In connection with this celebration we present to our readers a portrait of Daguerre. Strange to say, there are but few authentic portraits of Daguerre in existence. In our search for such a portrait we discovered the one here reproduced; it was engraved by Orr from a photograph by Dr. Meade, of New York, for the International Magazine, of that city, and used to illustrate the obituary of the eminent Frenchman, September 1, 1851. As everything relating to Daguerre cannot but prove of interest at the present time, we republish the interesting article in full as it appeared at the time:
Lewis Jacques Mande Daguerre, whose name is forever associated with the photographic process, of which he was the discoverer, died on the tenth of July, in Paris, in the sixty-second year of his age. He was a man of extreme modesty and great personal worth, and was devoted to art.
He was favorably known to the world before the announcement of his discovery of the Daguerreotype. His attempts to improve panoramic painting, and the production of dioramic effects, were crowned with the most eminent success. Among his pictures, which attracted much attention at the time of their exhibition, were, “The Midnight Mass,” “Land-slip in the Valley of Goldan,” “The Temple of Solomon,” and “The Cathedral of Sainte Marie de Montreal.”
In these the alternate effects of night and day, and storm and sunshine, were beautifully produced. To these effects of light were added others, from the decomposition of form, by means of which, for example in “The Midnight Mass,” figures appeared where the spectators had just beheld seats, altars, etc.; and again, as in “The Valley of Goldan,” in which rocks tumbling from the mountains replaced the prospect of a smiling valley.
The methods adopted in these pictures were published at the same time with the process of Daguerreotype, by order of the French Government, who awarded an annual pension of ten thousand francs to Daguerre and M. Niepce, Jr., whose father had contributed towards the discovery of the Daguerreotype. Daguerre was led to experiments on chemical changes by solar radiations, with the hope of being able to apply the phenomena to the production of effects in his dioramic paintings. As the question of the part taken by him in the process to which he has given his name has been discussed sometimes to his advantage, it appears important that his position should be correctly determined. In 1802, Wedgwood, of Eturia, the celebrated potter, made the first recorded experiments in photography; and these, with some additional ones by Sir Humphrey Davy, were published in the journals of the royal institution. In 1814, Mr. Joseph Nicephore Niepce was engaged in experiments to determine the possibility of fixing the images obtained in the camera obscura; but there does not appear any evidence of publication of any kind previously in 1827, when Niepce was in England. He there wrote several letters to Mr. Bauer, the microscopic observer, which are preserved and printed in Hunt’s “Researches on Light.”
He also sent specimens of results obtained to the Royal Society, and furnished some to the cabinets of the curious, a few of which are yet in existence. These were pictures on metallic plates covered with film of resin.
In 1824 Daguerre commenced his researches, starting at that point at which Wedgwood left the process. He soon abandoned the employment of the nitrate and chloride of silver, and proceeded with his inquiry, using plates of metal and glass to receive his sensitive coating. In 1829 Mr. Vincent Chevalier brought Niepce and Daguerre together, when they entered into partnership to prosecute the subject in common. For a long time they appear to have used the resinous surface only, when the contrast between the resin and the metal plates not being sufficiently great to give a good picture, endeavors were made to blacken that part of the plate from which the resin was removed in the process of heliography (sun drawing), as it was most happily called. Amongst other materials, iodine was employed; and Daguerre certainly was the first to notice the property possessed by the iodine coating of changing under the influence of the sun’s rays. The following letter from Niepce to Daguerre is on this subject:
“81, Loup de Varvennes, June 23, 1831.
“Sir and Dear Partner:--I had long expected to hear from you with too much impatience not to receive and read with the greatest pleasure your letters of the tenth and twenty-first of last May.
“I shall confine myself in this reply to yours of the twenty-first, because, having been engaged ever since it reached me in your experiments on iodine, I hasten to communicate to you the results which I have obtained. I had given my attention to similar researches previous to our connection, but without hope of success, from the impossibility, or nearly so, in my opinion, of fixing in any durable manner the image received on iodine, even supposing the difficulty surmounted of replacing the lights and shadows in their natural order. My results in this respect have been entirely similar to those which the oxide of silver gave me; and promptitude of operation was the sole advantage which these substances appeared to offer. Nevertheless, last year, after you left this, I subjected iodine to new trials, but by a different mode of application. I informed you of the results, and your answer, not at all encouraging, decided me to carry these experiments no farther. It appears that you have since viewed the question under a less desperate aspect, and I do not hesitate to reply to the appeal which you have made.