| By Author | [ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z | Other Symbols ] |
| By Title | [ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z | Other Symbols ] |
| By Language |
|
Download this book: [ ASCII ] Look for this book on Amazon Tweet |
Title: The Daguerreian Journal, Vol. I, No. 8, March 1, 1851
Author: Various
Language: English
As this book started as an ASCII text book there are no pictures available.
*** Start of this LibraryBlog Digital Book "The Daguerreian Journal, Vol. I, No. 8, March 1, 1851" ***
provided on The Internet Archive. All resultant materials
are placed in the Public Domain.
Transcriber Note: Text emphasis denoted as _Italics_ and =Bold=.
PUBLISHED SEMI-MONTHLY, AT $3 PER ANNUM, IN ADVANCE.
THE
DAGUERREIAN JOURNAL:
Devoted to the Daguerrian and Photogenic Arts.
Also, embracing the Sciences, Arts, and Literature.
[Illustration]
VOL. I. MARCH 1, 1851. NO. 8.
NEW-YORK:
S. D. HUMPHREY, EDITOR AND PUBLISHER,
NO. 311 BROADWAY.
SUBJECT TO NEWSPAPER POSTAGE.--See 3d page cover.
CONTENTS.
Etching Daguerreotype Plates, by W. R. Grove 225
Valuable Receipt 228
Painting--its Origin and History, by Wm. Walcott 229
Bromine 233
Nitrate of Silver decomposed by the current
of a Galvanic Battery 235
Potassium-Cyanide or simple Cyanuret of Potassium 236
Stereo-Chromic Painting 236
Water--Spring, River and Lake 237
Isinglass 238
Papier-Mache 238
Chloride of Calcium 238
Muriate of Ammonia 238
Bromide of Silver Native Bromide of Silver and
analysis 239
Hillotypes 241
Communication, by L. L. Hill 241
Removal 243
Our Daguerreotypes--Polishing Machine--Gurney--
Thompson--McBride--Weston--Morand 243
Correspondence--Jas. Bennett Sykes--W. S. Gear 244
Ammonia 245
An Army of Subscribers 245
Strange Announcement 245
Examples of the Divisibility of Matter 246
Iron--Its Natural and Artificial Combination with Carbon 247
New Weigh-lock at Albany 249
Daguerreotyping in London 249
Quick Stuffs--Six Receipts 250
Money received 251
Answers to Correspondents 251
Notice of New Publication 251
Advertisements 252
Artists' Register 255
WILLIAM S. DORR, Printer,
101 Nassau-St., New York.
* * * * *
THE
DAGUERREIAN JOURNAL.
Vol. I. NEW YORK, MARCH 1, 1851. No. 8.
* * * * *
ETCHING DAGUERREOTYPE PLATES.
BY W. R. GROVE.
Dr. Berres of Vienna was the first, I believe, who published a process
for etching Daguerreotypes; his method was to cover the plates with a
solution of gum-arabic, and then to immerse them in nitric acid of a
certain strength. I have not seen any plates thus prepared, but the few
experiments which I have made with nitric acid, have given me a burred
and imperfect outline; and I have experienced extreme difficulty of
manipulation from the circumstance of the acid never attacking the plate
uniformly and simultaneously. My object, however, in this communication,
is not to find fault with a process which I have never perhaps fairly
tried or seen tried by experienced hands, and the inventor of which
deserves the gratitude of all interested in physical science; but to
make public another which possesses the advantage of extreme simplicity,
which any one, however unskilled in chemical manipulation, may practise
with success, and which produces a perfect etching of the original image;
so much so, that a plate thus etched can scarcely be distinguished from
an actual Daguerreotype, preserving all the microscopic delicacy of the
finest parts of the impression.
One sentence will convey the secret of this process; it is to make the
Daguerreotype the anode[A] of a voltaic combination, in a solution which
will not of itself attack either silver or mercury, but of which, when
electrolyzed, the anion will attack these metals unequally. This idea
occurred to me soon after the publication of Daguerre's process; but,
being then in the country, and unable to procure any plates, I allowed
the matter to sleep; and other occupations prevented for some time any
recurrence to it. Recently having heard much conversation as to the
practicability or impracticability of Daguerreotype engraving, I became
anxious to try a few experiments in pursuance of my original notion;
and for this purpose applied in several quarters for Daguerreotypes;
but, thanks to the exclusiveness of M. Daguerre's patent, I found that
to procure a sufficient number of plates for any reasonable chance of
success, was quite out of the question.
[A] Strictly speaking, this is a misapplication of Faraday's term;
he applied it to the surface of the electrotype; as, however, all
continental, and many English writers (among whom I may name Whewell)
have applied it to the positive electrode, and as an expression is most
needed for that, I have not hesitated so to apply it.
On mentioning the subject to Mr. Gassiot, he, with his usual energy and
liberality, offered to procure me a sufficiency of Daguerreotypes; and it
is owing to his zealous and valuable coöperation that I have been able to
get such definite results as appear worth publication.
Five points naturally present themselves to the consideration of the
experimenter on this subject: first, the quantity of the voltaic current;
secondly, its intensity; thirdly, the distance between the anode and
cathode; fourthly, the time during which the process should be continued;
and fifthly, the solution to be employed.
1st. With regard to the first element or quantity, many previous
experiments had convinced me that, to give the maximum and most uniform
quantitative[B] action of any voltaic combination, the electrodes should
be of the same size as the generating plates; in other words, that the
sectional area of the electrolyte should be the same throughout the whole
voltaic circuit. It seems strange that this point should have been so
generally overlooked as it has been; an electrician would never form a
battery, one pair of plates of which were smaller than the rest; and yet
the electrodes, which offering of themselves a resistance to the current,
from the inoxidability of the anode, are, _a fortiori_, a restriction when
of small size, have generally been formed indefinitely smaller than the
gene, rating plates; I, therefore, without further experiment, applied
this principle to the process about to be detailed.
[B] I say the quantitative action; for where great intensity is required,
as in decomposing alkalies, &c., it may be advisable to narrow the
electrodes, so as to present a smaller surface for the reaction of the
liberated elements.
2nd. _The intensity of the voltaic current._--Here it appeared to me that,
as in the electrotype, where the visible action is at the cathode, a
certain degree of intensity throws down metal as a crystal, an increased
intensity as a metallic plate, and a further intensity as a pulverulent
mass; that degree of intensity which would show on the negative deposit
the finest impressions from the cathode, would also produce on the anode
the most delicate excavations, and consequently, an intensity which would
just fall short of the point of evolving oxygen from the plate to be
etched, would be the most likely to succeed; this point was not, however,
adopted without careful experiment, the more so, as in one instance Mr.
Gassiot succeeded in procuring a very fair etching with a series of
ten pairs of the nitric acid battery; however, the results of repeated
experiments, in which the intensity has been varied from a series of
sixteen pairs to one of the nitric acid battery, were strongly in favor of
the above idea, and, consequently, went to prove that one pair gives the
most efficient degree of intensity for the purpose required.
3rd. _The distance between the plates._--As it was proved by De la Rive,
that in an electrolytic solution, when the electrodes are at a distance,
the action extends a little beyond the parallel lines which would join the
bounds of the electrodes, and thus, that the current as it were diverges
and converges, it appeared advisable to approximate the electrodes as
nearly as possible, so as to produce uniformity of action over the whole
plate. Provided a solution be used which does not evolve gas at the
cathode, I am inclined to think that the plates may be with advantage
indefinitely approximated; but as this was not the case with the solution
I selected for the greater number of experiments, 0·2 of an inch was fixed
on as the distance, in order that the gas evolved from the cathode should
not adhere to the anode, and thus interfere with the action.
4th. _Time of continuing the operation._--This was a matter only to be
decided by experiment, and must vary for the voltaic combination and
solution employed. With a single pair of the nitric acid battery, from
twenty-five to thirty seconds, was after a great number of experiments,
fixed on as the proper time; and as the plate may at any period be removed
from the solution and examined, the first experiment should never exceed
twenty-five seconds, when, if not complete, the plate may be again
subjected to electrolysis.
5th. _The solution to be employed._--Here a vast field was open, and
still is open to future experimentalists. Admitting the usual explanation
of the Daguerreotype, which supposes the light parts to be mercury, and
the dark silver, the object was to procure a solution which would attack
one of these, and leave the other untouched. If one could be found to
attack the silver and not the mercury, so much the better, as this would
give a positive engraving, or one with lights and shadows, as in nature,
while the converse would give a negative one. Unfortunately, silver and
mercury are nearly allied in their electrical relations. I made several
experiments with pure silver and mercury, used as the anode of a voltaic
combination, but found that any solution which would act on one, acted
also on the other. All then that could be expected, was a difference of
action. With the Daguerreotype plates I have used the following:--
Dilute sulphuric acid, dilute hydrochloric acid, solution of sulphate of
copper, of potash, and of acetate of lead. The object of using acetate
of lead, was the following:--With this solution peroxide of lead is
precipitated upon the anode; and, this substance being insoluble in
nitric acid, it was hoped that the pure silver parts of the plate, being
more closely invested with a stratum of peroxide than the mercurialized
portions, these latter would, when immersed in this menstruum, be
attacked, and thus furnish a negative etching. I was also not altogether
without hopes of some curious effects, from the color of the thin films
thus thrown down; here, however, I was disappointed; the colors succeeded
each other as much as in the steel plate used for the metallochrome; but
With inferior lustre. On immersion in nitric acid of different degrees
of dilution, the plates were unequally attacked, and the etching burred
and imperfect. Of the other solutions, hydrochloric acid was, after many
experiments, fixed on as decidedly the best; indeed, this I expected, from
the strong affinity of chlorine for silver.
I will now describe the manipulation which has been employed by Mr.
Gassiot, and myself, in the laboratory of the London Institution, with
very uniform success. A wooden frame is prepared, having two grooves at
0·2 of an inch distance, into which can be slid the plate to be etched,
and a plate of platinum of the same size. To ensure a ready and equable
evolution of hydrogen, this latter is platinized after Mr. Smee's method;
for, if the hydrogen adhere to any part of the cathode, the opposite
portions of the anode are proportionably less acted on. The back and edges
of the Daguerreotype are varnished with a solution of shell-lac, which is
scraped off one edge to admit of metallic connexion being established.
The wooden frame with its two plates is now fitted into a vessel of glass
of porcelain, filled with a solution of two measures hydrochloride acid,
and one distilled water, (sp. gr. 1.1), and two stout platinum wires,
proceeding from a single pair of the nitric acid battery, are made to
touch the edges of the plates, while the assistant counts the time; this,
as before stated, should not exceed thirty seconds. When the plate is
removed from the acid, it should be well rinsed with distilled water; and
will now (if the metal be homogeneous) present a beautiful sienna-colored
drawing of the original design, produced by a film of the oxychloride
formed;--it is then placed in an open dish containing a very weak solution
of ammonia, and the surface gently rubbed with, very soft cotton, until
all the deposit is dissolved; as soon as this is effected, it should be
instantly removed, plunged into distilled water, and carefully dried. The
process is now complete, and a perfect etching of the original design
will be observed; this, when printed from, gives a positive picture, or
one which has its lights and shadows as in nature; and which is, in this
respect, more correct than the original Daguerreotype as the sides are not
inverted; printing can therefore be directly read, and in portraits thus
taken, the right and left sides of the face are in their proper position.
There is, however, _ex necessitate rei_, this difficulty, with respect to
prints from Daguerreotypes,--if the plates be etched to a depth sufficient
to produce a very distinct impression, some of the finer lines of the
original must inevitably run into each other, and thus the chief beauty of
these exquisite images be destroyed. If, on the other hand, the process
be only continued long enough to leave an exact etching of the original
design, which can be done to the minutest perfection, the very cleaning
of the plate by the printer destroys its beauty; and the molecules of the
printing ink being larger than the depth of the etchings, an imperfect
impression is produced. For this reason it appeared to me, that at
present, the most important part of this process is the means it offers
of multiplying indefinitely Daguerreotypes, by means of the electrotype.
An ordinary Daguerreotype, it is known, will, when electrotyped, leave
a faint impression; but in so doing it is entirely destroyed; and this
impression cannot be perpetuated; but one thus etched at the voltaic
anode, will admit of any number of copies being taken from it. To give an
idea of the perfect accuracy of these, I may mention, that in one I have
taken, on which is a sign-board measuring on the electrotype plate 0.1 by
0.06 of an inch, five lines of inscription can, with the microscope, be
distinctly read. The great advantages of the voltaic over the chemical
process of etching, appear to me to be the following:--
1st. By the former, an indefinite variety of menstrua may be used; thus,
solutions of acids, alkalies, salts, more especially the haloid class,
sulphurets, cyanurets, in fact, any element which may be evolved by
electrolysis, may be made to act upon the plate.
2nd. The action is generalized; and local voltaic currents are avoided.
3rd. The time of operation can be accurately determined; and any required
depth of etching produced.
4th. The process can be stopped at any period, and again renewed if
desirable.
The time I have given is calculated for experiments made with one pair
of the nitric acid battery; it is, however, by no means necessary that
this be employed, as probably any other form of voltaic combination may
be efficient. It would seem more advisable to employ a diaphragm battery,
or one which produces a constant current, as otherwise the time cannot
be accurately determined. It is very necessary that the silver of plates
subjected to this process be homogeneous. Striæ, imperceptible in the
original Daguerreotype, are instantly brought out by the action of the
nascent anion; probably silver, formed by voltaic precipitation, would be
found the most advantageous. I transmit with this paper some specimens
of the prints of the etched plates, and of electrotypes taken from them;
and in conclusion would call attention to the remarkable instance which
these offer, of the effects of the imponderable upon the ponderable: thus,
instead of a plate being inscribed, as "drawn by Landseer, and engraved by
Cousins," it would be "drawn by Light, and engraved by Electricity!"
* * * * *
A valuable receipt, which every Daguerreian should have in his memory,
has been suggested from the fact that one of our fraternity lost his hand
by an accidental cut, caused while fitting a likeness in a locket, by the
points of copper cutting the palm of his hand, in such a manner as to
render amputation necessary. _White of eggs is the best antidote against
the poison of copper._
* * * * *
For the Daguerreian Journal.
PAINTING--ITS ORIGIN AND HISTORY.
BY WILLIAM WALCUTT.
There is no doubt of painting being coeval with written language, or
it may be said, that the simple representation of figures, on tablets
prepared for the purpose, were the first means used by men to record
particular events, actions, and so forth, and may therefore be dated back
farther than any written language; and, indeed, may be considered the
foundation from which it sprung, it being not improbable, because it is so
natural, that the very first dwellers on the earth may have recorded their
young history by means of representations of corporeal objects.
Many will say that such rude delineations were not painting, but
everything has its beginning. From these simple lines has the perfection
of painting sprung, what Artist does not remember the feeble attempts he
made at representations when but a child; does he not remember them with
pleasure, and did he not then, and does he not now, consider them, feeble
as they were, paintings? The first efforts at delineation were painting,
without regard to color, or without regard to their truth in delineation.
