to portraiture, &c., there are stereographs and micrographs, and the
old-fashioned "sit-on-a-chair" graphs, the "stand-not-at-ease" graphs,
the "small carte" graph, the "large carte" graph, the "casket gem"
graph, the "magnesium" graph, the "cameo" graph, the "double-stupid"
graph, and the latest of all novelties, the "turn-me-round" graph. The
latter is a great curiosity, and must have been suggested by a
recollection of that "scientific toy" of ancient manufacture with which
we used to awaken the wonder of our little brothers and sisters at
Christmas parties when we were boys, by twirling before their
astonished eyes a piece of cardboard with a bird painted on one side and
a cage on the other, both pictures being seen at the same time during
the rapid revolution of the card.
In apparatus there is not much to talk about, the Pantascopic camera
being the chief novelty. There are several of the manufacturers
exhibiting in the photographic department, but we could not reconcile
ourselves to the circumstance of Mr. Dallmeyer not exhibiting in the
right place. His name is honoured by photographers, and he should have
honoured Photography by going in under her colours. If he must go to the
"scientific department," he ought to have gone there with his scientific
instruments alone, and shown his photographic apparatus in the place
assigned for that purpose. True, he makes a handsome show, but that does
not atone for his mistake. Photographers are queer animals--jealous of
their rights, and as sensitive to slight as their plates are to light;
and we fear we are ourselves not much better. A large majority of
photographers stand by Mr. Dallmeyer, and very justly believe in his
1 and 2 B's as shippers do in A 1's at Lloyd's; and _his_ stand should
have been in the photographic department.
In other parts of the Exhibition building there are various subjects
highly interesting to photographers.
The chemical department has its attractions in samples of
collodio-chloride of silver, prepared by Messrs. Mawson and Swan, for
the opal printing process and the Simpsontype. Specimens of each type
are also to be seen there; and there are other chemicals used in
photography, even to dextrine and starch: the purity of the latter is
known by the size and length of its crystals.
In metallurgy there is also something to interest photographers. Messrs.
Johnson and Sons exhibit some very fine samples of nitrate of silver,
double and treble crystallized, silver dippers, chloride of gold,
nitrate of uranium, and other scarce metals.
Messrs. Johnson, Matthey, and Co. also exhibit some fine samples of
nitrate of silver and chloride of gold; and some wonderful specimens of
magnesium, in various forms, in wire and ribbon. One coil of ribbon is
4,800 feet long, and weighs 40 ounces; and there is an obelisk of
magnesium about 20 inches high, and weighing 162 ounces.
There are many other things in this case of great value which have a
photographic bearing--amongst these a platinum boiler, valued at L1,500,
for the concentration and rectification of sulphuric acid; a platinum
alembic, value L350, for the separation and refining of gold and silver;
also an ingot of platinum, weighing 3,200 ounces, and valued at L3,840.
The exhibitors say that "such a mass of fused platinum is never likely
to be again produced." The whole of the contents of Messrs. Johnson,
Matthey, and Co.'s case of precious metals, most of which have a direct
or indirect application to photography, are estimated at the enormous
value of L16,000!
Mining, too, has its attractions for us; and as we near the Nova Scotia
division of the Exhibition building the needle of our observation dips
towards a bar of pure gold, weighing 48 pounds, and valued at L2,200
sterling.
By the gentlemanly courtesy of the Rev. Dr. Honeyman, Honorary Secretary
and Commissioner in Dublin, from the province of Nova Scotia, we were
favoured with a "lift" of this valuable lump of gold, and we could not
help exclaiming, "What a lot of chloride this would make!" But we had to
"drop it" very quickly, for the muscles of our fingers could not bear
the strain of holding it more than a few seconds. This bar of gold was
obtained from very rich quartz, specimens of which are to be seen near
it; and Dr. Honeyman informed us that the average daily remuneration
from such quartz was thirty shillings sterling per man.
