The History and Practice of the Art of Photography

by Henry Hunt Snelling

A Pair of Plyers; or a Gilding Stand (see fig. 19) and Chloride of Gold; or Hyposulphite of Gold.

The latter is imported by Mr. E. Anthony, 205 Broadway, New York, and is decidedly the best article for the purpose. One bottle simply dissolved in a quart of water will make a very strong solution, and gives a richness to the picture impossible to be obtained from the chloride of gold. The process is precisely similar to that described below for chloride of gold, taking care to cease the moment the bubbles are well defined over the surface of the plate. Many Daguerreotypists, after a superficial trial, discard the hyposulphite of gold as inferior; but I have no hesitation in asserting that the fault lies with themselves; for in every case within my knowledge, where its use has been persisted in until the correct method has been ascertained and the nature of the gilding has become familiar, it is always preferred. In illustration of this fact I will relate an anecdote:

A gentleman to whom it had been recommended, purchased a bottle, and after making one or two trials of it, wrote to his correspondent--"Send me two bottles of chloride of gold, for I want no more of the hyposulphite; it is good for nothing." A few weeks after he sent for three bottles of the condemned article, confessing that he had found fault unnecessarily; for, that since he had become familiar to its use, he must acknowledge its superiority, and would use no other gilding.

The Solution of Chloride of Gold is prepared by dissolving in a pint of distilled water, fifteen grains of chrystalized chloride of gold. This solution will be of a yellow tint. In another pint of distilled water dissolve fifty-five grains of hyposulphite of soda; pour gradually, in very small quantities, the gold into the hyposulphite of soda, stirring the solution at intervals; when finished the mixture should be nearly colorless.

Place the plate on its stand, or hold it in the plyers, in a perfectly horizontal position--silver surface upward--having previously slightly turned up the edges, so that it may hold the solution. Wet the surface with alcohol, letting any superfluous quantity drain off. The alcohol is of no farther use than to facilitate the flowing of the gold mixture over the surface. Now pour on, carefully, as much of the preparation of gold as will remain on the plate. The under part of the plate is then to be heated as uniformly as possible with the spirit lamp; small bubbles will arise, and the appearance of the portrait or view very sensibly improved. The process must not be carried too far, but as soon as the bubbles disappear the lamp should be removed, and the plate immersed in distilled water, and dried as before directed.

7th. COLORING THE PICTURE.--I very much doubt the propriety of coloring the daguerreotypes, as I am of opinion, that they are little, if any, improved by the operation, at least as it is now generally practised.

There are several things requisite in an artist to enable him to color a head, or even a landscape effectively, and correctly, and I must say that very few of these are possessed by our operators as a class. These requirements are, a talent for drawing--taste--due discrimination of effect--strict observance of the characteristic points in the features of the subject--quick perception of the beautiful, and a knowledge of the art of mixing colors, and blending tints.

The method now pursued, I do not hesitate to say, and have no fears of being contradicted by those capable of critisizing is on the whole ruinous to any daguerreotype, and to a perfect one absolutely disgusting. The day may come when accurate coloring may be obtained in the camera. Until that day, if we cannot lead taste into the right channel, we will endeavor to give such instructions that Daguerreotypists may proceed with this part of his work with a better understanding of the principles involved. For this purpose I have prepared a short chapter on the art of coloring, which may be found in the latter part of this volume.

To Preserve Daguerreotypes they must be well sealed and secured in a case, or frame. These, of course, are selected according to the taste of the customer, the principal requisite being good glass. Most Daguerreotypists prefer the white French plate glass--and many think, very erroneously, that none is good unless it is thick--but the great desideratum is clearness and freedom from blisters; even glass a little tinged with green or yellow is to be preferred to the French plate when cloudy or blistered and there is very little of it comes to this market that is not so. It is to be hoped that some of our glass factories will manage to manufacture an article expressly for daguerreotypes; and I would recommend them to do so, for they would find it quite an item of profit annually.

Before enclosing the picture in the case you should be careful to wipe the glass perfectly clean, and blow from the picture any particles of dust which may have fallen upon it. Then take strips of sticking paper, about half or three quarters of an inch wide, and firmly and neatly secure it to the glass, having first placed a "mat" between them to prevent the plate being scratched by the glass.