The origin of what may now be called painting, as an art instructive or
decorative, is altogether involved in obscurity--authorities differing
widely on the subject. Pliny dates its invention to a period antecedent
to the siege of Troy, and other writers after. The Egyptians boasted of
possessing the art six thousand years before the Greeks, but this has
always been doubted. They certainly practised painting at a very early
period, and Cambyses destroyed all the monuments of art he found in
Egypt, as much as was in his power, which is some argument in favor of
the statement; and hence all such monuments as display specimens of the
art, must be posterior to his invasion. The remains of Egyptian painting,
now extant, are but poor representations of the human, and other figures,
showing a meagre advance in the art, being weakly and falsely drawn with
no natural grouping or attempts at sentiment. The Phoenicians were an
early cultivated people, and have the credit of first inventing letters,
and therefore may, by the best authority, lay claim to the invention of
painting. King Solomon, one thousand years before Christ, held their
ingenuity in such high regard, that he employed them as the master workmen
in building his temple, and the scriptures describe the magnificence of
the columns and their capitals, and the borders and cornishes and the
doors, besides the great brazen sea, supported by twelve oxen. The coins
also of this people, that have come down to us, show in design, and
execution, a good condition in the arts.
The scriptures abound in references to the arts. When Jacob took away the
daughter of Laban, she stole and secreted from search some of her father's
household gods. One of the great commandments, is that the children of
Israel shall "not make unto themselves any graven image, or any likeness
of any thing that is in the heavens above, or in the earth beneath, or in
the waters under the earth." As before mentioned, the temple of Solomon
appears to have been richly and elaborately decorated with works of art;
and the IV chapter Ezekiel commences with these words: "Thou also son of
man, take thee a tile, and lay it before thee, and portray upon it the
city, even Jerusalem." And in the XXIII chapter, 14 verse, it is written
thus: "For when she saw men portrayed on the wall, the images of the
Chaldeans portrayed with vermilion, girded with girdles about their loins,
exceeding in dyed attire upon their heads." Also in the VII chapter, 10
verse: "So I went in and saw and beheld every form of creeping things, and
abominable beasts, and all the idols of the house of Israel, portrayed
upon the wall round about." Also in Numbers XXXIII chapter and 52 verse:
"Then he shall drive out all the inhabitants of the land from before you,
and destroy all their pictures, and destroy all their molten images."
The Persians, the Arabians, and the Parthians, from their peculiar
education, have no claims whatever to the art of painting, a rude
representation of the human figure, with them, was considered as vulgar
as the appearance of a naked person. Their figures are almost invariably
clothed in clumsy draperies, profusely painted. They were worshippers of
fire, and used no representations of their deity; and it is a curious
fact, that, in their successful invasion of Egypt, they carried away with
them no taste for the arts, or imbibed any of the religious principles of
that polytheistic country.
The art of painting appears to have remained in the same state in China,
without any particular change from time immemorial. They have never
attempted anything beyond mere imitation, and that entirely devoid of
taste or truth. The human figure, with them, is a ludicrous deformity, and
their perspective is gained, by piling one object above another, until the
picture as all ground and no sky. Invention and Imagination were never
known among them; and, although the elaborateness of many of their works
is astonishing, yet with such a people, it would be useless to look for
the origin and progress of art.
The arts of the Etruscans are famous for the vases they produced. Etruria,
in its ancient state, was one of the most powerful and civilized countries
in Italy. Though the history of this nation is involved in obscurity, as
the Romans tried every means in their power to destroy all its claims to
refinement, yet there are sufficient proofs remaining of the height and
perfection to which they carried the fine arts. Near the town of Civita
Vecchia stood the ancient Etruscan city of Tarquinia, near which are
found numbers of sepulchral grottoes, many of which are decorated with
paintings and figures much in the style of those on the Etruscan vases.
Some of the pictures represent combats, and others dances of females,
executed with considerable spirit. The pottery before mentioned, however,
affords the greatest number of their specimens of the art of design; the
forms displayed in the contour of the vases, no less than the paintings
with which they are decorated, show the wonderful attainment in elegance
of design, purity of form, and ingenuity of delineation. The power over
line, and the facility of execution they reached, may be easily conceived
from the absorbent nature of the material upon which they wrought. No
retouching was possible; but the whole must have been completely arranged
in the mind of the artist before it could be struck off. Pliny states,
that in his day, the town of Ardea, an ancient city of Etruria, contained
some paintings which he ascribes to a period anterior to the founding of
Rome, and mentions with surprise their then perfect state of preservation.
At Lacurium also, he describes some pictures of Atalanta and Helen, which
were simply painted on the wall, and exhibited great merit in execution.
These Caligulo, after a fruitless attempt, failed in removing. Cere,
another Etruscan city, boasted some paintings of an early date. All these
specimens, although of remote date, have no positive clue by which to
ascertain anything positive as to the origin of the art of painting. And
we are obliged to turn to Greece for the foundation from whence sprung
works still the admiration of the world.
Religion was the motive of Greek art; it was, therefore, natural that
they should endeavor to invest their own authors, for they considered
themselves of divine origin, with the most perfect forms; and as man
possessed that exclusively, they completely and thoroughly studied the
elements of his constitution. The climate was favorable to the development
of that form, and the establishment of exercises by their civil and
political institutions, created models in nature, which elevated Greek art
to the highest excellence.
The next step of the art was the monogram, which is the outline of figures
without light or shade, with the addition, however, of parts within the
outline. From this the monochrom, or painting with a single color, and
a white ground, then covered with punic wax, first amalgamated with a
resinous pigment generally of a red, sometimes of a dark brown or black
color, was the next advance. Through this inky ground, the outlines were
traced with a firm though plyant style, called a cestrum: the line could
be altered by the finger or a sponge, and easily replaced by a new one.
When the whole was settled, it was suffered to dry, and covered with a
brown encaustic varnish; the lights were worked over again, and rendered
more brilliant with a more delicate point, according to the gradual
advance from mere outline to some indication; and at last to masses of
light and shade--thence to the superinduction of different colors, or the
invention of polychrom, which, by the addition of the pencil to the style,
raised the stained drawing to a legitimate picture, and at length produced
that vaunted harmony--"the magic scale of Grecian color."
The period at which the pencil supplanted the cestrum cannot be
ascertained. Apollodorus in the 93d Olympiad, and Zeuxis, in the 94th, are
said to have used it with freedom and power. Parrhasins painted the battle
of the Lapithtæ and centaurs on the shield of Minerva for Phidias, to
enable Mys to chase it. It was nearly a century after this that Appelles
and Protogenes had a competition in drawing lines with the pencil, in
which "delicacy and evanescent subtlety being the characteristic, some
notion of their mechanical skill may be formed."
Encaustic painting was accomplished by using the colors in wax, as they
are used now in oil, drying them by a fire, and polishing the surface by
dry friction.
Polygnotus is the first great name that appears in history, that any
satisfactory data of the arts may be commenced from. He lived about
400 years B. C. So great was his success in the Poecile at Athens, and
the Desche, or public hall at Delphi, that in a great council of the
Amphyctons, it was solemnly decreed "that his expenses, whenever he
travelled in Greece, should be borne at the public charge." His pictures
were admired by Pliny, at the distance of six hundred years.
The first painting on record is the battle of Magnete, by Balarchus, and
purchased by Candaules, King of Lydia, for its weight in gold, or, as some
say, a quantity of gold coins equal to its surface.
After Aglaophon, Phidias, Panenus, Colotes, and Evenor, the father of
Parrhasins, came Apollodorus, the Athenian. This painter applied the
essential principles of Polygnotus to the delineation of the species, by
investigating the leading forms that discriminate the different classes
of human qualities and passions. The acuteness of his taste led him
to discover, that, as all men were connected by one general form, so
were they separated by some peculiar individuality. Pliny and Plutarch
considered Apollodorus as the first colorist of his age, and it is very
probable, by their descriptions, that he was the inventor of local color
and tone. Zeuxis succeeded to Apollodorus, and by uniting in one figure
the most perfect parts of many models, produced an ideal form, which,
in his opinion, constituted the supreme degree of human beauty. Lucian
describes a picture he exhibited at the Olympic Games as remarkable for
its invention. It represented a female centaur, suckling her young. It was
carried off from Athens by Sylla, but lost on the voyage to Italy.
Parrhasins, a native of Ephesus, but a citizen of Athens, was the son of a
disciple of Evenor, and contemporary of Zeuxis. By his subtle examination
of outline, "he established that standard of divine and heroic form, which
raised him to the authority of a legislator, from whose decisions there
was no appeal." He was a thorough master of allegory, from the fact of
his embodying by signs, universally understood, the Athenian people. In a
competition with Timanthes, he had the mortification of being declared, by
a majority of votes, inferior to him. The subject for competition, was the
contest of Ajax and Ulysses for the arms of Achilles.
The sacrifice of Iphigenia in Aulis, by Timanthes, acquired the greatest
celebrity of all the ancient pictures. Quintilian says that it was painted
in contest with Colotes of Teos--an artist from the school of Phidias,
and crowned with victory at its rival exhibition. This picture, which has
been the subject of unlimited praise by the ancient critics, has been
in modern times objected to, from the circumstance of Timanthes hiding
the face of Agamemnon, the father of the victim, to be immolated in his
mantle, unable, as it was supposed by his art, to express the entire agony
of his grief. Sir Joshua Reynolds observes thus: "If difficulties overcome
make a great part of the merit of art, difficulties evaded can deserve
but little commendation." The French critic Falconet, has also condemned
the artifice. But Fuseli answers these objections very reasonably by
saying,--"The subject of Timanthes was the immolation of Sphigenia.
Sphigenia was the principal figure, and her form, her resignation, or
her anguish, was the painter's principal task; the figure of Agamemnon,
however important, is merely accessary, and no more necessary to make
the subject completely tragic, than that of Dytemnestra, the mother--no
more than that of Priam, to impress us with sympathy at the death of
Polyxenia." Again, "they ascribe to impotence what was the forbearance
of judgment." Timanthes felt like a father; he did not hide the face of
Agamemnon, because it was beyond the power of his art--not because it
was beyond the possibility, but because it was beyond the dignity of
expression--because the inspiring feature of paternal affection at that
moment, and the action which of necessity must have accompanied it, would
either have destroyed the grandeur of the character, and the solemnity of
the scene, or subject the painter, with the majority of his judges, to
the imputation of insensibility. The same expedient was resorted to by
M. Angelo, in the figure of Abijam, and by Raphael in the expulsion from
paradise.
These were the artists who formed the second school of art, and
established its end and limits. On it was founded the third period of
style, in which refinement induced a grace and beauty not to be surpassed.
The masters of this period were--Appelles, Protogenes, Aristides,
Euphranor, Pausius, and the pupils of Pamphilius, and his master Eupompus.
The last named artist was of Sicyon; and his authority was so great, that
out of the Asiatic and Grecian chords of painting he formed a third, by
dividing the last into the attic and Sicyonian. Pliny says that, when
consulted by Zysippus on a standard of imitation in art, he pointed to
the crowd passing by--observing that nature, not an artist, should be the
object of imitation. Pamphilius, a Macedonian, the master of Appelles,
adopted the doctrines of Eupompus. To the art of painting, he joined the
study of mathematics, and held, that, without the aid of geometry, no
artist could arrive at any perfection. In Appelles, we are told by Pliny,
unrivalled excellence was found. Grace was his powerful and peculiar
faculty, in which he surpassed all his predecessors. His Venus Anadyomene,
which was long after purchased by Augustus for one hundred talents, or
£20,000 sterling, was esteemed the most faultless creation of the Grecian
pencil, the most perfect example of that simple yet unapproachable grace
of expression, of symmetry of form, and exquisite finish, in which may be
summed up the distinctive beauties of his genius. Hotogenes was next to
him in merit. The most celebrated of his works was his figure of Jalysus,
with his dog, which occupied him seven years. Aristides, of Theles,
and cotemporary of Appelles, was the first, who, by the rules of art,
obtained a perfect knowledge of expressing the passions and affections of
the mind. In one figure, he expressed the anguish of maternal affection,
and the pangs of death. Euphranor, the Isthmian, and pupil of Aristides,
is said to have carried this refinement of expression still further.
Skilled in Sculpture, as well as in Painting, his conceptions were noble
and elevated; his style masculine and bold; and he was the first who
distinguished himself, by imparting majesty to his heroes.
Asclepiodorus, the Athenian sculptor, as well as painter, was as the
latter, celebrated for the beauties of a correct style, and the truth of
his proportions. Appelles allowed himself to be, in these respects, as
much his inferior to this artist as he was to Amphion on the good ordering
and disposition of his figures. About this period appeared Nichomachus,
Nichophanes, Pyreicas and others. Nichias, an Athenian, 322 B. C., was in
great repute for the great variety and noble choice of his subjects, for
the mode of distributing his lights and shadows, and for great skill in
the representation of animals. In Rome, 300 B. C., Fabius, a noble Roman,
painted the Temple of Health, and gloried so much in the art, that he
assumed the name of Pictor. Without a further enumeration of masters, for
a long period after the reigns of Vespasian and his son Titus, painting,
as well as sculpture, continued to flourish in Italy. Even under their
successors Domitian, Nerva and Trojan, they met with as much encouragement
as they did in the most palmy days of Greece, although painting was used
in mere ornamental decorations--that is, to a great extent, and artists
had sunk, for the most part, to the standard of mere mechanics. Under
Adrian, Antonine, Alexander Severns, Constantine, and Valentinian, the art
of painting continued to be an object of interest; but at length, in the
reign of Phocus, with the fall of the Empire, with the rest of the noble
arts and sciences, it was involved in the common heap of ruins.
(To be continued.)
* * * * *
BROMINE.
We give the folk wing interesting combination and experiments with
bromine, as found in Hill's Treatise:--
"Discovered in 1826, by M. Balard, a young chemist of Montpellier, France.
He named it _Muride_, because obtained from the sea; but it acquired its
present name from a Greek word, signifying _rank_, or _dead odor_." It
exists in nature in very small quantities. It is found in the waters of
every sea which has been tested for it: it is also found in many mineral
and salt springs. We have not been able to determine to whom belongs the
honor of discovering its use as an accelerator in Daguerreotype. Having
corresponded with Prof. Morse, (who was certainly one of the first who
took portraits by the Daguerreian process,) Dr. Draper, and others, to
whom this honor has been awarded, they refuse to claim it. Prof. Silliman,
who is supposed to know everything relating to science, writes to me that
he does not know this. I am quite inclined to place the wreath on the brow
of the inventor of the Magnetic Telegraph.
Process.--When common salt is prepared from sea-water by evaporation and
crystallization, a liquid remains which goes under the name of _bittern_.
This liquid on passing chlorine through it, is tinged with a deep yellow
color. The liquid is now distilled, and the vapor passed over a substance,
(muriate of lime), which has a powerful attraction for water. A small
quantity of bromine is thus obtained.--Another method is to agitate the
chlorinated bittern with a portion of sulphuric ether. The ether dissolves
the bromine, from which it receives a beautiful red tint, and on standing,
rises to the surface. Agitate this solution with caustic potash, and the
bromide of potassium and bromate of potassa will be formed. Evaporate the
liquor and the bromide of potassium will be left from which bromine may be
distilled.
Properties.--At common temperatures, it rapidly volatilizes, giving red
vapors of a most disagreeable smell. Its color, when held between the
eye and the light is a deep hyacinth red. Like oxygen, chlorine, and
iodine, it is a non-conductor of electricity, and a negative electric. It
boils at 116·5°, and congeals at 40 Fahr. into a brittle solid. It is a
powerful poison; even its vapor would no doubt prove fatal, if inhaled in
large quantities. A single drop placed in the beak of a bird destroys it
instantly. Operators cannot be too cautious in using it. A very small drop
spattered in the eye would destroy the sight. Bromine is very corrosive. A
lighted taper burns for a few moments in its vapor, with a flame green at
its base, and red at the top, and is then extinguished. It is soluble in
water, alcohol, and ether; the latter is the best solvent. With water at
32° Fahr., if forms a _hydrate_, in crystals of a fine red color. It gives
to a solution of starch an orange color. Chlorine will displace it from
all its combinations with hydrogen.
