[January 15, 1840, vol. 4, no. 3, p. 2, cols. 1-2] |
||
[page 4, column 6:] |
||
|
THE DAGUERREOTYPE.
 This word is properly spelt Daguerréotype,
and
pronounced as if written Dagairraioteep. The inventor's name is
Daguerre,
but the French usage requires an accent on the second e, in the
formation
of the compound term. The instrument itself must undoubtedly be
regarded
as the most important, and perhaps the most extraordinary triumph of
modern
science. We have not now space to touch upon the history of the
invention, the earliest idea of which is derived from the camera
obscure,
and even the minute details of the process of photogeny (from Greek
words
signifying sun-painting) are too long for our present purpose. We may
say
in brief, however, that a plate of silver upon copper is prepared,
presenting
a surface for the action of the light, of the most delicate texture
conceivable.
A high polish being given this plate by means of a steatitic calcareous
stone (called Daguerreolite) and containing equal parts of steatite and
carbonate of lime, the fine surface is then iodized by being placed
over
a vessel containing iodine, until the whole assumes a tint of pale
yellow.
The plate is then deposited in a camera obscure, and the lens of this
instrument
directed to the object which it is required to paint. The action of the
light does the rest. The length of time requisite for the operation
varies
according to the hour of the day, and the state of the weather — the
general
period being from ten to thirty minutes — experience alone suggesting
the
proper moment of removal. When taken out, the plate does not at first
appear
to have received a definite impression — some short processes, however,
develope it in the most miraculous beauty. All language must fall short
of conveying any just idea of the truth, and this will not appear so
wonderful
when we reflect that the source of vision itself has been, in this
instance,
the designer. Perhaps, if we imagine the distinctness with which an
object
is reflected in a positively perfect mirror, we come as near the
reality
as by any other means. For, in truth, the Daguerreotyped plate is
infinitely
(we use the term advisedly) is infinitely more accurate in its
representation
than any painting by human hands. If we examine a work of ordinary art,
by means of a powerful microscope, all traces of resemblance to nature
will disappear — but the closest scrutiny of the photogenic drawing
discloses
only a more absolute truth, a more perfect identity of aspect with the
thing represented. The variations of shade, and the gradations of both
linear and ærial perspective are those of truth itself in the
supremeness
of its perfection. The results of the invention cannot, even
remotely,
be seen — but all experience, in matters [column 2:] of
philosophical discovery,
teaches
us that, in such discovery, it is the unforeseen upon which we must
calculate
most largely. It is a theorem almost demonstrated, that the
consequences
of any new scientific invention will, at the present day exceed, by
very
much, the wildest expectations of the most imaginative. Among the
obvious
advantages derivable from the Daguerreotype, we may mention that, by
its
aid, the height of inaccessible elevations may in many cases be
immediately
ascertained, since it will afford an absolute perspective of objects in
such situations, and that the drawing of a correct lunar chart will be
at once accomplished, since the rays of this luminary are found to be
appreciated
by the plate. |
||