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The photographic news
- Bandzählung
- 6.1862
- Erscheinungsdatum
- 1862
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- Hochschule für Grafik und Buchkunst Leipzig
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- Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 198, June 20, 1862
- Digitalisat
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Zeitschrift
The photographic news
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Band 6.1862
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- Register Index 619
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Band 6.1862
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20, 186- , print of’ re, eack* oval, st aphic P in whiel I around is three 0 nd, thel produced' 1st printa llustiatel ■. the i ad of io ■ itself, he pale, ;in of" i drawing* white d kind i" d entiref, ig receive* the neg o destr become; ’ a head 3 ntensei । ixtremej subdued-' be offe tiveness are m , hey ha*, ost er thisda estion Do most ar: I we he Ixhibit“i album- „ i papeti r coluv" • the ft anifor, ended * enreP' m the d heirult” ow is in 1 prep ntrib^i onjoiz® ozen cb ire tha tried-1 cd wi, ncilor, famili" t repob's sdforg warm f yello 111 thel J tingt nd tb proce"v n usd is de 1 ’ 1 .? seoft ticsll'v 5 wel and JUNE 20,1862.] THE PHOTOGRAPHIC NEWS. 293 a Rejlander and Ilobinson. The former exhibits two or three frames, containing some charming pictures, of some of which we have already spoken ; and all of which have, we believe, been before exhibited and noticed. They are mostly hung too high for careful examination : in one frame we can con ceive the presence of a variety of little naked cherubs may have influenced this. We should have been glad to see the other frames in a position more worthy of their merits. These contain the well-known art photographs “ The Way farer,” “ God Speed Him,” “ The Scripture Reader,” “ Absence of Mind,” &c., &c. Those who would examine them care fully must provide themselves with a ladder; or better still, visit the publisher, Mr. Victor de la Rue, or the artist him self in the Haymarket, whom we have pleasure in taking this opportunity of welcoming as a resident Metropolitan photographer. Mr. Robinson sends several old favourites, including the earliest which first called attention to his unquestionable genius, namely, “ Fading Away,” and “ She never told her Love.” “Little Red Riding Hood,” “Here they come,” “ Top of the Hill,” “ Holiday in the Woods.” &c., are also exhibited. “ The Lady of Shalot," his most recent compo sition picture is also here, and despite criticism, and despite some real faults, it excites much attention and admiration. The general public, who do not give photo- paphy credit for the production of such things, after examin- jug attentively, and admiring, generally pass on, exclaim ing, “Undoubtedly a very clever copy of a painting.” If photography has contributed, as it undoubtedly has, much to the spread of prru-Raphaelitism amongst painters, Unquestionably the pr-Raphaelite painters have reacted on some of our photographers. Mr. Robinson has beyond doubt come under their spell, and to their influence and example some of the faults in this picture are attributable, a? any one examining Millais’s paintings in the Picture Gallery in the Exhibition, especially the “Apple Orchard,” may readily see. Despite all this, however, it is a noble picture, full of true poetry. Mr. Robinson also exhibits “Elaine, with the Shield of Launcelot," which we noticed at the Manchester Exhibition. We then pointed out some short-comings in the story as told by the picture, and we have since ascertained that it was merely a preliminary sketch for a more ambitious picture, and preserved because of some good points it possessed. It is unquestionably good as a photograph, although defective in some parts as a pic ture, and we cannot help here defending it from some amu singly ungrounded strictures in a notice of the South London Exhibition appearing in a contemporary. The vriter in a notice of that Exhibition, on the whole interest- mg and well intended, takes entire exception to this picture, Svecially on the ground of its violation of historic truth in “spicting the draperies and accessories, the shield meeting "ith especial censure. The writer says :— . “Heraldic devices upon the shield were only invented when, Tocked up in complete steel, the warriors had no other resource "ft by which to make themselves known to their friends and “'Howers, therefore the rampant lion is out of place. And, once A8ain, the shape of the shield is one which we have every reason to believe our rude forefathers never adopted—all the British sields, of