Chloride of Bromine.--Formed by transmitting a current of chlorine through
bromine, and condensing the disengaged vapors by a freezing mixture.
The factitious article is more simply formed, and is equally good as
an accelerator, but not as quick. See page 25, Part I. M. Bissou, a
Frenchman, found that the real chloride of bromine is so sensitive, that
Daguerreotype proofs are taken by it in half a second. He succeeded in
taking persons and animals in the act of walking.
Bromic Acid may be obtained by pouring sulphuric acid upon a dilute
solution of bromide of baryta, and evaporating. No interest.
Bromide of Baryta.--Boil of protobromide of iron with moist carbonate
of baryta; carefully evaporate and it will crystallize in white rhombic
prisms, which have a bitter taste, are slightly deliquescent, and soluble
in water and alcohol.
Bromide of Carbon.--Formed by mixing one part of periodide of carbon
with two of bromine. Two compounds are formed, the _bromide of carbon_,
and the _sub-bromide of iodine_; the latter is removed by a solution of
caustic potassa. It is liquid at common temperatures, but crystallizes
at 32° Fahr.; sweet to the taste, and of a penetrating ethereal odor;
distinguished from the protiodide by the vapor which it emits on being
heated. The _periodide of carbon_ is made by mixing an alcoholic solution
of pure potash and of iodine. It forms crystals of a pearly lustre,
sweet to the taste, and of a saffron odor. The _protiodide_ is formed by
distilling a mixture of the preceding compound with corrosive sublimate.
Sweet in taste, and of a penetrating ethereal odor.
Bromide of Magnesium.--Dissolve magnesia in hydrobromic acid. It
will crystallize in small acicular crystals, of a sharp taste, very
deliquescent and soluble.
Bromide of Sulphur.--Pour bromine on sublimed sulphur. There is formed an
oily liquid of a reddish tint.
Bromide of Phosphorus, is formed by bringing phosphorus and bromine into
contact in a jar filled with carbonic acid gas. Vaporizes by heat, and is
decomposed by water.
Bromide of Silicon, is prepared by burning silicon in the vapor of
bromine. A very dense, colorless liquid, emitting dense fumes. We have
used this article as an accelerator, and it produces a beautiful but
singular picture. It works quick, but possesses no particular advantage.
Bromide of Zinc.--Prepared by digesting a solution of bromine with zinc
filings. The iodide is formed in a similar manner. No interest.
Hydrobromic Acid.--Mix the vapor of bromine with about an equal bulk of
hydrogen gas, and introduce a coil of red-hot platinum wire. Red-hot
iron answers equally well. The combination takes place slowly without
explosion. Or, it may be formed by placing a small piece of phosphorus in
a glass tube filled with water, and dropping it upon a little bromine.
The hydrobromic acid passes over in the form of a gas, and may be
passed through water, which will absorb it. _Hydriodic Acid_ is formed in
the same way, using iodine in place of the bromine. Hydrobromic acid is
decomposed instantly by chlorine and nitric acid.
The French and German bromine is generally considered the best; but the
American manufacture is by no means to be rejected, as it is frequently
very excellent. Bromine is sometimes adulterated with naphtha.
* * * * *
NITRATE OF SILVER.
DECOMPOSED BY THE CURRENT OF A GALVANIC BATTERY.
Mr. Matteucci has observed that the black deposit obtained on the cathode,
in the electrolysis of this salt, instantaneously becomes white when the
current ceases; that it does not occur except when the solution is weak,
because from strong solutions, crystalline silver is at once deposited;
that if a portion of the deposit, after it has became white, be suspended
between the electrodes while the current passes, those portions towards
the anode again become _black_, if the experiment is made in a solution
of the nitrate, but not if in mere acid water; it will, however, occur if
a mere drop of nitrate is added to the solution, if a plate of a glass is
interposed between the electrodes, the phenomenon does not occur; this
is attributed to the great reduction of intensity. It is suggested "that
the black deposit is formed, of oxide of silver, which is preserved by
the passage of the current, and which, when the current ceases, passes
immediately to the metallic condition."
* * * * *
OXIDE OF SILVER.
Place pieces of silver in a glass vessel,, and pour on them about equal
parts of water and strong nitric acid; the metal will soon dissolve,
giving off fumes of nitric oxide. Should the solution have a green hue,
which is invariably the case, unless the metal has been obtained fine from
the refiners, it indicates the presence of copper, in which case immerse
some pieces of copper in the solution, and the nitric acid, by elective
affinity, will combine with the copper; and a precipitate of pure silver,
in the form of grayish powder, will take place. Throw away the liquid and
wash the silver precipitate several times in sulphuric acid and water, and
afterwards in water alone. Then re-dissolve it as before, in nitric acid
and water; and a _solution of pure nitrate of silver_ will be obtained.
Place this in an evaporating dish, or a saucer, and apply the heat of a
spirit-lamp, or place the saucer by the fire-side, till some portion of
the liquid is driven off in vapor. Allow the residue to cool, and it will
shoot out into long colorless transparent crystals, which are _nitrate
of silver_. They must be handled with care, as they possess the property
of staining animal and vegetable substances with an almost indelible
black;--fused nitrate of silver being the lunar caustic of surgery, and
the main ingredient of marking-ink. Next prepare some _lime-water_, by
stirring lime into water and filtering the solution. As lime is very
sparingly soluble in water, requiring, at 60° Fahrenheit, 750 times its
weight, it is necessary to make an abundant supply. Place the lime-water
in a glass or other vessel, and drop in it a few crystals of nitrate of
silver; the colorless solution will instantly assume an unsightly brown
hue; and, after remaining quiescent for a time, the _oxide of silver_
will subside in the form of a dark brown precipitate. The liquid is then
poured off, and the precipitate is washed with water. Before throwing away
the liquid, fresh lime-water should be added to it; and if the dark hue
recurs, the precipitate must be allowed to subside again; if no change
takes place, it may be inferred that the silver is all extracted. The
oxide of silver should not be dried, but be kept in bottles with water.
* * * * *
POTASSIUM.
CYANIDE OR SIMPLE CYANURET OF POTASSIUM.
Before entering into the preparation of this ingredient, I may
mention that the _prussiate of potash_ of commerce has, by many young
experimentalists, been mistaken for the above article, because it is
often sold, by those unacquainted with chemical technicalities, under
the name of _cyanuret of potassium_. It is, in chemical parlance, termed
_ferro-cyanuret_, from its containing a certain portion of iron; and
differs in its properties, very materially, from the _simple_ salt. It
is of a bright yellow color, and is converted into the colorless, simple
cyanuret in the following manner:
Take 4 ounces of the yellow prussiate, break it in small pieces, and well
dry it on a plate of iron; then reduce it in a mortar to exceedingly fine
powder. Dry and pound in like manner one and a-half oz. of carbonate
of potash. Incorporate the two ingredients thoroughly. Place a Hessian
crucible in the fire; and when it attains a red heat, throw into it the
prepared mixture, and closely cover the crucible. Keep up the heat, and
the contents of the crucible will soon fuse; and the fluid mass will
become red-hot. After this, immerse in it, from time to time, a hot glass
rod; the mass which adheres, is in the early stages of the process brown
on cooling; as the heat is continued, it appears yellowish, and finally,
colorless and transparent. The operation is then complete: the crucible
must be removed; and after its contents have been allowed to settle, the
fused mass may be poured off; the greater portion of which consists of the
_simple cyanuret of potassium_. This salt is very deliquescent, and must
therefore be retained in close bottles: it will readily be recognized by
its powerful odor,--that noticed in peach blossoms. The mere mention of
prussic acid entering largely into its composition, will be sufficient to
induce my reader to exercise common caution in handling it.
Having these ingredients prepared, take one pint of pure rain or distilled
water; add to it two ounces of the cyanuret of potassium, shake them
together occasionally, until the latter is entirely dissolved; and allow
the liquid to become clear. Then add a quarter of an ounce of oxide of
silver, which will very speedily dissolve; the dissolution may be hastened
by heat, and after a short time, a clear transparent solution will be
obtained.--_Walker._
* * * * *
STEREO-CHROMIC PAINTING.
A new mode of fresco painting, called _Stereo-chromie_, which has for a
long time excited attention among the artists of Germany, has it appears
been perfected by a pupil of Kaulbach, in his own studio in Munich. The
design is Kaulbach's, and the work was executed under his superintendence.
It represents the figure and character of a Prophet, and will be sent to
the London Exhibition. 'The figure, grand and majestic as it really is,
cannot be expected to convey to the English public anything but a faint
idea of the genius and skill of Kaulbach,' but as a specimen of this new
and wonderful mode of painting, it will be regarded, by artists, with the
greatest curiosity.
_Stereo-chromie_ was discovered by _Obergrath von Fuchs_, a distinguished
chemist; and is considered by German artists as one of the greatest
discoveries of the age. They claim for it great advantage over ordinary
fresco and encaustic painting, in its superior durability and the power
which it affords the artist of retouching and glazing his picture.
The colors are mixed with water, the whole being permanently fixed
by occasional sprinklings of water, in which a certain proportion of
fluoric-acid (_Flassspath saurs_) is mixed.
_Stereo-chromie_ is in fact a preserver of the wall on which it is
painted, By a certain chemical action of the solution sprinkled over the
picture, while in progress, the whole ground on which it is placed, and
the picture itself becomes one hard flinty mass, the very colors of which
are converted into the hardest stone.
This singular species of painting resists, it is said, every influence of
climate; and may be securely used as an external coating for buildings in
any part of the globe. Neither is the artist confined to any particular
time in executing it, leaving off when he pleases and for any length of
time. In these points it is a most important recommendation, which cannot
by any means apply to fresco work, nor, except within certain limits, to
oil painting. The highest advantage of all, however, is that the same part
may be painted over as often as the artist please, which is impossible in
fresco; and consequently the most perfect harmony may, by this new mode be
preserved throughout the largest possible painting. In fresco the artist
is the slave of his materials; here, he is the arbitrary master and to the
fullest extent.--_Banner of the Union, Pa._
* * * * *
WATER.
Water intended to aid in conducting chemical experiments, should, so far
as possible, be free from all foreign substances. As the Daguerreotype
process is one of the most difficult in the range of chemical science, the
Daguerreian should have at hand the best that circumstances will admit.
We have learned, from experience, the disadvantages attendant on those
who travel in the country, from village to village in the practice of the
Daguerreotype art.
When _Distilled Water_ can be obtained, it should be used. It must have no
smell, taste, or color; it must evaporate without leaving a residue; it
must give no precipitates with solutions of nitrate of silver, chloride
of barium, superoxalate of potash, caustic alkalies, carbonated alkalies,
sulphurated hydrogen, or hydrosulphate of ammonia.
_Rain Water_ generally contains carbonic acid, carbonate of lime, and
chloride of calcium.
_Spring Water_ contains the same impurities as rain water, superadded to
chloride of sodium, sulphate of lime, carbonate of iron, &c.
_River Water._--More free from salts than spring water, but often contains
a large quantity of decomposing vegetable and animal matter. This is
particularly the case with water taken from the Hudson, from Troy to its
mouth; also, the Mississippi, and, in fact, almost all large streams which
are navigated.
_Lake Water._--All descriptions of stagnant water abound in half-putrified
organic remains, as all well know, that the smaller the bulk of liquid,
as in the case of the swamp or marsh, the more impure and the more
unwholesome it is.
_To purify Water._--Much has been said about purifying water for
Daguerreotype use. We look upon this, so far as chemical agents are
employed, in most instances a loss of both time and money; let every one
_filter_ the water for use _often_ and freely and we will guarantee that
_success_ will be his reward. We will class water in the following order:--
1, Distilled water; 2, rain water; 3, brook water; 4, well water; 5,
spring water; 6, river water: yet the water from some of our Western
lakes would, we think be fully equal to rain water. We have used the water
from Seneca lake, and have found it possessing less animal and vegetable
matter, than found in the water from any well which we have been compelled
to use.
* * * * *
Isinglass, as it is generally called fish glue, is prepared from the
air-bladders of the sturgeon. It is found in commerce under various forms,
such as large strings, small strings, and leaves. It is always white,
semi-transparent, dry, fibrous, horny, of a faint odor and insipid taste.
When a very thin leaf is moved between the eye and the light of the sun, a
species of chatoyance is perceived. If macerated in cold water, Isinglass
swells and softens; if boiled in water, it dissolves almost without
any residue and forms a solution, which, on becoming cool produces a
semi-transparent jelly. There are several counterfeits, but all are easily
detected.
* * * * *
PAPIER-MACHE.
Papier-Mache.--Pulped paper moulded into forms. It possesses great
strength and is a valuable article in the manufacturing of cases for
Daguerreotypes. It may be rendered partially water-proof by the addition
of sulphate of iron, quicklime, and glue, or white of eggs, to the
pulp; and incumbustible by the addition of borax and phosphate of soda.
The papier-mache Daguerreotype cases, tea-trays, waiters, snuff-boxes,
&c., are prepared by pasting or glueing sheets of paper together, and
submitting them to powerful pressure, by which the composition acquires
the hardness of a board when dry. Such articles are often inlaid with
mother of pearl, and japanned, and are then perfectly water-proof.
* * * * *
CHLORIDE OF CALCIUM.
Chloride of Calcium.--This is so easily manufactured that any
Daguerreotypist can make it with but little difficulty. Saturate dilated
muriatic acid, say three pints of water to one of acid; this should be
filtered through a sponge and then allowed to stand until all the aquus
solution has evaporated and the calcium crystallized. This may be improved
by it being placed in a crucible; and fused with a quick fire, then poured
out on a flat stone. When cold, it should be broken and put in close
bottles. This is much used by Daguerreotypists as it possesses a strong
affinity for water; consequently, it is a valuable auxiliary in keeping
the iodine dry. It is also much used for drying gases and absorbing water
from ethereal and oily liquids, in organic analyses.
* * * * *
MURIATE OF AMMONIA.
Muriate of Ammonia--_sal-ammoniac._--This is used by _few_ to bleach
Daguerreotype impressions, and relieve them of the "_blues_;" should,
however, the plates be _well_ cleaned and the mercury at a proper
temperature, there will be no need of this preparation: yet, as a number
have requested, we give the following combination, knowing that all
Daguerreotypists are troubled more or less with solarized impressions,
they may be more particularly with the _blues_. Make a saturated solution
of muriate of ammonia, in pure water, and filter through paper. This
reduced with an equal quantity of water before used; when the linen or any
portion of the impression is badly solarized, after removing the coating
with the hyposulphite solution, thoroughly rinse the plate with water,
then pour the bleaching solution over the surface of the impression in the
same manner as in gilding.
If the solarization be very deep, apply the lamp beneath and slightly
warm the plate, pour suddenly off, and without rinsing, quickly apply the
gilding and gild in the usual way. The whole operation must be quickly
performed, or the chlorine soon attracts the shade of the picture.
There may be instances when this solution may prove of advantage, as,
for instance, when black velvet and milk white are wanted in the same
impression. We have seen it operate with pleasing success; but repeat
that _few_ only use it, yet as in a single instance it might be of value,
we have given it. As much of the muriate of ammonia, in common, is
adulterated, we will give a few tests which all can try.
