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future, should be published in the country where it was first discovered. And he makes no doubt that his countrymen will deem such an intention sufficiently laudable to induce them to excuse the imperfections necessarily incident to a first attempt to exhibit an Art of so great singularity, which employs processes entirely new, and having no analogy to any thing in use before. That such imperfections will occur in a first essay, must indeed be expected.

At present the Art can hardly be said to have advanced beyond its infancy – at any rate, it is yet in a very early stage – and its practice is often impeded by doubts and difficulties, which, with increasing knowledge, will diminish and disappear. Its progress will be more rapid when more minds are devoted to its improvement, and when more of skilful manual assistance is employed in the manipulation of its delicate processes; the paucity of which skilled assistance at the present moment the Author finds one of the chief difficulties in his way.

It may be proper to preface these specimens of a new Art by a brief account of the circumstances which preceded and led to the discovery of it. And these were nearly as follows. One of the first days of the month of October 1833, I was amusing myself on the lovely shores of the Lake of Como, in Italy, taking sketches with Wollaston’s Camera Lucida, or rather I should say, attempting to take them: but with the smallest possible amount of success. For when the eye was removed from the prism – in which all looked beautiful – I found that the faithless pencil had only left traces on the paper melancholy to behold.

After various fruitless attempts, I laid aside the instrument


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