work would amount to a publication, so as to give the person who had taken notes a right at common law to bring out an edition of the work? In analogy to that case, the exhibition of a picture at the Royal Academy or at Mr. Cranfield’s or elsewhere, for the like purpose, would be nothing more than a qualified publication, which would not deprive the painter of his remedy at common law or in equity to prevent a party from the commission of a fraud in attempting to copy the picture. A difficulty, however, existed as to the third point—namely, that there had been a publication in the “National Magazine.” But for that publication, there would not be any serious doubt in this case. He was not prepared to say, nor did he wish at present to offer an opinion on the matter, what was the effect of that publication in the “National Magazine.” If the respondent had simply confined himself to copying that engraving, it was questionable whether the petitioner would have any cause of action against him. But he had not confined himself to merely copying the engraving—he had undoubtedly used it in the preparation of the photograph; but he had also adopted the colouring of the picture for the purpose of inducing the public to believe that the photograph was taken from the picture itself. He thought this was a fraud; he did not use the word in an offensive sense, but a fraud in contemplation of a court of equity. He might entertain some doubt as to whether the photographic pictures produced by the respondent would be a serious injury to the owner of this valuable painting; but if this were overlooked the photograph might by a very easy process be enlarged to the size of the original, and thus an unimportant piracy might be followed up by the adoption of another mode of piracy which would be most injurious to the owner of the painting. His Honour concluded by saying that he would continue the injunction.
1859: JPS Sept. 15, vol. VI, #89, p. 47:
Old Buildings and Photography.
To the Editor of the Photographic Journal.
10 Pittville Lawn, Cheltenham,
September 12, 1859.
Sir,--Though I do not practice photography, yet, as an admirer of that delightful art and of its utility in representing architectural objects, may I draw the attention of amateurs or professional persons to the present state of several of the abbeys in this kingdom at the present moment, which has furnished subject-matter for letters in the ‘Times’? That of Lanercost in Cumberland is suffering, or about to suffer, very materially in a picturesque point of view, from certain alterations and additions made by order of Lord Carlisle in the farm buildings which are close to it. Crowland, the most celebrated of the English abbeys, with an elaborate front ornamented with the statuary of kings and abbots, and with window-tracery well worthy of preservation, is pronounced by the vicar to be in such a state that in no long time its ruin will be completed. Whitby is too well known, if only from the author of ‘Marmion,’ to require any particular description; but its commanding situation is such as would entitle it to the peculiar attention of the archæologist. Suffice it, however, to say that no other attempt is made to arrest the destruction of this splendid edifice than by “shoring up” those portions which appear to be in the most dangerous state. If these buildings are doomed to fall from the apathy of those who ought to take an interest in them, may we at least hope that by the aid of photography they may be faithfully preserved to us? I have written this letter, trusting that it may meet the eye of some of your correspondents. H. Philipps
1859: JPS Sept. 15, vol. VI, #89, p. 47:
Archer Fund.
To the Editor of the Photographic Journal.
Sir,--I cannot but feel some surprise that those gentlemen who are using collodion professionally, and who have not yet subscribed to the Archer Fund, should hesitate for one moment to contribute towards the support of the three orphans of the late Mr. Scott Archer, although they may be deriving considerable incomes by the application of his discovery.
I regret that I have only one name to add to the list since the last month, viz., W. D. Hemphill, M.D., £1. The two following were omitted in the last by mistake:--Messrs. Ogle and Edge, £2 2s. Mr. Thomas Snosswell, £1.
Yours, W. J. Newton.
1859: JPS Sept. 15, vol. VI, #89, p. 47-48:
Review. Seven Years’ Travel in Central America, Northern Mexico, and the far West of the United States. By Julius Froebel. London: Bentley, 1859, pp. 587, roy. 8vo., with numerous illustrations.
We shall take occasion to review, from time to time, works of travel to distant parts of the world, especially such as are sufficiently illustrated, and afford an insight into the nature-scenery of the land, being then quite germane to the especial scope of the ‘Photographic Journal.’ It is the interest of every scientific or Art Journal to promote the popularity of such works as the above, as we had indeed quite enough of diaries and the like, about what “dear Charley” did o a certain day, the transactions at a diner-part in the Punjaub, &c. Such may be pastime, but it is not literature.