When pure, this salt is totally volatilizable by heat; if a small portion
on being heated on a piece of platinum foil over a spirit lamp leaves any
fixed residue, it is adulterated. It should dissolve entirely in water;
if it leaves an _insoluble residue_ it is adulterated. The impurities
generally found in sal-ammoniac, are sulphate of ammonia, sulphate of
soda, chloride of sodium, and chloride of potassium; neither of these
are considered injurious in the _bleaching solution_. Occasionally it
contains lead, iron, and copper. The presence of sulphuric acid may be
detected by means of a diluted solution of _chloride_ of barium, added to
a weak solution of muriate of ammonia, in water, this will produce a white
precipitate, which is the more copious and dense, the less the liquor
is diluted. If it contains lead add to a small portion of it, contained
in a test tube, a little diluted _sulphuric acid_, or a few drops of a
solution of _sulphate of soda_ (glauber's salt), if the liquid contains
lead there will be prevalent a white powder, or precipitate, this powder
scarcely dissolves at all in diluted acids, but it dissolves in a solution
of caustic of potash: _iron_, mix a solution of the yellow prussiate of
potash with a solution of red prussiate, a few drops of this added to
a weak solution of muriate of ammonia will produce a blue precipitate;
_copper_, pour about half an ounce of the liquid in a test tube, and add
to it a few drops of liquid ammonia, if copper is present, the liquid
will assume a blue color. Sal-ammonia is known by giving out the odor of
ammonia when mixed with caustic of potash: when sal-ammonia possesses a
_brownish_ color, it indicates the presence of charcoal, or empyreumatic
oil; such sal-ammoniac is good for some purposes, but wholly unfit for
_chemical purposes_.
When sal-ammoniac leaves a non-volatile residue, it may contain _sulphate
of soda_. This is the principal cause of failures with the bleaching
solution, as the sulphate of soda has a tendency to blacken rather than
bleach Daguerreian impressions. The sulphate of soda as well as the
chloride of sodium, is often found in unpurified sal-ammoniac to the
amount of ten per cent.
When sal-ammoniac contains much sulphate of ammonia, it fuses and sputters
before it sublimes; whereas it otherwise sublimes without fusing. When
sal-ammoniac, sublimes without residue, but gives a precipitate when its
solution is tested with a solution of chloride of barium, it contains
sulphate of ammonia; but when it leaves a non-volatile residue, the
precipitate indicates sulphate of soda or sulphate of magnesia.
* * * * *
BROMIDE OF SILVER.
NATIVE BROMIDE OF SILVER AND ANALYSES.
M. Berthier says, that in the district of Plateros, seventeen leagues from
Zacatecas in Mexico, silver ore is found in two different states; first,
native silver; and secondly and principally in a state of combination in
small olive-green or yellowish crystals, supposed to be chloride, but
which he found to be bromide of silver. According to M. Duport, from
whom M. Berthier received these specimens, this substance is not rare in
Mexico, but occurs frequently in fine cubic and octahedral crystals.
The specimen examined by M. Berthier was from San Onofe. It was compact,
of a slightly reddish gray color; fracture uneven; splendent; penetrated
with small cavities, some of which were partially filled with a substance
of a dull pale yellow color, and which the miners call oxide of lead;
other cavities contain very small imperfect crystals; which are brilliant,
and of a pale olive green-color, and have the appearance of chloride of
silver. This specimen was very rich, for it yielded 0.0688 of silver, and
contained 0.45 of carbonate of lead, which, intimately mixed with quartz
and a little oxide of iron, formed the principal portion of the mass.
M. Berthier has also found this mineral among the silver ores of
Huelgoeth, department of Finistère in France. Two specimens were obtained
by him: the first of these is described as being porous or scoriform,
containing white quartz imbedded in foliated hydrate of iron. On the edges
of the foliated iron ore the naked eye could distinguish small cubic
grains of a pearl-white color, which had all the characters of chloride of
silver.
The second specimen had the appearance of compact oxide of iron,
containing here and there milk-white quartz; it was throughout impregnated
with chloride of silver, which occasionally appeared in the form of very
small brilliant crystals. To analyze this mineral, 10 grammes were first
treated with ammonia, and heat to dissolve the chloride of silver, and
afterwards by boiling hydrochloric acid to dissolve the oxide of iron;
this acid also dissolved a certain portion of lead, which probably was
in the state of phosphate. The quartzose residue weighed 32.6 grammes:
it contained 0.17 gramme of silver, which must have been in the metallic
state: the ammoniacal solution gave by boiling and saturation with nitric
acid, 1.84 gramme of chloride of silver, which, supposing it to be pure,
contained 1.40 gramme of silver, which, added to 0.17 gramme remaining
in the quartz, gives a total of 1.57 gramme; a result which differed so
very little from that obtained by essaying, as to prove the absence of
bromide of silver, and that this was the case was confirmed by additional
experiments.
After this a third specimen was received from Huelgoeth; it was very
small, but as rich as the foregoing, and in it there were distinguishable,
besides granular cubic crystals of chloride of silver, other grains of an
olive-green color, which had exactly the same appearance as the bromide
had. Plateros and the following experiments proved the presence of the
substance.
Five grammes of the pulverized mineral were boiled in a solution of oxalic
acid, until the oxide of iron was perfectly dissolved: the residue weighed
about a gramme, and it evidently contained a mixture of canary-yellow and
white grains. It was digested in hot solution of ammonia until all the
yellow powder disappeared; it required a large quantity of the alkali
for this purpose, which would not have been the case to dissolve pure
chloride. The solution was gradually saturated with nitric acid, and it
was observed that the successive deposits formed had an evident yellow
tint, but gradually diminishing in intensity, except the last, which were
white. The yellow deposits were collected and examined in the following
manner:--A portion was treated with chlorine and æther; the æther became
of a yellow color. Another portion was dissolved in ammonia, hydrosulphate
of ammonia was added to the solution, and the black precipitate formed was
separated, and was found to be pure sulphuret of silver. The liquor was
concentrated by exposure to the air, and filtered to separate the sulphur
which was deposited; a little potash was then added, and it was evaporated
to dryness; acetic acid was added to saturate the excess of potash, and it
was again dried.
To determine whether the saline residue contained a bromide, a small
portion of it was treated in a tube with pure nitric acid, and a yellow
liquid was immediately obtained. Another portion was mixed with peroxide
of manganese, and the mixture was placed in a glass tube; a few drops of
concentrated sulphuric acid were added, and when gently heated, red vapors
were immediately disengaged, and alter some lime there were deposited
on the sides of the tube small drops of a red liquid. The existence of
bromine was therefore evident, and it was proved that the bromide was
unmixed with iodide. Bromide of silver appears to be rare at Huelgoeth;
but it may be readily distinguished from the chloride by its greenish or
canary-yellow color, which is characteristic of it. It is remarkable that
it occurs with the chloride in the same specimens, but without there being
an intimate mixture of the two substances.
* * * * *
=The Daguerreian Journal.=
=NEW YORK, MARCH 1, 1851.=
=HILLOTYPE.=
Since the announcement of the Hillotype, in the last number of the
Daguerreian Journal, quite an excitement has prevailed, both in the
Daguerreotype and scientific world. The great question has fairly been
solved and "_natural colors_" can be produced and rendered indelible upon
the metallic plate. America can safely say she has presented to the world
one of the most invaluable discoveries that has ever been imprinted upon
the pages of history.
Men profound in their scientific skill and learning, have long and in
vain sought for the discovery or invention of some means of securing
to the future, the colors of the present. All Europe has been alive to
this great desideratum, and many have presumed it an impossibility,
while some few persisted, flattered by hope and encouraged by the almost
daily announcement of some new discovery or invention, that heretofore
had been deemed only as having existence in the dreamy imagination or a
perspective future. We hail the discovery of the Hillotype as an epoch
bright in the history of science, as well as impregnated with interest to
aid in unfolding a volume of investigation which has so long commanded the
attention of learned and philosophical minds, as the "_colored rays of
light_."
The subject of reflected light and its colors has long agitated the
scientific mind. Much has been said and written; elaborate and laborious
"Essays," "Researches" and "Treatises" have penetrated our libraries and
proved valuable auxiliaries in pushing the interest of those engaged in
furthering agricultural and chemical pursuits. This branch of natural
science is regarded as one of the most important, and, at the present
moment, it is rendered doubly interesting from the fact of Mr. Hill's
discovery. We may look forward for new developments, which will prove no
less surprising than that of rendering permanent, on a metallic plate, the
variegated beauties of the solar spectrum.
We are, as it were, standing upon an eminence from which we can survey
the present, retrospect the past, and almost sketch the bright outline
of a coming future. Here lies a field for animated speculation, in which
nature's student can satiate his appetite in the study of nature, in a
province hitherto unknown and unexplored; he may here realize truths
purely sublime, painted in the glowing "colors of nature," and rendered
prominent upon the tablet of his memory.
We present the following communication from Mr. Hill, which our readers
will peruse with pleasure:
* * * * *
For the Daguerreian Journal.
S. D. Humphrey, Esq.;--Being detained here a day on my way from your city,
I relieve myself a little from the tedium of delay, by a few scribblings
to your valuable Journal. I will give a few particulars respecting my
pictures, &c.
I have now fifty-five specimens. They are all equally perfect. It is quite
remarkable that I have never yet made a partial failure. Those impressions
which have had too much light, are nearly as strong, sound, brilliant and
beautiful as those correctly timed in the camera, being inferior only in
having the colors less deep. Even the whites retain their strength. The
folds of the linen are always well defined. Blue or solarized linen is
unknown in my process, and there is always a strength and clearness in the
whites, unattainable by mercury. During the past winter I have several
times taken a view in which there is a deep red house, while the ground
was covered with snow. For experiment I exposed the plate so long as to
reduce the bright red of the house to a _very light red_, while at the
same time, the white snow was developed with a beautiful whiteness.
I have copied several very highly colored French prints. The copies are
far superior to the originals, in that, while they have _every_ tint of
color, they are exceedingly brilliant. This is a characteristic in which
I never fail, even with the plates merely cleaned with rotten stone--the
brilliancy depending on _other causes_. Well polished plates, however, are
preferable for other reasons. It is _essential_ that the plates should be
very pure, free from scum? dampness, and organic matter of every kind,
and I am experimenting with different substances, in hopes of finding
something that will more perfectly cleanse, while it thoroughly polishes.
I would be very thankful to any person who might furnish me with valuable
hints on this point, as I am convinced that here lies one great cause of
uncertainty.
My trouble with the _yellow_, which you mentioned in the last number of
the "Daguerreian Journal," relates only to the homogeneous rays, orange,
buff, and all the various shades of yellow come out true except the
_chrome yellow_ which appears less brilliant. This, however, is thought by
distinguished artists, no serious objection.
My late visit to your city was much shorter than I could have wished.
I called on a number of Artists, and the cordial manner in which
they congratulated me has added much to my kindly feelings towards
the fraternity, and strengthened my resolution to give all worthy
Daguerreotypists and Artists, my process on terms which I believe
will be satisfactory. As far as this is concerned, please say to such
their interests are safe in my hands. I met with but one person anyway
sceptical, and he is willing to be more fully satisfied when he "sees the
pictures," which is very fair I am sure. While it is very cheering to
me, in my truly arduous duties, to review the kind congratulations of my
brother Artists, the most I am entitled to _claim_ in an age when almost
every announcement is regarded as humbug, is that the Daguerreian world
will give me a fair chance to perfect my discovery. A few have seen my
pictures, and their expressed opinions agree with mine, viz., that these
pictures will astonish the world. I saw in your city, in the hands of
Mr. Hite, Artist, some exquisite ivory miniatures. It astonished me that
the human hand could paint "the form of the human face divine," in such
a mode; but I pleasantly said to the Artist, what I now repeat in all
seriousness, that the pictures by my process necessarily exceed in beauty
the finest productions of the painter, they being drawn by light and
painted by sun-beams.
I have heard several rumors while in the city, in respect to my designs in
the disposition of my discovery. Allow me to say, for the information of
all concerned, that my purpose is _unalterably_ fixed to avoid _monopoly_,
and to take a course which will put the process into general use.
To-morrow I start for my "mountain home," and with my invigorated health
and spirit, I hope to resume my toils with a prospect of bringing out my
process at an early day.
I remain,
fraternally yours,
L. L. Hill.
Woodstock, Ulster Co,, N. Y.,
March 12, 1851.
* * * * *
[Hand] We are highly gratified to find many of our fellow Daguerreotypists
are cordially welcoming us on by manfully and numerously sending us their
names for the Daguerreian Journal for one year. When we commenced our
editorial labors we launched our hark upon a sea never before thought safe
for regular navigation, but we find only few snags in the way, and these
are every day lessened by our close application and the assistance of kind
friends. No man knows his friends until they have an opportunity to prove
themselves.
With but few exceptions, all who subscribed for the Journal for the first
four months have sent us two dollars worth of the "root of all evil," for
their subscription for the balance of the year. We _bow_, and _thank you!_
May you never get in a "Fog."
* * * * *
[Hand] T. Antisell, M. D., has been appointed Professor of Chemistry in
the Vermont Medical College, at Woodstock, Vt. He is now fulfilling his
professional duties at the above named institution.
* * * * *
[Hand] Mr. J. E. Mayall of London, has promised us an article on
"Photographing on Glass." This will appear as soon as received.
* * * * *
[Hand] Our old and learned friend Mr. Finley of Canandaigua, promised us a
communication. Where is it?
* * * * *
[Hand] Removal.--In our last we noticed our removal to No. 252 Broadway;
this was the case, but we found on consulting a carpenter in relation
to putting in a sky-light, he declared it unsafe. The consequence was,
that we at once abandoned the idea, and soon made very satisfactory
arrangements with Mr. Insley, the well and favorably known proprietor of
the _Insley Gallery_. Once again we are settled and would be happy to see
all who feel an interest in the Daguerreian and Photogenic arts.
_The Office of the Daguerreian Journal is at No. 311 Broadway._
* * * * *
Our Daguerreotypes.
We are assured by one in whom we have all confidence, and withal! capable
of judging, that there is now in progress a machine for cleaning and
buffing plates. This machine is an ingenious and valuable contrivance, and
it is said will polish a plate in one-sixth of the time required by any
other process. The whole done without handling the plate. _We hope so._
* * * * *
Gurney has recently taken some of the finest large size Daguerreotypes
ever produced. These wonderful specimens are on plates eleven by thirteen
inches, called mammoth plates. Such pictures four or five years ago would
have filled the world with admiration and surprise. The chemical effect is
clear and well worked, thus proving well prepared plates can present large
as well as small impressions. It is well worth while for every Daguerreian
visiting this city, to look upon these proud specimens of the art.
* * * * *
Thompson of this city, has just taken the whole of the upper floor of the
building occupied by him, and has built two fine sky-lights.
* * * * *
We understand that Mr. H. McBride, operator for Meade & Brother of this
city, is about to establish himself in Albany. We wish Mr. B. success.
* * * * *
Weston of this city, is now producing some of the best Calotypes we have
seen. We are happy to see Photographing on paper brought before the
public. Daguerreotypists should call and see Mr. W's. specimens, as well
also those produced by Messrs. Bertha, Wehnest, Beekman & Brothers, who
have been for some time past successfully practising in the art of "Sun
Drawing."
* * * * *
A. Morand has recently made very extensive additions to his former
establishment in Chatham street. We now find him lighting his subjects by
a large and well arranged sky-light.
* * * * *
Correspondence.
S. D. Humphrey, Esq.,
Dear Sir:--I would fain give my testimony in favor of your excellent
Journal, which is to the Daguerreian, as a guide to the traveller, and
pilot to the untaught mariner. It needs but to meet his eye for him to
appreciate its value and secure its aid, while following in his misty
pathway.
