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The photographic news
- Bandzählung
- 35.1891
- Erscheinungsdatum
- 1891
- Sprache
- Englisch
- Signatur
- F 135
- Vorlage
- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- SLUB Dresden
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- Public Domain Mark 1.0
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- urn:nbn:de:bsz:14-db-id1780948042-189100009
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- http://digital.slub-dresden.de/id1780948042-18910000
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- oai:de:slub-dresden:db:id-1780948042-18910000
- Sammlungen
- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
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- Parlamentsperiode
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- Bandzählung
- No. 1725, September 25, 1891
- Digitalisat
- SLUB Dresden
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Zeitschrift
The photographic news
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Band 35.1891
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Band
Band 35.1891
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- The photographic news
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674 THE PHOTOGRAPHIC NEWS. [September 25, 1891. same reason, as the Pure Co-operative Washing Powder by the thrifty and astute housewife. Ancient architecture with country—with its ivy-grown towers, and flowers sprouting from every ruined coign of vantage—or in town rendered esthetic and interesting from its absorption of centuries of London smoke, has ever recommended itself to the artistic photographer—the lover of the picturesque. It is difficult for him to pass without casting one longing, lingering glance behind (and without a wish that his camera accompanied him) those quaint old hostelries, with their courtyards fringed with galleries of wood elaborately carved, and darkened by time through the lapse of many generations of such as found their rest therein, before that longer and deeper rest which followed after so surely, and without exception, for them all Of those quaint inns—which to-day are, and to-morrow their place knows no more—fain would the photographer preserve for himself and for others, if naught else, the outward semblance. Precious will these samples soon become of the building of olden time, memorials of the labour of busy hands long folded to rest, which now meets the eyes day after day of thousands of passers-by, careless of what custom has rendered common, and the dirt of the metropolis unclean. It is said that a society exists for the purpose of photographing such ancient relics. Should there be one, some of the old towns of England might fill the pages of its publications with architectural beauty, and make it—if the quotation be not a little over worn—“ a joy for ever.” By the gatehouse of Lincoln’s Inn is the wall upon which, we are told, laboured with his own hands that most illus trious of bricklayers, Benjamin Jonson. “His mother,” says Aubrey, “ after his father’s death married a bricklayer, and it is generally said that he wrought some time with his father-in-law, and particularly on the garden wall of Lincoln’s Inn, next to Chancery Lane.” This gatehouse was supposed to be in imminent danger of destruction some years ago ; but it still survives, adorned with the arms of one Sir Thomas Lovell, who lived in the time of Henry VIII., and of other persons equally noteworthy and unnoted. In the matter of manuscripts, the photographer will find no lack of material. Among the old papyri existent in our national depository, in the many inscriptions in foreign tongues—Arabic, Chinese, Egyptian, Etruscan, Greek—he cannot complain of a paucity of objects for selection. The writings of antiquity will meet him who cares to search for them both at home and abroad. He may copy the incised slabs in Somersetshire, or the monu ments in the cathedral of Hereford. He may carry his camera to the church of Aphrodite in Cyprus, or to the cave temples of Western India. He may take his choice among the ancient epitaphs of the Jews in Naples, or । among the cemeteries of Rome ; and he may fill the fellows of his particular Society with envy by presenting to them । at their annual meeting an inscription of Pompey the । Great, or of Tiglath Pileser the Assyrian king. i Of the vast importance of photography in the matter of i religious significance dependent upon ancient texts, a 1 simple was quoted in the Photographic News some twenty years ago. A London correspondent of the 1 Western Daily Mercury happened to know, “ as a matter of ' fact,” that a correct though small photograph had been • taken of the oldest existing copy of the Athanasian Creed, i This photograph was sent direct from the ancient text in < St. Mark’s Library in Venice to the Record Office in I • London. The remarkable thing about it is, that the damnatory clauses are not in it. Now, the Athanasian i Creed without these damnatory clauses is, if the com- ’ parison may be allowed, the play of “Hamlet” without : the Ghost. Such a photograph is almost enough to make • the good Saint to whom this sacred symbol has been ■ ascribed rise from his grave in holy horror of protestation. . But the correspondent of the Western Daily Mercury is , curiously indifferent. He only expects that this palpable argument will settle the controversy respecting these un lucky clauses. But the clauses are not yet settled ; they have, indeed, far too much vitality to be disposed of in so summary a fashion. It is sad to reflect that the photographing of objects of antiquity has sometimes been a field of scientific warfare ; that the history of these pictures has been occasionally polluted by human resentment; and that rival photo graphers have let their angry passions rise in the portraiture of monuments so far removed from them by the lapse of ages as the Pyramids of Egypt. In 1870, Professor Piazzi Smyth, the Astronomer-Royal for Scotland, pub lished his “ Poor Man’s Photography,” in which he com pared his own work with that of the Ordnance Survey Establishment, “ subsidised by London wealth, under the orders of Col. Sir Henry James, R.E., F.R.S., Director- General of the Ordnance Survey.” Professor Smith, in his entertaining brochure, which was dedicated to the Edinburgh Photographic Society, gives, in addition to a list of difficulties in the way of a poor man taking an independent line of research in practical science, his method for single and double negatives, and for single and double positive copying. These innocent plates led in the end to dire results. They led—via the “Sacred Cubit”—to Sir Henry James declaring some observations of the Professor to be “sheer nonsense in a comically solemn dress ”; and to the Professor declaring that some observations of Sir Henry showed that he “ knows nothing of what the religion of Revelation is, or commits a deadly sin.” No human work is, apparently, free from the effects of the primeval curse, certainly not photographic archology. The reproduction of ancient furniture, for instance, offers its own peculiar difficulties in the commonly dark colour of its ancient wood. To attempt to remedy this incon venience by an exposure in full sunlight would hardly succeed; the result of such a proceeding has been affirmed on no weak authority to be detestable. We are advised to work in a diffused light, to relieve all sombre spots by reflection, and to redeem, so far as may be, by an exaggerated duration of exposure, the failure of photogenic power. Ancient tapestry will be found to require a full light, though the yellow, faded colours still demand a long exposure. The inscriptions placed on works of art denoting their use or appropriation, or both, commonly known as epigraphs, are sometimes made part of the ornamental detail work upon which they are in scribed. But even when this is not so, reproductions of epigraphs are very frequently the object of cultivated photographic interest Much facility in copying these, when they are of small extent, is produced by accentuating the cavities of the inscribed letters or signs with black or white chalk, according as the marble or other material on which the legend appears is white or black. But in the many different categories of archologic photography, experienced practice has suggested rules which will lighten the artist’s labour, and bring about all that is desired of
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