It is not generally known that the province of Nova Scotia is so rich in
gold; but, from statistics by the Chief Commissioner of Mines for the
province, we find that the average yield of the Nova Scotia quartz is
over 19 dwt. per ton, and richer than the quartz of Australia; and the
deeper the shafts are sunk the richer the quartz becomes. In 1864 the
total yield from all the gold districts of Nova Scotia was 20,022
ounces, 18 dwts., 13 grs. Gold dust and scales have also been found in
the sands on the sea coast of the province, and in the sands of Sable
Island, which is eighty miles distant, in the Atlantic Ocean. Having in
our own colonies such an abundance of one of the precious metals so
extensively used in the practice of our art, photographers need not be
under any apprehension of having their supplies cut off.
Continuing our general survey, we stumble upon many things of
considerable interest. But, as our space will only allow us to
particularize those articles which have a photographic attraction,
direct or indirect, we must as far as possible imagine ourselves
something like animated photometers for the time being, registering the
aspects, changes, and remarkable phenomena connected with our art, and
whatever can be applied to photography and the use of photographers; or
whatever photography can be applied to, artistically or commercially
considered.
Of some things non-photographic, but of interest to photographers as
well as others, we may be induced to say a little; but of most subjects
foreign to our profession we shall simply say to our readers, "We have
seen such wondrous things, go ye and do likewise."
We finished our last paper with a few comments on what was
photographically interesting in the province of Nova Scotia. Passing
from that to the provinces of the Lower and Upper Canadas, which are
very properly placed next door to each other, we are struck with some
very good and interesting photographs of Canadian scenery, both plain
and in colours, and a frame of portraits of the delegates of the British
North American Confederation. Samples of all kinds of native and Indian
manufactures, and specimens of mineral ores, chiefly iron and copper,
are also displayed here.
Pursuing our way southwards from the Colonial division of the galleries,
we come to China and Japan. The geographical and relative positions of
the countries exhibiting are not strictly adhered to in the plan of the
Exhibition, so we must, of necessity, make some "long legs," and
experience some imaginary transitions of temperature during our journey
of observation. In Japan we stop to look at a life-size group of female
figures, representing a princess at her toilette, attended by four
female slaves, books illustrated with wood-cuts, plain and coloured,
bronzes, and many other articles of art and manufacture, by the
Japanese, of much interest.
In China, there is a State bedstead of great beauty, books of paintings
upon rice-paper, and many beautiful bronzes, carvings, and other
specimens of Chinese art.
We pass through Turkey, and next come to Siam, but the latter country
does not exhibit much, except of a "seedy" character. We admit we are
sometimes addicted to making puns, but the Siamese send puns for
exhibition. There is an article called "pun," which is "prepared lime,
coloured pink with turmeric," but to what use it is applied we have not
been enlightened.
Passing through France, Austria, Prussia, Belgium, and Holland, without
stopping to notice anything particularly, and turning into the south
corridor, we enter the Water Colour Gallery, which we quickly leave,
sighing, "How unlike that beautiful and attractive section of the Art
Treasure Exhibition at Manchester in 1857!" Hastening into the Central
Picture Gallery, we are much struck with the different appearance it
presents, and find numbers of ladies and gentlemen admiring the numerous
productions by painters belonging to the various foreign schools. Among
these works are some grand subjects, both in historical and ideal
composition, and landscape representations. This gallery has a
particularly noble and handsome appearance. It is oblong, well-lighted,
and open in the middle, by which means the Sculpture Hall, which is
underneath, is lighted. The sides of the gallery next the open space are
handsomely railed round, and pedestals, with marble busts and statuettes
on them, are tastefully arranged at intervals, leaving room enough for
you to look down into the Sculpture Hall below. What with the fine
pictures on the walls and staircase, and the noble statues in marble
about and below, you cannot but come to the conclusion that this is a
noble temple of art.
We next enter the east front room, which contains the works of the
Belgian artists. Many of these paintings are very finely conceived and
executed. The largest and most striking of them is the "Defeat of the
Duke of Alencon's Troops by the Citizens of Antwerp," painted by A.
Dillens.
Now we enter the Great Picture Gallery, which is devoted to the painters
belonging to the British school. Here we find many of the well-known
works from the National Gallery and Kensington Museum. There are
examples of the works of Callcott, Collins, Wilkie, Wilson, Turner,
Landseer, Mulready, Etty, Egg, Ward, Leslie, and a host of others. Her
Majesty the Queen also sends several pictures from her private
collection, as examples of the works of Winterhalter, Thomas, and
Stanfield. Nearly all the British artists are creditably represented in
the Dublin International Art Exhibition.
