512 
POPULAR SCIENCE REVIEW. 
Titles of papers on histology, of which abstracts are given in other parts of 
this summary : — 
Botany : — Structure of Myrrhis odorata. 
The Foliicolous Sphaerise. 
The Development of (Edogonium. 
'Structure of the Anthers of Aroideae. 
Medical Science : — Contractile Corpuscles of Colostrum. 
The Pacchionian Bodies. 
Termination of Nerves in Muscle. 
Zoology : — The Disease of the Silkworm. 
The Sarcodic Tissue of the Sponge. 
PHOTOGRAPHY. 
M. Claudefs Paper at the British Association . — At the first ordinary 
meeting of the London Photographic Society, January 20th, 1853, a 
paper was read by Sir William J. Newton, “Upon Photography in an 
Artistic "View, and in its Relation to the Arts.” This paper was written 
“ with a view to establish that photography can only be considered as a 
science to those who investigate its properties ; but that to the public, its 
results, as depicting natural objects, ought to be in accordance (as far as it is 
possible) with the acknowledged principles of Fine Art.” Sir William first 
pointed out the want of that harmony and union of parts, and that truthful- 
ness of light and shade, which should characterize a fine work of art, as due to 
the non-recognition of atmospheric effect on the part of the photographer. 
His remarks were fully appreciative of completeness and accuracy of detail, 
but so far from considering that every part should be equally defined, he 
thought all the objects should be a little out of focus, as there would then 
be greater breadth of effect, and more suggestiveness of the true character 
of nature. For other than pictorial purposes, however, he thought “ it was 
impossible to be too particular in getting the exact focus.” At that time 
these views were regarded as very startling and heterodox, and Sir W. Newton 
found it necessary to state at the next meeting that he alone, and not his 
fellow-members of the council, was responsible for what was regarded as a 
false principle. At a meeting held not long after, another artist photographer, 
Mr. R. W. Buss, followed in Sir William Newton’s steps, and pointed out 
that correct definition was chiefly important where minute forms and varieties 
of texture were the things required, but that a general and truthful effect 
was inconsistent with such completeness of definition. He thought that 
photographs a little out of focus would give artists “ the effects of Rembrandt, 
Carravaggio, Sir Joshua Reynolds, Opie, Jackson, the early style of Sir 
Thomas Lawrence, that of Sir H. Raeburn, and many others distinguished for 
breadth of effect in the English School of Art.” A paper to the same effect 
was also read at the same time by another artist, Mr. John Leighton, “ On 
the Relation of the Camera to Science and Art,” in which its author upheld 
