ON THE USE OF THE CAMERA LUCIDA. 17^ 



by itself, is infinitely more portable than the camera obscura, 

 this advantage would vanish the moment an artist or ama- 

 teur should determine to make a practical use of it for the 

 purpose that I have described ; because he could not make 

 «se of it without carrying his table or stand with him, and. 

 thus instead of avoiding all incumbrance, only substitute 

 one incumbrance for another. 



The superior brilliancy and distinctness, with which the Superior bril- 

 camera lucida can represent o^'jects under some circum- camera°lucd^ 

 Stances, g'wes it no advantage whatever over the camera ob- no advantage, 

 scura as an instrument for drawing; because, as Mr. Bate 

 tells us, and I have verified the fact, we must destroy the 

 superior brilliancy of those objects, before we can get a sight 

 of the pencil, ivith which we are to represent them — a con- 

 clusion which 1 think is to be fairly drawn from his own 

 statement. 



Mr. Bate has said: " Though hitherto omitted, it is pro- Obstacles to 

 *' per to notice the frequent impediments to an extent of the use of the 

 *' view, arising from the projection of near objects; part of '^^'"^'^ *» 

 ** the head dress in particular are sometimes unsuspected 

 *' obstructions, and the brim of the hat the most formidable 

 « of all." 



This is expressed with delicacy and caution, but it will 

 be necessary to state the fact in plainer terms: it is indis- 

 pensably necessary, that the light should fall itpon the pen~ 

 eil and the paper, or the view and the pencil will be seen so 

 very imperfectly, that it will be almost impossible to make 

 any kind of sketch, however imperfect, with it. This brings 

 the two instruments before us in a way that will show the 

 great superiority of the camera obscura. The time that 

 artists choose to draw from nature in the country is the fine 

 weather in svimraer, more frequently when the sun shines 

 than at any other period ; under these circumstances they 

 will never attempt to draw with the sun shining in their 

 faces; they will generally keep it upon their left hand, or 

 perhaps turn their backs upon it, in order that the shadow 

 of their persons may fall upon the paper, and prevent it 

 from dazzling their eyes, which, in addition, are shaded by 

 the brim of their hat. If an artist chooses to draw in the nonetothat of 

 camera obscura, he procures all these advantages in a still thecamera ob- 

 scura. 

 greater 