Mr. Froebel begins his work at once with something sterling and to the purpose. “In 1850, the project of constructing a ship-canal across the Nicaragua isthmus was generally believed to be near its realization. A corps of engineers had been sent to that country for making the necessary surveys; and a favourable result was expected. Nicaragua appeared to me in the attractive light of a region about to become the theatre of an important movement in civilization; and my interest was excited in a sufficient degree to induce me to visit it.” . . . .
“It is difficult to give an idea of the magic beauty of some of the sunsets I witnessed in the Caribbean Sea on this occasion. One evening the whole western sky was of the deepest vermilion. Golden threads, as if a metallic web were spun over its surface. North and south the burning red, with a transition through all gradations of carmine, purple, violet and indigo, ultimately passed into brown. Here and there, like the unveiled portion of an upper sky, some ethereal region (!) beamed through between the more earthly colour of the lower atmosphere, and appeared in a bluish-green of the softest hue.” (p. 4)
Thus our author arrives at the isthmus of Panama, and passes through Chagres on to Grenada. He observes every thing worthy of being seen, and dilates on it as a man who has made serious and well-directed studies. The following description of a ravine near Grenada is interesting:--
“There are only a few places where this deep ravine can be crossed; and some of these crossings can only be effected by passing through side branches of the main fissure, so narrow that there is scarcely room for one man, the walls being quite perpendicular. The whole, for a certain distance upwards, forms a cool alley, under the shade of shrubs and trees that grow above the rock, uniting their branches over it. The walls, always perpendicular, are ornamented by a variety of delicate ferns and Lycopodia, and by the rich violet flowers of a Gesneria growing on them. They are full of holes and cavities. Some of the latter, even large enough for men to enter, seem to be the abode of several kinds of quadrupeds; while the former are occupied by numerous owls, and by the nests of some birds of brilliant plumage.” (p. 27)
Who, that has even been in the tropics is not reminded by even this simple passage of the stillness and melancholy of such places? While the warmth of the earth and the fragrancy of the vegetation remind us that we are far from home. The following is the description of a mountain-trip in the province of Mousquitia:--“The change of scenery on reaching the summit of the ascent had been so complete and so sudden, that it seemed as if a hundred miles had intervened between looking forward and backward. In the latter direction, which was that to the S.S.W., the view followed the valley through which I had ascended. Mountains of considerable elevation appear on both sides, the highest being the Cerro de Juigalpa, which stands to the right, and is marked by its abrupt steepness. When the valley opened into the plain of Acoyapa, the view passed over the lower country, beyond which the lake expanded itself at the foot of an extensive region of mountains and hills. Just before the opening of the valley, the two peaks of Amatepe rose above the waters. Beyond this island the hills of the Isthmus of Rivas were seen; and on the farthest end of the horizon, faintly traced, the volcanos of Costarica were discernible. The Mombacho, a little before, to the right, marked the site of Grenada.” (p. 128)
We have remarked this passage especially on account of Mr. Froebel’s plate, representing a “View taken from the edge of the Tableland of Upper Mosquitia.” It is very creditably executed indeed, the mountain-forms well seized; but what would such sights ber, if rendered through the camera of an able artist? Here nought but combination will do—because as the pen without the camera is insufficient, so is, in most cases, the latter without the descriptive power of a scientific man*. (*We may be permitted to allude here to an anecdote of the late lamented Dr. Buckland, the geologist. When Hugh Miller (alas! also dead) read his first Essay on the Red Sandstone before one of the British Association Meetings, the Doctor exclaimed, “I would give my left hand if I could write like that man.”)
