FINE ARTS.
PHOTOGRAPHIC MINIATURES.
THE subject of portraiture, on which we touched lately, led us to a cond. deration of photographic miniatures; for the successful attempts of Meagre Claudet and Beard to add colour to them brings the sun-limned portraits under the category of works of art. Photography is a most valuable aid to paiatesa; and its influence is already perceptible in greater fidelity of resemblance and more akilful chiaroscuro in portraiture. It will never supersede portrait-painting of the highest class; for the artist of genius, who embodies in his picture in- tellectual character as well as the animation of vitality with the charm of rich colouring, cannot be rivalled, though he may be greatly assisted, by the Daguerreotype. But when for the price paid for a vulgar caricature of a resemblance, that has tasked the time and patience of the sitter to little purpose, an identical delineation of the most exquisite quality is pro- duced in a few seconds, photography is preferable under ordinary cir- cumstances.
The addition of colour to daguerreotype images is so far an improvement
that it remedies their most objectionable peculiarity. A pleasing pictorial effect is combined with the minute truth and exquisite light and shade of the photographic miniatures. The colouring is an after process: but so skilfully is it now applied, that the tints are blended with the particles of which the light-formed image is composed, and appear to be a remit of the chemical action. The disagreeable tone of the metallic surface of the plate is thus got rid of; and that blackness of the shadows in the face, se detrimental to the lifelike look, is obviated by the addition of hues more in accordance with those of nature. It is not pretended to rival the bril- liancy of carnation tints in a fine complexion; that is of course impossible: but lips look ruddy, instead of black—cheeks are warm, and tinged with the hue of flesh, that before were livid. The introduction of subdued tints of purple and brown in the dress and accessories, with a blue tinge given to the background, carries the colour through the picture so as to pro- duce an harmonious effect, resembling that of a low-toned miniature on ivory. But the utmost skill and elaboration of Sir William Faxes's pencil cannot come up to the marvellous delicacy and microscopic minuteness of the pencil of light in delineating the features and the costume of the sitter: in half a minute the magical power of the daguerreotype produces & picture such as the most accomplished-limner could not equal by months of labour.
Those who appretiate the inimitable qualities, of the daguerreotype will
prefer the image without colour; the exquisite gradations of light and shade being lees apparent when colour is snperadded: but generally the colouring is regarded as a most desirable addition, reconciling if it does not entirely obviate the dislike that is felt by many to photographic miniatures. The difference in point of effect between daguerreotype portraits of dif- ferent persons is very remarkable: some are agreeable and lifelike, while others have that black grim look which makes them repulsive at first sight This difference is not owing to the process so much as to the sitter: some faces are better suited to it than others. Young persons of fair complexion, smooth rounded cheeks, serene expression, and lips gently closed, make the most pleasing portraits; because there are no strong lines nor deep sha- dows-all is softened and delicate. But faces where the farrows of age, thought, or emotion, are conspicuous-where the lips are parted or dragged down, or the complexion is blotchy, freckled, or weather-beaten-the da- guerreotype is not so suitable, if an agreeable likeness be desired. The happiest and sweetest faces make the best portraits; quiet, easy, careless natures, with no great peculiarity of physiognomy, come next; in the case of susceptible, uneasy, nervous dispositions, the daguerreotype is least suc- cessful, tranquillity of sensation as well as stillness of posture being essen- tial to the perfection of the process. The aged, thoughtful, careworn, and uneasy, must be content to have their lineaments exaggerated into grim- ness by the strong opposition of light and shade; and the rubicund bon- vivant, the sunburnt country gentleman, and the weather-beaten sailor, must either reconcile themselves to looking black, or resort to the colouring process to remedy this defect.
The improvements effected in the optical and chemical processes of pho- tography, both by M. Claudet and Mr. Beard, are very great; and the ex- perience of the artists in placing sitters and arranging the drapery and accessories is also advantageous in producing pleasing pictures. The scale of the portraits is much enlarged beyond what it used to be; plates of Sib inches being used upon occasion. We have seen such beautiful specimens by the rival patentees of the daguerreotype that we are unable to choose between them: Mr. Beard's are most brilliant in effect, and more sharply defined; but in M. Claudet's the image is non-inverted. The two sides of the face differ so materially that it is of importance to the cor- rectness of a resemblance that they should not be reversed.
M. Claudet also practises the Calotype, or Talbotype; in which the photo- graphic image, on a large scale, is thrown on paper ; and these when stippled up with sepia, as is most beatifully done by M. Mansion the artist who colours the daguerreotypes for M. Claudet, have a very good effect. They might be painted in] water-colours too, so as to appear like finished pictures. And if the daguerreotype portraits were copied, in colours, through a magnifying-glass, the result would in all cases be satisfactory. Seen through a good lens, the strong black shadows appear softened: in- deed, it requires microscopic scrutiny to perceive all the fine qualities of a daguerreotype picture.
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