I have long since learned that "experience is the best teacher," but now
since the advent of the Journal, all who would be relieved of difficulties
incident to Daguerreian life, may find the cause of _atmospheric
troubles--bad light--poor subjects--clouded results_, &c., reflected on
its pages, and thus, by close application, prevent the many evils which so
frequently attend them, and thereby learn that "an ounce of prevention is
better than a pound of cure."
But there are those in the business who do not seem to discover any
difference between the profile on the school-boy's slate, and the best
"aqua-tinta" engraving. _They_ never have any trouble in producing
_perfect_ results at _every_ sitting, and _that_ for the sum of one dollar
or fifty cents. No wonder the writer of the article on Daguerreotypes
in No. 5 of the Journal, says "_Daguerreians_ are not _artists_, nor
Daguerreotypes works of _Art_, but _mere wonders of Nature_."
When Daguerreians adopt the motto--"Good pictures and fair prices,"
they may lay claim to the enviable name of Artist, and not before. The
Daguerreian art is the most difficult art to practise with _perfect_
success, that has ever yet been discovered. A _perfect_ Daguerreotype
is the result of a series of the most careful, delicate and complicated
experiments ever conceived of by the human mind.
I have been considerably amused in perusing the Journal, in reading
communications from sources where I am acquainted. They remind me of the
old adage--"All is not gold that glitters," for they appear to far better
advantage in print, than as _Artists_. But enough of this. In conclusion,
permit me to speak of a method of copying pictures, which, if new to any
of your readers, they will find it well worthy of the trial. I find,
by placing the picture to be copied where the rays of the sun may fall
obliquely upon the plate, all reflection is thrown off, and the image
appears in the camera, clear and distinct, even if the original be very
faint. It also shortens the time of exposure to from one to five seconds.
Respectfully yours,
Jas. Bennett Sykes.
Owego, March 4, 1851.
Note.--We think this is rather sharp firing, but, as it is already met
by the "Artists" referred to, we give it. We do like _spice_, and well
seasoned articles, but don't get too personal. A man may have been born in
a _stable_, but it is no _sign he is a horse_. We hope the above from Mr.
S. was not prompted by "a spirit of rivalry and animosity," but rather for
the good of all, as no doubt it will so prove. Give us a _pop_ from the
other side. [Ed.
* * * * *
Daguerreian Journals Lost.--The following Telegraph Dispatch was received
at the Daguerreian Journal Office on the 13th.
"What is the reason of your not sending me my Journals? W. S Gear."
The following was our answer forwarded per mail on the same day.
Daguerreian Journal Office,
New York, March 13th, 1851.
Dear Sir:--Your Telegraph Dispatch came to hand. In answer,--I do send a
Journal directed to you as often as published. The last was mailed last
Friday, i.e. the February 15th number, that being the last out. I find
it takes nearly as many to furnish the Post Offices as my subscribers;
however, I try it again and send one to-day.
Respectfully,
S. D. Humphrey.
W. S. Gear.
We wish that the persons, wishing the Daguerreian Journal would furnish
us with their names--("no questions asked") and they can have a copy
forwarded,--thereby our _honest_ subscribers would receive their Journal
regularly. We do know that we put the Journal in the Post Office--but we
don't know _why_ so many of our subscribers do not receive them. There
is no doubt but that our Journal is valuable, and should be in the hands
of all, yet it is with us as with most brother editors, we are unable to
furnish copies gratuitously.
* * * * *
AMMONIA.
Ammonia should be a perfectly colorless liquid; when concentrated its
specific gravity should be 0·9. It must have a pure ammonial odor, and
must volatilize without any residue. It must not become troubled when
mixed with alcohol, or lime water, otherwise it contains carbonate of
ammonia. Neither must it for the same reason, become troubled when tested
with a solution of chloride of barium; this is the best test for carbonate
of ammonia. Care is to be taken to observe the action of the test on its
first addition, for after the mixture has been exposed to the air for a
few minutes, a troubling necessarily ensues, because the ammonia abstracts
carbonic acid from the atmosphere.
When super-saturated with nitric acid, and tested with a solution of
_nitrate of silver_, it must give no white precipitate; otherwise it
contains sal-ammoniac. It must give no precipitate with a solution of
chloride of barium, otherwise it contains sulphuric acid, in which
case, the precipitate will be invisible in nitric acid. It must give
no precipitate with a solution of oxalic acid or superoxalate of
potash; otherwise it contains lime. When saturated with nitric acid and
tested with a solution of yellow prussiate of potash, it must give no
precipitate; otherwise it contains copper. When mixed with its weight of
oil of vitriol, it must not become brown or black; otherwise it contains
empyreumatic oil. As it is quite difficult to obtain ammonia entirely free
from carbonate of ammonia, or to preserve it in that state, the employment
of ammonia containing a small portion of the carbonate is admissible in
the practice of the Daguerreotype.
* * * * *
An Army of Subscribers.--It is computed that the regular subscribers to
the _New York Sun_, standing side by side, and each occupying eighteen
inches space, would form a line _seventeen miles, fourteen rods, and three
yards long_. Standing with arms extended, and occupying six feet each,
they would reach _sixty-eight miles, fifty-eight rods and one yard_, &c.
&c.--_Sun._
Let us see if we also cannot get up some astonishing statistics: The
regular subscribers to the _New York Tribune_, standing in single file,
each holding fast to the other's coat-tail, would form a line 176 miles,
7 rods and one yard long. Allowing that each could hop, skip and jump the
distance of 4 yards, their simultaneous performance of this feat would
extend from Cape Horn to Baffins Bay. Supposing they all sneezed at once,
the vibration of the air would overthrow the spire of Trinity Church. In
reading the 48 columns of our double sheet every morning, the distance
travelled by their eyes would reach twice round the earth. There! Is that
enough?--_Tribune._
Wonder if the Tribune's calculations is made from the actual measurement
of the "tail" of the "old white coat?" If so its not fair, for Horace has
the advantage over the modern fashion.
* * * * *
Strange Announcement.--We see by a Georgia exchange, that some one in that
State is taking "Daguerreotypes as low as seventy-five cents." Our Devil
says "Barnum is after the _wonder_, and intends having him early this
Spring."
* * * * *
EXAMPLES OF THE DIVISIBILITY OF MATTER.
All that has been written in support of what is termed the "Infinite
Divisibility of Matter," has been advanced with an oversight of certain
axiomatic principles which immediately decide the question in the
negative. Indeed, it would suffice to say that there can be no such thing
as a division of matter into an infinite number of parts simply because
there can be no such thing as an infinite number of any thing. Number
is essentially finite, and although, in imagination, it can be extended
indefinitely, it never can be positively infinite, at any period of
futurity, from the very fact that we can always conceive of its being
extended still farther. Even as an ideal extension of parts, it has always
a beginning and an end, at any given time we may assume for measuring
it, and is, therefore, never infinite in itself at any time. In this
respect it differs essentially from infinite space, which having no parts,
is positively infinite at all times. Number is a convenient instrument
wherewith to obtain an idea of infinite space, or of infinite duration,
on account of its capacity for endless extension or continuation; and it
is because we can ideally extend and continue it forever, without even
approximating to a measurement of space and duration, that we discover
the latter to be absolutely infinite, and number to be absolutely
finite. We discover that between the capacity for endless extension and
endless extension itself, there is a manifest and decided difference.
Under any circumstances, therefore, the term infinite, as applied to
the divisibility of matter, is unphilosophical and improper. All the
matter in the universe is finite, and if it were to be doubled, or
quatrilliontupled, every instant of time, to all eternity, it would never
become infinitely extended. And, by the same rule, it can never become
infinitely subdivided.
If, however, by the term "infinite divisibility," as applied to matter, is
merely meant its capacity for interminable subdivision, then the question
resolves itself either into one of speculative fancy or of practical
fact. If the former, then it must be admitted that, by an effort of the
imagination, we can conceive of such a divisibility beyond any assignable
limits. But if we regard the question as a practical one, it immediately
becomes too absurd for serious attention, since it is evident that
human power, limited in all things, must be so in producing artificial
subdivisions of matter. However unlimited, therefore, the capacity of
matter may be for divisibility, that of human beings, in relation to it,
must be narrow indeed. When chemists, therefore, and other philosophers,
speak of the divisibility of the present ultimate atoms of matter, they
must, however unconsciously, regard them in relation to human ability,
and thus far the question may become one of experiment. But the question
as to whether matter can actually be subdivided indefinitely and without
end, is one readily answered in the negative, by the known inability of
mankind to continue an endless experiment of this kind. The whole question
therefore, concerning the illimitable divisibility of matter, which has
been discussed from the earliest period of science to the present day, is
frivolous, fruitless, and irrational.
As matter now exists, not only its ultimate atoms, but even its
constituent molecules, are as inconceivably minute, as its aggregations
are vast. Taking an exemplification, from organic matter, we find that
a single drop of a strong solution of indigo, in which at least 500,000
parts are rendered distinctly visible by the microscope, colors 1,000
cubic inches of water, and as this quantity of water is at least half a
million of times greater than the drop of indigo solution, the particles
of indigo must be smaller than 2,500,000,000,000, the twenty-five hundred
millionth part of a cubic inch. If we dissolve a particle of silver,
of 0.01 of a cubic _line_, in size, in nitric acid, it will render
distinctly milky 500 cubic inches of a clear solution of common salt; and,
consequently, the magnitude of each particle of silver thus divided and
diffused, must be somewhat less than the billionth part of a cubic _line!_
So great a number as a billion being but imperfectly conceivable, it may
render the idea of this minute division more distinct, by stating that to
count a single billion of seconds, by a watch, every day and night without
ceasing, would require 31,675 years. In gilding silver wire, it is found,
by calculation, that a grain of gold is spread over 1,400 square inches;
and as, when examined by a microscope, the gold upon the thousandth part
of a linear inch is distinctly visible, it is demonstrated that gold may
be divided into particles of at least the billionth, 400 millionth, of a
square inch in size, and retain the color and all other characteristics
of a California prize. If a grain of copper be dissolved in nitric acid,
and then in water of ammonia, it will give a decidedly violet color to
392 cubic inches of water; and, therefore, if there was but one particle
of copper in each portion of the water of the size of a grain of sand, of
which one million make a cubic inch, it would show that the original grain
of copper had become divided into 392 particles.
This extreme tenuity of matter, however, is far surpassed in some examples
which may be adduced from organic sources. It is upon authentic record
that an Irish girl has spun linen yarn, of which one pound was 1,432
English miles in length, and of which, therefore, 17 pounds and 13 ounces
would have girt this world; and yet less than the 127 millionth part of
this thread would have been distinctly visible, and must have contained
other filaments still finer, each of which must have been composed of an
indefinite number of smaller particles, themselves, in all probability of
complex organization, and containing certainly, minuter atoms of carbon,
besides those of gaseous matter.
If we employ the microscope, far greater wonders of divisibility than
these appear, even in the complex organization of animal life. Ehrenberg
has shown that tripoli, a mineral much used in the arts, is entirely
composed of the siliceous shells of the microscopic animalcula, known
as infusiorials, and that a single cubic inch of it contains at least
_forty-one thousand millions_ of these shells!--about fifty times as many
individuals as there are of human beings on the globe. Yet each of these
minute animals lived and fed; had digestive and circulative systems,
with blood possessing globules as large, probably, in proportion, as
those of ours, besides nerves of sensation and inclination, with brains
belonging to them, together with muscles and every other mechanical
apparatus for the extremely active locomotion and propagation which they
so interestingly exhibit. And every new improvement in the microscope
reveals new races of animals, apparently created for their own enjoyment,
and of which millions heaped on millions, would be utterly invisible to
the unaided eye.--These facts prove that things are great and small only
by comparison with each other, and not in relation to infinity, with which
no comparison can be instituted. And they prove, moreover, that vain,
boastful, and bigoted man, is not the sole object of creation, nor of the
profound benevolence, contrivance and design, with which it is universally
replete.--_Art's Echo._
* * * * *
IRON--ITS NATURAL AND ARTIFICIAL COMBINATIONS WITH CARBON.
The question is often asked, what constitutes the difference between
wrought iron, cast iron and steel?
Cast Iron, when viewed under favorable circumstances, by the help of a
microscope will be found to be a mechanical aggregation of molecules of
_iron and carbon_; and the relative position of these particles may be
illustrated by a pile of cannon balls as usually arranged in navy yards,
each alternate ball being iron and carbon (charcoal).
If a mass of cast iron be heated until softened, and then _puddled_
(squeezed), the carbon will be forced to the surface, and will there
combine with the oxygen of the atmosphere, forming carbonic acid or
carbonic oxide gases, and thus pass off. When all the carbon has been
parted with, the mass is called Wrought Iron, and may then be welded,
when at proper heat, but cannot be melted--_the hottest blast furnace
will not melt wrought iron_. Wrought iron at red heat combines rapidly
with oxygen, and becomes oxide of iron--thus a joint of stove-pipe thrown
into a furnace will never melt, but by contact with atmosphere will
change into oxide of iron, and thus be practically lost. This operation
is technically called _burning_. If a piece of wrought iron be surrounded
by carbon (charcoal) finely pulverized, and the whole enclosed in a sheet
iron vessel to exclude the air, and this placed for a sufficient length
of time in a furnace constructed for the purpose, the iron will imbibe
an atomic quantity of carbon, and become Steel. This process is called
_cementation_, and steel so made can be melted as readily as cast iron.
Thus it will be seen that both cast iron and steel are combinations
of iron and carbon, and in the same proportions, but not in the same
state of combination. In cast iron, the carbon and iron are a mere
_mechanical combination_, while in steel the iron and carbon are combined
_chemically_.--Wrought iron, when pure, is free from carbon, and its
ductility, toughness, &c., are due to the absence of carbon, sulphur,
phosphorus, and other substances, with which it is occasionally pervaded.
The French chemists are experimenting, and occasionally succeeding by
accident, in causing heated iron to take the carbon from carbonic acid and
other gases containing carbon, and thus becoming steel more rapidly, and
at less cost, than when made by the process of cementation. Mr. Dixon,
of Jersey City, has succeeded in making steel direct from the Adirondack
iron ore, while Peter Cooper, Esq., Mr. Dickinson, and others, are
manufacturing wrought iron direct from the iron ores of New-Jersey without
first forming the pig or cast iron, and of course at less expense, as the
saving of fuel is very great.
The process of _case-hardening_, or changing the immediate surface of
iron utensils into steel, is readily performed by covering their surfaces
with such organic substances as contain carbon as a constituent, and then
subjecting them to high heat for short spaces of time--thus the roller
of a paper or sugar mill may be case-hardened by a coating of prussiate
of potash, or of leather chips, and then subject the whole to high heat,
excluded from atmospheric influences. By this process the gelatine and
other constituents of the leather are reduced to carbon, and this enters
the surface particles of the iron, converting them into steel. Many
hypotheses are offered for this action, and among others, that "_the
ultimate particles of matter are always in motion_," admitting the ingress
of particles travelling in smaller orbits between them. The friends of
this hypothesis offer as proof, that a fresh cast sash-weight when broken
is a gray mass, while one taken from an old building, and broken, is
beautifully crystalline, from the centre to the outside, like speculum
metal. A freshly drawn piece of tin pipe when suddenly bent opposite the
ear gives no crackling sound, and if broken has no crystalline structure,
but if left at rest for one hour it has both. Barbers often tell us that
razors get tired of shaving, but if laid by for thirty days they will then
shave well. By microscopic examination it is found that the _tired razor_,
from long stropping by the same hand and in the same directions, has the
ultimate particles or fibres of its surface or edge all arranged in one
direction, like the edge of a piece of cut velvet; but after a month's
rest, these fibres re-arrange themselves heterogeneously, crossing each
other and presenting a saw-like edge, each fibre supporting its fellow,
and hence cutting the beard, instead of being forced down flat without
cutting, as when laid by. These and many other instances are offered by
the friends of the hypothesis named, to prove that the ultimate particles
of matter are always in motion, and they say that in the process of
welding, the absolute momentum of the hammer causes an entanglement of
orbits of motion, and hence a re-arrangement, as in one piece; indeed, in
the cold state, a leaf of gold laid on a polished surface of steel, and
stricken smartly with a hammer, will have its particles forced into the
steel so as to permanently gild it at the point of contact.