The Second Book of our author’s work embraces a “Journey from New York by Missoury [sic] to the North of Mexico, stay at Chichuahua, &c.” We extract an interesting episode, entitled “Prairie Marmots, Owls, and Rattlesnakes:”—“The place where the Buffalo cow was caught and killed was a large burrow of the sociable prairie marmots, which have very incorrectly been called prairie dogs. On a level spot of ground where all vegetation is destroyed, and whose clayey surface is as hard as a barnfloor, rise innumerable heaps of earth, each with an opening at the top similar to the crater of a volcano; and this is the entrance to the dwelling of a marmot family. A certain number of such families dig their holes near each other, and form what is called a prairie-dog village. In many places these villages occur n such numbers (sometimes with a small space between them, at others nearly touching each other), that they spread over hundreds of square miles (!). These little creatures allow but a scanty vegetation to spring up near them, which often exposes the draught-cattle to a dangerous want of food. The prairie marmot has often been described by travellers. The idea that these gnawing animals share their dwellings with owls and rattlesnakes basking in the sun before the entrances, and coming out from or going into the holes. The manner in which the snake rewards the hospitality shown to it interested me particularly: it takes upon itself the task of freeing its kind host from a too numerous progeny..” (p. 257)
The next of Mr. Froebel’s plates bears the title “View in the Mining District of Santa Eulalia, with the Ruins of the old Mining Town of Magellanes.” This is an exceedingly fine and interesting view relative to an old mining district, from which, in 130 years, 43,000,000 marks of silver had been extracted. Mr. Froebel says, “In the afternoon I explored the mountain on the south side of the valley. Here also I observed the contact of limestone with porphyry. The latter had, in places, been extensively decomposed and regenerated (!?); in other places its surface was covered with fibrous radiated quartz as with a glace. Near the summit there is a deep ravine, the precipitous sides of which were covered with the gigantic lily-bearing stems of the Yucca—an interesting sight whenever seen. Yuccas, Dasycliniums, Opuntias and Agaves covered the mountain-sides, with many thorny shrubs, Acacias, Köberlinias, Berberis trifoliate, &c., growing among them. It was the end of March; and all plants which could subsist without the summer rains were in full spring beauty.” (p. 358.)
Thus our author progresses through these thousands of miles of unexplored—almost unknown—country, the description of which he gives with the good sound sense of an university-bred man. (To be concluded in our next.)
1859: JPS Oct. 15, vol. VI, #90, p. 64-65:
Latest Intelligence of Foreign Science and Art. From a Correspondent. [selection]
--PHOTOGRAPHS OF CARTOONS, &C.—The present Art Exhibition of Leipzig has been one of the best for many years past. One of its most prominent features were the photographs made after the Cartoons of Messrs. Sweertz and Geefens, painted for the Exchange of Antwerp. ….[other art references, not photographic].
1859: JPS Oct. 15, vol. VI, #90, p. 67-69:
Three Visits to Madagascar, during the years 1853, 1854, 1856, including a Journey to the Capital. By the Rev. William Ellis. Illustrated by woodcuts from photographs. (Continued) [cont. from Dec. 21, 1858, p. 117-119]
I had not yet ventured to make any use of my photographic apparatus, not feeling quite sure how it might be regarded; but on this day a note came from an officer of the palace, saying that the prince wished to have his likeness taken, and would come for that purpose on the following morning. As I had my dark room to arrange, camera to unpack, and chemicals to prepare, I could not possibly be ready by the next morning; and wrote to say that I should be happy to take the likeness of the prince as soon as my materials were ready.
I had a succession of visitors throughout the day; and about seven o’clock in the evening, as I was sitting in my inner room, the young chief who had accompanied me from Tamatave came in to say that a sick person with some friends had come to see me. I said, “Ask them to come in.” When the door opened, they brought in a palanquin, which they placed on the table in the outer room, and, after removing the covering, raised up a thin, feeble, gasping woman, her husband, relatives, and attendants, to the number of nineteen, all standing round. Her husband stated that all the native medicines deemed likely to be of any service had been resorted to in vain, and the patient was so feeble as to be unable to sit up, and could scarcely take any food. I did not expect much benefit would result from any medicine I could give; but I spoke kindly to the sufferer and her friends, and promised such medicine as I thought most likely to afford relief. The poor invalid expressed her great pleasure at having seen me, and said she should be grateful if it should please God to restore her to health. After conversing some time, the feeble sufferer was gently laid down in the palanquin by her female friends, and carefully covered over, when the bearers came in, took up their burden, and, followed by the husband and friends, carried her back to her home, which I was told was at some distance.
