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20 THE PHOTOGRAPHIC NEWS. [January 9, 1863. to make the picture; to examine the camera, its tubes, and lenses ; his chemicals ; to see him apply the collodion to the glass, and immerse it in the silver bath ; to see him take it out of the bath and put it in the shield, then in the camera, and then to go with him into the dark closet, lighted only by a little lamp, and see him take the glass from the shield, which is a little dark box, then pour on an iron preparation, wash it under a stream of water, and then hold it to the little lamp, and see the picture of a mortal and a spirit on it. In compliance with this invitation, I carefully observed all the above operations in detail. “ ‘ Mr. Mumler asks for any fair investigation that shall con vince the people that his claims are just and genuine. This is right, and as it should be. And it is not unjust or ungenerous, in a new thing—so great and so beautiful as this, if true,.must be for the people—to ask the privilege to prove it true beyond the shadow of a doubt.’ “ And in a letter' written a week after, and after further inves tigation, Dr. Child says :—• The best and oldest photographic artists in Boston are unanimous in declaring that they know of no means by which these pictures can be produced, as Mr. Mumler produces them.’ “ Mr. Joseph B. Hall, of Portland, Maine, writes to the Hanner of Light an account of his experience, which appears to contain a good test. He says :—‘ I was permitted to go into the “ dark room ” with the operator, and I saw another figure, beside my own, developed upon the plate. Being unable to wait for the picture, I came home, and, a few days after, copies were sent to me. At first, although the face of the spirit-figure was familiar, I did not recognize it, as I confess I was looking for some one of my relatives : but soon I recognized the countenance of a young friend of mine, who died in Augusta, Me., some three or four years since. He was not in my mind when I sat for the picture, and I had hardly thought of him for months. Imme diately I forwarded one of the pictures to the friends of the young man at Augusta, without intimating to them that I had recognized it. Yesterday I received a letter from his sister, from which I make the following extract:— "I received the photograph, and it was my brother F . The likeness nearly overcame me, it was so plain. His collar and cravat are precisely as he used to wear them. It is as plain a picture to me as the one hanging in my room. We all see it alike, and I think any one who knew him must see the likeness at once. It was a great surprise to me, for I never dreamed of seeing any of our friends on your picture; I hope, however, that the test will make up for the disappointment to you. I do not think these pictures flatter, but this is a true likeness. " ‘ Augusta, Me., November 16, 1862.’ “ The point has been raised by one of the New York papers, and Judge Edmonds has written the following letter, which puts the question on its true basis :— “ 1 To the Editors of the Evening Post. “ ‘ Your article of yesterday in regard to spiritual photography professes to solve the mystery, and announces that Appleton’s artist can do the same thing, wherever there is a photograph of the dead person. “ ‘ That is not the mystery of this thing. But it is to take a picture containing a likeness of a person who is dead, and of whom there is no photograph or likeness in existence! “ ‘ This is what the Boston operator professes to do, and the question is, “ Is that so ?” J. W. Edmonds.’ ” We echo the question of Judge Edmonds—“ Is that so ?” Uhe Snternatioual Gxhibition. REPORT OF THE JURY ON PHOTOGRAPHY AND PHOTOGRAPHIC APPARATUS* PROGRESS SINCE 1851.—THE PRINTING COMMITTEE. To the discovery of the collodion process, no doubt, may be attributed the immense impetus which was now given to the art. Daguerreotypes had been taken by Beard as early as the year 1843, he having patented for England that process which the generosity of the French Government had thrown open to the world by awarding a pension of 10,000 francs for the discovery— 6,000 to Daguerre, and 4,040 to Niepce. Claudet and Mayall, with some half dozen others, comprised all the professional photographers in 1852, who sup plied the photographic wants of the public. After another five years there were in the metropolis alone above 150 establishments for the taking of photographic portraits; and, again, at the present time, the “London Directory ” tells us that there has been a vast increase. * Continued from p. 8. This must still comprise but a very small portion of those who obtain their living by the sun’s rays. Scarcely a favourable spot for the practice of the art is left untenanted; and we were lately informed that, for a desirable house in Regent Street, an enterprising and wealthy firm had given nearly double the former rent obtained for the premises. ’ Every country town of note, and even some remote villages, now possess one or more practical photographers. Travelling photographic vans also throng the rural districts ; and a statement of the consumption of photographic requisites seems to be quite fabulous. A paragraph lately appeared in the daily papers stating that one firm alone, in London, used upwards of half a million of eggs annually, to obtain albu men for the formation of positive printing paper. Beyond the discovery of Mr. Archer, two other causes, especially, have conduced to the spread of the photographic art in England—the formation of the photographic societies of London and Edinburgh, together with other local societies, and the removal of the patent restrictions which threatened the earlier practisers. In April, 1852, Mr. Roger Fenton