21 de Setembro
THE LITERARY GAZETTE AND JOURNAL OF BELLES LETTRES, ARTS, SCIENCES
London, Saturday, september, 21, 1839
History and pratice of Photoggenic drawing, on the true Principles of the Daguerrérotype; with the Method of Dioramic Painting.by the Inventor, L. J. M. Daguerre, Officer of the Legion of Honour, and member of various Academies. Translated from the original by J. S. Memes, LL.D., Hon. Member of the Royal Scottish Academy of Fine Arts, &c. London, 1839. Sith, Elder, and Co.; Edinburgh, Adam Black and Co.
This little treatise will, of course, be eagerly sought and read by every admirer of " The New Art." Published, as it wisely is, at a very moderate price, it would be exceedingly unjust on our part if we were to do more than simply to state that it is divided into four chapters: the first consisting, principally, of the interesting reports upon the subject to the French Chamber of Peers, by M. Gay Lussac, and to the French Chamber of Deputies, by M. Arago; the second, describing the comparatively unsuccessful experiments, during a long course of years, of M. Niepce; the third, containing a full and remarkably explicit account (illustrated by plates representing the necessary apparatus) of the details of M. Daguerre's process; the fourth, explaining, somewhat obscurely, the principles on which dioramas have been painted
It happens, very opportunely, that a French gentleman, M.St. Croix, has arrived in London from Paris; and, at the Argyll Rooms, every day, publicly goes through M. Daguerre's process. We “assisted” the other morning at one of these lectures or exhibitions. Unfortunately, the weather was more than usually capricious; now, the sun shining with great splendour, anon, a deluge of rain wrapping the whole scene in gloom; nevertheless, we were much gratified. The process, however, takes a longer time than we had anticipated. From the preparation of the plate (amaatter of exceeding nicety and importance) to the fixing of the image (that of the opposite building), occupied above two hours two hours. Owing to the unfavourable circumstances to wich we have alluded, the image after all was imperfect, but the parts which did tell were wonderfully beautiful; and we saw several plates that had been executed at a more auspicious moment, which were without blemish, and in which the minutest touch was reproduced with magical fidelity, althought with much less force than we expected. Many persons will be desappointed bythe low tone of the image. Undoubtedly that is a great defect: it is impossible not to wish that, speaking musically, the piece could be played an octave higher. But the art is in its infancy; every scientific mind in Europe will be immediately directed towards the subject; and we predict, that ere long, improvements will be suggested in the process, which will leave nothing to be desired, either in that, or in other respect.