As soon as I was up the next morning I was asked to go and see a number of sick persons from a distance, who were in an adjacent house. I found a whole family—the mother with an infant in her arms, and three other children—all suffering from what seemed to be a severe attack of influenza. When I had spoken to the mother, the father asked me if I could afford any relief to a young woman who had come with her, who had been struck by lightning and was deaf. He then pointed to another in the company, who, he said, was an orphan, and a martyr’s child. While engaged with this little company of sufferers, I was sent for to my own house, where I found an officer from the palace, who asked for some medicine for himself and his children, and who also told me that the queen was waiting for what the diviners should declare to be a lucky day, in order to receive the presents I had brought. I mentioned by want of a table for photographic purposes, and in the course of the afternoon one was sent from the prince’s establishment; and right royal table it was—so large and heavy, as only with difficulty to be got into the house.
Amongst my visitors in the evening were a chief and one of his companions, who had been during the past year to Ibali. He stated that, in consequence of reports of a foreign teacher being at Ibali, a place on the western coast of Madagascar, a letter had been written stating that they had heard of his arrival, but did not know whether he was English, or French, or American, and that the bearer of the letter had come to see him. My visitor, accompanied by five others, had undertaken to convey this letter. Their equipment consisted of two guns with ammunition, a spade to dig up roots with, a knife or hatchet, with beads and buttons to barter for provisions on their way. After journeying through forests and swamps, over rivers and mountains, sometimes almost famished for want of food, they approached the western coast. There they were met by a party of Sakalavas, the people of the country, who seized them, plundered them of their guns, &c., stripped them of their clothes, and then sold three or four of them as slaves to an Arab trader who was on the coat in a small vessel. From him they were transferred to the French authorities at Nosibe, an island on the north-west coast of Madagascar, whence they were to be sent to Bourbon to be engaged as free labourers for five years.
Before leaving, however, the letter of which they were the bearers had come to the knowledge of the French authorities, who, in consequence, kept these men at Nosibe, and sent other men, taken out of the prison, to Bourbon in their stead. At Nosibe they were treated with great kindness by the Roman Catholic priests, who took them to their places of worship and endeavoured to instruct them in the Roman Catholic religion. Afterwards they sent them to Bourbon, where the priests showed them much attention, and endeavoured to induce them to regard their religion with favour. They were afterwards sent to the Island of St. Mary’s on the east coast, also occupied by the French; whence they proceeded to the mainland, and then hastened up to the capital.
I was deeply interested in the account which the chief gave me of many of the incidents of the journey, of the former part of which he subsequently furnished me with an account in writing. He spoke of the uniform kindness they had received at Bourbon, and of the endeavours made to induce them to stay. But they did not appear to have been at all inclined to adopt the religion of the people. In a letter which some of the natives wrote, after repeated conversations with those of their countrymen who had been in Bourbon, they said, “It seemed as if the Pope stood (in authority) in the place of God, and that the priest forgave sins. And as to the images, &c., before which they prostrated themselves, it was like the sampy or idols of our own country.” This appeared to be the impression which the reports of the travelers had made on their minds. However much I might deem the teaching of the Roman Catholic priests to be erroneous, and however the Romish system might, in my apprehension, tend to hinder rather than help the people in their endeavours after knowledge, improvement, freedom and expansion of thought, as well as social elevation, I could not disapprove of the endeavours of the priests to make the strangers acquainted with their creed and modes of worship, but was not surprised to find that it had not commended itself to their judgment and approval.
In the evening I received a visit from one of the highest officers in the government. He was a remarkably handsome man. His features were small and quite European, though his complexion was almost black. He was splendidly dressed, and accompanied by two aides-de-camp, also fine, noble-looking men. After a long and interesting conversation, my sensible and really intelligent visitors took their leave.
I then resumed my preparations for taking the likeness of the prince, who had sent to inform me that he should come in the morning. I had finished all, except adding the acetic acid to the developing solution, and the rectifying of the bath; but no acetic acid could I find. The case of chemicals put up by Messrs. Hopkins and Williams was examined again, and all the bottles taken out; many that I seemed likely to want, and some things that I never seemed likely to want, were there, but neither acetic acid nor any other fluid acid. Every other box or case in which it was even likely to be was examined, but with no better success; and about midnight I gave up the search, and wrote a note to be taken by a friend to the prince at daybreak, to say I could not possibly take his portrait in the morning. I then examined all my invoices, and, to my dismay, found no acetic acid there. My friend Mr. Fenton [Roger??] had assisted me in making out the list and I had the most distinct remembrance of speaking about it at the tie; but how it came to be omitted is still a mystery. My perplexity was great; and I am sure all photographers who have been in similar circumstances of destitution, in a country where there were no chemists’ shops, and no fellow photographers of whom to borrow, will be able fully to sympathize with me.