issued, as honorary secretary, a proposal to establish a photographic society, in which it is stated that, since the Exhibition of 1851. the science of photography had advanced at a more rapid rate than in preceding years. At the Exhibition of 1851, the lovers and students of the art in all parts of England were brought into more imme diate and frequent communication. Ideas of theory, and methods of prac tice, were interchanged ; the pleasure and the instruction were mutual. In order that this temporary state might become permanent, it was proposed to unite in a common society, with fixed places of meeting and a regular orga nization, “ all those gentlemen whose tastes have led them to a cultivation of this branch of natural science but, still, a degree of doubt seemed to exist as to the strength of the infant art, for it is suggested that it is needful to ascertain the amount of support such a proposal is likely to obtain, by those desirous of uniting to send their names, with suggestions for its success, to the gentleman who had so kindly undertaken to suggest it and act as the first secretary. The proposed formation of the Photographic Society, no doubt, influenced the second result, for Sir Charles Eastlake, the President of the Royal Academy, had been in constant communication with photographers, in their previous councils, accepting the office of first president of the proposed society, he, in conjunction, with Lord Rosse, addressed a letter to Mr. Fox Talbot, which, together with Mr. Fox Talbot’s reply, appeared in the Times newspaper of August 13th, 1852, and, as they are both important in the pro gress of the history of the art, it is desirable that they should be here recorded. I. London, July, 1852. Dear Sir,—In addressing to you this letter, we believe that we speak the sentiments of many persons eminent for their love of science and art. " The art of photography upon paper, of which you are the inventoe, has arrived at such a degree of perfection that it must soon become of national importance ; and we are anxious that, as the art itself originated in England, it should also receive its further perfection and development in this country. At present, however, although England continues to take the lead in some branches of the art, yet, in others, the French are, unquestion ably, making more rapid progress than we are. It is very desirable that we should not be left behind by the nations of the Continent in the improve ments and development of a purely British invention ; and, as you are the possessor of a patent right which will continue for some years, and which may, perhaps, be renewed, we beg to call your attention to the subject, and to inquire, whether it may not be possible for you to obviate most of the dfficulties which now appear to hinder the progress of the art in England. “Many of the finest applications of the invention will probably require the co-operation of men of science and skilful artists. But it is evident the more freely they can use the recources of the art, the more it is that their efforts will be attended with eminent success. “As we feel no doubt that some judicious alterations would give great satisfaction, and be the means of rapidly improving this beautiful art, we beg to make this friendly communication to you in the full confidence that you will receive it in the same spirit - the improvement of art and science being our common object. Rosse. C. L. Eastlake. “To H. Fox Talbot, Esq., F.R.S.” II. “Lacock Abbey, July 30,1852. “My dear Lord Rosse,— Ihave had the honour of receiving a letter from yourself and Sir Charles Eastlake respecting my photographic invention, to which I have now the pleasure of replying. “ Ever since the Great Exhibition I have felt that a new era has com menced for photography, as it has for so many other useful arts and inven tions. Thousands of persons have now become acquainted with the art, and from haying seen such beautiful specimens of it produced both in England and in France, have naturally felt a wish to practise it themselves. A variety of new applications of it have been imagined, and doubtless many more remain to be discovered. I am unable to pursue all these numerous branches of the invention in a manner that can even attempt to do justice to them ; and moreover, I believe it to be no longer necessary, for the art has now taken a firm root both in England and France, and may be safely left to take its natural development. I am as desirous as any one of the lovers of science and art whose wishes you have kindly undertaken to repre sent, that our country should continue to take the lead in this newly dis covered branch of the fine arts ; and after much consideration, I think that the best thing that I can do, and most likely to stimulate to further im provements in photography will be to invite the emulation and competition of our artists and amateurs by relaxing the patent right which I possess in this invention. I therefore beg to reply to your kind letter by offering the Patent, with the exception of the single point hereinafter mentioned, as a free present to the public, together with any other improvements in the same art, one of which has been very recently granted to me, and has still thirteen years unexpired. “ The exception to which I refer, and which I am desirous of still keeping in the hands of my own licencees, is the application of the invention to taking photographic portraits for sale to the public. “ This is a branch of the art which must necessarily be in comparatively few hands, because it requires a house to be built or altered on purpose, having an apartment lighted by a skylight, otherwise the portraits cannot be taken indoors, generally speaking, without great difficulty.