The oxidation of metals is equally curious, and the length of time
necessary for the formation of an infinitesimal coating of oxide is less
than the one-thousandth of a second. This fact may be readily proved: a
clean surface of steel, free from oxide, when brought in contact with
mercury (quicksilver) will amalgamate, but if the least oxide be upon
the surface no such effect will take place. Prepare a trough containing
quicksilver, and place a bar of steel above it, and within one inch or
less of the surface of the quicksilver--break this bar with a smart blow
from a hammer, so that the blow which breaks it shall at the same time
force the broken ends into the quicksilver, and although the time occupied
by the ends in passing through one inch of atmosphere before reaching the
surface of the quicksilver will be immeasurably short, still they will be
so oxidized as not to amalgamate with the mercury; if, however, the bar
of steel be confined at its ends below the surface of the quicksilver,
and then be broken _upwards_, by a lever applied to its centre, the ends
of the broken bar will be beautifully amalgamated before reaching the
atmosphere above. The reason for the success of the last named experiment
is doubtless due to the absence of oxide of iron, when broken beneath the
surface of the mercury. J. J. MAPES.
* * * * *
New Weigh-lock at Albany.--A writer in the _Courier and Enquirer_ gives a
description of the great weigh-lock that has just been erected at Albany,
for the purpose of ascertaining the tonnage of canal boats.
Heretofore long and vexatious delays have been the result, while now, a
boat is brought into the lock, and in a time which would have scarcely
sufficed in other days to have ascertained the weight of a small parcel,
the unerring register on the beam, has registered its weight, and the
record is on the books of the office. The weigh-lock is directly on the
side of, and attached to the large canal, and is adapted to the use of
such boats as shall hereafter be built, when the locks throughout the
entire length of the canal shall be of the uniform enlarged size.
* * * * *
Daguerreotyping in London.--In a recent letter from J. E. Mayall, dated
London, February 11th, he writes in his postscript:--"While I write this
letter we have the gas lighted in the streets--1 o'clock P.M., and I write
by gas-light."
We must confess that the Daguerreotypists are in the "Fog" enough in this
country, but if "Old Sol" should get blocked up at that early hour, we
don't know what would become of our "Foggy" Daguerreotypists here.
* * * * *
The ground side of the "Ground Glass" should face the lenses.
* * * * *
Mercury baths should always be kept covered with some porous wood, in
order that the mercurial vapors cannot escape in the room.
* * * * *
QUICK STUFFS.
We have endeavored to guard against giving useless receipts, thereby
saving our Daguerreotypes a tax which would prove in most instances of
no benefit. As many have requested us to publish a variety of receipts
for Quicks. We give them with but little comment. We will number each
combination:
No. 1. Take pure rain or distilled water, one quart filtered through paper
into a bottle having a ground glass stopper, and add one and a half ounces
of chloride of iodine for warm weather, or little less for cold weather.
The reason of this is obvious, from the fact that during the warm summer
day, the bromine is far more volatile than in a winter day. To the above
add one ounce of best American bromine, and shake well. Now, with care, to
prevent, as far as possible, the escape of gas, add, drop by drop, thirty
drops of aqua ammonia, shaking well the mixture at each drop.
It is necessary that caution be observed, and not add more at a time than
three drops of the aqua ammonia, as otherwise it evolves too much heat.
_Use._ Put in the box one part quick to eight parts water. Coat to dark
yellow over dry iodine, and change to a deep rosed color over the Quick;
recoat over iodine one-tenth.
No. 2. Lime water, one quart; chloride iodine, one ounce; add
three-fourths of an ounce of bromine--shake well.
_Use._ Put in box one part quick to six water; coat to bright yellow over
iodine; to rose over the quick, and recoat one-fourth.
No. 3. Take rain or distilled water, one quart; add pulverized alum until
it is a little sour to the taste; and a small piece, say one half inch
square, of magnesia,--Filter through paper, and add chloride of iodine,
one half ounce; bromine sufficient to take it up, which is a little less
than half an ounce.
_Use._ One part quick to six parts water; coat over iodine to a soft
yellow, nearly, but not quite bordering on a rose; over the quick to a
dark purple or steel; recoat from one-sixth to one-tenth.
The above works slow, but with a good light and proper management it can
be made to produce as good impression as any combination known, yet it is
not so easily managed as No. 1.
No. 4. Rain or distilled water, one gallon; bromine, one and a half
drachm; sulphuric acid, two and a half drachms; hydrochloric acid,[C] two
drachms.--Shake well as each is added in the above order.
[C] This acid dissolves glass with great rapidity. It is purchased in
leaden bottles. A single drop on the skin would make a sore difficult
to heal. Daguerreotypists should bear in mind that the accelerating
chemicals used in the Daguerreian art, are of the most volatile
substance, and more difficult to experiment with than all other in the
range of chemical science. When hydrofluoric acid is to be measured,
the graduated glass should be partly filled with the mixture to which
you intend adding it.
_Use._ To one ounce water, add from fifteen to thirty drops quick; coat
over an incipient rose; over quick, nearly change the color to fair rose;
recoat about one-third or one-fourth as long as at first coating. The
coating box should be charged strong enough to change the plate in from
_one_ to _four seconds_. One advantage this mixture possesses, it will
work in one-half the time required for any of the foregoing combinations.
One very serious objection to its use is, it cannot, without great care,
be made to work with certainty; and another objection is, it will not last
long, as the box will require to be replenished after having coated from
_eight_ to _fourteen_ plates. The older, however, this mixture is, the
more certain in its operation. We have one gallon which has been made _two
years_.
No. 5. _Dry Quick._ We have already given this preparation in a former
number of this Journal.
No. 6. _Acidulated Quick._ Water, one pint: bromine, ten drops; chloride
of iodine, forty drops; nitro-muriatic acid, one-fourth ounce; sulphuric
acid, two drops.
_Use._ One part quick to ten parts water; coat over iodine to orange;
over quick to rose red; recoat one-fourth.
There are thousands of different combinations and agents employed, and,
after all, let every Daguerreian make up his mind to first _become
acquainted_ with some _good_ combination of bromine and iodine, there will
be less complaining of _Quicks_.
_Money received since our last Number._
W. A.; M. R.; F. S. H.; J. W. O.; S. B. D.; H. O. N.; T. O.;
J. H. F.; S. B. B.; M. P. B.; A. B.; J. H. V.; W. A. J.; J. E. M.;
M. M.; H. H. L.; J. W. H.; S. N. R.; N. E. S.; R. B. A.; H. S. B.;
D. C.; T. C. D.; C. H. G.--each $2. G. & B.; D. McD.; S. P.;
M. S. U.; C. T. M.; S. S.; W. R. R.; S. B. jr.; E. N. H.; C. W. T.;
J. M.; S. H.; N. C.; C. M. H.; J. B.; J. B. R.; W. O. G.; N. P. S.;
L. O.; A. T.; W. S. W.; N. E. R.; D. G. K.; L. Q. V.; H. K.; Y. M.;
A. G.; U. B.; D. A. N.; V. T.; W. O. O. V.--each $3. S. B. & CO.;
M. & B.; P. C.; T. C. D.; S. & S.; H. & M.; M. W. N.; G. D. A.;
J. S.; A. T. W.; M. A. H.--each $5. N. E. S.; T. C. D.--each $10.
M. S. $15. B. F. $34.
* * * * *
ANSWERS TO CORRESPONDENTS.
W. O. R., Mo., Mr. R. writes--"Will you have the kindness to inform me of
any new process for preparing phosphate of iron. I make the request more
particularly to obtain a process by one Mr. Routh, who I understand has a
new process."
The preparation referred to by Mr. R., was read before the London Medical
Society, January 11, 1851, by Dr. Routh, at which time he exhibited
specimens of phosphate of iron made by dissolving the ordinary phosphate
in meta-phosphoric acid, and by then evaporating to degrees. It has been
found that this form of iron is exceedingly useful in cases where iron is
desired.
W. B. N., Mexico--Mr. N. says--"Will some of your subscribers give,
through your Journal, a practical and first-rate process for producing
Calotypes?"
We hope some of our "subscribers" will furnish the same.
H. B. T., Ohio.--Mr. T. says--"Will you give a ready and easy method of
detecting chlorine? I find in a former number of your valuable Journal,
that you have been making experiments with this gas. I have had remarkable
success with this gas, although not a practical Daguerreotypist."
Mr. J. will find 'this gas' is readily distinguished from other gases by
its color, odor, and bleaching properties. Probably the most simple method
of detecting free chloride is to hold a rod dipped in aqua ammonia over
it, when white fumes will be formed.
Will Mr. J. have the kindness to forward to us his experiments--we would
like much to lay them before our readers.
A Stock Dealer, in one of the Southern States, writes--"What articles of
stock will be less needed by artists, provided Mr. Hill's process proves
true, of producing pictures with all the 'colors of nature?'"
_Colors and brushes!_
J. W. S , Mich.--We forwarded the article you ordered, and enclosed the
balance in the package. The view camera you had better order soon, as it
will be some time before Mr. Harrison can get it ready, he having so many
orders now on hand. You had better have one of Lewis's _new_ Camera boxes.
T. J. C., Va.--We cannot recommend the articles you speak of; they involve
only an old vague principle, and are only worthy the person having them in
charge.
A. G. L., Pa.--The money received and forwarded to Europe--your plan may
work, but it looks a little too "opaque." You will find by heating an iron
plate, and applying it to your apparatus, will facilitate the operation
much. Chapman has the exclusive right to the patent.
E. W., Miss.--See page 24, Daguerreian Journal.
R. M. H., Ala.--You will find "Silliman's Journal" a great aid and
valuable work, published the first day of every second month, price $5 per
year. New Haven, Conn.
See answer to L. I. G., page 187.
* * * * *
NOTICE OF NEW PUBLICATION.
The New York Register of Medicine and Pharmacy, published semi-monthly and
edited by Dr. C. D. Griswold.
This valuable Medical Journal is fast making its way into the medical
ranks with marked energy. Its age is about the same as ours, and we are
happy to see that with us it is prosperous; every number is received and
read with pleasure. We find the following pithy notice in the Register,
which is only one of many from the cute pen of the Editor, who it seems
has 'cut up' as well as received a "New Dido." "We were presented with
the first number of the "New Dido" by the publisher, and from the title,
at first supposed that it might be in some way connected with the medical
profession, inasmuch as some 'pranks' in a medical way have been 'cut up'
in poetry, but in looking it over, we find that a couple of 'chaps' have
started off for a drive, although what they are 'driving at,' the author
has not yet disclosed. We think it likely enough they may "turn out"
students, for they are evidently after subjects, which no doubt will be
brought to light in the next number."--Good, Dr., that is worth the Dollar
for the subscription.
We have also received the 15th of March number, which has a fine likeness
of Dr. John W. Francis.
* * * * *
=ADVERTISEMENTS.=
=HILL'S=
TREATISE ON DAGUERREOTYPE.
TWO VOLS. IN ONE.
The whole Art made easy, _and all the recent improvements revealed_.
Containing also--The Process for Galvanizing Plates, and the whole Art
of Electrotype; the Reproduction of Daguerre's Images by Tithonotype; an
account of Calotype Paper, and other methods of Photogenic Drawing &c. By
L. L. Hill, Westkill, Greene Co., N. Y.
CONTENTS.
History of Photography; Theory of the Process; Description of Apparatus;
Account of Stock, such as Plates, Cases, Chemicals, and other articles to
be purchased forming a complete Daguerreian Directory; Recipes, a large
number; Polishing Plates; Coating the Plate; Camera; Mercury; Gilding;
Coloring; Calotype, Tithonotype, &c.
The above is but a partial outline of the subjects treated in this
work. Nothing is omitted which is necessary to render any person of the
requisite judgment and taste "a workman that need not be ashamed," The
_Recipes_ have cost the author more than $500, and no pains or expense
have been spared to render the work a complete Manual of Daguerreotype.
TESTIMONIALS.
The following extracts from a large number of highly flattering
Testimonials from distinguished Artists and others:
M. A. Root, an eminent Daguerreian, Philadelphia says, "I can freely
say yours is, in my opinion, a most valuable Treatise on the Art of
Daguerreotype."
From the _Albany Express_, "We would recommend this useful work to all
practising the Art."
E. Jacobs, a celebrated Operator, New Orleans, says, "I have perused the
work with much gratification as being much needed in the Art. I can sell
a large number to pupils."
From the _Ulster Telegraph_, Saugerties, N. Y.: "Those acquainted with the
Christian character, and extraordinary skill of Mr. H. in Daguerreotyping,
need no recommend from us. His pictures are perfectly exquisite, and his
modes of operating of the most simple and scientific character. The Book
will be a treasure to those engaged in the Art. It is one of those rare
works which is as good as its title-page, and we heartily recommend it to
the Daguerreian fraternity."
Orders should be directed to S. D. Humphrey, Agent, New York.
Also for sale, as above, price $2, a pamphlet by the same author, on the
Magic Buff, Plate-Making, Fixing Process, Celerotype, &c.
* * * * *
=TO DAGUERREOTYPISTS,=
WANTED--A PARTNER to engage in the Daguerreotype business. One having
from Five Hundred to One Thousand Dollars can now have an unequalled
opportunity to join with one of the best Artists in the country, the
advertiser possessing unequalled advantages for opening a Room in this
city, now offers a rare chance to any one possessing the above amount of
capital, none other need apply. Applications to be made by letter, which
will be _confidential_, and addressed, _post-paid_, to the Editor of the
Daguerreian Journal, References must accompany the answer to this, and
real name stated. A chance for Daguerreotypists out of the City.
* * * * *
=PETER SMITH,=
Importer and Dealer in Tubes, Apparatus, Plates, Cases, Chemicals, and
every article appertaining to the Daguerreian Art.
No. 36 Fifth Street, Cincinnati, Ohio.
* * * * *
=LOUIS BECKER=
Well known CHEMICALS, for sale at Becker & Piards, No. 201 Broadway, N. Y.
* * * * *
=DAGUERREIAN ESTABLISHMENT.=
JOHN ROACH, Optician, 79 Nassau Street, New York. Has always on hand
VOIGHTLANDER INSTRUMENTS, quarter, half, and whole size.
American Instruments, Roach's make, warranted to be superior to any
yet made in the United States. They work with sharpness, and
quickness, and persons purchasing can test them with the high
priced German Instruments.
Coating Boxes, Flint Glass Jars, cemented in, and ground air tight.
Mercury Baths, with Thermometer Scale in front. Head Rests, Stands,
Cases, Chemicals, &c. Plates, French 40th of the Star, and other
first quality Brands.
Bromine Roach's Triple Compound, now called Quick-stuff, works with
certainty and quickness, in all weather, and pictures taken with
it have a rich white tone.
