GENERIC IMAGES. 537 



first time last year, under the title of composite portraiture. I showed 

 that it was possible in many ways to combine two or more portraits 

 into a single one, if they are of the same size and taken in the same 

 attitude. I have produced the combination by various optical means, 

 such as the convergence of images from different magic lanterns upon 

 the same screen, and by a small apparatus which is, in fact, six cameras 

 in combination, in which six different images may be simultaneously 

 viewed, and afterward thrown upon the same photographic plate. In 

 addition to these is the plan I originally employed, of throwing care- 

 fully adjusted images of different portraits in succession upon the 

 same portion of the same sensitized photographic plate. It is by the 

 latter process that blended memories are illustrated. In all these 

 methods the general result is substantially the same, subject only to 

 such discrepancy as will always exist between a photograph and the 

 image from which it is made. A composite portrait is in all cases 

 produced, in which the whole of the components coexist. It is sur- 

 prising with what excellent effect we can combine the features of per- 

 sons who are not too dissimilar in their general appearance. We 

 obtain from them a composite portrait that is identical with no one of 

 the components, but which comprises all, each having its own frac- 

 tional share in the total effect. I have made several composites from 

 medals of historical personages ; such as from different coins bearing 

 the effigy of Alexander the Great, none of which are closely alike. 

 Thus I have brought out the common features of all of them and pro- 

 duced what is presumably a nearer approach to the ancient ideal type 

 than has ever previously existed. I am much indebted to the kind- 

 ness of Mr. R. Stuart Poole, the leai'ned curator of the magnificent 

 collection of medals and gems in the British Museum, for having 

 selected the best and most suitable specimens, and having procured 

 plaster casts of them for me, whence my photographs were made. 

 The portraits on coins are very convenient for composites, as they are 

 pure profiles. I have also various criminal types, composed from the 

 photographs of men convicted of heinous crimes. They are instruc- 

 tive as showing the type of face that is apt to accompany criminal 

 tendencies, before (if I may be allowed the expression) the features 

 have become brutalized by crime. The brands of Cain are varied ; 

 therefore the special expressions of different criminals do not reenf orce 

 one another in the composite, but disappear. What remain are types 

 of faces on which some one of the many brands of Cain is frequently 

 destined to be set. I am particularly struck by three of these types 

 that were each deduced from six or seven components ; two of the 

 groups are of men convicted of manslaughter and crimes of violence, 

 the other of habitual thieves. These three composites are as alike as 

 brothers ; the compound composite gives a low class of face, but not 

 one, I think, that most persons would associate with especial villainy. 

 I have also two other composites very like these three, and I find that, 



