The photographic news

• Bandzählung: 12.1868
• Erscheinungsdatum: 1868
• Sprache: Englisch
• Signatur: F 135
• Vorlage: Hochschule für Grafik und Buchkunst Leipzig
• Digitalisat: Hochschule für Grafik und Buchkunst Leipzig
• Digitalisat: SLUB Dresden
• Rechtehinweis: Public Domain Mark 1.0
• URN: urn:nbn:de:bsz:14-db-id1780948042-186800009
• PURL: http://digital.slub-dresden.de/id1780948042-18680000
• OAI: oai:de:slub-dresden:db:id-1780948042-18680000
• Sammlungen: LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
• Sammlungen: Fotografie
• Strukturtyp: Band

• Digitalisat: SLUB Dresden
• Strukturtyp: Ausgabe

10 TH® PHOTOGRAPHIC NEWS. [January 3, 1868. under,” line 5, page 008. In a few copies of the News a printer’s accident misplaced some letters, which will not lead the reader into error. STEREOSCOPIC MICRO-PHOTOGRAPHY. The QUEKETT Microscopical Club, the successful progress of which we have recorded from time to time, has just issued the first number of a Quarterly Journal of its proceedings, under the editorship of Mr. Hislop. Amongst other inte resting papers we find some good remarks on microscopic photography, and on the illusionary effect of relief, at times produced in viewing flat surfaces in the stereoscope. The writer remarks:— “Every one who has dabbled in photography, and at the same time possesses a microscope, must at some time or other have been impressed with the extreme suitability of the pro cess for producing precisely what was wanted in the delinea tion of minute objects. Pictures can be produced by this process so extremely minute in detail as absolutely to re quire a hard surface and the use of a magnifying power to bring them out properly. Many have experimented in this direction, but foremost amongst them all must be reckoned Dr. Maddox, whose exquisite photographs of microscopic objects have far surpassed anything that has been published in Europe. Dr. Maddox favoured us with a visit at one of our recent meetings, and exhibited there some of his latest productions, which were most admirable, both in pictorial effect and faithful representation. Some of these pictures were of the markings on diatoms, such as Pleurosigma For- mosum and P. Angulatum magnified 3,000 diameters, and were exhibited as tending to solve the question as to whether they are in relief or not. For this purpose Dr. Maddox views them stereoscopically, when most certainly this effect of relief is produced. Some stereo-photographs of Pleurosigma For- mosum exhibited by him, when placed under the stereoscope, showed the dots as hemispheres standing in closer proximity to the eye than the surface of the frustule upon which they appeared to be set; in fact, presenting the appearance of so many minute ivory balls. Attention was also drawn to the fact that some of the diatomaceous discs, when viewed stereo- scopicaily, are seen to be composed of two surfaces, an outer and an inner one, with a certain amount of structure between them. Mr. Bockett drew attention to an experiment of Mr. Beck’s, in which that gentleman photographed a portion of a glass tumbler, on which the pattern was produced by hemispherical protuberances ‘ like so many plano-convex lenses on a convex surface,’ in which photographs there was a tendency to exhibit those hemispheres as hexagonals, according as their tops or bases were focussed by the lens. “ We very much fear, however, that the stereoscopic test is hardly reliable. Very considerable apparent modifications ot form are produced by varying the condition of binocular vision. Apart from the fact that if you change the pictures from one side to the other you will find the relief become depression, and vice versa, it will be observed that if a per fectly flat picture be examined by a pair of short focussed stereoscopic lenses, it will appear to stand up precisely like the field of a binocular microscope. Take a negative of a black disc, for instance, and print two copies of it either on glass or paper, place the two side by side in a stereoscope, and, although pictures of a flat surface, the effect will be that of a convex one. “ Apart from these considerations altogether, there can be no doubt that Dr. Maddox deserves well of the scientific world for his arduous labours in delineating minute forms. Many of his beautiful productions may yet be seen at Mr. How’s, Foster Lane, Cheapside, although we very much regret to say that, considered commercially, they have not met with the success which they merit. More than this, after seven years’ labour in one direction, this zealous worker finds his sight is injured, and, for want of the successful publication of his works, is compelled to give up the further pursuit of his experiments, without having realised that pecuniary reward which his unwearied efforts so eminently deserve.” LECTURES ON ART. The Cantor lectures on art recently delivered before the Society of Arts by Mr.R. Westmacott, R.A., F.R.S., although referring especially to sculpture, contain much of interest and instruction for all art students. We append an abstract of some portions, condensed from the Journal of the Society. In the first lecture, after expressing the pleasure it afforded him to accept the invitation of the Council, and some com ments on the want of general education in art, he remarked that the fallacy of the opinion that any one unacquainted with the true principles of art can be a competent judge of works of art was gradually gaining ground. It was admitted that to judge of the merits and value of any of the ordinary products of industry required some education in the particular branch of science or skill to which the object belonged; but in the matter of art every one thought himself capable of forming a correct judgment. It appeared to be the opinion of some that if a picture or statue afforded pleasure to or satisfied its ad mirer, a id possessed qualities that hit his peculiar liking or fancy, such a work was to him a work of beauty and merit. There could not be a greater mistake. It was a distinct ques tion. It was one of liking, not of merit or beauty. A vulgar, commonplace work of art could not be other than vulgar, how ever and by whomsoever it might be admired or preferred. But knowledge added to enjoyment. For instance, a musical work might be performed in a mixed company, and nearly all would listen to it with a certain amount of pleasure; but how much greater would be the gratification, and how much higher the enjoyment, to educated musicians, who could not only listen to the melody, but enter into the train of thought, and appreciate the power of combination, evidenced by the com poser, in producing a work of character, expression, and beauty. If this were true of music it must be equally true of painting or sculpture ; for what words and rhythm were to the poet, and sounds to the musician, colour and lines were to the painter, and form to the sculptor. To attain to anything like a just appreciation of art required education; and none but true artists (he meant those who really understood the true principles of art), whether professional or amateur, could be considered as trustworthy judges and guides in matters of art; for it was not sufficient that the object should afford pleasure to constitute it beautiful or worthy. This was illustrated by the affection of a mother for her child, which was utterly irre spective of its beauty. No one could look around him and see the mu'titude of miserable little objects, which were so natu rally the objects of affection to their parents, and say that, because they were loved (or, as in art, liked and admired), the poor, afflicted children were therefore beautiful. It was not only the deficiency of art education in this country, but the want of efficient encouragement for the production of high and noble works of art, that was to be regretted. Artists in England did not seem to aspire to anything heroic and noble in their works, as did those of Greece and the great artists of Italy in times past, but they appeared rather to work down to the present low standard of public taste. In England how few works showing really high aspirations were to be met with among the thousands of pictures produced every year. This, doubtless, was in a great measure due to their non-appreciation by the public when produced. In Greece and Italy the reverse was the case. The people had the natural sensibility which made them capable of appreciating the noble, the beautiful, and the heroic in conception ; and the artists of those countries were obliged to work up to the standard of public knowledge and public taste; and the result was tne great works which happily had been preserved, not only for our instruction and study, but also for the delight of cultivated minds through all ages. The lecturer adverted to a feeling some persons enter tained that we had no subjects calculated, like the myths and poetry of the Greeks, to afford opportunities for high and beautiful art. This he denied, and spoke of the splendid sources of inspiration to be found in the Bible, both in the Old and New Testaments ; grander, he thought, than anything in the mythologies of ancient Greece and Rome ; and he hoped that as the pubiic taste improved, these subjects would become more and more studied by the higher class of artists. One