GALVANIC BATTERIES, &c.
* * * * *
=DAGUERREOTYPE GOODS ONLY.=
ANTHONY'S NATIONAL DAGUERREIAN DEPOT.
_205 Broadway, N. Y._
THE attention of Daguerreotypists, and the Trade, is respectfully invited
to my assortment, which I believe to be unequalled in extent and variety.
Plates, Frames, Case-
Cases, Cameras, Makers'
Chemicals, Apparatus, Materials,
of every style and size.
For Sale, price $1 per copy, beautifully bound in cloth, the standard
work, second edition, enlarged and greatly improved, the History and
Practice of the Art of Photography, or the production of Pictures through
the agency of light, by H. H. Spelling, illustrated with thirty-five
engravings.
Goods can be forwarded to order, to any town or village in the United
States or Canada, and the bill collected on delivery of the goods,
provided such town has connection by express with New York. Where there is
no such connection, Daguerreotypists would do well to order their goods to
the nearest express town.
E. ANTHONY,
_Importer and Manufacturer of Daguerreian Materials._
N.B.--Good journeymen Case-Makers wanted, to whom steady employment will
be given.
* * * * *
=BENJAMIN FRENCH,=
_No. 109 Washington Street, Boston._
DAGUERREOTYPE Apparatus, Plates, Cases, Frames, Gold Lockets, Polishing
materials, Chemicals, and every description of Goods used in the
Daguerreotype business, constantly on hand and for sale, at wholesale and
retail, at the lowest cash prices. 3tf
* * * * *
=S. J. THOMPSON,=
WOULD most respectfully announce to the public, that he has one of
the best sky-lights in the United States, and is prepared to execute
Daguerreotypes. Likenesses of all sizes, put up in every style of the Art.
No. 57 State-street, Albany, N. Y. 2ly
* * * * *
=$5 REWARD.=
STOLEN from the door of Clark Brothers, 551 Broadway, one full size
Daguerreotype View, in papier mache frame, oval fire gilt mat. Said View
of a GOTHIC COTTAGE, on the steps of which can be seen a lady, two or
three boys and a dog. Any person returning the above described Picture, or
giving information where it may be found, shall receive the above reward
Oct 16.
* * * * *
=WANTED IMMEDIATELY.=
A GOOD DAGUERREOTYPE OPERATOR can have steady employment to engage in a
pleasant western city in the state of Ohio.
Also a first class operator can have good wages and engage for one year,
to go to California.
For further particulars enquire at this office. None need apply but such
as are competent to take _full charge_ of the operating department of a
large establishment; salaries will be in accordance.
* * * * *
=J. D. WELLS,=
DAGUERREIAN ARTIST, No. 6 Kirkland's Block, Main Street Northampton, Mass.
_Likenesses_ taken by a sky-light connected with a beautiful side-light.
Pictures put up in all styles of the Art. Plates, Cases, Lockets, Frames,
and all kinds of Daguerreotype Stock for sale. 2-3
* * * * *
=Circular to Daguerreotypists.=
GEORGE DABBS & JAMES CREMER, Travelling Agents for L. Chapman, 102 William
street, New York, manufacturer of Daguerreotype cases, mats, preservers,
and plates, and importer of the _genuine_ Star brand, No. 40, French
plate, and last, though of first importance, proprietor of "Peck's patent
plate holder,"--the great desideratum which only requires to be used to
be appreciated. Prices, $1,00 for medium; $1,50 for quarters; $2,00 for
halfs and $2,50 for whole size holders--a vice to hold the blocks $1,50
and an instrument for bending the plates 75 cents. They would inform
Daguerreotypists and dealers that they will wait upon as many during the
winter, as their time will permit, for the purpose of exhibiting the
patent Plate Holder, for a description of which see advertisement headed
"Two New Inventions". 1tf
New York, November 1, 1850.
* * * * *
=INSLEY'S DAGUERREOTYPE GALLERY=
REMOVED TO
No. 311 BROADWAY, N. Y.
(_Between Stewart's and the City Hospital._)
THIS, our new Sky-light Gallery, is located on the second floor at the
above number, and is universally acknowledged to be the most convenient
and effective Gallery in the City. Every real improvement is taken
advantage of, and, aided by scientific and gentlemanly assistants, we
trust our pictures cannot be excelled.
The Clergy--the Statesman--the Artist--the Man of science--and all lovers
of really good Daguerreotypes, throughout the United States, are invited
to call and examine our collection.
P. S.--This Gallery was for several years located on the corner of Cedar
street, but is now removed to No. 311 Broadway.
* * * * *
=J. E. MARTIN,=
"EXCELSIOR ROOMS," Jefferson Avenue and Odd Fellows' Hall, Detroit.
Daguerreotype Likenesses taken in every style of the Art. 2ly
* * * * *
=CAMERAS.=
C. C. HARRISON, Manufacturer of Cameras, and Camera Lenses, of all sizes
and of the latest improvements. Office 293 Broadway, New York, where in
his Gallery may be seen specimens of Daguerreotypes taken with instruments
of his own manufacture, which for accuracy of performance are unsurpassed
by any in the world.
N. B. A new and improved Camera for taking views, is manufactured by him,
at a price unprecedentedly low.
C. C. HARRISON,
No. 293 Broadway, N. Y. 2tf
* * * * *
=PREMIUM DAGUERREOTYPE DEPOT AND MANUFACTORY.=
W. & W. H. LEWIS, 142 Chatham Street, New Fork, keep constantly on hand,
superior CAMERAS of all sizes; also, _quick working_ Cameras, fully equal
to any imported. All kinds of Apparatus, including our Patent PLATE VICES
and GILDING STANDS; Galvanic Batteries for Electrotyping, for durability
superior to all others. Buffing Lathes, on the most approved plan, Plates,
Cases, Chemicals, Polishing Materials of every description. All kinds of
Walnut, Rosewood and Gilt Frames for Daguerreotypes, outside Show Frames,
Diploma, Certificate and Picture Frames made to order. Pressing Machines,
for Straw and Leghorn Hats, of improved construction. 1tf
* * * * *
=SCOVILL MANUFACTURING CO.=
_No. 57 Maiden Lane, New York,_
Have constantly on hand an extensive assortment of all articles belonging
to the Daguerreian Art; embracing plates of their own, and French
manufacture, Mattings, Preservers, Frames, Cases, Lockets, Chemicals,
Cameras and Apparatus of every variety.
Agents for the sale of C. C. Harrison's celebrated Cameras.
All orders will receive prompt and careful attention.
* * * * *
=CLARK BROTHERS, & B. L. HIGGINS.=
Daguerreian Gallery, over the "Regulator," Franklin Buildings, Syracuse,
N. Y., No. 128 Genesee St., Utica, Tremont Row Boston, and 551 Broadway,
New York.
Likenesses by the improved Daguerreotype of various sizes, and of the most
delicate executions may be obtained at the above rooms during the day,
from 8 A M., to 5 P. M.
Chemicals, Plate, Cases, Cameras, Apparatus, and other materials,
connected with the art, constantly on hand, and for sale at New York
prices.
All articles are selected with great care and warranted to give the best
satisfaction.
* * * * *
THE SUBSCRIBER, would respectfully inform the Daguerrian Artists, that he
has _constantly on hand_ a large assortment of Daguerreotype apparatus,
plates, cases, and chemicals, comprising in part the following:
Voightlander & Sons, Harrison's, Lewis' and Perry's Cameras and other
apparatus of the most approved styles.
Plates--Scovill's, Chapman's and the different brands of French plates.
Cases--silk and velvet lined, Papier Mache and a great variety of fancy
cases.
Chemicals--American, German and French Bromine, chloride of iodine,
do gold, calcium, mercury rouge, rotten stone, black polish, colours,
brushes, rosewood and Papier mache, frames, mats, glass preservers,
prepared buck skin, &c., &c Every article used in the business, which
I will furnish to operators at retail or wholesale, as low as the same
quality of articles can be bought in New York or elsewhere.
Our motto is small profits and quick sales.
N. E. SISSON.
No. 496 Broadway, Albany N. Y. 1tf
* * * * *
TWO NEW INVENTIONS
=IN THE DAGUERREOTYPE ART.=
"PECK'S PATENT PLATE HOLDER," and the "_Bent Edge Daguerreotype Plate_,"
used in connection with it. An instrument is sold for seventy-five
cents, with which every operator can bend his own plates. The holder is
a desideratum, and only requires to be used to be appreciated. It is
so constructed that it will hold the plate through all the stages of
cleaning, buffing, polishing, coating, taking the picture in the camera,
and mercurializing without any change. During the whole process, the plate
need not be touched with the fingers, and does away with the use of wax,
&c., &c.
The prices for the holders are mediums, $1 00--quarters, $1 50--Halves,
$2 00--whole size, $2 50.
The "_Magic Back Ground_." The discovery of this is due Mr. C. J. Anthony,
of Pittsburgh, Pa. By this process the most beautiful effects can be
produced, and the pictures are set forth in bold relief on back grounds
of various shapes and tints. Pictures taken with the "Magic Back Ground,"
will be emphatically the "_Pictures for the Million_." The Patent is
applied for, and the right ratified upon the receipt of the Patent, for
the sum of Twenty-Five Dollars.
L. CHAPMAN, 102 William St., N. Y.
Manufacturer of Cases, Mats, Preservers, Plates, Importer of the genuine
Star Brand, No. 40 French Plates, and dealer in Daguerreotype stock
generally.
* * * * *
=LEVI CHAPMAN,=
No. 102 William street, New-York, Manufacturer of, and Dealer in
Daguerreotype Stock.
=Daguerreotype Cases.=
Medium size, from $15 to $198 per gross,
Quarter " " 24 to 288 "
Half " " 60 to 432 "
MATS, PRESERVERS and CHEMICALS of all kinds. French and American PLATES.
L. C. imports the genuine No. 40 Star Brand French Plate, which he keeps
constantly on hand, together with an assortment of other kinds.
PAPIER MACHE CASES, inlaid with Mother of Pearl, exceeding in beauty any
thing of the kind heretofore made, from 90 to $1152 per gross.
L. C. is also proprietor of Peck's patent moveable Plate-holder.
GEORGE DABBS, } Travelling Agents.
JAMES CREMER, }
* * * * *
DAGUERREOTYPE FURNISHING ROOMS.
=WM. A. WISONG.=
_No. 2 N. Liberty Street, Baltimore, Md._
HAS CONSTANTLY ON HAND, a full and general assortment of Stock, for
Daguerreotype use.
Embracing every variety of Cameras, Plates, Cases, Fixtures, Trays,
Chemicals, and Materials used by Daguerreian Artists, all of which are
offered at the lowest market rates.
Orders from Artists are respectfully solicited, and forwarded with
dispatch. 2ly
=DAGUERREOTYPE PLATES.=
2000 LOUIS L. BISHOP'S superior PLATES, offered for sale at a great
bargain, by
VICTOR BISHOP, 23 Maiden Lane. N. B. These Plates are silvered by the
electro-magnetic process, and warranted superior to the best French
plates. 1tf
* * * * *
=ENGRAVING=
THE SUBSCRIBER still continues to carry on the business of ENGRAVING ON
WOOD, in all its branches. His facilities are such that he is enabled to
execute all orders promptly, and in every style of the Art, upon the most
reasonable terms; while the experience of many years enables him to feel
confidence in his efforts to give satisfaction to all who may favor him
with their patronage.
_Particular attention_ paid to the Drawing and Engraving of Subjects from
Daguerreotypes.
N. ORR,
No. 151 Fulton-st. N. Y. 2tf
* * * * *
=BOOK AND JOB PRINTING.=
WILLIAM S. DORR, 101 Nassau Street, over Ackerman & Miller's Sign and
Banner Painting Establishment, is prepared to print, in the best style,
and at the usual _Low Prices_, Books, Periodicals, Newspapers, Pamphlets,
Bill Heads, Circulars, Commercial and Law Blanks, Bills of Lading, Bank
Checks, Notices, Labels, &c. Cards printed on the celebrated Yankee Press.
Few offices in the city have greater facilities for doing work with
_neatness_ and _despatch_, as most of the materials are new, and long
editions are done by steam power presses.
* * * * *
=J. H. WHITEHURST'S=
ELECTRO DAGUERREOTYPES.
_Galleries, 207 Baltimore Street, Baltimore,_
Broadway, New York, 77 Main street, Richmond, Va., Main street, Norfolk,
Va., Sycamore street, Petersburg, Va., Main street, Lynchburg, Va.,
Pennsylvania Avenue, Washington city.
Likenesses taken equally well in all weather. 2tf
* * * * *
=DAGUERREIAN ARTISTS' REGISTER.=
Appleby, R. B., 14 Arcade, Rochester, N. Y
Anthony, J. B., Poplar Grove, S. C.
Adams, George, Worcester, Mass.
Brady, Matthew B., No. 205 Broadway, N. Y.
Burges, Nathan G., No. 187 Broadway, New York.
Baker, F. S., Baltimore, Md.
Broadbent, Samuel, Wilmington, Md.
Barnes, C., Mobile, Ala.
Bartlet, No. 102½ Main street, Boston, Mass.
Bogardus, A., No. 217 Greenwich street, N. Y.
Brown, F. A., Museum Building, Mashetnec, N. H.
Brown, H. S., Milwaukie, Wis.
Buxton, John, St. Catharine street, Montreal, Canada.
Bradlee, J. E., Boston, Mass.
Buell, E. M., Pittsfield, Mass.
Bowman, J. A., Berlin, Waterloo County, Canada West.
Bisbee, A., Dayton, Ohio.
Bowen, N. O., Norwich, Conn.
Beckers & Piard, 201 Broadway. N. Y.
Brown, James, 181 Broadway, N. Y.
Campbell, B. F., Corner Hanover and Union streets, Boston, Mass.
Collins, David, Chesnut Street, Philadelphia, Pa.
Cooley, O. H., Springfield, Mass.
Clark Brothers, No. 551 Broadway, N. Y., 128 Genesee Street, Utica,
Franklin Building, Syracuse, New York, and Tremont Row, Boston, Mass.
Cook, George S., Charleston, S. C.
Coombs, F., San Francisco, Cal.
Cary, P. M., Savannah, Ga.
Chuchill, R. E., 55, State Street, Albany, N. Y.
Chase, L. G., Boston, Mass
Dodge, E. S., Augusta, Ga.
Davie, D. D. T., Utica, N. Y.
Dobyns, T. J., New Orleans, La., Nashville, Tenn., and Louisville, Ky.
Done, T. C., No. 2, Place d'Armes, Montreal, Canada.
Ducan, W. H., No. 303 Broadway, N. Y.
Die Riemer, C. R., Auburn, N. Y.
Evans, O. B., Main Street, Buffalo, New York.
Evens, Chas., No. 380 Market street, Philadelphia, Pa.
Ennis, T. J., 106 Chestnut street, Philadelphia, Pa.
Finley, M., Canandaigua, Ontario Co., N. Y.
Fitzgibbon, J. H., St. Louis, Mo.
Faris, Thomas, Corner Fourth and Walnut Street, Cincinnati, Ohio.
Gurney, Jeremiah, No. 189 Broadway, N. Y.
Gavit, Daniel E., 480 Broadway, Albany, N. Y
Gay, C. H., New London, Ct.
Geer & Benedict, Syracuse, N, Y
Hill, R. H., Kingston, Ulster Co., N. Y.
Haas, Philip, No. 280 Broadway, N. Y.
Hall, W. H., Rouse's Point, Clinton Co., N. Y.