We next come to the Collection of Ancient Masters in the North Gallery,
which we enter from the North Corridor. To this part of the Fine Art
Exhibition the Earl of Portarlington is the most liberal contributor. He
sends examples of Titian, Rubens, Carlo Dolci, Tintoretto, Canalette,
Claude, Watteau, Rembrandt, Gerard Dow, Schneiders, Vandevelde, Sir
Joshua Reynolds, Sir Peter Lely, and others. The Marquis of Drogheda
also sends several examples of the same masters, some of them very fine
ones. Sir Charles Coote sends a great many paintings; among them a
Murillo, a Guido, and a Gainsborough.
Thence we pass into the Mediaeval Court, where we find nothing but
croziers, sacramental cups and plates, carved panels for pulpits and
clerks' desks, reminding us of "responses" and "amens." These we leave
to Churchmen, enthusiastic Puseyites, and devotees of Catholicism. And
we wend our way round the galleries, passing through Switzerland and
Italy into the United Kingdom, where we stop to examine some of the art
manufactures peculiar to Ireland, and are particularly interested in the
specimens of Irish bog oak, carved most tastefully into various
ornaments, such as brooches, pins, paper-knives, &c., and sculptured
into humorous and characteristic statuettes. The most noticeable of that
class of Irish art and industry is a clever group, entitled, "Where's
the man that dare tread on my coat?" This really humorous and artistic
statuette is one of a group of two. One is a rollicking Irishman
brandishing his shillelagh over his head and trailing his coat on the
ground, which is the Irishman's challenge for a fight at such places as
Donnybrook Fair. The other Irishman, who is equally ready for a "row,"
is in the act of treading on the coat, as an acceptance of the
challenge. The story is so cleverly told, that we almost fancy we see
the fight begin, and hear the shillelaghs cracking crowns in a genuine
Irish row.
Pushing on through India to the British Colonies again, whence we
started, we descend to the ground floor, and resume our survey of
Sweden, Norway, Italy, and Rome, and turn into the Music Hall, which is
on the south side of the entrance and Statuary Hall. Here we find the
organ builders at work on the grand organ, blowing up one pipe after
another, and producing such volumes of inharmonious sounds that we are
glad to leave them to the full and hearty enjoyment of their pipes,
chords, discords, and bellows-blowing. The walls of the Music Hall are
nearly covered with cartoons and paintings of a high-class, some of
them so high that we require an opera-glass to bring them within the
range of our visual organs.
We next enter the Sculpture Hall with a view of examining the statues
and describing them carefully. But they are so numerous that we can only
find space to call attention to the most striking. There are over three
hundred pieces of sculpture from various countries, comprising colossal
and life-size figures, groups, busts, statuettes, and alto-relievos in
marble and bronze. The most attractive of the marble statues are
"Michael Angelo, when a child, sculpturing the head of a Faun" (his
first work), by Emilio Zocchi, of Florence. The earnestness of purpose
and devotion to his task are wonderfully expressed in the countenance of
the boy-sculptor. Plying the hammer and chisel actively and vigorously,
every part of the figure betokens a thorough abandonment to his
occupation. A very remarkable work by a lady sculptor--Miss Harriett
Hosmer--entitled "The Sleeping Faun," is the very opposite to the other,
in its complete abandonment to repose. This fine statue has been
purchased by Mr. Guiness, and we were told he had given a munificent sum
for it. Another piece of exquisite beauty and daring skill in marble
working is "The Swinging Girl," by Pietro Magni, of Milan, the sculptor
of "The Reading Girl," which attracted so much attention in the
International Exhibition of 1862. The figure of the girl swinging is
beautifully modelled, and entirely free from contact with the base; and
is supported only by the swing attached to the branch of a tree, and the
hand of a boy giving action to the subject. "Ophelia," by W. C.
Marshall, is perhaps the most poetic conception of the loveliest and
most mournful of Shakespeare's creations that has ever been sculptured.