which wo have any account or relics remaining, being “it and circular, ornamented more or less with metal knobs ami tosses. In the British Museum a shield exists which might "ell have served as a model for Launcelot's." We cannot help regretting, whilst reading this waste of historic and heraldic lore, that the writer had not taken the trouble to read the Laureate’s poem, a glance at which spares u» the necessity of comparing dates and costumes. Mr. fobinson has, we know, studied the poet with a reverent admiration, and has, in these details, at least endeavoured o lender him correctly. Let us see how far a device at all, r his especial device is true to Tennyson’s description, ■pon whom, therefore, the onus of its presence must rest, i W 10, if he failed to make himself familiar with all that P r amed to Arthur's time is—well, he is to blame, and the critic is, under such circumstances, right. Tennyson tells us that the “ Lily Maid of Astolat," having this shield in her care, fashioned for it, A case of silk, and braided thereupon All the devices blazoned on the shield In their own tinct.” Further, Launcelot going forth in disguise to contend for the diamond at Camelot, asks of the Lord of Astolat a shield:— u ■ and the shield— I pray you lend me one, if such you have, Blank, or at least with some device not mine.” So much then for the presence of a device on the shield. Now let us see if the device be a correct one. Mr. Robin son’s shield has a rampant lion; in the “Idylls ” we find the matter thus :— « And when the shield was brought, and Gawain saw Sir Launcelot’s azure lions, crowned with gold, Ramp in the field.” So much for the rampant lions. All this, we know is not exactly photographic ; but it bears pertinently upon photographic criticism and upon the historic correctness of a photograph, and we feel it important that photographic criticism should not lose all value by indulging in baseless or ill-informed strictures. Errors of judgment all are liable to, but it is important to avoid errors of fact. If Mr. Robinson ever carry out his original idea, we shall doubtless have a better representation of “ Elaine the fair, Elaine the loveable,” and although we shall have the shield with his device of the ramping lions, it will bear indisputable traces of the stern blows which awoke the sympathy of the “ Lily Maid of Astolat.” Mr. Mayall contributes some (jenre studies, which will, however, bear out his reputation for being unequal. Some of these are very charming pictures, and deserve a much better light than that in which they are hung “ The Great Light shines through the Smallest Window ” is a very beautiful picture ; the scene is an humble cottage in which a little child reads the Book which contains the words of hope and peace to man ; to which an aged peasant listens with evident attention. The subject, the composi tion, and the photography, are alike good. “ A real Ten- pounder ” is another good picture, an illustration of an elec- tionjeude mots, the ten-pounder not merely representing a ten- pound householder, but a ten-pound note, which the “ hon. member for Tipem ” has slipped into Hodge’s hand whilst asking his “ vote and interest.” The story is cleverly told, the photography is good, and the picture is interesting to many, as containing an admirable portrait of Mr. Mayall himself, and one of Alfred Crowquill, as the “ honourable member.” There are some other pictures of the same class, and one entitled, if we remember rightly, “ One more Unfor tunate,” which is a sad travestie on Solomon’s “ Drowned, drowned,” exhibited at the Academy two or three years ago. Mr. Charles Critchett exhibits"a couple of studies, “ The Nun,” and “The Dairy Maid,” which have considerable merit. Messrs. Ross and Thompson have several frames of very fine studies, in which the feeling and arrangement generally are very excellent; but there is an unfortunate heaviness and blackness, which sadly mars the effect in other respects so good. Heath and Beau exhibit a few pretty vignetted heads possessing much character and archness. There are a few other similar contributions which do not arrest our attention by any especial characteristics. PHOTOGRAPHIC CHEMICALS. The first thing that must strike the visitor upon entering the department of the International Exhibition devoted to chemicals, is the very great advance which has been made in this branch of science during the last ten years. As compared with the Exhibition of 1851, the display is far in advance of anything there shown, whilst the beauty of the individual specimens is also very superior. We have already alluded to the fine specimens of rock salt, which form a
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