I had scarcely finished breakfast when the inquiry I had anticipated came from the queen’s secretary,--when could I take the likeness of the prince? I replied, as soon as I had finished making the ‘strong water,’ one of the ingredients for which I had not yet found. The secretary was accompanied by his wife and three children, for whom he solicited some medicine. Then I had a note from the son of one of the princes, informing me of his illness and asking for medicine. The rest of the day was comparatively quiet.
On Monday, August 15th, I was again among the chemicals by daybreak, but with no better success; gallic and pyrogallic acids were all I could find. I sent my servant to the market, to buy a quantity of the sourest Malagasy limes he could find, and took some tartaric acid, not very pure, out of my medicine chest. While I was at breakfast, four officers arrived, followed by a number of attendants bearing baskets of eggs, poultry, and rice as a present from the queen, for which I expressed my grateful acknowledgements, when the officers returned, and I proceeded with my experiments.
Having received, on the previous day, an intimation that the queen would send for the presents to-day, I had made all ready; and about noon the officers came from the place to take them to the queen. I had previously arranged them, and made out lists of all the articles. I repeated what I had already stated to the officers, that I had not the treasure of the merchants who sometimes visited the capital, and regretted that my presents were so insignificant, but desired to offer what I had brought as expressive of my grateful sense of the kind reception I had met with and a trifling memorial of my visit. I then handed to them a parcel containing jewellery [sic] from his Excellency the Governor of Mauritius; and afterwards delivered to them the boxes containing my presents for the queen, the prince, and the princess, which were to be taken to the palace. Those for the chiefs were to be taken to their own houses.
Amongst my presents to the queen was a large framed engraving of our own Gracious Sovereign, of His Royal highness the Prince Consort, together with a large coloured print of Windsor Castle, also in a gilt frame. I had heard that there were good-sized plates of the portraits of the Emperor and Empress of the French in the palace; and the officers, when they saw the portraits of Queen Victoria and the Prince Consort, said they thought they would be acceptable to their queen. The presents for the prince royal and the princess were arranged separately. When the officers had ascertained that the articles accorded with the lists, their own attendants and two of my men carried them to the palace. Amongst the presents were a number of articles which had been kindly contributed by my friends at home, and, though in many instances of simple and inexpensive material, their value was enhanced by the beautiful forms into which they had been wrought by skillful and industrious hands. (To be continued)” [to be located]
1859: JPS Dec. 15, vol. VI, #92, p. 93-94:
[Editorial leader; selection]:
Re “The Photographic Journal.”
After reading over all the allegations and replies in this matter, and duly examining and weighing them in connexion with the exhibits, I have arrived at the following conclusion: namely,--
That the Proprietors of what in 1854-1856 was published at Liverpool under the title of “The Liverpool Photographic Journal,” and in 1857-1858 as “The Liverpool and Manchester Photographic Journal,” were not justified, either morally or equitably, in changing their title in January 1859 to that of “The Photographic Journal,” this being the familiar title of the concurrent “Journal of the Photographic Society of London,” which since its commencement in 1853 has uniformly and officially been superscribed by their own binder as “The Photographic Journal,” and under this condensed name is generally recognized as well by its Proprietors, Editors, and Correspondents, as by the book trade at large.
I am further of opinion that the said title, “The Photographic Journal,” as adopted by the Liverpool Proprietors, is in no way altered or qualified by the small lines of type beneath it, which really form no part of the title, and might at any convenient time be omitted. I have no hesitation in deeming the title, though so printed, an infringement on that claimed by the Photographic Society of London, and likely to mislead the public and occasion damage to the plaintiffs.
The Liverpool and Manchester Photographic Journal is not known to London Publishers under any shorter title than “The Liverpool Photographic,” and is never named without its Liverpool prefix, whatever it may be in its own immediate locality.