Harrison, C. C., 293 Broadway, N. Y.
Hill, L. L., Westkill, Green Co., N. Y.
Hale, J. W., Newark, N. J.
Hough & Anthony, Pittsburg, Alleghany Co., Pa.
Hale, L. H., 109 Washington street, Boston, Mass.
Hawkins, E. C., Corner of Fifth and Walnut Street, Cincinnati, Ohio.
Insley, Henry E., 311 Broadway, N. Y.
Johnson, Charles E., Cleavland, Ohio.
Jacobs, E., 73 Camp St, New Orleans, La.
Joes, L. M., No. 142 Washington street, Boston, Mass.
Johnston, D. B., Utica, N. Y.
Johnson, George H., Sacramento, Cal.
Kelsey, C. C., Chicago, Ill.
Lawrence, Martin M., No. 203 Broadway, N. Y.
Lewis, W. and W. H., No. 142 Chatham Street, New York.
Litch & Graniss, Waterbury, Ct.
Long, H. H., St. Louis, Mo.
Long, E., St. Louis, Mo.
L'homdieu, Charles, Charleston, S. C.
Martin, J. E., Detroit, Mich.
Moissenet, F., New Orleans, La.
Moulthroup, M., New Haven, Ct.
Manchester & Brother, Providence, and Newport, R. I.
McDonald, D., Main Street, Buffalo, New York.
Miles, Chas. T., Fayette, Jefferson Co., Miss.
McClees & Germon, Philadelphia, Pa.
Morand, A., 132 Chatham Street, N. Y.
Naramore, William, Bridgeport, Conn.
Nichols, John P., No. 75 Court street, Boston, Mass.
Ormsbee & Silsbee, No. 203 Washington street, Mass.
Owen, N., Goshen, N. Y.
Prosch, G. W., Newark, N. J.
Peck, Samuel, New Haven, Ct.
Powelson & Co., 177 Broadway, N. Y.
Prod'homme, J. F., 663 Broadway, N. Y.
Reynolds, G. L., Lexington, Va.
Rice, S. N., 194 Canal Street, N. Y.
Root, M. A. & S., No. 363 Broadway, New York, and 140 Chesnut Street,
Philadelphia, Pa.
Ritten, E. D., Dunburry, Conn.
Swift, H. B., 312 Market St, Philadelphia, Pa.
Sawyer, Jo., Boston, Mass.
Stansbury, B., Brooklyn, L. I.
Stamm & Upman, Milwaukee, Wis.
Sissons, N. E., No. 496 Broadway, Albany, N. Y.
Shorb, J. R., Winnsboro, S. C.
Shew, Myron, Chestnut Street, Philadelphia, Pa.
Thompson, S. J., No. 57 State Street, Albany New York.
Tomlinson, William A., Troy, New York.
Van Alsten, A., Worcester, Mass.
Vail, J. H., New Brunswick, N. J.
Van Loan & Co., 118 Chestnut street, Philadelphia, Pa.
Westcott, C. P., Watertown, Jefferson Co., N. Y.
Wood, R. L., Macon, Ga.
Whipple, John A., Washington Street, Boston, Mass.
Whitehurst, J. H., New York, Richmond, Norfolk, Petersburg, and
Lynchburg, Va., Baltimore, Md., and Washington City, D. C.
Wells, J. D., No. 6, Kirkland Block, Main street Northampton, Mass.
Walker, S. L., Broadway, Albany and Poughkeepsie, N. Y.
Walker & Horton, Newburgh, N. Y.
Wentworth. Henry, Fort Plain, Montgomery Co., N. Y.
Williams, J. A., Washington Square, Newport, R. I.
Williams, J. B., Philadelphia, Pa.
* * * * *
=PREMIUM.=
TO any practical Daguerreian Artist who will furnish us with the largest
list of subscribers for the Daguerreian Journal, within the next six
months, we will award him one of the best full size American Cameras.
New-York, Nov. 1st, 1850.
* * * * *
=THE DAGUERREIAN JOURNAL,=
=Devoted to the Daguerreian and Photogenic Arts,= _also, embracing the
Sciences, Arts and Literature_.
The Daguerreian Journal is published semi-monthly, at 311 Broadway, on the
1st and 15th of every month.
=Business Department.=
Terms--_Three Dollars_ a year; in advance.
=Inducements for Clubbing.=
Two copies of this Journal will be furnished for one year for $5; four do.
for $9; and ten do. for $20
=Advertising.=
One square of 6 lines or less, one insertion, $0 50
Do. do. 10 " " " 75
Do. do. 14 " " " 1 00
Register of Daguerreian Artists, not exceeding two lines, $1 per year.
Yearly advertisements as may be agreed upon.
It is particularly requested that all addressing letters to us, would put
on the State, as well as the Town in which they live.
Subscribers are authorised and requested to send bank notes or change by
mail, at our risk, provided it is done in the presence of the Post Master,
and the letters are franked.
All communications and remittances intended for this Journal, in order to
secure attention, should be _post paid_.
Daguerreian Artists that are travelling in the country, can have this
Journal sent to anyplace where they may be, provided they give us notice,
and the Post Office changed from.
[Hand] All Letters should be addressed (post-paid) to S. D. HUMPHREY, 311
Broadway, New York.
* * * * *
=GURNEY'S=
=DAGUERREIAN GALLERY.=
_189 Broadway, N. Y.,_
Has been known for years as one of the First Establishments of the kind
in the country, and the oldest in this city. Mr. G. attends personally to
the Operating Department, and having a superior arrangement of Light, as
well also as every other ability; and from his long experience in the Art,
he is at all times enabled to give perfect satisfaction to all who wish
a good likeness. His collection of large size pictures of distinguished
persons, are universally pronounced superior to any heretofore taken in
this country. Ladies and Gentlemen are respectfully invited to examine
them: 189 Broadway, directly opposite John Street.
_Copies of a Superior Daguerreotype of_ Jenny Lind _for sale_.
* * * * *
=JAMES BROWN'S=
DAGUERREOTYPE MINIATURE GALLERY.
_181 Broadway: Rear Stairs._
THE undersigned, for four years the principal Operator of M. B. Brady, has
the honor to announce to his friends, and the fashionable circle, that
his Rooms are now open at the above No., for the transaction of business,
where he will be pleased to see his friends and the public generally;
and hopes to receive a portion of that patronage so liberally extended
to him while principal at Brady's. He will also take the liberty of
mentioning, to those unacquainted with the fact, that the pictures which
have received the different premiums for Mr. Brady, were taken, colored,
and arranged, with the assistance of Mr. Hays, who is still with him,
entirely by himself. Particular attention is called to the very superior
coloring tone and finish of the impressions from this establishment,
which, through an incessant study of seven years, the subscriber feels
conscious in asserting can always be relied on, as he attends personally
to his sitters. Pictures taken in any weather, in any desired style, and
his charges being extremely moderate, he hopes to suit all classes.
JAMES BROWN,
_Member of the Society for the Promotion of
Painting in Water Colors, and for ten
years a Student in the National
Academy of Design._
* * * * *
=DOBYNS & Co.=
DEALERS in all kinds of Daguerreotype Stock, Plates, Chemicals, and
Apparatus. No. 6 & 28 Camp Street, New Orleans, La.; No. 60 Front Row,
Memphis, Tenn.; No. 489 Main Street, Louisville, Ky.
* * * * *
=INSLEY'S DAGUERREOTYPES.=
HAYING had the honor, in the early part of 1840, to establish ONE of the
THREE Galleries first opened to the public, in this city or the world,
viz: by Mr. Wolcott, Professors Morse & Draper, and Insley and Prosch, the
undersigned flatters himself that his prolonged experience will enable
him to give entire satisfaction to those who desire Likenesses by this
charming process.
INSLEY,
311 Broadway, N. Y.
* * * * *
=M. A. & S. ROOTS=
=DAGUERREIAN ROOMS.=
CORNER of Broadway and Franklin Street, New York. M. A. & S. Root,
celebrated for years as Daguerreian Artists in Philadelphia, have opened
a magnificently furnished SUITE OF ROOMS, in the most fashionable part of
the city, (No. 363 Broadway, corner of Franklin Street,) where, having an
admirably arranged light, they flatter themselves that they will be able
to furnish Daguerreotype Likenesses, equal in finish, accuracy and effect,
to anything of the kind in the world. They have received Six Medals from
the various Fairs and Institutes of our country; also the two highest
Medals at the Fair of 1850 in New York and Philadelphia, for the best
specimens of Daguerreotypes ever exhibited. The public are respectfully
invited to visit their Rooms and examine their Gallery of Likenesses of
the most distinguished people. Gallery Free.
* * * * *
=MYRON SHEW,=
DEALER in Daguerreotype Apparatus and Materials, Wholesale and Retail, 116
Chestnut Street, Philadelphia.
* * * * *
=A. MORAND=
DAGUERREIAN ARTIST,
132 Chatham Street, N. Y.
* * * * *
=J. W. THOMPSON'S=
DAGUERREIAN GALLERY and Depot of Daguerreian Materials of all kinds,
Instruments, Apparatus, and everything belonging to the Art, for sale
at low prices. Every Operator knows the advantage of buying his Stock
(especially plates and chemicals) of a person who not only sells Stock,
but is also a practical Daguerreotypist.
315 Broadway, N. Y.
* * * * *
=POSTAGE ON THE DAGUERREIAN JOURNAL=
THERE has been a few instances where Postmasters have charged pamphlet
postage on this Journal. We say the Daguerreian Journal is "subject to
newspaper postage only," because that is all that can legally be charged
on it. A newspaper must be published as often as "once a month," and
contain intelligence of passing events.
This publication is semi-monthly, and contains, a general summary of
"passing events." The law says it may contain two sheets, if the two
together do not exceed 1,900 square inches. This Journal contains less
than 1,100 square inches. These sheets may be folded in any shape, or
printed on paper of any color. The following is an extract from the Act of
Congress for regulating postage.
"A newspaper is defined to be any printed publication issued in numbers,
and published at stated intervals of not more than a month, conveying
intelligence of passing events. It generally consists of a sheet, but may
be composed of two sheets of paper. In such case, it is chargeable with
newspaper postage only; provided that the sheets in the aggregate do not
exceed 1,900 square inches.
"A pamphlet is a small, unbound, printed book."
* * * * *
ANTHONY'S
=NATIONAL DAGUERREIAN DEPOT,=
203 & 205 BROADWAY, NEW YORK.
DAGUERREOTYPE GOODS ONLY.
The attention of Dealers and Daguerreotypists is respectfully requested to
my assortments of Apparatus and Materials, which will be found to be very
extensive and complete.
DAGUERREOTYPE PLATES.
The celebrated Crescent Brand Plate, exclusively of my own importation,
stamped with my name, and warranted.
The Sun 40th Plate, (guaranteed to be 40th.) Star 40th Plate, French
Plates, 20th and 30th. (quality guaranteed.) Scovill Plates, of all sizes
and qualities. French Galvanized Plates.
_All the plates of my importation are carefully examined in Paris by an_
experienced _agent, practically acquainted with the manufacture of plates,
and all that are_ visibly, _imperfect, are rejected and returned to the
manufacturer. The great number I import, enables me to sell a_ genuine
article _at a low rate._
CASES.
[Exclusively of my own manufacture.]
1-15 size, 1-9 size, 1-6 size, 1-4 size, 1-2 size, 2-3 size, 4-4 size, of
every style and quality. Papier Mache or Pearl Inlaid Cases of every size
and style. _My Papier Mache work will be found to be superior to any in
the market._ Turkey Morocco Bookcases. Snap' Cases of various styles.
_Cases manufactured to suit the taste of any customer_, or adapted to any
particular Gallery, the name being beautifully embossed on the cushion
without extra charge, except for the die.
CASEMAKERS' MATERIALS.
Heavy leather for embossing. Thin leather for binding. Crimson silk for
cushions. Silk velvet, ruby and maroon, of different qualities. Cotton
velvet, crimson. Patent velvet, silk finished, crimson. Satin, maroon.
Varnish, of superior quality. Hooks. Clasps, for bookcases, &c., &c.
Embossing done at moderate rates.
PLATE GLASS.
Of the very best quality, cut to order, of any size, for cases or show
frames, and furnished by the quantity to dealers, in original packages
as imported. Also, Half white German Glass, in original packages or cut.
Green English Glass, by the gross.
METALLIC MATTINGS.
Burnished and fire gilt, of all sizes and styles, for cases or frames, all
of my own manufacture, and superior in color and beauty of finish to any
in the market.
ROSEWOOD AND BLACK WALNUT FRAMES.
Of all sizes, made in a durable manner, and fitted in a style to do
justice to a good specimen of Daguerreian art.
Fancy Frames, of various styles, of French manufacture.
PRESERVERS.
1-9 size, 1-6 size, 1-4 size, 1-2 size, of a new and beautiful style of
chasing.
APPARATUS.
Cameras of Voightlander, Harrison, Roach, and Lewis' make; also Coating
Boxes, Mercury Baths, Plate Vices, &c., &c., comprising every thing
required for the successful prosecution of the art.
HARRISON'S PATENT BUFFING WHEEL.
LEWIS' BUFFING WHEELS.
NEW STYLE PLATE BENDER.
Neat simple, and effectual, Price, $1,50.
CHEMICALS.
Iodine, best English resublimed. Chloride of Iodine. Bromine, pure German;
do. American. Chloride of Gold, of the best makers. Salt of Gold, or
Hyposulphite of Gold. Distilled Mercury. Rotton Stone, of all the various
makers. Rouge, best French; do. American. Photogine. Hyposulphite of Soda,
best French; do. do. American. Cyanide of Potassium. Dry Quick-stuff,
Anthony's Anhydrous. Roach's Triple Compound of Bromine. Chloride of
Bromine. Fluoride of Bromine. Oxide of Silver. Gallic Acid. Crystailizable
Acetic Acid. Bromide of Potassium, Nitrate of Silver. Muriate of Potash.
Chloride of Calcium. Succinic Acid. Hydrofluoric Acid. Drying Powder.
Pure liquid Ammonia. Iodide of Lime, a new and valuable preparation for
iodizing the plate.
Those desiring to commence the practice of Daguerreotyping, fitted out
with everything necessary for their success at moderate cost.
LOCKETS, Gold or Gilt, of all sizes and styles, oval, round, single or
double, open or hunting.
Goods can be forwarded to any town in the United States or Canada
(provided said town have connection by Express with New York) and the
money collected on delivery of the goods. Persons will do well, when in
places that have no such connection, to have what they order forwarded to
the nearest express town.
Terms--Cash. No allowance for breakage after goods have left the City.
I have been compelled to adopt the rule of not sending lists of prices,
because it only injures such country dealers as buy of me. But all who
send _orders for goods_ may depend upon getting them at my regular New
York prices.
E. ANTHONY,
_Importer and Manufacturer of
Daguerreian Materials._
308 Broadway, New York.
N.B.--Good journeymen Case-Makers wanted, to whom steady employment will
be given.
WILLIAM S. DORR, PRINTER, No. 101 Nassau St., N. Y.
* * * * *
Transcriber Note
Minor typos may have been corrected. Images moved to prevent splitting
paragraphs. Various formats were used to display pricing these were not
standardized. The listing of Registered Users was left in the order
published. Illustrations of a right pointing hand for advertisements
is denoted as [Hand].
*** End of this LibraryBlog Digital Book "The Daguerreian Journal, Vol. I, No. 8, March 1, 1851" ***
Copyright 2023 LibraryBlog. All rights reserved.