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Pittsburgh Daily Gazette - February 28, 1839
From the Paris Constitutionnel
CHEMICAL AND OPTICAL DISCOVERY
At the last sitting of the Academy of Sciences, M. Arago announced
one of the most important discoveries in the fine arts that have distinguished
the present century, the author of which has already acquired universal
reputation by his miraculous diorama—M. Daguerre. It is well known
that certain chemical substances, such as chlorate of silver, have
the property of changing their color by the mere contact of light;
and it is by a combination of this nature that M. Daguere has succeeded
in fixing upon paper [sic] prepared with it the rays that are directed
on the table of the camera obscura, and rendering the optical tableau
permanent. The exact representation of whatever object this instrument
is directed to is, as everybody is aware, thrown down with vivid colors
upon the white prepared to receive them and the rays of light that
are thus reflected have the power of acting in the way above alluded
on chlorate of silver, or certain preparations of it. In this manner
an exact representation of light and shade of whatever object may be
wished to be viewed is obtained with the precise accuracy of nature
herself, and is stated to have all the softness of a fine acquaint
engraving.
M. Daguerre
had made this discovery some years ago, but he had not then succeeded
in make the alteration of color permanent on the chemical substance.
This main desideratum he has now accomplished, and in this manner
has been able, among other instances, to make permanent chemical
representation of the Louvre, taken from the Point des Arts. M.
Arago, in commenting upon this most extraordinary discovery, observed,
that a patent would be by no means able to preserve the rights
of the discoverer sufficiently to reward him for his efforts; and
he therefore urged the propriety of an application being made to
the legislature for a grant of public money as a recompense. M.
Boit, on the same occasion, compared M. Daguerre's discovery to
the reting of the eye, the objects being represented on one, and
the other surface with almost equal accuracy.
What is the
secret of the invention? What is the substance endowed with such
astonishing sensibility to the rays of light, that it not only
penetrates itself with them, but preserves their impressions; performs
at once the function of the eye and of the optic nerve-the material
instrument of sensation, and the sensation itself? In good sooth
we know nothing about it—Figure to yourself, says a Parisian
contemporary, a mirror which, after having received your image,
gives back your portrait, indelible as a picture, and a much more
exact resemblance—Such is the miracle invented by M. Daguerre.
His pictures do not produce color, but only outline, the lights
and shadows of the model. They are not paintings; but drawings
pushed to a degree of perfection that art never can reach.
One has heard
of writing by steam, but drawing by sunshine (or moonshine) is
a novelty for which the world is indebted to M. Daguerre, of Paris,
the diorama painter. M. Arago and M. Boit, who have made reports
to the Academy of Sciences on the effects of M. Daguerre's discovery,
have given up all attempts to define its causes. The complaisance
of the inventor has permitted us to see these chefs d'æuvre,
where nature has delineated herself. At every picture placed before
our eyes we were in admiration. What perfection of outline-what
effects of chiaro oscura- what delicacy-what finish!—But how
can we be assured that this is not the work of a clever draughtsman?
As a sufficient answer, M. Daguerre puts a magnifying glass in
our hand. We then see the minutest folds of drapery, the lines
of a landscape, invisible to the naked eye. In the mass of buildings,
accessories of all kinds, imperceptible accidents, of which the
view of Paris from the Pont des Arts is composed, we distinguish
the smallest details, we count the stones of the pavement, we see
the moisture produced by rain, we read the sign of a shop. Every
thread of the luminous tissue has passed from the object to the
surface retaining it. The impression of the image takes place with
greater or less rapidity, according the intensity o the light;
it is produced quicker at noon than in the morning or evening,
in a summer than in a winter. M. Daguerre has hitherto made his
experiment s only in Paris; and in the most favorable circumstances
they have always been too slow to obtain complete results, except
on still on inanimate nature. Motion escapes him, or leaves only
vague and uncertain traces. It may be presumed that the sun of
Africa would give him instantaneous images of nature objects in
full life and action.
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