I think the copyright entry of the title “The Photographic Journal,” made by the Photographic Society of London in December 1858, with the object of securing a title belonging to them, and which they saw was about to be invaded, a justifiable precaution.
Finally, I hold that the Liverpool Publishers are bound to relinquish the title they have assumed, substituting for it any other which will leave no room for misapprehension as to the distinctness of the two Journals. (Signed) Henry G. Bohn.
York Street, Covent Garden,
December 3, 1859.
Thus the matter ends, so far as we are concerned. Our right is distinctly established. The Photographic Journal, being the Journal of the Photographic Society, will consequently continue to appear under its present and familiar title. As yet, we have not heard of the exact designation under which our rival and coadjutor will reappear; but we take it for granted that Mr. Greenwood, in the exercise of his businesslike ingenuity and intelligence, will adopt a name free from any sort of ambiguity. Under whatever new title—and many are open—it may come out, it will have our warmest wishes for its usefulness and success. There is room in the world of art for many labourers; and the greater the enterprise exhibited and the prosperity attained, by Mr. Greenwood, the greater cause shall we, and all lovers of photography, have to rejoice.
1859: JPS Dec. 15, vol. VI, #92, p. 114:
Review:
Italian Peasants. A “Festa” Day. Photographed from Life at Rome. By Lake Price. London: Fores & Co., Piccadilly.
This may be called one of the photographs of the season, on account of its superior execution and great truthfulness. It relates, moreover, to a subject now so much engaging public attention—Italy, unfortunate Italy. The scene is laid in one of the outhouses of an Italian homestead in the Campagna di Roma, or the outskirts of the city, and represents a family or neighbourly meeting on an Italian holiday. The whole group consists of ten persons, each characteristic in its way. To the right lies the main point of interest—two men sitting at a table and playing at cards. The man seen in front is the very type of modern Italian intelligence, we may almost say cleverness. His piercing look indicates the wish of guessing the nature of the cards which his antagonist—an old, rather quiet-looking man—has in his hands. A third, equally senile person, standing a little aside, reviews, as it were, the progress of the game. A bottle of wine, of the usual Italian shape, indicates the good humour of those present, and the festival occasion of the meeting. As photography is the most (only?) truthful of depictors, this plate may be taken as an epitome of the present state of the Ausonian Peninsula. The faces of all the adults present, except the children (of whom we shall speak by and by),l exhibit what Göthe calls “out-worked” (ausgearbeitete) physiognomies. Besides, the dress of the men is so very characteristic: “omnia secum portans”—the sheepskin paletot, in what seems to be summer; and a mantle still adding to the burthen of the attire. And then, mark, the modern Italian peasant has not yet got into the wearing of either boots or shoes—raw skin sandals, tied with leather straps, encompass his feet, as they did those of the Roman rustic 1800 years ago.
The “Hand of Cards” is obviously the factotum of a Roman holiday, as besides the three persons names, another old man sitting on the brim of an antique fountain, and a woman with a pitcher of water on her head, direct their eyes to that performance. To the left of the plate, a rather stout female, dressed in the characteristic Roman costume, has just filled her pitcher, and is about, it seems, to go away. The juvenile portion represented in this “Festa di Roma” consist of three individuals. There is a boy sitting on the grass at the foot of the antique fountain—the very image of an Italian boy, as we are used to see them even here. He is a rather handsome lad, cunningly smiling, which bares a set of feline-shaped teeth. His rather contemptuous smile is intended for another boy, who sits, sulkily, on the other side of the scene, obviously disappointed at something. A nice little girl, to whom this Festa seems not very amusing, sleeps leaning on her mother sitting close to the card-players.
There is a certain taciturn, melancholy cast extending over this characteristic plate; it appears as if no smile, no hearty laugh, not even a thought (!) could ever issue from the number of people here congregated. It will be characteristic for the English beholder to observe, that not a trace of a book or newspaper is introduced here; it must be altogether a triste, monotonous, silent life, different from that time when, as Byron says, “Venice was the masque of Italy.”
It is needless to say that a plate thus thought and conceived is perfect in respect of its execution; it bears the strictest examination, and improves the more it is looked at.