It is almost impossible to look at this touching representation of
Ophelia in her madness without exclaiming, in a modified quotation of
her own description of Hamlet--
"O, what a gentle mind is here o'erthrown."
But we must stop. To go on in this way describing all the beautiful
works of art in the Dublin Exhibition would fill a volume. Already we
have allowed our admiration to carry us beyond the limits we had
assigned ourselves. We have been tempted to describe more than
photographic works, but none that have not a value artistically or
otherwise to photographers. We recommend all our readers that possibly
can to go and see for themselves. The trip is a very pleasant one, and
need not be expensive; nor need much time be spent unnecessarily. A
week's absence from business will give you five clear days in Dublin,
the other two only being occupied in travelling. Five days will be amply
sufficient to see the Exhibition and the "extraneous lions" of Dublin
also. If your time is limited, give a carman a job to "rowl" you to the
principal places of interest. But "by all means" select a rough, ragged,
red-headed, laughing-faced Irishman for your jarvey, and depend upon it
he will keep you in good humour during the whole of your trip. And every
time you come to a public-house he will say his "horse wants a dthrink,"
and "Won't yer honours have a dthrop?" as if he was going to stand
treat; but of course you know what he means; besides, the idea of
allowing a carman to treat his fare is not to be entertained for a
moment, nor can you resist the good-humoured intimation of his desire to
drink your health, for which honour, as a matter of course, you pay
costs.
Having endeavoured to conduct our readers to Dublin, and give them a
glance at the Exhibition, photographically and generally, we shall now
take our leave of the capital of Ireland, and return to town in much the
same manner as we went. We leave the Irish capital at 1.30 in the
afternoon, and, after a pleasant and quiet run across the Channel, enter
Holyhead harbour about seven o'clock. This arrangement gives you an
opportunity of seeing the Welsh coast to the best advantage as you
approach. Stepping into the train which is waiting our arrival, we are
speedily on our way home. At Rugby we have to change, and wait a little;
but before leaving there we pass the sign which only old masons and
travellers know, and are provided with a first-class bed and _board_,
and so make ourselves comfortable for the night. We know nothing more of
the remainder of the journey. Old Somnus has charge of us inside, and an
old kind-hearted guard takes care of us outside, until we are aroused by
the guard's "Good morning, gentlemen!" about six o'clock, a.m., within a
few miles of Euston Square. In conclusion, we sincerely recommend as
many of our readers as can to take a trip "to Dublin and back," and a
glance at the Dublin International Exhibition.
PHOTOGRAPHY IN THE NORTH.
On a recent journey northwards, I was tempted to stop at York, take a
look at the Exhibition there, and see if there were anything worth
notice in the Photographic Department. That part of the Exhibition is
exceedingly scanty, but the best Yorkshire photographers are well
represented, both in landscape and portraiture. Among the contributors
are the names of Sarony, Glaisby, Holroyd, Gowland, and other well-known
names. Mr. Sarony exhibits a couple of frames containing several "new
photo-crayons," cartes-de-visite vignettes, which are very sketchy and
effective, exhibiting those free and "dashy lines" and "hatchings" so
characteristic of the "softening off" of artistic crayon drawings. This
effect may be produced by a process of double printing, but it is more
likely to have been obtained direct in the camera from a screen, having
the edges of the aperture "softened off" with some free touches, the
screen, in all probability, being placed between the lens and the
sitter. Mr. Sarony also exhibits some large photographs very beautifully
finished in colours. Messrs. Gowland exhibit, in a revolving case, a
very unique collection of medallions and vignettes, both plain and
coloured, mounted on tinted grounds, which give the pictures a very
chaste and delicate appearance. The photographs themselves are exquisite
bits of artistic pose and careful manipulation. They also exhibit a
charming vignette of twenty-nine young ladies, all cleverly arranged,
each figure sharp and distinct, and evidently recognisable portraits.
This picture reminds one of Watteau, for the figures are in the woods,
only, instead of semi-nude nymphs, the sitters are all properly and
fashionably dressed young ladies. Messrs. Holroyd contribute some very
excellent cartes-de-visite and enlargements. Mr. E. C. Walker, of
Liverpool, exhibits some very beautiful opalotypes, or "photographs on
enamelled glass." Mr. Swan, Charing Cross, London, also sends specimens
of his crystal cube portraits. Mr. A. H. Clarke, a deaf and dumb
photographer, exhibits some very good groups of the Princess of Wales,
Lady Wharncliffe, Lady Maud Lascelles, Countess Granville, and the Hon.
