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THE PHOTOGRAPHIC NEWS Vol. XXXV. No. 1691.—January 30, 1891. CONTENTS. PAGE Photographic Libraries and Museums 77 Photographic Impostures 78 Photography in Germany. By Hermann E. Gunther 79 Development. By J. K. Tulloch, M.B 80 Testing the Sensitiveness of Photographic Plates 81 Photographic Tourists in Iceland. By J. Reynolds 82 A Reply to Dr. Emerson’s Renunciation. By George Davison 83 Photography and Illustrated Journalism. By Carmichael Thomas 84 Lantern Slide Making. By Edgar G. Lee 85 Increasing the Sensitiveness of Photographic Films 85 PAGE Notes 86 Ferrous Oxalate Development and some Modifications 88 A Dangerous Flash-Light 88 Literary Notices.—“ Fotografisk Tidsk rifts Ar.bok, 1890"— “ Photography as a Business ” 89 Photographing the Dead 90 Astronomical Telescopes By A. A. Common 90 Patent Intelligence 91 Correspondence.—Dr. Emerson’s Renunciation 93 Proceedings of Societies 93 Process Work ....96 Answers to Correspondents 96 PHOTOGRAPHIC LIBRARIES AND MUSEUMS. Now that the Photographic Society has premises of its own, it has begun the work which should have been performed years ago, of establishing a lending library of books upon photographic, chemical, and artistic sub jects. When the work is in an advanced state, it will probably tend to highly benefit the Society, for people —especially residents in the provinces—often become members of organisations, when the subscription is moderate, with no other object than that of getting access to a first-class library relating to a spcial subject. The Photographic Society is also about to establish a museum, and has some funds promised to make a beginning. Other societies have been before it in this field of operations, for the Photographic Society of Prance has a valuable collection of historical objects and photographs, including some pleasing coloured landscapes taken by the curious process of Ducos du Hauron. Not long ago, Mr. William England informed us that a valuable collection of ancient photographs was on view in a museum at Lille. Accordingly we went to Lille, and to the great art gallery and museum at the Hotel de Ville, but there they knew nothing about the photographic curiosities, and suggested that the Museum of Commerce should be tried. At the latter place, also, the officials knew nothing of any collection of historical photographs in the city, but two black- robed Catholic priests who chanced t) be present opined that it might be in the Industrial Museum in the Halls of the Sugars, to which place they then guided and accompanied the inquirer, through many tortuous and narrow ways, for the Halls of the Sugars are in an out-of-the-way place, at the other end of Lille. The two French priests were kindly and jovial men, and had a merry eye. In an upper hall was the collection of photographs, and it included a photographic proof taken direct upon paper in 1819 by M. H. Bayard, of Paris ; Daguerreo types taken upon plates sensitised by bromine, iodine, and chlorine, in 1842, by Blanquart-Evrard; a Daguerreotype of « Mother and Child,” by Blanquart- Evrard, in the production of which chloride of gold and “ accelerators ” were employed; a Daguerreotype taken in 1841 by M. Vincent Chevalier, over which chlorine was first employed as a sensitiser, as indicated by Fizeau and Claudet ; a specimen of the result of the first employment of chloride of gold to render Daguerreotypes more stable, 1839, by M. Bonofans, of Loos ; a positive proof on paper by M. H. Bayard, 1839 ; a positive paper proof by Fox Talbot, 1839 ; an architectural view on a Daguerreotype plate by M. Lerebours, 1839. An interesting item in the collection is a photo mechanical print by Nicephore Niepce, 1824. He took a tin plate, covered it with bitumen of Judea dis solved in oil of lavender, dried it, and exposed to light in contact with an engraving under glass; afterwards he dissolved away the parts unacted upon by light by means of oil of lavender and turpentine, then etched the plate with an acid to get an imago in relief for printing purposes. The collection also contains paper proofs, deeply printed and toned, by Blanquart-Evrard in 1846-47, likewise prints upon albumen from albumen negatives, produced about 1848. Old albumen negatives and early collodion negatives are exhibited, also photographic prints produced at Lille in 1851. Some among our readers may remember the curious photo-sculpture process and appliances connected therewith; one case in the Museum contains a set of the prints used in the manipulations. There are some beautiful prints in colours of flowers and leaves, taken by Ducos du Hauron; they are better, indeed, than the specimens in the Paris collection; various negatives by Ducos du Hauron are on view. Some photographs in natural colours by Edmond Becquerel, in 1848, are enclosed at Lille in three cases to protect them from the action of light; and near at hand is a protected photograph in natural colours upon paper, taken by Poitevinin 1865. Next is a stereoscopic view taken by Niepce de St. Victor in 1868. Early ceramic photographs by Geymet and Alker, Lafon de Camarsac, and M. 0. Cousin, are on view; also some photographs on metallic leaves, by
