148 ANNUAL OF SCIENTIFIC DISCOVERY. 



examine anything which promises novelty in this direction. And yet we 

 believe a thought has at length been struck out, at once so simple and so 

 practicable, that it cannot fail to produce a great extension of the art, both 

 in the number and style of its products. In distinguishing the method we 

 a^e about to describe, it may be premised at once, that this operation does 

 not, as in the case of the great majority of other photographic processes, 

 profess to give an immediate transcript of some scene or figure existing in na- 

 ture. In ordinary cases the sun transfers to the photographic paper a picture 

 of some object or group which has already a complete and independent exis- 

 tence, whether it be a human figure, a building, a piece of sculpture, an 

 engraving, or a landscape. It records established facts, or repeats works 

 which were designed Avithont reference to it. But the Elliotype photographs 

 are always the results of paintings made expressly for the purpose. This 

 im^olves, of course, a principle, namely, that the peculiar skill of the living 

 painter, with all its powers and resources, is transferred at once, fresh from 

 his hand, to the very sheet of paper Avhich is to spread through the Avorlcl 

 the example of his style and composition. The other important point is the 

 simplicity of the operation, Avhich encourages attempts, obviates failures, 

 and insures an unusual freedom, etc., in the result. A simple idea may gen- 

 erally be simply expressed; and to the reader familiar Avith these subjects, 

 the Avhole process Avill be rendered clear at once by the explanation, that the 

 artist Avho Avishes to produce an Elliotype picture, paints the subject himself 

 in AA r hite body colors upon one side of a piece of glass. It is evident Avhen a 

 sheet of sensitive paper, stretched on the other side of the glass, is exposed 

 to the light that Avhcre the glass is transparent the paper Avill come out 

 black, and Avhere the light is blocked out by a layer of paint, it Avill remain 

 white. But the paint itself is slightly translucent, and thus every variety of 

 shade may be produced by duly graduating the thickness of the layers. 

 This is in substance the Avhole of the invention for such it is believed to 

 be, notwithstanding its simplicity. But there are seA'eral other points Avhich 

 desciwe attention. As the oil painting is on one side of the glass, and the 

 photographic paper on the other, the rays of light have to pass, not only 

 around and partially through the paint, but also through the glass, before 

 they reach the paper. The consequence of the light passing through the 

 glass is, from refraction, or some other cause, to give a soft, melting outline 

 on the paper, even Avhere there is a sharp line drawn on the glass. The 

 effect of this, in many instances, is A-ery AA^clcome and desirable, as in the 

 case of clouds, feathers, or the rounded outlines of the face, limbs, etc. 

 Where, however, sharpness in the photograph is absolutely required, this 

 property becomes objectionable; and a remedy Avas long sought for by the 

 inventor in vain. It Avas discoA r ercd at length by accident. A fragment of 

 cotton thread, or some small foreign substance, had, much to the operator's 

 annoyance, lodged between the glass and the paper, i. c., on the opposite side 

 to the painting. The effect Avas a blur on the photograph ; but it had such 

 remarkably clear, sharp edges, that the idea instantly occurred Why not 

 paint the sharp lines of the picture on the other side of the glass, next to the 

 iodized paper? The result turned out exactly such as Avas expected and 

 required ; and sharpness of outline can thus be secured, as Avell as round- 

 ness. 



The painter's part of the proceeding is an extremely simple one; he has 

 only to lay a piece of black paper under the glass upon Avhich ho paints; 

 everything then is as it Avill finally appear in the picture. His ground is 