Mrs. Hardinge, taken in the conservatory, when the Princess and suite
were on a visit to Studley Royal, Yorkshire.
Amongst the landscape photographs are to be found some of Bedford's
finest views of Egypt and Jerusalem, Devonshire and Warwickshire, the
beauties of which are so well-known to everyone interested in
photography. Some of the local views by local artists are very fine; W.
P. Glaisby's views of York Minster are capital, especially the
interiors. Messrs. Jackson Brothers, of Oldham, exhibit some very fine
views, and show what atmospheric effects the camera is capable of
rendering. That view of "Birstall Church" is a perfect master-piece of
photo-aerial perspective. There are also a considerable number of
photographic productions from the South Kensington Museum. Mr. Gregson,
of Halifax, exhibits some excellent photographs of machinery. In
apparatus there is nothing novel or striking, there being but one case
of cameras, &c., exhibited by a London maker. There is a "water
agitator" in the machinery "annexe," for washing photographic prints,
but the invention is more ingenious than effective, for the water is not
agitated sufficiently, except in the immediate neighbourhood of the fan
or "agitator," which moves backwards and forwards in the water, in a
manner somewhat similar to the motion of the pendulum of a clock, and so
laves the water to and fro; but the force is not sufficient to prevent
the prints from lying close together at the extremities of the trough,
and imperfect washing is sure to be the result. The motion is given to
the "agitator" by the water falling on a small wheel, something like
"Williams's revolving print washing machine."
To describe the Exhibition itself: It is rather like a "compound
mixture" of the church, the shop, and the show. The "Great Hall" is
something like the nave of a wooden cathedral, with galleries running
all round, and a grand organ at the end, peeling forth, at intervals,
solemn strains of long measure. Over the organ, in white letters on a
red ground, is the quotation, "He hath made all things beautiful in his
time."
The show cases on the floor of the Grand Hall are arranged as
indiscriminately as the shops in Oxford Street. In one case there are
exhibited samples of Colman's mustard, in that next to it samples of
"Elkington and Co.'s plated goods," and in another close by are samples
of saddlery, which give the place more the business aspect of a bazaar
than the desirable and advantageous classification of an exhibition.
Then you are reminded of the show by the frequent ringing of a loud
bell, and cries of "This way to the fairy fountain, just going to begin,
only twopence." Such things jar on the ears and nerves of quiet
visitors, and are only expected in such a place as the Polytechnic in
London.
The great features of the York Exhibition are the picture galleries; and
here a better order of things prevails. The collections are classified;
one gallery, or part of it, being devoted to the works of the old
masters, another to the modern, and another to the water-colours. Among
the old masters are some fine portraits by Velasquez, Tintoretto,
Rembrandt, Vandyke, Sir Joshua Reynolds, Gainsborough, Sir Peter Lely,
and others. And some of those grand old landscapes by Salvator Rosa,
Rubens, Claude, Wilson, the English Claude, and George Morland, such
pictures as are rarely seen out of private collections. The modern
masters are abundantly represented by Wilkie, Etty, Frith, Westall,
Faed, Cope, E. Nicol, Stanfield, Linnell, and a host of others. Amongst
the water-colours are many fine examples of the works of Turner, the
Richardsons (father and sons), Birket Foster, &c., &c.
Sculpture is very faintly represented, but there is a charming little
Canova, Dirce, exhibited by Lord Wenlock; an antique bust of Julius
Caesar, which seems to have been found in fragments and carefully joined
together. This bust is exhibited by the Hon. P. Downay, and was found in
Rome amongst some rubbish, while some excavations were being made. There
is also an interesting series of marble busts of the Twelve Caesars,
exhibited by Lord Londesborough. The Exhibition is open in the evening,
and brilliantly lighted with gas till ten o'clock; and, taking it "all
in all," it is a very creditable effort in the right direction, and does
honour to York and Yorkshiremen.